Forum Replies Created
-
Posts
-
It’s hard for me to recommend a practice routine if I’m not familiar with your playing and application of the resources in the course (approaches, upper extensions, voice leading, rhythm, etc). I always advice that you be able to play music with what you already know before moving on. Students sometimes come to me knowing a bunch of scales and fingerings but can’t even improvise coherently over a 12 bar blues using 3 mixolydian scales! My advice is that you make sure that you can use the approach concepts you know and voice lead properly in a blues progression before spending too much time learning more scales.
Joe,
The arpeggio Frameworks add-on does not run concurrently with your Gold membership. It is independent and runs for a year starting on the day you purchased it.
Hi Nick,
I like this one better than the previous one, although both have several theoretical errors, especially in the notation. Also, some of your note choices in the previous one at the point of chord change are weak. Try not to end and start a new chord change repeating the same note. For example ending a I7 chord on a 13 and starting the IV7 chord on the 3rd. It’s the same pitch and does not imply the chord transition very well. If you want to do this, it is better to simply tie both notes and play them only once.
Hi Nick,
Looks like this post fell through the cracks as I was not notified…Sorry!
Yes, I do alter the fingerings in the exercises you mention, but what is written initially in the workbook and what I did here are both correct. I use both of them.When I recorded these calisthenics videos, I did all of them in one sitting just looking at the exercise summaries and not reading the tab in the previous section (I must confess that I have a hard time with tab sometimes and for the most part only work with interval script and/or regular notation.) So I just played what came to me natural at the moment without really giving it much thought. I don’t want to sound like I’m making excuses, so I apologize if my playing in some spots may not be totally consistent with the fingering in the TAB!
When using approaches comprised of 2 and more notes, there will usually be more than 1 fingering option available. When I wrote the tab in the workbook I could only include one of the options. And again, I believe this is ok for the student who is first starting out with these concepts. Down the road when you start using composite fingerings, which means you aren’t locked into 1 position, you will start using many other options. I introduce this in VOL 2.
Yes, that is exactly what I was talking about! You will often encounter 2 fingering possibilities when the same note is available on strings 2 and 3. The choice is yours and depends on the surrounding notes context. Whatever is more convenient!
I point this out somewhere in the course, but honestly I don’t even recall exactly where right now. Too many videos and books…. 🙂
If you could specify which videos, I can answer that. Usually most discrepancies occur between the 2nd and 3rd string which in most cases have 2 options. The best choice usually depends on various circumstances such as the combination of approach and fingering pattern being used. Again, please feel free to let me know the specific videos so I can give you an educated answer. Thanks
Hi Nick,
I am aware of what you are saying! However, if you go back to the instructions in the Workbook for using the calisthenics on p.17, you’ll notice that I pointed this out and cautioned users about expecting all the combinations and fingerings to be included in the exercises.
Please read the very last paragraph on p.17 which starts with “IMPORTANT” (in caps).
Hi Nick,
The Calisthenics are in no way meant to be an exhaustive collection of all the possible permutations of each exercise. There is only so much you can fit into a book in order to keep it under a given amount of pages.
If you follow the summary of each calisthenic, that will give you a good workout of what the exercise is trying to teach you. You are free to experiment with other combinations once you understand the concept. 🙂
If you want to verbalize for double chromatic approaches, you can say dou -ble for the 2 chromatic notes. However let me add that the idea of initially verbalizing as you practice, is simply to re-enforce the location of all the target notes within each new fingering pattern. And by the way, during that stage, this should be done at a slow tempo for “programming” purposes.
By the time you get to double chromatic approaches, this hopefully shouldn’t be needed. Just imagine what it would sound like trying to verbalize 4 note enclosures in the last set of Calisthenics!! 🙂
Hi Jeff,
Why is it a problem if a guide tone in an 8th note line lands on the “and” of the beat? This is common practice in bebop and you will encounter it all over the place in countless solos! The problem is when we do this using quarter notes at a medium to slow tempo. Again, with 8th notes at a swing tempo, it is common practice. Don’t just take my word for it. Here’s a video I recommend you watch where I disprove this myth using various Charlie Parker transcriptions:Here’s another video about Jazz Facts & Fallacies where I also touch on this:
There are tons of examples of this practice aside from Charlie Parker!
Hi Nick,
Yes, sorry that is an error in line for correction for sometime now. Will make sure it is corrected right away. It should be 4A which is Dorian in the workbook.
Please read the note right below the “Module 2: Instructions and Assignments” link. See attachment screenshot.
From Module 2 and on, there are now no more PDFs to download as the entire books can be downloaded from the dashboard.
Thanks for your feedback Joe! Glad to hear the material has been useful. The only thing I didn’t understand is when you mentioned you’re glad you didn’t go for the Gold membership. Nonetheless, you are a Gold member! 🙂
