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Hi Tom,
This is in the Workbook portion for Module 1. Did you not go to the downloads section for Module 1? You will find instructions there for all the assignments as well as all the PDF downloads.
Let me know if you need further help.
Richie
The symmetrical diminished chord and Coltrane changes are 2 intricate subjects which are beyond the scope of this course since they are mainly post-bop concepts. I will fully explain the use of the octatonic symmetrical scale during improvisation in Volume 2 of this series (coming soon). If I try to explain it here, I feel I would not do it justice. However, if anyone out there wants to give it a shot, I say go for it…
In general you should always use the finger you would use over the degree in question when playing its arpeggio. So in line 1 the b7 (pinky) goes to 3 (ring). If you drag your pinky it would no longer be aligned with the defining characteristics for pattern 4. It would now be pattern 5 where the pinky plays the 3rd on the 2nd string. It would also move you back 1 position. Of course this will be okay down the road, if that is your intention, but for now we need to learn how to play over changes while staying within the same fingering model.
Same concept applies to the rest…Let me know if this answers your questions…
Tom,
I’m attaching an original rhythm template file in Finale so you or anyone else interested can analyze it and maybe use it as a template to create their own.Richie
Hi Thomas,
Sorry about the delay in responding. I don’t know what it is with this software, sometimes it notifies me of new posts and sometime it doesn’t.
I created the Rhythm template in Finale. What are you having trouble recreating?
Graphic depictions of the arpeggio cycles is Video #5 in Module 2 and includes the downloads below the video.
As far as the Calisthenics, it is better to do all 3 fingerings for each one before moving on to the next. You need all 3 equally. Also, you don’t have to do them all in one sitting. You can alternate different portions for different days of the week. It does get easier with time, and eventually becomes second nature and starts coming out in your playing. The rhythm templates are part of this process…
Hi John,
Glad you are enjoying the course!
My recommendation of playing downbeats with downstrokes and upbeats with upstrokes, is for beginning sightreaders who have a hard time keeping track of where they are on the beat. The initial advice is to try to keep track of them with your foot. However, some players have a hard time synchronizing their foot to what they’re playing in the beginning, so the alternative is to use the alternate strokes of the pick as a guide. This seems to solve the issue for many. Once it becomes second nature, it is easier to get the foot going instead. At that point you can use whatever stroke is convenient anywhere, which is what we all should eventually be doing. So once again, its only a last resort strategy to help you develop an awareness of where you are in the measure when learning how to read rhythms.
I remember answering this through a private email, but here goes for everyone who has the same question…
Expiring memberships for Volume 1 can be renewed for an additional 15 months, by sending a payment of $49.00 on your paypal account to bebopguitar@richiezellon.com. Please state that you are renewing your membership. Allow 24 hours for processing. You will be able to use your same username and password to login.
If you don’t have a paypal account, or need further instructions, email me directly at bebopguitar@richiezellon.com
Sorry for the delay to reply. The most recent update of this software is not sending me notifications of new posts.
All memberships are 15 months, so you still have a couple. As far as volume 2, it will be separate from the membership for volume 1. It will cost the same, and last the same period of time.
I am currently half way through getting volume 2 done. It is an inordinate amount of work and I currently have limited help and time. I’m shooting for sometime in February.
As far as ear training is concerned, it’s been the most neglected aspect of the course. The great majority of members don’t even touch it which is a pity. What has your experience been? I could really use some more feedback on the subject to help me decide …maybe I’ll send out a survey.
Thanks Robert! These are great. Maybe I’ll put them on the download page for the corresponding modules, so everyone can benefit.
Hi Andrew,
Many students ask these questions, so I am going to elaborate on the answer here for everyone’s sake.
As far as doing the exercises for 2 weeks before moving on, these are just guidelines. I wrote the books before doing the online course and as you know, there is no limit as to how much time you spend on each chapter when working with a book before moving on. When I did the online video portions for each chapter, I assigned each chapter to a module. I had to assign a period of time to each module before opening up a new one, in order to keep students focused on specific material in a certain order. However, it is a 15 month course and throughout I stress the fact that it is rare for anyone to get through the material in the 30 days allotted to each module. That’s why you have an additional 6 months to catch up after all the 9 modules (9 months) have been introduced…and remember, after that you have the pdf books to keep working for as long as needed. So don’t worry! The bottom line: everybody’s progress is different depending on their level of skill and proficiency on the instrument.
I recommend getting semi-comfortable with one approach, before attempting a new one. The approaches are presented in such order that each new approach is bound to reinforce the previous one. I do recommend being able to play the corresponding calisthenics at a slow to moderate tempo without messing up before learning the etude that follows. That is because the etudes serve as a model of how those approaches can be utilized in the context of a given harmonic progression. The aim is that you gain new insight from their inclusion in the etudes, especially as you play them over different rhythmic structures. First playing them in 8th notes in the context of an entire arpeggio, as in the calisthenics, is what’s really laying down the foundation for its use anywhere! Again, the etude is a model of the finished product. That said, I can’t stress enough, the practice of writing out the corresponding “rhythm templates” which many students neglect. Before you can spontaneously incorporate these into a solo in real time, it is very helpful to practice properly organizing your thoughts on paper. If you find you make mistakes when writing them out under no pressure, it means you don’t fully understand how to use them and need to go back and make corrections.
Finally, yes, when you are improvising, at least in the “programming” stage, you should be aware of your target notes and the type of approaches you are performing at all times. As a matter of fact, this is one of the main goals of why mastering the bebop calisthenics with the different fingerings is so important! That’s also why it incorporates different approaches to different target chord tones in the various exercises. It is drilling you so you become aware of the location of each chord tone that can be targeted with any given approach. When this is fully programmed and becomes second nature, you should be able to visualize this on the fretboard and hopefully pre-hear exactly what you are about to play. That is the ultimate goal and only then are you fully in control of what you play!
Hope this somewhat answers your question. If anyone needs further clarification on this subject, please feel free to ask and I will do my best to try and shed more light on the subject.
Hi Matt,
It sounds really good! Most players, myself included, try to stay away from enclosures that have a non diatonic note above the chord tone when playing at slow tempos. Like you said…the rhythm and phrasing is very important. Great rhythm and phrasing can make even the most dissonant note sound intentional!
Hi Matt,
Those 2 examples you give are not used that much. Usually enclosures that have the upper approach of the enclosure situated a half step above a chord tone can be very dissonant, unless diatonic. The reason they don’t work well at medium to slow tempos is because of the “modal ambiguity” effect they create. That is the case with the 2 examples you give, at least in the context of the mixolydian and dorian scales…. half steps above the root and b7! That said, they can work at very fast tempos because they resolve quicker.
