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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!
Glad you caught that. It should read to the b7 instead of the 1. I will correct it right away…Thanks!
I need a good graphic designer/copyist and proof reader that knows music theory for my book layouts!Oh…I misunderstood because you said Upper NT 3 instead of Upper NT “for” or “of” 3. Now I see that you are referring to specific combinations in the exercises.
None of the exercises are exhaustive. Due to lack of space, not every combination possible is included. Note that this will be the case for most of the bebop calisthenics.
Once you understand the concept, you are free to explore & incorporate other possibilities such as the ones you mention!
That is correct…3, 5, and b7 are chord tones. They are the targets or resolution points! If they act as upper neighboring tones they would have to resolve to a 2, 4 or 6 which in turn should be acting as approach tones (unless they are functioning as upper extensions as you will learn in Module 4). This is the opposite of what we are trying to achieve. Is the concept of “approach tones” vs “chord tones” clear?
