I would try for like ~$160. That way you save some money and he makes money.

That guitar goes for about $200 used. That means he'd probably get about $100-$120 (max) for it in that condition selling it to a store, so you have to find a median there.

I think ~$160 is a good number cause you're saving ~$40 and he's making ~$40.

You could probably get him down further, but I don't agree with that type of deal making. We're all friends in music and why try to fleece someone? It's up to you.

EDIT: Is this eBay or Craigslist? If Craigslist, you should offer up something and if you guys can agree on a price, go check the thing out. Don't be a dickhead and complain about every scratch. You're buying used and saving money. (DO NOT negotiate price at the meetup. It's just rude. He drove out there and you're trying to lower the price.)

Ask him if he can do a basic setup beforehand so you know how the action and the neck feels and listen for glaring intonation problems. There's nothing worse than buying a guitar that has a warped neck and cannot be intonated.
Quote by JD Close
I was wondering why he mentioned bathroom amps being a certain size. Amps simply should not be in bathrooms. Also, don't worry, those numbers are total bogus and should be disregarded.

But what if you have the urge to practice Eruption while you're taking a dump?

To OP: Invest in a tube amp. Please. If you need an amp because you don't have one at all, invest in something crappy until you can get a tube amp. You'll thank yourself later

As far as wattage goes, a lot of people like to use the 4:1 ratio. So a 25 watt tube amp sounds about as loud as a 100 watt solid state amp.

For a church? You could get away with like 10 watts (tube) and not have to plug into the PA system. If you're miking up, it doesn't matter how many watts. You just need to be able to turn up to the amp's 'sweet spot' (where the amp starts to sound good, basically).

For me, that's around 3-4 volume on my Fender Champ 25se (25w tube). For my Marshall AVT50 (50w ss), it's at about 5-6 volume.

So my recommendation would be to actually get a smaller/medium sized amp so you can get up to that sweet spot without blowing everyone's eardrums out.

For reference: As the lone guitarist in my band, I filled up an entire reception hall (rather large. It was the kind that sat around 300 people) with my 50w solid state turned up to 7. I doubt I'd have had to turn my tube amp up past 4.
Don't just say 'I don't like that arrangement'. Say 'I'm not loving this arrangement, can we try it like this:'.

Bands are about compromise, but at the same time, you need to have a direction you want to take something you don't like. A suggested solution to your own problem.

I run into a similar problem with my drummer. He'll say something 'doesn't sound right' or 'can you play it higher/lower/etc'. Most of the time it's a load of bullshit. I make an effort to fix it (which your band doesn't seem to want to do), but unless he has a solution, 9/10 I keep what I was originally playing.

If your band won't give you the time of day with that, than you need to either accept that they don't want your input and just play, start writing better parts, or find another band.

If they're not loving what you're bringing to the table, then maybe it's time to record some demos at home of your ideas and bring them in and then they can add/change their parts to fit the sound of the band.

It just sounds to me that when you bring something to the table, it's not getting communicated well. Whether that's because of your presentation (they just can't 'hear it'), or they're not willing to give what you're saying a shot, you guys need to work it out, and that may involve talking on the phone with one of them.

The other thing it might be is that you say you just joined. I was in a band once where, even though I had some good ideas, I was just the 'hired gun'. They basically told me what to play and the only freedom I had was during guitar solos. I eventually got sick of it, but I stayed in that band for nearly a year because I was actually playing out at mid-sized venues and that was cool.

In either situation, it sounds like you need to talk to them and get your role straightened out. If you are just the 'hired gun', than that's something you need to know. Get on the phone! I wouldn't do it in the middle of practice because that's a hell of a lot more awkward, but if they value you as a member, than no one's going to take offence to you calling and saying: "Hey, I kinda feel like I'm not being allowed to contribute to what we're doing, and I'd like to be a part of it. What's the deal? Do you guys not like what I'm bringing to the table? Is it in the wrong style? Am I not communicating it well? etc etc".

You'll get an answer, provided that they're somewhat decent human beings.
Well, you never want ALL true bypass without a single buffer or 'always on' pedal. The reasoning being that the longer your cable is, the more upper end of the frequency range you lose.

People with REALLY good ears begin to hear a difference in brightness when your cable length exceeds about 18'-20'. Most of us can't really hear a difference until we get into like 30' of cabling. What happens is the guitar's tone starts to sound darker and loses some of the upper harmonics.

So the consensus is that you want a buffered bypass pedal, a stand-alone buffer, or an always on pedal every 18'-20' so that your signal stays strong. True bypass pedals, when they're off, are effectively 'lengthening your cable' so if you have all true bypass and you have them off so you're completely clean, your guitar is likely to sound a little uglier than if it was plugged directly into the amp with a shorter cable.

On the flip side, having all buffered bypass pedals can muddy the signal. The worse case are stuff like Ring Modulators where you can actually hear (very subtly) the modulated signal when the pedal is off. Another one I heard a VERY noticeable difference in (and it might just be the way my rig is set up, who knows?), was an MXR Dynacomp. I wasn't really using it, took it off my board, and it was like night and day. That was before I even understood what true bypass and buffered bypass meant.

That being said, most of the change in tone there is pretty negligible. I would say if you had 20 BOSS pedals on a board you might be able to hear a pretty big difference if you did a test.

I would say with the amount of pedals I'm guessing you're using (around or less than 8?), there won't be any noticeable difference. And with all the companies putting true bypass switching into their pedals, it's actually a better idea to worry about having a buffer of some kind on your board.

I think people make more of a big deal about it than what it's worth. As long as you think your rig sounds good, than it doesn't matter. People will always try to justify why their rig sounds so much better than yours. If you feel like you're having problems with your signal, try running a clean signal through your entire effects chain, then plug your guitar into the amp directly. If it sounds 1000x better directly in? Then maybe a looper is in order (provided you like your digitech and BOSS sounds). If it sounds good either way to you? Don't worry about it

No one in an audience is going to know whether you have AL TRU BYP455 or if you're running a chain of BOSS pedals. It's the elitist guitar players that will.
Yep. I've lived in areas where it tasted horrendous but it's like an added bonus when you move: You get this whole new flavor of water

Currently my water is delicious with only slight nuances of strange chemicals.

The last place I lived had a very sandy flavor. Wasn't too big of a fan.
For me, having a very solid idea of where everything goes is the most important thing. The better idea I have of what I want to go into the track, the better. I have a notebook and I make charts and diagrams and whatever else I can think of to make sure I have the structure down.

If you're going for solo recordings (you're in your bedroom recording), put together a VERY basic drum track. Just kicks, snares, and maybe hats. Jam to it and record until you get something where you're 'feeling it'. Do that for everything then go back and make changes to drums so they match up to the feel of the song.

If you're in a band, record a jam (do it a bunch of times until everyone sounds tight and awesome) but ONLY mic up (or midi out) the drummer and possibly (really good idea) have an overall track for reference. Everyone else plays over the drum track (striving for 'dat feels') you miced up and the drums are (possibly) re-recorded or re-sampled later.

I've used both methods in the past and they seem to work the best for me.

EDIT: Otherwise use a click track. I prefer to start with drums because click tracks suck, but in all actuality, your drum tracks in the beginning are just scratch tracks and are working as a more 'accurate to the music' click track. But 'starting with drums' kind of applies at the same time. Complicated shit... :-/
As everyone else said: Keep going.

Learning songs and stuff CAN take a larger amount of time than what you think is 'normal'. I've heard of people taking months up to a year to learn a single piece (this is mostly complicated classical pieces, but still...). Just keep at it. It's not a contest

Playing guitar isn't difficult, but 'being good' is (more on this in the next paragraph). You'll hit tons of brick walls and become frustrated plenty. It's a journey, but if it's something you enjoy and something that you're passionate about, then you should keep at it. It's a pretty rewarding hobby and there really isn't anything like music. It's an art form that, unlike visual art or literature, can be expressed and shared on the spot.

To answer the thread's title: It's all about perspective. Playing guitar isn't about being 'bad' or 'good'. It's about being expressive and making music people (or person. It can be personal too!) enjoy, and that's oftentimes not about skill but about those undefinable things like 'feel', 'emotion', and 'style'. Those will develop with time. Just keep learning and assimilating new ideas, styles, genres, and techniques and find what you enjoy the most. Again, it's a journey

Personally, I think if after six weeks you can actually get through some actual songs? You're ahead of the curve. Bar chords will come. You have to build up the strength and that takes time. I know I couldn't properly do a bar chord for about 4-6 months and I was trying to do them since week 1.

If there was one thing that I wish someone had told me when I started: It's not a contest. There is no 'Steve Vai is so much better than David Gilmour'. Is any other form of art a contest? Nope. Why should music be? People just like to turn anything they can into a contest. Don't think that way, don't stop learning new things, and don't get frustrated by where you are.

Anyway, good luck on your journey!
Quote by TheStig1214
Blue Steels and Regular Slinkies ARE electric guitar strings. Which makes this even more strange. I still say disconnected pickups or a bad/broken switch.

Either that or he's trolling. I used to be a tech and of all the strange things I've seen, this has got to be the strangest thing I've ever heard of. It's like a magic trick.
That doesn't make sense.

I mean, I've never heard of single pole-pieces going out like that (if I'm understanding you correctly?).

It sounds to me like a piece of solder (or two) came loose internally. It'll most likely be at the five-way selector or the pickups themselves. Strings are pretty universal and that shouldn't have been a problem.

It's entirely common for cheaper guitars to use only the bare minimum amount of solder which ends up not being enough sometimes. I've had it happen to a number of lower-end guitars (including a Yamaha RGS121) in the past.

Get handy with a soldering iron or find someone that is, but FIRST look up a pickup wiring diagram to look for yourself if there are any problems in the internal wiring. If you see any loose wires than figure out where they need to be.

If you're saying that you're not getting sound from ONLY the strings you changed but they still work on the Humbucker, you got some voodoo shit going on. Initially I thought you accidentally put nylon strings on your guitar (which aren't magnetic and wouldn't be picked up by the pickups) but if they work with the Humbucker, I'm thinking it's internal.

The only other thing I can think of is that you DID put nylons on your guitar and your humbucker is very high gain and it's actually picking up the sound from them, in which case, go pick yourself up some 'electric guitar strings'
Are you a guitar player yourself? I'm going to assume you are if you've been here for four years.

Here's how my Dad got me into guitar and I learned the basics VERY fast. A lot faster than videos would have done because I had someone there to sit with me and show me exactly what I was doing wrong. Videos and books can't give you that.

I think you should start out by teaching him some basic open chords. Save power chords for later as open chords will be a great bridge into teaching him the CAGED system once he gets comfortable barring.

Teach him how to fret the notes and what they're supposed to sound like when they're fretted correctly. Make sure you include the F Major chord. Teach him the easy way AND the hard way (barring) and have him work his way up to barring it. Find some songs that he'll be able to play with those chords (there are hundreds upon thousands of them out there. I started with Zep and Floyd) so it's not so dry and he feels like he's making progress being able to play an actual song.

Give him constructive criticism on rhythm and proper technique, and most importantly: JAM WITH HIM. Encourage him to find music he likes and introduce him to Tabs and Youtube for when he wants to learn songs you don't know how to play. Teach him the pentatonic scale, the blues scale, and the major scale. All the basics.

You'll basically be giving him introductory lessons but in a far better environment because you know the kid, and then you'll be able to set him free onto his journey once he has a grasp on how the instrument works.

It'll also probably be a good bonding type thing between the two of you

Anyway, like mentioned before, Justinguitar gives GREAT lessons as well and I would recommend supplementing his learning with it.

Good luck!
Dude, this is gotta be the best thing I've ever heard. So raw. So rad. So satanic. So mentally challenged. Just awesome..
I chipped in for one once. I think it was a keg of either Natty Light or Bud. I think it was like $80 altogether and for the party we were throwing it was totally worth it

Would I do it again? Probably not. I mean, if you're going to have 80+ people at a college house party, go for it. I'm past that age and don't feel like I'll find myself at a party like that probably ever again...
Opening for the other guitar player in my band's previous band at a local bar tomorrow night. They're giving us 30 minutes of their two hour set

Should be a lot of fun!
Thanks for the info guys!

I guess I'll trade out the tube and see what happens and just save up my money for a Celestion if I decide I want one down the road for it.
Just adding to Gary's post: Another way to change stuff (especially if you don't have access to a second amp) is to move the mic when you record the second track for the double track.

Different mic positions drastically change the way the recording sounds. Generally having it farther off-center provides a mellower sounds and toward the center is more punchy, but play around with it :-)

And please don't just re-EQ your tracks. Always track separately for a double track. You'll thank yourself when it sounds 1000x better

Here's what I do to maximize/optimize recording possibilities: Record the initial track with the line-out on your main amp. Save that track. Now mic the amp and playback the line-out recording through the amp (you can play with the amp's EQ to make it sound pleasant) and record through the mic. That way you can experiment with a perfect take or run that line-out to another amp. Then do a second perfect take and find a blend you like :-)

Sorry I rambled. Just want you to have good guitar tracks Good luck!
Back-story: Ok, so a few months back I got rear-ended by a rather large pickup truck on my way to band practice. My Marshall AVT50 was in the trunk and it didn't quite survive. I ended up picking up a Fender Champ 25SE used for a decent price. It's my first tube amp (kinda).

So what I want to know - The Marshall AVT50 has a ECC83 preamp tube that's apparently 'specially voiced'. The Fender Champ (although it SAYS it has a solidstate preamp on every website) has a 12AX7 tube in the back.

I understand these are pretty much the same tube but I was curious if the 'specially voiced' thing was a gimmick or if maybe it would actually make my amp sound different. Would it be ok to switch these out? And does voltage have anything to do with the tubes? The Marshall is a 50w and the Fender is a 25w

Also, I'm not 100% sure what pooped out on the AVT50. It still works out of the headphone jack (making me think the preamp section still works) but doesn't work any other way so if I were to take a guess, I'd say the speaker was damaged upon impact. I popped it open and the connections are still good but I was thinking it could be the connection from the speaker to the back of the amp.

So seeing as the Marshall has a Celestion speaker, and the Fender has a Fender speaker, I was wondering if I could throw the Celestion in the Fender? The thing I'm afraid of is that my Fender has an 8 Ohm speaker in it and the Celestion is a 4 Ohm speaker.

I did a little research and most people say it would be ok except my amp might run a little hot. I'm playing at decently loud volumes usually and I don't want to do any real damage to my amp.

If it helps: Here are specs for the Marshall, and Here are specs for the Fender.

Hope you guys can help me out :-) Thanks!
I think it really depends on what kind of music you play :-/

For something like metal, especially more technical stuff, scale exercises and stuff probably help out more.

I'm a blues/blues rock/psychedelic rock player. For me, I spend between 1-3 hours a day just experimenting and improvising or learning something new in or around my 'genre tree' (every genre that loosely relates to what I play).

I hardly ever practice scales. For me, getting comfortable with the CAGED system and remembering how licks/patterns 'sound' is enough for me. I occasionally learn new scales and stuff but only if I come across something cool that I don't know how to reproduce. Then again, improvising is pretty much practicing scales but in a more 'applied' setting.

I think the most important thing is to put together something you're comfortable with and to always be open to exploring new things.

People like to shove exercises down new/intermediate player's throats (ESPECIALLY new scales), but as long as you have a good ear and have amassed enough knowledge to understand how music works (be it through learning 100s of songs or sitting down with a few theory books), and more importantly, how the music you like works, you'll be fine. The comfort and ease comes on the instrument through jamming and feeling the music and through playing for a long time. It's all muscle memory.

If you think a regimented schedule will put you on the right path to where you want to be, then go for it. If I were you I would break down some things that you want to improve on, find some exercises, or better yet, songs that have these elements in them, and practice them every day until you have it perfect. You'll know, too, because it'll roll right off your fingers

And don't be afraid to change up your schedule. In fact, you should probably change it up so different days you're doing different things. You'll be less bored.

Good luck, and have fun!
Quote by Random3
That wasn't what my post was regarding, but anyway I have said why I think what I think in this thread on the previous page.

Well sure there are multiple reasons to post in a forum, however in a thread like this if you count each post I would bet a pretty high percentage of them are opinions.

Dare I mention that you haven't even grasped the concept of an opinion at this point in your life?

Also, since you like to make generalizations based on very little fact, I'm going to HAVE to say that you may want to reevaluate some things in your life if you ever want to be in a real relationship. Arguing to argue no matter how far of a shithole you've dug yourself into isn't exactly an attractive attribute to have and will cause you some serious problems in life. But that's just my opinion (am I doing it right?)
Quote by waster_99
*looks at poll*

the good guys are winning

Well according to you, 'good' guys call girls 'cum dumpsters'. So I think 'good' might be a relative term
Quote by Random3
Even though this appears to be a troll thread I'll indulge.

Hypothetically, if I was TS, this is why I would not consider her girlfriend material.

1. She came right out and told me that she shagged 30 guys before she turned 21. That indicates that she has no sense of privacy, and shows a level of immaturity that I would not go anywhere near.

2. Assuming I knew nothing about any of these 30 other guys, I would assume that none of them were serious relationships because to be honest, how many serious relationships can you fit into a 3-4 year period and still have time to bang 29 other men.

3. I would assume that having such a high number of sexual partners at a young age could indicate that she does not have particularly high self-esteem, and also that she tends to be impulsive. Neither of these are attributes that are ideal.

Before anyone takes this out of context, this is all very specific to the person in the OP.. None, or very little of this would apply IRL.

That would be because we HAVE to make massive generalisations when only presented with one piece of information. If you tell me you made a sandwich that contains chocolate, I will say I would like that sandwich. That is a generalisation because I have no idea what else you put in that sandwich. Similarly, we know nothing else about this person, only that she had multiple sexual partners at a young age.

How about you actually read my posts for a change?

Dude, you MAY need to start partaking in some recreational drugs now and again. You don't HAVE to do anything. If you told me you were making me a sandwich with chocolate on it, I'd probably ASK you (key word: ASK) what else is on it.

It sort of defeats the purpose of a forum if you HAVE to take one side or the other. If you're not free to think (or not think) at all. That is why there's a reply button, after all. I think you need to stick to survey sites or something. You know you can get paid for those, right?
Quote by Zombee
You guys seriously can't think of a single reason why a lot of sexual partners would be unappealing?

Sure I can! but none of them are problems that couldn't happen if they only had a single sexual partner in the past.

And really, the benefits outweigh the possible bad.

Would you rather have her dancing on your dick like a ballerina? Or laying motionless with a blank and confused expression on her face because she has no idea what's going on?
Quote by Random3
I have maintained and still maintain that if their one sole attribute is that they have had a lot of sexual partners then I would not date them.

Of course real people do not have just one sole attribute, and as I have already said it probably wouldn't matter to me IRL.

I guess my biggest problem with your entire argument is that you don't seem to have a problem making a big generalization about someone you don't know based on a single statement. You said she was a 'slut' and that she was not good girlfriend material. And further, you're trying very hard to make yourself out to be a 'good' person who 'wouldn't be bothered by it'. You're contradicting yourself as a person more than anything.

What was the exercise they taught back in school? Where they describe someone you would think would be a great man and it turns out to be Hitler they were describing? I don't think you were paying attention that day
Quote by Random3

All the information we have is that she sleeps around. I said I don't consider that girlfriend material. She may be lovely, I don't know. Going by what I DO know, I don't consider her to be girlfriend material.

Now, completely independent from this, hypothetically if I knew this person and she was perfect, then her sleeping around wouldn't affect my view of her.

That isn't a contradiction because one of these is hypothetical.

I see what you did there, very clever.

If you don't want to hear opinions then what on earth are you doing on a forum.

I think the thing you need to accept about the world, but more importantly about yourself, is that the amount of sexual partners someone has had has absolutely no bearing on their date-ability...

You're trying to say it, and really, you're almost there man. It's like there's this barrier of social stigma that you're having trouble getting over. You'll make it dude. I have faith in you
Quote by Random3
I didn't contradict myself at all. I said, given the information available, I wouldn't consider her girlfriend material. I don't know if she is perfect in every way because I don't know her. That information is not available.

You MAY want to kick back, cool down, hell! Drink a soda! Then come back and re-read what you wrote there, boss.
Quote by Random3
Sure, in a real-life situation where I knew this person and I was single then I may not care, if they are perfect in every way and happen to have slept with a bunch of people then it probably wouldn't change anything.

However, I do not know this person. All this person is to me is words on a screen from someone else's mouth. They say she shagged a bunch of people at an early age. I say ok, I know nothing else about them so my answer is no I would not consider them girlfriend material.

Hopefully I am making sense.

Nah man. You just completely contradicted yourself.

You're basically saying that the amount of people a person has slept with wouldn't deter you from dating a girl if she was 'perfect in every way' and then turning around and saying that a girl that's slept with a bunch of people at an early age isn't 'girlfriend material'.
Quote by waster_99
all of the male feminists in this thread are just going to be future cuckolds. real men are laughing at them

just look at the poll. most sensible guys still think 30 is too high for a 21 year old girl to have

LOL. So if you think 30 is fine then you're a beta male feminist? Why not just make the poll titled: "Are you a beta male feminist?"

You're an idiot. Quick putting sex on a pedestal. I bet you're just jealous that she's gotten more than you have
What does it matter? It just means that she probably knows how shit's done. Nothing wrong with that.

You're one of those people that believed everything they told you during abstinence week in middle school, aren't you?
Look into getting a standard strat trem system. Yes, it looks like a vintage trem system that doesn't do much, but they can actually be set up to float and to do those 'cricket' noises that a lot of people seem to believe only a floyd rose is capable of.

You can either buy the system separate or just pick up a Standard MiM Fender Strat (not squier). They're like $430 for a 'blemished' one or $500 retail. Not bad at all.

Anyway, another option is to just take off the locking screws. I mean, yes, that's not how 'it was intended to be used', but I've seen people do it. I really don't think aside from some possible tuning issues dependent upon the quality of the guitar and how it's set up, there would be a problem.
Cool stuff man. I might throw you a track or two within the next couple of weeks. I'm re-working a couple of tracks that I did a while back.
It sounds to me like something the Dixie Chicks, Weird Al, and Toby Keith would co-write together.

Try adding some more instrumentation (maybe. Maybe you're going for a minimalist approach. I don't know. That seems to be in style nowadays).

Also, it needs a better chorus. I really couldn't discern what your chorus was. Ways to do that: Add a vocal harmony(or two since this sounds like country to me), change key, sing louder/stronger, change tempo or key signature, change basic chords.

Also, please consider using more dynamics. Start looking at songs that sound interesting but when you break them down are two-four chords the entire song. You'll begin to realize that dynamics are essential. This song could be 10x better with some proper use of dynamics. Examples being: Vocal inflection, rhythm of piano part, as well as how hard you strike the keys.

Otherwise, I found the lyrics to feel very cliche/cheesy. If that's what you were going for, then fine, but I didn't like them. It seemed like you REALLY wanted to use the most cliche things possible, but decided to dodge around them and infer them. Ex. 'picked up a spoon' (or something like that) trying to use the cliche of a 'silver spoon'.

Anyway, sorry if that was a little harsh, but it's what I honestly thought. You're on the right track, have a usable voice, and with some more practice at songwriting, you'll get there

EDIT: Also, about the chorus, it doesn't necessarily NEED it, but it needs something in the way of it. It needs some sort of change. It sounds the same all the way through. That goes back to dynamics. With enough dynamic change, you can keep the entire structure but use the dynamics to create the illusion of something else going on.
Guitar face depends what I'm playing and more importantly how I feel about what I'm playing.

I never really stick out my tongue though :-/ That's just weird. Who are you? Gene Simmons?
8 hours at a gas station waiting for my bud to get off work so I could borrow a few bucks to make it home. Oh to be poor
I can't say I know exactly what you're talking about, but: I do remember I was required to stay in the dorms my freshman year and guitar amps weren't allowed, so rather than play on an electric running through something like a POD with headphones, I brought my acoustic.

And I will say that having to play an acoustic all the time did inspire more 'folky' type stuff. Nothing like what you just posted, but open tuning with a slide or learning slap acoustic wasn't all that uncommon for me to skip class to spend my day doing.

You have to make it fun somehow, and playing leads on an acoustic with 14 accessible frets, isn't (it was a dreadnought).

Other people want to get chicks, and playing loud obnoxious stuff that belongs on a Zeppelin record, while 100x more fun, doesn't do it for chicks. You have to play the cliche, otherwise you're a guitar nerd.
Take a look at how the bridge pins/holes line up to another acoustic. If the spacing is the same, just glue a 'standard' 6". It won't look pretty, but it'll work. Just make sure you line it up correctly. I would stick an old high e and low e into the tuning machines and then line up the bridge so that the spacing is right. otherwise you're going to have terrible intonation problems.

I've seen ones that are 6 1/2", but never 6 1/4". I guess try some parts websites? It'll probably run you about $20.

The problem with fixing the warp is that there are like 5 or 6 different ways a piece of wood can warp and therefore 5 or 6 different ways it might have to be fixed and sometimes it's not even possible to fix.
Quote by Soccerguy
I would suggest looking at a lot of jazz standards - especially the real standard standards - and analyzing their progressions (I have no books to suggest since I never learned through one, not to say that it's wrong in any way). You'll see a lot of things like 2-5-1s and 1-6-2-5 turnarounds and so on so forth. Then you can look at things like deceptive resolutions(the standard Lady Bird has one, for example) and tritone substitutions.

"The Real Book". There's 3 volumes and between the three I would say there's at least 500 Jazz standards. This is the same book that the greats used to have (sometime called 'The Real Fake Book'). There was one on every stand. I think they're something like $25 a pop at the book store, but it's well worth it.

Plus, it's written in true 'jazz' fashion, which is good. i.e. Chord names above measures and only essential melodies and time signatures. It's all meant to be comped which is how jazz is meant to be played. I highly recommend
Been using it since beta. It takes about 2 hours to get used to it and then it's all smooth sailing from there.

Plus it's faster.
I remember this video but I'm having a terrible time finding it again :-/ it was pretty cool.