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You would need to purchase it from this link:
That is not a video, it is a Band in a Box file which can only be downloaded and opened in the Band in a Box program…
Hi Chris,
For example, in C a diatonic lower NT of the 3rd or E would be D. A chromatic lower NT of the 3rd would be D#.
Lower Chromatic NTs are explained on p.24 and 25 of the Lesson book. Furthermore, in Video #3 of Module 2 after explaining Neighboring Tones, I give various examples playing diatonic and chromatic NTs.
Hopefully this should clarify your question.Ok…it just registered:) You are referring to Pat 5 in the Scale & Arpeggios book.
No, it is not a composite fingering because it is not “officially” entering 11th position. Remember that unlike other scales in pat. 5, this scale starts with the ring finger on the root on str. 5. Due to its intervallic configuration, in some patterns this scale requires that we shift forward a half step in order to comfortably be able to play the scale. This is called a temporary “extension”. I talk about this on p.16 of the book. Although I mention the principle of shifting “back” a position to reach a note, shifting “forward” falls under the same principle. (I should add that in for the next edition.) Also, if you play the arpeggio only, you will notice that this shift does not occur and yet covers about the full range of the pattern.
Sorry, I don’t know what you are referring to when you say the “above” as there is no attachment or graphic posted.
Hi Andres,
I would just try and master what is prescribed there as it will get more complex in the following modules.
Hi Johnny,
Above all the links for the Module 2 downloads page it says:
NOTE: You now have the option of downloading the most recent version of the Lesson Book, Workbook & Scale & Arpeggio Fingerings book in their entirety from your dashboard. The PDF files below only contain the material relevant to this module which is again included in the downloaded books.There is a p.113 in the Workbook! It is an appendix. If you are looking at just the portion for download in the Module 2 download section, you are only getting a few pages. You must download the entire book from the dashboard. Please read the info right below the 2 orientation video thumbnails and you will see the link.
Hi Jack,
Yes you are correct on both counts. I played the b7 twice descending for symmetry, however when I’m ascending it is a definite error and a double chromatic instead, as you state. I will fix these and post a new version in the next couple of days. I will also take the opportunity to include exercise 5, which as I state on the video, I erroneously left out. This is what happens when you try to tape 6 modules of calisthenics back to back. 🙂
Thanks for alerting me!
Hi Erik,
Glad you were finally able to post. As far as why there is no key signature for the etudes, the answer is two fold:
1. This is not an ordinary F major tonality. It is a blues tonality which is comprised of 3 mixolydian scales. This means that its alterations do not just consist of a Bb as in a traditional major tonality, but several other alterations.
2. Key signatures are meant to aid in the process of sight-reading so that the player can mainly rely on the diatonic degrees of the tonality’s main scale and its related modes. When accidentals in a piece of music are prevalent throughout, the key signature no longer fulfills its intended purpose because the constant cancellation of the diatonic notes now makes it much harder to read. For this reason you will notice that many jazz solos (of course not all) are transcribed using no key signature due to the amount of chromatic notes not diatonic to the implied key. One good example are all the solos in the Charlie Parker Omnibook.
Because the solos in this course are going to introduce more and more chromatic notes, they will not use key signatures. Also, ultimately the goal is to read and think in terms of the intervallic components and be able to transpose to any key. We have no time to think in notes when improvising but instead in numerical degrees and patterns. Otherwise we have to re-invent the wheel every time we change keys.
Let me know if this answers your question…
Hi Leo,
First of all, my apologies for not answering sooner. I usually get notified whenever somebody posts a question but sometimes the system fails which is what happened this time.
As far as your question, you are absolutely correct. I didn’t play the right calisthenic for double chromatic, Pattern 4- exercise 2- descending. I played the approach from below instead of from above when descending. I will have this corrected soon.
Yes, you are correct, guilty as charged:) I am playing all of the b7s on the 3rd str. instead of the 2nd str. as notated in the books. I recently redid all the Calisthenics videos and wasn’t aware of this until you pointed out. It’s not wrong, it’s just not consistent with the books.
This is what I call “the 2nd-3rd string dilemma” and is the cause of ongoing confusion regarding many fingerings on the guitar. This is because it is the only set of 2 consecutive strings that are tuned in 3rds. I’m sure you know this, but I want to explain why. Because the rest of string pairs are tuned in 4ths, the fingerings never vary for them. However when we arrive on the 2nd or 3rd string, in most scale fingerings we have 2 options as where to play the next note. Which one is best? Neither one…it’s a matter of convenience depending on the circumstances.
Sometimes it’s easier to play the scale with one fingering and the arpeggio with a slightly different one. That’s what happened to me here. I tend to play the arpeggio using the b7 on the 3rd string but not necessarily when playing the scale. Unfortunately for teaching purposes, I had to settle for one of the 2 choices. Because we usually learn the scale first, I went with the 2nd string.
I am going to edit the video and include a note in there about this in order to avoid confusion. Having said that, you can practice it both ways if you like, or simply play the 7th on the 2nd string.
I hope to update the Scale and Arpeggio book with a section on alternate fingerings and this “2nd-3rd string dilemma”.
I hope this answers your question. Thanks for bringing it to my attention!
Tom,
Are you referring to something I played on the video? On the Scale and Arpeggio book and Workbook Calisthenics they are all on the 2nd string for the sake of consistency.
Let me know what video and on what exercise. There might be a reason I played it on the 3rd string unless I unconsciously just played an alternate fingering, which I sometimes do.Yes, what you are suggesting is simply the reverse of #3 and you are correct, it wasn’t included due to lack of space. Nonetheless, now that you are aware of it, you can include it in your practice routine! 🙂
Tom,
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.
