Exercise 4B dorian pat. 4 – vid not matching?

[Henry Anzarouth]

Hi. Starting at 1m29s into the vid https://bebopguitar.richiezellon.com/bebop-calisthenics-4-dorian-pattern-4, the playing doesn’t seem to match what is written? On the descending, the written shows ch, ch(dn), b3, but the playing is ch, ch(up), b3. Did I misunderstand this exercise? Thanks.

[Richie]

Yes Henry, that is definitely wrong, thanks for alerting me! I have to go back and redo that calisthenic or insert a note in there.

I actually taped all those calisthenics in one sitting which was probably not a good idea…I wouldn’t be surprised if there is another one of those errors somewhere in there but the fact that you found it means that you are paying attention and understand the exercise! 🙂

[Nick Ketter]

Hi Richie – I’ve noticed some other discrepancies between the fingerings shown in the calisthenics videos and what’s notated in the book.

Is the purpose of the videos simply to demonstrate how the exercises should *sound*? I.E., not so much how they should be played. Also, given the differences is fingerings between the videos and the books, is it fair to say there’s some room for interpretation when it comes to how we finger these exercises?

Thanks as always!

[Richie]

If you could specify which videos, I can answer that. Usually most discrepancies occur between the 2nd and 3rd string which in most cases have 2 options. The best choice usually depends on various circumstances such as the combination of approach and fingering pattern being used. Again, please feel free to let me know the specific videos so I can give you an educated answer. Thanks

[Nick Ketter]

Sure, here’s one example.

Module 5, video #6 “Bebop Calisthenics 4A Pattern 2”, variation #3, lower double chromatic approach for 5 and 1.

In the work book on p76, descending, the first approach note to the 5 on the 2nd string is notated as being played on the 3rd string, 12th fret, whereas in the video, at 1:33 the same note is played on the 2nd string, 8th fret.

I supposed this is an example where you mention above that “between the 2nd and 3rd string which in most cases have 2 options.”

I suspect we should be comfortable with both variations. 🙂

Thanks as always Richie!

[Richie]

Yes, that is exactly what I was talking about! You will often encounter 2 fingering possibilities when the same note is available on strings 2 and 3. The choice is yours and depends on the surrounding notes context. Whatever is more convenient!

I point this out somewhere in the course, but honestly I don’t even recall exactly where right now. Too many videos and books…. 🙂

[Nick Ketter]

Hi again Richie!
Here’s an example where there’s a discrepancy between what’s notated in the workbook and what’s demonstrated in the video, and doesn’t involve the 2nd and 3rd strings.

Module 5, video #6 “Bebop Calisthenics 4A, Dorian, Pattern 2”, variation #1, lower double chromatic approach to b7 and b3.

In the workbook on p. 77, #4, ascending, the double chromatic approach from below to the b7 on string 4 is notated as string 5/fret 13, string 4/fret 9, string 4/fret 10. Whereas in the video, at :46, the two approach notes to the b7 are fingered on the 4th string, frets 8 & 9, ending on the b7 on string 4/fret 10.

The fingering in the video makes more sense to me, as we stay in position, vs the notated version, where we have to move out of position to reach the 13th fret on string 5.

Thanks Richie!

[Nick Ketter]

…also, the same discrepancy appears in the next approach, to the b3 on the 3rd string/10th fret.

In the video the two approach notes are played on frets 8 & 9 of the 3rd string, but the book indicates the first approach note should instead be played on the 13th fret of the 4th string.

[Richie]

Hi Nick,

Looks like this post fell through the cracks as I was not notified…Sorry!
Yes, I do alter the fingerings in the exercises you mention, but what is written initially in the workbook and what I did here are both correct. I use both of them.

When I recorded these calisthenics videos, I did all of them in one sitting just looking at the exercise summaries and not reading the tab in the previous section (I must confess that I have a hard time with tab sometimes and for the most part only work with interval script and/or regular notation.) So I just played what came to me natural at the moment without really giving it much thought. I don’t want to sound like I’m making excuses, so I apologize if my playing in some spots may not be totally consistent with the fingering in the TAB!

When using approaches comprised of 2 and more notes, there will usually be more than 1 fingering option available. When I wrote the tab in the workbook I could only include one of the options. And again, I believe this is ok for the student who is first starting out with these concepts. Down the road when you start using composite fingerings, which means you aren’t locked into 1 position, you will start using many other options. I introduce this in VOL 2.

[Nick Ketter]

Hi Richie,
No worries and thanks very much for the reply.

Coming from a piano background, I recognize that there’s more than one way to finger a given phrase. I suspected that this might be the case for guitar too, and so have been trying to get comfortable with these variations. It’s good to get your confirmation of this fact though.

Looking forward to Volume 2, when I eventually get there! 🙂

Thanks again Richie!
n

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