I m guessing musical inspiration evolved in humans from something simple like unexpected visits from perching songbirds.
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The Babylonian system of mathematics was a sexagesimal (base 60) numeral system. From this we derive the modern-day usage of 60 seconds in a minute, 60 minutes in an hour, and 360 degrees in a circle.[10] The Babylonians were able to make great advances in mathematics for two reasons. Firstly, the number 60 is a superior highly composite number, having factors of 1, 2, 3, 4, 5, 6, 10, 12, 15, 20, 30, 60 (including those that are themselves composite), facilitating calculations with fractions.
Source: https://en.wikipedia.org/wiki/Babylonian_mathematics#Babylonian_numerals
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The Sumerians developed a complex system of metrology c. 4000 BC. This advanced metrology resulted in the creation of arithmetic, geometry, and algebra. From c. 2600 BC onwards, the Sumerians wrote multiplication tables on clay tablets and dealt with geometrical exercises and division problems. The earliest traces of the Babylonian numerals also date back to this period.[79] The period c. 2700–2300 BC saw the first appearance of the abacus, and a table of successive columns which delimited the successive orders of magnitude of their sexagesimal number system.[80] The Sumerians were the first to use a place value numeral system. There is also anecdotal evidence the Sumerians may have used a type of slide rule in astronomical calculations. They were the first to find the area of a triangle and the volume of a cube.[81]
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You have much space to play and you can choose your favorite game. Ninja fighting game is also played by users
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As a serious player myself, who went to music school, all I can say is, you’re doing the right thing. Music, and learning about it, is a never ending quest. There will always be more to learn. If you live 9 lives like a cat, you won’t even have scratched the surface. It’s not an easy thing. You sound like you are doing what’s right though, especially learning tunes. Chord work is often neglected, yet it’s what you will spend most of the time doing if you’re in a band. It’s also often very useful to listen to your favourite players, and see how they deal with things. Stealing ideas from the greats is always a good idea, especially if you can “make them your own.” Good luck, you’ll need it, lol. Oh, and thank you for your service. Even if I don’t agree with a particular war, the brave men and women who have the courage to risk life and limb for their country, and to keep the world safe for the rest of us, get my ultimate respect, and admiration. Thank you, and good luck, sir.
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I always thought that the flat 5 (#11 or tritone) interval was the devil’s interval, not major. This interval was used a lot by people like Charlie Parker, and composers like Debusy.
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I have also seen (some) writing similarly describe the Flat 5 (near geometric center, or 1/2-octave pitch).
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Have you tried using the blues scale in conjunction with the mixolydian mode? Often people think that the blues /pentatonic scale is “home” (I was once one of these people) but it isn’t, it’s actually an altered scale, and the flat 3 is actually a #9. Mixing the blues scales with mixolydian (you can throw in the bebop scale too) delivers some fabulous results.
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Spot on. One of my favourite players, Pat Metheney does a lot of stuff that is very difficult to explain harmonically. He is just so in tune that he can play what he hears and knows where he is going, and how to resolve it, that he can play whatever comes into his head. Ultimately, that’s where you want to be. Easier said than done though.
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From (at least a starting Pentatonic) approach, only the (Major) 3 of Mixolydian mode differs from the “core” Pentatonics of the (shifted upwards by 4ths relative to the Mixolydian mode) Dorian and Aolean modes. From that “core” (1, Maj/Min 3, 4, 5, and Min 7), I may try adding-in a Maj 2 and Maj 6 (or Min 2 and Min 6, in the cases of Phrygian, Aolean modes). Never liked Maj 7 tone much (myself) in melody.
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Jay Gaydon (session player to the stars) used the “magic box” for his solo on Steely Dan’s “Peg.”( I’m full of useless information.)
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(For their time), Steely Dan (and perhaps Pink Floyd) had some of the best record-production going !
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I think a lot of people on this thread are intellectualising way too much on this subject. There are some basic things that you need to know, which you can learn from many books on the subject. Simple jazz theory books can tell you nearly all you need to know without melting your brain. In the end, if it sounds good, it works! Learn the basics, then play. Great players usually break the “rules” anyway.
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Howard Roberts started The Guitar Institute in LA I believe. Frank Gambale studied there. He’s pretty good, lol.
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Almost all of the “greats” that I admire are indeed self-taught - as was I. After ~20 years of playing, I delved into more “theoretical” ideas - but that time did little for my playing (while being quite interesting, challenging, and ultimately satisfying in terms of conceptual, form-oriented, mathematical “aesthetics”).
The most important part of our lives - our sensations, emotions, desires, and aspirations -
take place in a universe of illusions which science can attenuate or destroy,
but which it is powerless to enrich.
-Joseph Wood Krutch
The most exciting rhythms seem unexpected and complex,
the most beautiful melodies simple and inevitable.
-W. H. Auden
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How about that ! Howard Roberts used to live in Everett, WA in the 1980s, and I introduced myself to him at Jazz Alley, and we talked for a while prior to his gig. He played there that evening through (my own) “magic box”, and rather liked it. Really a fine fellow. He unfortunately passed away not long after.
Wowie Zowie ! Howard Roberts played lead guitar on the theme from The Twilight Zone ! 
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Yeah, that was sad. We’re all going there, eventually though. He left a big legacy. Some of his teaching techniques were based on what they discovered at Nasa, working on the space program. They used them at the music college I studied at, and they work. Little and often is the trick, in a nutshell. Also how to hold the guitar so as not to get the dreaded tendinitis. It’s not how you would think, but is how most people instinctively hold the “electric” guitar, as opposed to the “classical” guitar. It’s a different instrument.
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Could you be talking about some bodily differences between playing seated, or standing (with strap) ?
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No, it’s to do with the hand positioning. With the classical guitar you tend to have your thumb flat on the back of the neck, and there will be some out there that disagree with me on this, but if you think about it logically, and actually look at your hand, having your thumb around the neck (like Hendrix) and how you tend to grab the neck naturally, means you are not bending your wrist as much. Sometimes you have to have your thumb flat for longer stretches, but usually it’s best if you are not bending your wrist. Pat Metheney, Hendrix, Robben Ford, Howard Roberts himself all do this. Some great players don’t, so… Less chance of getting tendinitis though if the tendons are not bending all the time.
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