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Thanks Jack for the attachments! I’m sure several students will find it handy. I must add that although there are different ways of practicing the Calisthenics, the goal is to routinely practice with the summaries and not the initial pages with regular notation. These are just for starters and hopefully by the time you get to the enclosures you should be familiar enough with the 3 mixolydian fingerings that you can go straight to the summaries. At least that has been the case with the more technically proficient students I’ve worked with.
The Word document you uploaded is very similar to the summaries of the previous edition of the Workbook. After several years of working with students, I found that the current graphic depictions yield much better and faster results. I guess we are visual creatures and like the old adage goes…”A picture tells a thousand stories”. Therefore when I find the time (hopefully in this lifetime), I plan to redo the videos in the new workbook order, displaying the graphics for each exercise.
The difference is that 2 is descending only and 6 is ascending only.
If you look at the arrows on the left of each exercise you’ll notice that for ex2, the arrow is downward while for ex6 it is upward. That’s also why exercise 2 is written descending (b7, 5, 3, 1), while ex6 is written ascending (1, 3, 5, b7). If you need further understanding please read p.113, Appendix 1 in the workbook or watch video #5 in Module 2.
This is used here mainly as a way of introducing the dorian scale in the short 12 bar format we are using throughout Vol 1, and to make the transition to minor blues which is coming easier. It is also preparing you for major tunes that use modal interchange on the IV chord. For example, the first couple of chords in “Just Friends”, the 3rd and 4th measure of “Misty” and I could go on and on. Although it is much used as a re-harmonization concept to spice up the harmony during the solos in blues, I can’t think of any immediate examples that use it over the head of a blues. I will search my library and see if I find anything.
Corrected version of the workbook has been uploaded. Anyone reading this thread regarding these errors should make sure they have at least 2nd Edition v3.6 (version info is always on the 1st page).
Yes you are right, sorry about that. I had corrected these over a month ago, but somehow they didn’t upload correctly and replace the old one. Thanks for alerting me…I will re-upload the corrected version right away!
Yes, the 1 can be used as an UA in this situation as long as it doesn’t last more than an eighth note at slow to medium tempos. The b7 can also be used as a UA to the 1 under similar circumstances. This is what results in a “dual function” analysis because they also happen to be chord tones. The UA approach however takes precedence in this situation.
Here are some observations:
-meas. 3: b7 is not acting as a UA here. You should have used the 2.-meas 7 & 8: you are using the “1” redundantly and the changes are getting lost throughout. In general concentrate using approaches around the other chord tones: 3 and b7 (especially) and 5. The 1 is always being implied and the bass player is always playing it. It doesn’t outline the harmony which is the most important thing.
-meas 8: again b7 is not acting as a UA, instead as a chord tone.
-meas. 8-9: the transition from chord to chord lacks smooth voice leading and does note outline the changes. Again, the “1” is the culprit. If it would have been a guide tone, it would have been smoother. Transitioning at this point from from 1 to 13 is very ambiguous and a weak representation of the harmony. A good transition from the I7 to the V7 for example is b7 to 9. Sometimes you will have to go back and change some of the previous choices in order for things to flow, but this is how you learn what to do and not do. Try to fix this one and do some more…
Before I offer some constructive criticism, I want to say that you have a good sense of time and are very musical. I’m sure you have a good ear!
-Your solo has good voice leading when going from the I7 to the IV7 and vice versa. However I didn’t hear any voice leading to the V7 chord as you tend to to put a rest before it each time. This is ok to start a new phrase, but don’t do it every time. Make sure you can also play across the bar line when transitioning from the 8th measure (I7) to the 9th meas. (V7) using smooth voice leading (eg. b7 to 3, 3 to b7).
-Your solo lacks “approach notes” which is why it probably doesn’t sound jazzy. You are playing the arpeggio up and down (sometimes all the way to the 6th str) with just a few passing notes. It is also very diatonic, that is you have no chromatic tones. Practice using neighboring tones, especially lower chromatic NTs on the various chord tones. This alone can add some “tension and resolve” and add a new level of excitement.
As far as the rhythm tmp goes, I hear several problems. You would have to post the written sheet for me to identify them. What is strange is that I see you are past module 3 and you aren’t using any approaches, not even NTs. Have you worked on the different Calisthenics and played the etudes?
Santiago,
That is an excellent question and one that many ask because it is a common experience. First I will answer the question about the process. Yes, you should practice real time improv after completing each module using the concepts you’ve learned. As a matter of fact, you should always reserve a portion of your practice time for this.
The real question is…how to practice real time improvisation? The strategy is going to vary from player to player according to many factors…your understanding of the thought process in developing a line spontaneously, your level of ear training, your technical proficiency, your understanding of rhythm, etc. Unfortunately I don’t know where you’re at and if you’ve practiced all the exercises correctly (not only technically speaking but in terms of your mindset when doing so). I’ve discovered that many players taking this course are cutting corners, and don’t have a clear understanding of what they’re doing. There is only so much a video and a book can convey. Often too many questions arise and a “one on one” lesson is required.
With my “one on one” students I can hear them play and immediately know what they need to work on. I can also ask questions to find out how they’re thinking when trying to improvise. That said, different players according to what may be holding them back will require different exercise strategies to incorporate the concepts into their improvised solos. Most of it is contained in the calisthenics, rhythm templates and etudes, but there is more which I can only teach on a personal basis, again because everybody has different needs. Regardless, it does happen at a subconscious level after doing the exercises properly. How long does this take? It varies from person to person. For a player with a good ear and decent technical proficiency, it usually starts happening somewhere after the six months, while for others it may take twice as long or even more.
I touch on this subject more in depth in the F.A.Q. section. See both questions under “other”.
I am currently finishing the last module of VOL 2 of this course. After I do so, I am planning on adding some videos at the end of each module with different strategies & exercises to practice real time improv using the concepts covered. Hopefully this will come in handy…at least for some.
If you want some feedback, feel free to post a video here, improvising over the blues progression and a rhythm template or 2 that you’ve done. Don’t be shy! This will give me a better feel for what and how you should practice real time improv.
That’s because Rhythm tmp. #6 does not include the 2 sets of guided “options”. There will be no videos for all the rhythm tmps without “options” from here on. (see p.34 in Lesson Book).
Frequently when notating the super locrian in regular notation the 3rd may be notated enharmonically as the dim 4th. This makes it easier for sightreading if the b9 has been notated as Ab, and the #9 as Bb. When the eye scans the sequence of notes during sightreading, it is often easier to see the Cb. This is relative and again may vary depending on the overall context. The bottom line is that different sources label the super locrian differently. It is not uncommon to see a G super locrian notated in G as G-Ab-Bb-Cb-Db-Eb-F. Because there are 7 different root notes, this is visually more “scalar” than G-Ab-A#-B-C#-D#-F where the E or one of the other notes is omitted to make room for the 2 9ths (Ab & A#). Hope this clears up any confusion this may create…
Thanks Michel for letting me know. Apparently the additional exercise that follows is the slow version although it is incomplete. I will make sure it is edited out. Happy Holidays!
Khai,
Viewing the fretboard from multiple angles is a good thing as long as you know when and what to use each perspective for. In your case, you sound like you are a more advanced player and are comfortable enough with theory to switch perspectives as needed. This is a good thing. However, there are many that are not and are easily confused. So for the sake of them I have to recommend what views to adopt and not adopt, at least from my 35 years of teaching jazz improv. After all, that is why they are taking this course.
The bottom line is that you can view the intervallic make up of all chords from the perspective of the I chord, but for practical purposes, you need to know when you are playing the true intervals of that given chord in order to understand their harmonic function and construct coherent lines (eg. not resolve to “avoid notes”). How can we understand chord-scale theory, do the bebop calisthenics, use intervallic script, or work out the rhythm templates from the perspective you propose? If I understand what you are proposing, this would entail that we revise and change every interval to be viewed as if the I chord were always the root for all chords in the progression… If this is not what you are talking about and I am misunderstanding the practical application you are suggesting, please correct me.
Khai,
With all due respect, your perspective defeats the purpose of what we are trying to accomplish. We need to learn and identify the intervals that make up the different chords for what they are in relation to their true root and not from the perspective or reference point of the I chord. This will be explained and become a lot clearer by the time you reach module 3. When you attempt to understand arpeggios and their harmonic & non-harmonic tones your perspective will not work. This is crucial in order to understand which chord tones you can target with approach tones when improvising.
You were on the right track when you said, “when we move between chords, the new chord of the moment becomes the root”. That is the proper frame of reference to adopt!
Chris,
You are doing an excellent job! Most students only do patterns 1, 4 and 5 for mixolydian and don’t deal with other modes and fingerings until they are introduced later on in the course. However, glad you were able to tackle all 7 fingerings for the calisthenics as this will help you not only see the big picture regarding the use of arpeggios and approaches throughout the entire fretboard, but will also help you progress faster throughout the course. I’ve always said that first acquiring a solid foundation when learning jazz (or anything for that matter) is of the essence!I don’t have any criticism regarding the 8th notes. They sound good. Also, don’t worry too much about playing the calisthenics any faster at this point. I rather you finish all of them and move on so you can get creative. Play the etudes and work out the initial rhythm templates. I look forward to hearing you play them!
