- This topic has 1 reply, 2 voices, and was last updated 5 years, 7 months ago by
.
-
Posts
-
Hi Rich,
I am up to working bebop calisthenic 5. I am also trying to work on the other calisthenics that I have already learned. I do notice that when using the summaries for the practice session, I seem to slip into other fingerings than what you had outlined in detail in the workbook. I do your process of first playing the target notes and then the approach notes. In doing so, some fingerings just seem more logical to me. For example in Bebop calisthenic 5 for Pat. 2 Dorian,Ex #1, descending lower double and single upper to b3, I find it easier to play the lower double chromatic to the b3 on third string,fret 10 by using fret 8 and 9, then the upper with my pinky at fret 12 and lastly the target at fret 10. In the book you play the first note of the double chromatic at fret 13 on the fourth string.
What do you think of this difference? I realize from what you described in earlier module that these calisthenics are training our brains to learn these different sounds of these numerous approach notes and target notes. I guess in this case I will always go for fret 8 and 9 as the lower double to the b3 on 10th fret. Let me know what you think.
Thanks,
TomTom,
Right now playing it at a slow to medium tempo might be easier. However, with that much of a hand movement (a whole step out of position), you’ll probably have problems at a faster tempo. Personally, I would have trouble, although maybe with practice it can be done (Remember, Django used 2 fingers).
Playing 5 fret stretches between 2 strings, seems to be something that most guitarists shy away from when getting into jazz (as I once did myself). I agree it’s not what you’re used to, but with practice it becomes easier and will enable you to play a lot of things that otherwise might not work at faster tempos or simply when you find yourself using certain fingerings. You can do as you please, but if you want my opinion, I recommend getting used to the stretch.
The calisthenics are primarily to train you to use the fingerings for the arpeggios in combination with the different approaches. The ear training and recognition of intervals is simply a natural outcome of the repeated practice required.
- You must be logged in to reply to this topic.