Bebop Calisthentics 4A and Etude Opus 11 and 12

[Ervin C Osvart]

Hi Richie,

I am somewhat confused as to the instructions in Lesson 5 Assignments, perhaps you can clarify. The Assignment specifically says to practice Bebop Calisthentics for the Dorian patterns 2 and 4. However, upon examination of Etude Opus 11 there are double chromatic approaches over the I7, IV7 and the V7 chord throughout the etude which are Mixolydian and no double chromatic approaches in Etudes Opus 11 or 12 in the Dorian or 1I-7 or IV-7 patterns. Therefore, would it not be advisable to suggest practicing the corresponding double chromatic approaches in the Mixolydian fingerings, 1, 4 and 5, since they do not appear in the Dorian fingering until Etude Opus 13?

I’m trying to utilize the time I have to practice the devices that are most applicable for the etudes at hand and it seems counterproductive to not be practicing the double chromatics in Mixolydian arpeggios when those are being applied in the etudes in Module 5.

Please advise.

Thanks,

Ervin

[Richie]

True, there are no double chromatics in Etudes 11,12 nor 13 for the new dorian scale and arpeggio introduced. Although everyone is different and learns at a different pace, the rationale I employed here is as follows:

1. By this time the student should already be comfortable with the mixolydian, and it is time to move on to a new scale. The etudes themselves normally suffice in teaching this new approach in the context of thealready familiar mixolydian. However, if you feel like you need to practice the double ch with its mixolydian calisthenics, you have the option to do so. In the interest of avoiding redundancy and saving space (especially in book format),I have structured the course with this mindset. Otherwise it would require volumes. That’s just the nature of jazz which is a complex subject.

I would not advise skipping the dorian calisthenics because they will be featured more and more in the upcoming modules. As you start the next module, another new scale/arp will be introduced which will require your attention and you want to be at least somewhat comfortable with the dorian. So all I can say is take the time you need with it.

2. The current etude’s progression does not yet allot sufficient space to the dorian and therefore the introduction of this new approach is best exploited throughout the mixolydian based content,at least for now. I must add that the goal in relation to practicing the dorian calisthenics shouldn’t be to only play the etudes that follow, but also to work on the rhythm templates. In this case they do feature the new approach for the dorian segments.

3. The dorian is identical to the mixolydian except for the 3rd. So with the exception of the 3rd all the double chromatic exercises you practice in the dorian calisthenics are applicable to the mixolydian’s 1,5 and b7. I know we are learning new fingerings and all, but in the long run we should be using all the fingering patterns for all the scales. At this point we should conceive of a double chromatic approach to a perfect 5th as just that, regardless of the scale context it’s in.

4. The dorian calisthenics in this instance are also a preparation for the 3 note enclosures introduced in the next module. Note that 3 note enclosures contain a double chromatic as part of their make-up and will be used a lot with the dorian from there on. They are much harder to play if you don’t have the regular double chromatics down first! So another one of my reasons for introducing this approach here is to give enough time to prepare for what is to come.

The truth is that there is no easy way if we are to learn all the scales, fingerings and melodic resources needed to play jazz standards…but if you take the time, it will all come together and make sense down the road.

Let me know if this makes any sense or if you have further questions…

[Ervin C Osvart]

Hi Richie,

Thanks for the prompt reply.

That makes perfect sense and I kind of figured there was a “means to the madness” so to speak. I am a bit of a slow study, so the challenge for me is also retaining what I’ve covered, so I certainly don’t want to forego any techniques or devices that are going to appear in subsequent modules. That said I will heed your advice and work on the recommended callisthentics. I try to make a point to spend time only improvising lines using the principles studied so far, but I always end up sounding more bluesy than jazzy, even though the etudes covered have some nice jazz tonality. Even some of my own rhythm templates sound like bebop, so I’m quite happy about that, but I do struggle to capture that essence when improvising. I see the lines in the etudes in module 5 are more complex in their harmonic structure,resulting in a lovely, yet subtle bebop sound, which ultimately, I am trying to emulate. .

Nonetheless, I shall continue as suggested.

Thanks,

Ervin

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