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Hi Robert,
I think Ken answered it correctly. This really isn’t a course centered around chords. I don’t really require that anyone master all the chord studies in order to be able to get through the course. Did I say that? If so, I should go back and clarify it.
I am giving you all the chords on the first 4 strings, primarily as a bonus and non linear resource if you need voicings to comp over the progressions we will explore. By the time we get to the final module, you will be using all of them if you want to comp over the etudes. However you can learn them at your own leisure as a side study. I don’t require that you know them in detail in order to get through the modules.
Sorry, if I implied you had to get them down before starting on module 1. I will have to make sure I clear that up…
Richie
Other than keeping in mind the individual “recipes” or “formulas”, I can’t really suggest any method to memorize them. By playing them everyday as quick as possible, they eventually become second nature. Another super chops builder, is to play them thru the descending cycle of fifths, however this will require that you learn the remaining fingerings.
If you want to get creative with them, I suggest that you check out Appendix 2 in the workbook:”Further Adventures with Bebop Calisthenics”.
Yes, I am aware of that. In the video I played the enclosure to the initial “3” on the 1st string. This took me temporarily outside of the range established for pattern 1 when playing the “4” or upper enclosure note. In the pdf which is part of the book, I kept everything strictly within the confines of the Pattern 1 range and for that reason did not assign an enclosure to the initial “3”.
I wasn’t necessarily looking at the book when I played the first exercise or several others, for that matter. I didn’t feel it would be worth the time to go back and redo the whole video, due to this. It isn’t necessarily “wrong”, just an expanded version of what’s in the PDF. Sorry if this confused you!
Hi John,
The ring to pinky finger stretch is difficult in the beginning and is by no means imperative. For the longest time, I used my index, middle and pinky over a 5 fret stretch. This works fine. However after learning why some guitarists I admire used the ring instead of middle finger in what we are calling Pattern 1, I started practicing and eventually developed the new habit.
The main reason is that we want to be as consistent as possible with the fingers that correspond to each chord tone, both when playing the scale and the arpeggio derived from it. This will become more evident when we start doing the Bebop calisthenics and need different fingers to apply different kinds of approach tones, a concept we will cover throughout the lessons. For instance, if we are playing Pat 1 Mixolydian in F, it is easier to learn to use the ring finger on the 3rd fret consistently on any string within said pattern. Aside from it being a matter of consistency, the use of the ring finger at least in the arpeggio, helps outline the open E major chord shape associated with Pattern 1 as in the CAGED system. That said, if it is too difficult, either don’t use it in the lower region where the frets are farther apart, or I suggest that you just use your ring finger when playing the arpeggio…
It’s your imagination 🙂 The first 3 notes are an 8th note triplet…looks like the little “3” was printed below , somewhat distant from the staff…I will make sure it is corrected in the next update…thanks
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
