Hope this helps - this "circle of 4ths" as I'm calling it is the method by which I learned all the flat keys, circle of 5ths works for the sharp keys. IMO the flat keys sound better in the tempered scale so I tend to go in that direction, a lot of guitar players wind up playing and composing in sharp keys just because of the tuning of the instrument.
I'm only going to include these links as an FYI as to why certain keys sound one way or the other, to each his own regarding keys. It's not necessary to know this stuff to play music.
A lot of theory can be worked mentally, for example learning the scales in all keys can be done mentally, it helps to go in the circle of 4ths for example C major - cdefgabc, F major one flat Bb - fgeBbcdef - Bb major - two flats etc... Then you can recite the triads ceg, dfa, egb, fac, gbd,bdf etc.. then move on to 7th, 9th, after that do inversions starting on the 2nd and then 3rd note of the triad, egc, acf, bdg. When you are reciting them try to have an established "clock" whatever it is and stick with it using the same pricipals as though you are learning a new song. Then do progressions I IV V - CFG, etc or work out your favorite song in every key.
in the "Stealth Guitar" thread I referenced some chord / melody applications, I think the drop voicings help when constructing a walking bass line or passing chords within a song when the progression is heading somewhere and you need a specific note in the bass. For any chord that you already know you can easily find an inversion. Rather than memorizing all of the voicings try and pick your favorite song and do a chord / melody arrangement with walking bass lines.
I would like to start this thread with a cover of a classic bass line by James Jamerson - Motown bassist - Jackson 5 Darling Dear. The guy who is covering it is doing a really nice job of staying in the groove and getting a decent tone. Jamerson played with one finger and called it "the hook". I'm working on this one because the rhythms are so funky, give it a try - not as easy as it might sound.
Not sure how to get the charts but if you have a real book that will help, I have never bought anything from this site and I'm not affiliated in any way - it has a preview feature so you can get a sample of the tracks.
I have always had less than desirable results with arpeggios, I learned some sweep / economy methods that help a little, I could use some tips on how to cross over from deliberate attack to sweeping evenly.
I think it is also important to understand the musical context of the era, much of the jazz music of the time consisted of rapid sets of changes, mapping to chords was much easier than trying to play linear. Listen to Oscar Peterson and how technical and pure his playing is. I somewhat disagree in relation to blues and guitar though because the blues scale was very heavily relied upon to define the music. The thing that Miles did was write modal so that scales would become the tool for exploration. I like what Ethreridge is saying though - playing with other musicians cannot be replaced by practicing.
I would say it partially depends on your instrument, some of the better circuits have no loss when turning down volume, others lose tone. One thing that irritates me about the clapton strat is there is a 25db boost but not all pedals can handle it. I like to reserve about 20% if I'm cranked into a hot amp.
I always thought my left hand was the issue until I figured out that I can play faster with economy picking, now I need to work the bugs out of my alternate picking technique to match the speed that I can do with economy. I started using the scalpel method and am moving towards the floating wrist / sarod style. Years ago I had a spanish guitar teacher who showed me that technique but I never really applied it to anything more than spanish style triplet playing on two adjacent strings. Pebber which vids to you recommend for someone who is new to sarod? Thanks.
I try to find ways to practice technique within the context of real application where possible, these are excellent tools in your your arsenal my opinion is that you will need these techniques in special situations and that knowing more chords is preferable to knowing the technique by itself. Notice the application, a chord solo, if you really want to have command of the instrument take the melodies and formulate the chords to ensure that the melody line is prominent, many guitarists simply bang out block chords from the bottom up, a top down approach favoring the melody is more challenging and to me very rewarding. The other aspect is that chord diagrams are an important form of written music but having the theory and fretboard knowledge to construct the chord forms on the fly to me represents the ultimate freedom on the instrument. I think that as you explore this you will find these techniques useful but to me time would be better spent picking your favorite song and working out the melody/chord style in every key and various positions. By the time you do that you will have techniques of your own that work for your hands and build.
Here are some vids for you, thanks for a good post, I've been wanting to work on a good song I like this one.