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Hi Steve,
Please read p.35 in the workbook and let me know if that answers your question. It has to do with the context.
Hi Tamara,
Aside from the initial theory review, have you had a chance to check out the ear training lessons in the different modules yet?Sorry, can’t help you there! This course, as any other guitar oriented one out there, is based on centuries of the technique that has evolved around the harmonic possibilities of the guitar’s conventional tuning. From the moment you change that tuning you are going to find yourself reinventing the wheel and redefining the instrument. Yes, you will find some new possibilities but then again you will find that many interval combinations are then not possible, especially in in the context of chord voicings.
You mention the complications of C-A-G-E-D and 3 Notes per String, but if you want my honest opinion, you’re faced with a whole new set of complications when changing the tuning. Trust me, if it was easier, we would all be doing it!
Hi Tamara, I think you might be getting ahead of yourself! Notice that I said in the quote you mention, “I usually have my private students learn…etc.” That’s because I don’t teach the specifics in the video, only in our “one on one” lessons.
If you are a new Platinum member, I recommend you simply learn the dominants for now and be able to play them through the cycle of 5ths as shown in the video. I will explain and show you the detailed procedure for everything else in our lessons.
As a matter of fact, the theory and chord studies before you begin the course are just there for reference and not an official part of the Bebop Guitar Improv Series, and you’ll notice that none of that information is in the books either. That’s because this is meant to be a linear improvisation course. A comprehensive chord study would require its own course (which I am working on and teaching only privately for now). Having said that, I recommend not to spend too much time for now on this aspect and try to focus primarily on Module 1 so you can schedule and take advantage of the “one on one” lessons. 🙂
Hi Joe,
I think you’ve missed some of the basics along the way. First let me say that the calisthenics and the etudes are in no way “key” related. The calisthenics are independent of key. Furthermore, they are to be practiced in any desired key using the summary at the end of each section. The initial fixed key examples in A with TAB are only there as an example if you need to check your fingerings the first time around.Second and most important of all, The altered dominant like all dominants must resolve a perfect 5th down. This is the essence of dominant function in any tonality. So an A super locrian and C7 alt are in no way related and would sound awful together. You need to play C super locrian for a C7 altered chord which would in turn resolve a p.5th down to F.
Hope this clears up any confusion. 🙂
It’s hard for me to recommend a practice routine if I’m not familiar with your playing and application of the resources in the course (approaches, upper extensions, voice leading, rhythm, etc). I always advice that you be able to play music with what you already know before moving on. Students sometimes come to me knowing a bunch of scales and fingerings but can’t even improvise coherently over a 12 bar blues using 3 mixolydian scales! My advice is that you make sure that you can use the approach concepts you know and voice lead properly in a blues progression before spending too much time learning more scales.
Joe,
The arpeggio Frameworks add-on does not run concurrently with your Gold membership. It is independent and runs for a year starting on the day you purchased it.
Hi Nick,
I like this one better than the previous one, although both have several theoretical errors, especially in the notation. Also, some of your note choices in the previous one at the point of chord change are weak. Try not to end and start a new chord change repeating the same note. For example ending a I7 chord on a 13 and starting the IV7 chord on the 3rd. It’s the same pitch and does not imply the chord transition very well. If you want to do this, it is better to simply tie both notes and play them only once.
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.
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…. 🙂
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
Hi Nick,
I am aware of what you are saying! However, if you go back to the instructions in the Workbook for using the calisthenics on p.17, you’ll notice that I pointed this out and cautioned users about expecting all the combinations and fingerings to be included in the exercises.
Please read the very last paragraph on p.17 which starts with “IMPORTANT” (in caps).
