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Hi James,
After you learn the 3 fingerings (video # 10), the following 2 videos (#11 & 12) share important information you must first learn in order to do the 1st exercise using the 3 fingerings. This is introduced in video# 13 (Arpeggio & Guide Tone Resolution Exercises). Have you had a chance to download the Assignment PDF for Module 1?
Please keep in mind that after introducing a new scale/fingering, the following video many times will be on a theoretical subject in preparation for the next practical step we are going to take to use said new scale. That is because this course is a combination of technique, theory, ear training and other aspects necessary to master jazz improvisation on the guitar.
Even though, everyone is at a different level, most students need time to learn the new fingerings in order to successfully be able to complete the Arpeggio & Guide Tone Resolution Exercises. The mastery of the fingerings is not only at the technical level. This is the easy part for many! It is important to be able to pinpoint the location of all the chord tones individually within each fingering. This is what takes time for most and is crucial before we can truly understand how to use them, outside of just intuitively playing by ear. That said, Module 2 introduces the bebop calisthenics and jazz etudes, and is very intense in its use of these scales/arpeggios!
Some players start this course and are already advanced enough that they master or already have mastery of the material covered in Module 1. If this is the case, I encourage them to email me and request that they be moved to the “Full Access” level. This simply allows the more advanced players to move at their desired pace and find their ideal place to start in the course, without having to wait 30 days for the upcoming module to be available. Please feel free to exercise this option if you feel it is your case!
Hi Matt,
Yes, in pattern 5, the 6th interval is available on the 1st string as well as the 4th interval on the 6th string. The reason I don’t have it on the notation nor diagrams is because the focus of these fingerings is the 4 note “7th chord arpeggio”. The scales from the bebop point of view,as I will demonstrate throughout this course, should be primarily understood as structures made up of chord tones (1, 3, 5, 7) and non chord tones (2,4,6) which in the original scale are acting as “passing tones”.
Depending on the scale, the 2, 4 or 6 might be available as upper extensions. However for ear training purposes, until we get into the details, I prefer to teach each scale/arpeggio always starting and ending on a chord tone. This I have chosen to do as the result of students sometimes hearing a given scale improperly, due to the fact that they started it, for instance on a “4”, and their aural orientation of the true root was lost!
I hope this somewhat answers your question. I will get deeper into this subject when I teach the use of “approach notes” in Module 2.
Yes you are correct. However, you only need to do the Calisthenics 2a for the Mixolydian. The additional ones are there for future reference, just so you’ll have them. This is also complete in in the Workbook download for this module. I am going to take the ones under the video down to avoid confusion and because it is redundant to have it in both places.
Thanks for alerting me to this…
I’m not too sure I understand the question…
If you are in Module 3, you’re only supposed to be doing the calisthenics for the mixolydian.(anything additional is up to you, if you have the time and already know the other scales and corresponding fingerings)If you download the assignment sheet from the PDF Downloads for Module 3, it is very explicit as to what pages in each book to work on, and in what order for the current lesson module.
Good job Ken!
Just want to mention that there is a strange chord playing in the background over each 12th measure. Did you write in the changes in band in a box or is that a file you downloaded? I’m asking because sometimes biab throws in some unwanted upper extensions which you have to tell it not to in the preferences section…it used to drive me crazy 🙂
You don’t have to memorize them! Just play them correctly at a moderate tempo and know where everything is (chord tones) and what kind of approach concept you are using.
Great job Miguel! Feel free to share more as you move forward. Also, don’t be afraid to throw in some slides into the notes for occasional embellishment.
I am thinking of adding a section called “showcase” where I can post videos of students playing their original etudes (the rhythm templates). I have a few students that have written some very nice etudes using the rhythm templates. We can all learn from them…
Regards,
Richie
Thanks Ken. I just checked and it was being forwarded (wrong) because I was out of the country. I have reset it and it should work now. Please try one last time. Sorry for the inconvenience!
I haven’t received your email. Please let me know exactly what email address you are sending it to so I can check. Sometimes people spell my name wrong…
