- This topic has 3 replies, 3 voices, and was last updated 7 years, 5 months ago by
.
-
Posts
-
Just a point for clarification on the video (10:23) and the transcription p. 17 point 2. You say for approach notes and target resolution to play all the flat 3s and flat 7s. b7s I understand as it is mixolydian, but I thought these were all major thirds. It can’t be the approach as a flat 3 since it is neighbouring tones, and that would be the second. So I am a bit confused where ‘play all flat three’s fits in.
You are absolutely right. This is an error! It should read 3 and not b3. This and several other errors have been fixed and will soon be released in a 2nd edition of the book series. I will upload everything as soon as it is available, hopefully within the next month.
Curiously enough, before releasing this first edition last year, I gave it to 5 students to proofread over a 1 month period. They all missed several of the same typos and errors that I missed. When we know something, or are too close to i,t we tend to subconsciously auto-correct any discrepancies. It’s not an excuse, just a remark…
My apologies and thanks for calling my attention to it. Please do this with anything that isn’t clear and I will be more than happy to clarify it!
Hello Richie,
Can I see an example of application Bepop Calisthenics on the jazz standard ?
Can you send me some example of improvisation on Autumn Leaves with patterns ?
Thank you
Davide Rando
Davide,
What you are asking needs to be narrowed down to a more manageable question. First of all the calisthenics are exercises not designed to directly apply them in a standard. Second, there are so many of them. What you are asking is too broad and general.If we were doing the online “one on one” lessons, I would be able to demonstrate how the elements that make up the Calisthenics, once mastered are used to improvise. This is not something I can do without you hearing me play and explain (please consider upgrading to Platinum). I would have to notate an entire solo showing various examples from the Calisthenics which is beyond the scope of what I can do here. That’s why I provide the etudes and rhythm templates after assigning the Calisthenics. The etudes show examples of the concepts being used in the context of a progression. On the other hand, the rhythm templates show you how to structure them into a solo. Once you understand all of this you should be able to use it when improvising over a standard.
If you want ideas on how to incorporate the Calisthenics into a standard please check out Appendix 2, p.114 in the Workbook. It is called “Further Adventures with the Bebop Calisthenics” and is at the end of the book. It will guide you step by step.
- You must be logged in to reply to this topic.