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Hi guys,
So I was shedding hard throughout Xmas but got swamped with work from early Jan to now. I’ve finally got back into the swing of things now though and am working on Opus 3. 🙂
Over xmas I was working on Opus 1 and 2 in all 7 positions in keys of C and F and was trying different approaches (different tempos and sometimes saying intervals out loud while playing) and I recorded some vids of my practice in early January but never put them here due to then being snowed under. I’ll attach the videos here (unlisted). Any comments and criticism would be greatly appreciated. It’s a time consuming aul process doing this approach so any feedback would be great – especially regarding the way I’m going through dif tempos/keys/saying intervals aloud/etc….or would it be better to get through more of the etudes but in less detail?
Etude 1 (Vol 1) – C Blues 120 bpm 7 pos
Etude 1 (Vol 1) – C Blues 120bpm 7 pos – saying intervals
Etude 1 (Vol 1) – C Blues 155bpm 7 pos
Etude 1 (Vol 1) – F Blues 120bpm 7 pos
Etude 1 (Vol 1) – F Blues 120bpm 7 pos – saying intervals
Etude 1 (Vol 1) – F Blues 155bpm 7 pos
Etude 2 (Vol 1) – F Blues 120 bpm 7 pos
Etude 2 (Vol 1) – F Blues 120bpm 7 pos – saying intervals
Etude 2 (Vol 1) – F Blues 155bpm 7 pos
Cheers lads! Thanks for your time and looking forward to hearing from you.
Best,
ChrisChris, I think being able to do the etudes in all 7 positions is quite advanced and what might be expected toward the end of the course. Richie can call me on this if I am wrong. I think what Richie has done is put the “stretchy” patterns first as they are harder to master than those without stretch. Previous teachers of mine never did patterns one and four saying one didn’t need them if you could do patterns like 2, 3 and 6 (E, G, and C of CAGED) designation.
Hi Chris, that’s an impressive amount of work you did. Actually, like Jack said, you went well beyond the call of duty. More power to you, as you have mastered all the Mixolydian fingerings and have the interval recognition down! I normally introduce all the fingerings gradually because like you said, it is an arduous and time consuming process and most students are not a level where they can absorb that much at once.
I think it would be beneficial for you to get through more of the material in less detail for now. You just need to follow the prescribed exercises only in the fingerings that are called for. This will get you through Volume 1 faster. In Vol 2, you will be using all 7 fingerings and moving between them. Actually, the last module in Vol 1 begins to cover this.
As far as what Jack says about former teachers claiming that some fingerings requiring stretches are not necessary, that is relative. It all depends on what you want to play, and at what level. However, for the aspiring jazz guitarist I believe it is a cop-out and a limitation of resources. This will become evident if you continue on to Vol 2, and I can assure you that, that myth will be dispelled as you will finally see and understand the big picture!
Well said. I’ve felt the limitations of my playing over the years with only the forms that I know and have used regularly. That’s why I’m here!
Such a treat to see you use all 7 positions on the etude. Certainly way beyond anything I have done, although now watching you I wish I had the discipline to have completed that exercise. I’m currently on volume 2b etudes and I find myself being thwarted by my lack of familiarity with the locations of the non-arpeggiated intervals and altered extensions on some of the positions (especially 2,3, and 6). Had I followed your example it would no doubt be easier for me.
I do think that playing, practicing and being facile in all 7 positions is a must to have fretboard mastery. Leaving out certain “stretchy” patterns is like trying to speak a language but limiting oneself to words that start with the letters from A to S and avoiding the letters T through Z. You can speak that way, but by limiting your vocabulary your expression is suppressed .
I’m going to try and play the etudes in 7 positions too. However, I would suggest that it is not necessary to be quite that exhaustive on each etude. Plus they get more jazzy and fun as the book moves along.
I’ll be looking for your future posts to see what other things I can try to improve my playing and technique. Great job!
Hi Christopher,
Just a little of my background: I’m old! was playing concert classical guitar for 30 yrs and took up jazz a few years back (got tired of Classical) but also taught college and numerous students.
This bebop course, IMHO, is the best I’ve seen.
And you’ve hit upon something that’s the essence of improvisation on guitar. YOu have to be able to use all 7 patterns so that they become one big pattern that, no matter where you are on the neck, you can develop a line. When I started the 7 pattern system and the etudes, by instinct, I did the same thing. I’m very proficient technically so I just deduced that these intervallic phrases should be done all over in every pattern (why not?. I do the same thing with the arpeggios and scales.
This is just going to flourish later on in limitless phrases that you’ll be able to design all over the neck.
You rock my man!Hi lads,
Firstly let me just say thanks to all of you for commenting and giving me some feedback. Reading your comments has really nourished and invigorated me and, as we say in Ireland, gave me a good kick up the hole! Spending hours in the shed can get lonely so it’s lovely to come on here and connect with people that have been through the same thing and as I’m just at the beginning of the course it’s so helpful to get these tips and bits of valuable advice. From everyone’s comments I’ve got a much better understanding of the bigger picture.
Randy, that’s really interesting what you said about the non-arpeggiated intervals – thanks for pointing that out and it’s something I’ll be keeping an eye on.
Enrique, lovely to hear about your background in classical. I have a bit of a history with classical guitar also (though nowhere near as distinguished as yours) so really interesting to hear how you came from that world. I’d love to chat to you more about it – did you perform solo or orchestral or a mix? I’d say you have some cool stories, brother!
For now my plan is to keep going the way I am through the 7 positions for each etude (but hopefully a little bit quicker in pace as you suggested Richie so
I can get onto some of the more advanced material). I’ll keep you guys posted in coming weeks. Cheers for the advice and support – you guys are awesome!Best,
Chris
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