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The Bebop Calisthenics aren’t supposed to sound the same and you aren’t supposed to view them as actual “lines”. The reason they sound different is because they start on the highest available chord tone for each fingering which is often going to vary from one pattern to the next. Your goal is to be able to play the entire arpeggio from the highest to lowest note (and vice versa) and learn to identify the location of each target note. To paraphrase, this is an exercise intended to develop awareness of target note locations in different pattern contexts, and how to properly precede the target with a given approach using the correct fingering.
If you try starting all of them on the same chord tone, you will defeat the purpose of the original exercise. It is true that you will maybe learn a “line” and train your ear and fingers to start on specific intervals. You can, if you wish, make this into another area of practice, but I recommend also doing the original exercise and training your ears to hear the the different target notes within a variety of contexts.
Joel,
I can’t really recommend a fair practice routine in terms of how much time to spend on each area without knowing your strengths and weaknesses. I can do this with my “one on one” students because I know what they need and it really varies from player to player.
If you are at a more advanced level in terms of your technical proficiency and have all the required scale and arpeggio fingerings down (including the location of every interval), I would recommend breaking your practice time into these 4 areas in relation to the concepts pertaining to the module you’re on:
1-Bebop Calisthenics assignments ( to develop technique,and become proficient at the fingerings and application of the approach concepts to any target note within a given arpeggio type)
2- Opus Jazz Etudes (to play and learn applied examples of the current approaches & rhythms in the context of a harmonic progression). This should influence the next 2 areas…
3- Rhythm Templates (write and play as many of your own etudes as possible, in order to program your mind and fingers how to eventually best apply the current concepts in real time. Keep playing them every day for a month, and they will become a part of your vocabulary…if done properly)
4- Spend some time freely improvising over the changes you’ve been working on, and try to focus on using the concepts you’ve been working on. Record yourself if possible and keep a log of your deficiencies and strengths. Listen, listen, listen with a critical ear. Try to correct your deficiencies (ie.timing, rhythms, weak resolutions, lack of using certain concepts, etc.). Do this throughout the month and always update your log so you can keep track of your progress at the end of each month.Keep in mind that the above recommendation is for a moderately advanced player who can identify and correct his/her weaknesses without the help of a mentor. A less advanced player is going to need the help of a qualified teacher to help with many problems the student may encounter in different areas.
A good teacher who is experienced (not only as a player, but as an actual instructor), is like a good doctor. He should be able to identify what each student’s musical deficiencies are by listening, watching and asking a few questions. Then he should offer a remedy. Sometimes what the student needs is just a supplement in a certain area…
Let me know if I’ve somewhat answered your question…
To answer your initial question, there is no particular advantage in using Pattern 1 instead of Pattern 2 which overlaps with it, except for the available “3” on the 1st string.
Pattern 1 is being used (as explained in Module 1), because for the most part in this course we are learning to improvise using the Pattern 1 fingering model. In module 8 we are introduced to fingering module 4 in which the I chord is assigned to pattern 4 and all the other chords gravitate around it when staying in position. Module 9 introduces the concept of shifting between fingering models, a subject which will be explored at depth in the 2nd volume of this series. In a nutshell there are 7 quadrants throughout the fretboard which enable you to play over an entire tonality without moving out of position. However, the ultimate goal is to freely shift in and out of these 7 territories or fingering models on the fretboard, whenever we improvise.
Pattern 1 is not necessarily my default when playing anything. I can use any of the 7 patterns to start a phrase on a I chord depending on the range I want to cover, where I might find myself on the fretboard at the moment, and many other circumstances that vary. In spite of this, as a teacher I have to start somewhere and I prefer to start in order with the first fingering model in the heptatonic system, which happens to be based around pattern 1.
For a detailed explanation of fingering models and why we start studying fingerings using pattern 1, please review all the videos in Module 1 explaining the Heptatonic fingering System. In addition this week a new video called “Finger Stretches when playing Heptatonic Scales”, will be added at the end of module 1. This video goes into even more depth regarding questions like yours!
Greent,
That is a great idea and will see about implementing it in the next couple of weeks, if not sooner. The reason it hasn’t been done yet is because I have been in the process of adding and updating stuff for each module and I didn’t want to constantly have to redo the zip package. I’m almost done, so hopefully soon! This site is only about 7 months old and I’m still ironing out some bugs and trying to configure stuff. Thanks again!It’s all relative as to what sound you want to achieve. There is a difference between sliding in on the same string (legato) and playing without the slide (staccato). What happens if you are playing at a fast tempo in that position? Here the stretch would come in handy, especially if you need to continue up the fretboard. Please check out my reply and example in the following post:
This topic comes up very frequently and what I always advice is not to be afraid to develop the habit of stretching occasionally. I understand that is much more comfortable and natural to do it the way you always have, but to acquire an added level of technique we have to be willing to move out of our comfort zone temporarily. Eventually the pinky stretch becomes very natural. 🙂
Hi Shay,
I hope to be able to provide supplemental material such as you are requesting in the future, however at this point I have my hands full working on the other courses I want to release later on this year, and still add a few important videos to this course…
Thank you Sharon and everyone else for your input! I will formally send out an email sometime this month announcing the new expanded duration of the course. I will also be including a new section here in the forum for members to post their rhythm templates and possibly videos playing them. I already have a few videos of students to get it started. Hopefully people won’t be shy to post them and the critique received (which should always be constructive), I believe can be very beneficial.
When you say : “Start with the b7 (Bb on the 4th string ). Go up a M7 to a 6 on the 2nd string (the note A). You can resolve it by either going up a half step to the Bb or going down a M2 to the G.” These are definitely unprepared approaches! The interval leap can be as wide as you want as long as you then resolve by stepwise motion. The possibilities go beyond what I have included in the Calisthenics. I am only providing exercises with approaches to the chord tones of the arpeggio within the range of an octave to get you started with the concept. Covering the options beyond this would expand the exercises to an unmanageable volume. It is already more than most can handle as it is 🙂
I encourage people to explore these concepts beyond what I can offer in the exercises, which are by no means exhaustive. On the other hand, when we start getting into unprepared approaches with leaps beyond the octave, we are entering the realm of post-bop. Nothing wrong with this, however for now I rather make sure students get a solid foundation in the bebop era techniques, which will then provide a firm foundation to transition beyond.
Hope this clarifies your question unless I’m misunderstanding it…
I’m not sure I understand what you’re asking. The examples you give such as b7-6-b7 is that of a neighboring tone and b7-6-5 that of passing tones. Sorry, could you clarify?
Hi James,
I understand your situation. Unfortunately I can’t please everybody. The more advanced players also complain to me that it is too slow for them and that they already know most of the stuff in the 1st few modules. As a result they request that I open up all of the modules for them so they can go through them at their faster pace.
This is a college level course equivalent to 2 semesters, something I explain in the introductory videos. It actually combines several separate courses offered at some music schools into 1 program. Yes, it does require time which is something lots of people don’t have these days…and it’s not a “one size fits all” program, as everybody is at a different level.
I do appreciate your feedback though! The only solution would be to break down the course into smaller chunks and make it a longer duration. That is no longer an option for me, as everything is already structured and programmed. However what I might be able to do, is add a few more months to the overall duration of the course so that players like yourself will have more time to catch up. I will have to look into this.
I will take all of this into consideration with the other courses I am preparing such as the VOL 2 of the BGIS and a chord/harmony course.
For now all I can say is the same thing I have stated in several occasions throughout the beginning modules:
1) Do the best you can…everybody’s time constraints and proficiency levels are different.
2) Watch all the videos and try to understand all the concepts at least in theory. Be sure to download all the materials and have it organized in order. This way, if you find you are several modules behind when the course ends, you will at least know what to do and be able to keep working on your own to complete it, no matter how long this may take…
I tell my personal students that they should have a minimum of 1 hour, at least 5 times a week to practice. Some of them complete the work I give them for the month with no problem while others at a lower level, even though they claim to put in the same amount of time, take 2 months…some almost 3! Now there are those who can only practice a half hour or 45 minutes 2 times a week. Truthfully, their progress is minimal and they end up getting bored when not seeing any significant change in their playing (at least from a jazz perspective) and they just end up quitting. I bring this up because the study of jazz on any instrument is not easy and requires time and consistency. Twice a week won’t cut it. This is something we have to be aware of before we decide that we want to play jazz. Many part time players just don’t have the time because they are way too busy with time consuming jobs and other activities. This is a reality and I of all people understand it! Unfortunately I also have to be honest and say to them…if you can only squeeze in a couple of half hour or even 45 minute practice sessions every week, you should reevaluate whether this is a good time in your life to take up the study of jazz guitar. That said, I will see what I can do about extending the duration of the course after all the 9 modules have opened up, for a period of more than the current 3 months. I also welcome any feedback any other other members might have regarding this!
That’s a whole lot better, although I’m still wondering…Are these to be played all in the same position? If that were the case they would be in different keys…
If they are to be played in the same key horizontally throughout the entire fretboard, you are simply recreating what is already in the course and scales book, only that you are including unresolved “non chord tones” (2,4,6) at the beginning and end of some scales on the 6th and 1st strings. Also, the 4th fingering here (pattern 5?) won’t work too well when trying to play the arpeggio with the root on the 2nd string…
