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Just checked the summary PDF that is on the site and everything is correct. You must be looking at an outdated copy. Also, not sure what you are referring to by video #11 as the video with that number is not the Calisthenics video. Did you mean video #6?
Also, please do not try to match the online calisthenics to the Workbook summaries. They are definitely different and independent of each other.
Hi Michel,
Item #4 in the summary should read Lower CH NT for 1 and 5. Therefore the ch before 1 is correct.
I had corrected this several weeks. Who knows, maybe I forgot to upload it!?As far as the video goes, I will check it out. However, I will be redoing the video in the near future to match the summary’s in the workbook. Thanks!
Sorry you are having problems with this. I will attempt to answer the best I can, each one of your concerns below:
The description of the exercises on pages 19-30 could be made clearer. Specifically, for each exercise, there is a repeat sentence to redo the exercise with a chromatic tone instead of a diatonic tone. It would be best to have a complete sentence as per the video (i manually copied the sentences from the video on my hardcopy of the workbook). It was not until i watched the video that i really understood what i needed to do.
First of all, this should have been posted in the Bebop Calisthenics section, as you are not reporting errors but instead your suggestions on how to make it clearer. I believe your initial misunderstanding of these exercises comes from that fact that you have not been following the included instructions in the Module 2 download section. You should view the videos in order first, before attempting to do any exercise. As per your recommendation to make things clearer, the initial version of the workbook had separate sentences for each exercise in the same order as the videos. It was found redundant and difficult to follow by many, and at their request I experimented with the current method, which has yielded great results and was recently included in the workbook. Note that when I say, it “yielded great results”, I am referring to the majority of students with whom I have contact (unfortunately, I can’t please everyone).
Moreover, the numbering of the exercises do not match the summary of calisthenics. Doing doing, would probably mean that the tab be included for the “repeat” exercices. That could be done by using classical guitar notation (which includes string numbers and left hand finger numbers without the need for the TAB and less space on the page).
Again, if you would have watched the videos first, you would notice that the first thing that Bebop Calisthenics video 1 states, is that the exercises are not in the same order as in the Workbook. It also states that when you do the Summary of Calisthenics in the Workbook, to do it independent from the video.
As far as the tab goes, 80% of guitar students need it because they don’t have a background in reading regular music notation. It is my intention to accommodate them while they hopefully make the slow transition to regular notation. The added classical fingering markings tend to add yet more confusion at this point when placed next to their heptatonic fingering equivalents as well as the intervallic script. Too many numbers…One last question. Page 31 refers to appendix 1 on page 113. I could not locate the pdf that contained the appendix. Did i miss something ? Or do we get the complete PDF only when we reach the end of the course ?
Once again, you didn’t watch the videos in order before attempting to do the exercises. If you go back, you’ll notice that Video #5 which is immediately before the first Bebop Calisthenics video, is entirely devoted to explaining appendix 1. Furthermore, when you begin Module 2, you have the option of downloading the most recent versions of the complete Lesson book and Workbook from your Dashboard, each time you login. You will find info on the latest updates at the top of your Dashboard. Please be sure to read this info, as the site is constantly growing and evolving along with the materials included.
To conclude, I want to say that in spite of the misunderstandings I appreciate your suggestions to make things better. I will consider adding some classical guitar markings to the notation for a future edition. I must confess that I’ve initially had my doubts regarding its usefulness, as this tends to defeat the purpose of the interval script and heptatonic fingering markings that this course is based on. In other words, you should eventually not be concerned with tab or notation, but instead understand that their is only 1 place on the fretboard to play, for example, a Eb Mixolydian Pattern 4 when is called for.
Also, I eventually will redo the Bebop Calisthenic videos according to the new order in the Workbook. For now my efforts are concentrated in developing the overall course further.
Yes, when saying “practice in all keys” for guitar, I think the proper instruction should be “practice in all fingerings”. Horn instruments and keyboards have a different fingering for every key, so it is taken for granted. Guitarists usually learn a few fingerings and just move them up and down the neck. They don’t achieve their true potential by doing this, and of course it becomes very limiting when having to play over complex changes, especially at fast tempos.
So the key is to practice through the vertical cycle of heptatonic patterns. This will take you through the cycle of 5ths in all 12 keys, using all the different fingerings. Of course, before you can do this, you need to learn the 7 patterns and scale/arpeggios that serves as the basis for whatever you are practicing.
Manolo,
Yes, what you are saying is correct. Practicing a phrase by move it up and down the fretboard using the same fingering is not that useful. Please give me an example(s) of an exercise where I mention this, to know what context it’s in, and that way I can give you a more precise answer as to what I meant.Sorry Jack, I’m having trouble following what you mean. Is there any chance you can write out the example in interval script or regular notation, and upload it? Too many variables…it depends on what strings you are playing it on. In pat.1, b7-6-b7 when played on the 2nd str is pinky-ring-pinky. When playing the b7 on the 4th str and 6 on the 5th str, it is index (on b7) and pinky stretch (to 6). Is this what you’re asking? Of course you can shift back with your index for the 6, but it might end up being sloppy at a high tempo (this is harder in the first 4-fret zone).
Yeah…keeps getting better! I like some of the wide interval leaps that you’re doing within the measure. As long as you resolve by step-wise motion at the point of chord change (which you are doing), they sound great!
Manolo,
The only harmony and jazz theory instruction I received was not through books. I went to Berklee and studied harmony and jazz theory there. There were no books, just workbooks. I also studied privately for several years with Charlie Banacos…also no books. Before studying jazz, I studied classical. Although there are many books I could recommend, I think it would only create confusion for those studying jazz here, as it uses a different approach.
My intention with this course is to teach jazz harmony and theory, so if you’re asking me to recommend a list of other books, I feel awkward. I’m not sure what’s out there today, but I know Berklee has harmony books out now. Jerry Bergonzi, whom I know personally and have worked with, is a great teacher and has several books out too. Outside of those, I know there are other books which I personally don’t endorse and would rather not mention to avoid unnecessary confusion. This is an area which you need to explore on your own and arrive at your own conclusions as to what works for you.
As far as picks go, I use a Dunlap Jazz III pick.
That’s a good question. The strategy or test is going to vary depending on the complexity of intervals. Basically, to start out I suggest that you first record yourself singing various intervals against a given root (maybe played with your guitar) and then listen back and check with your guitar to see if you sang the right pitch.
Another alternative is to skip the recording process altogether and simply play a given root with your guitar and then sing specific intervals, one at a time. After singing, for example a perfect 5th, play the perfect 5th with your guitar to check if your voice matched the pitch. Believe me, if it’s off, you’ll hear it!
By the way, find a range on the guitar that is not way to low or too high for your specific vocal range. If needed you can sing the intervals in falsetto. Remember, you are not training to be a vocalist. You just want it to be in fairly in tune.
Good Brian…you seem to have have a good understanding of the neighboring tones. Now try some with syncopation.
Thanks Brian…that’s good. As you learn and apply more resources it will only get better. Look forward to hearing more!
