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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…
Hi Shay,
Glad you are enjoying the site! As far as your question goes, we have no time to think in notes. Therefore it is crucial to think in intervals or numbers that are transposable to any key instantly. That’s why we call the fingerings “patterns”. Each pattern will conserve its unique configuration of numbers or intervals anywhere throughout the fretboard.
Hi Mark,
The idea with the 9 modules is to do only what is required in each lesson. For now you are only required to learn the 3 Mixolydian fingerings (pat. 1, 4 & 5). I will be teaching you several concepts using these fingerings and gradually introduce others. Once you learn the general concepts, you can work them out in the remaining fingerings. If you try to work on the calisthenics for all the fingerings,for all the modes, it is guaranteed that you will fall behind!
Working out all the materials (eg. calisthenics, etudes, etc) in all 7 fingerings for all the modes, is really meant to be a long term study that you can continue with after you have finished with this course. Also, many of the additional modes and fingerings not yet covered, will only be used in volume 2 of this series when we start concentrating on linking them together horizontally throughout the fretboard.
It took me a good 2 years to get semi comfortable with all these modes and fingerings so don’t get stressed over it! Take your time, and preferably do only what is required for each lesson module…
Yes, by all means! Try to visualize the fretboard in your mind while looking at an etude or calisthenic and play “air guitar”. I do this all the time and have it down to a point where I can internally hear the notes after several years of ear training too. I remember reading a great book on the subject many years ago called “The Inner Game of Music”. It might be out of print, although you might find a used copy on Amazon.
Some keys are going to be harder than others to sing the intervals, depending on your vocal range. The idea is to be able to sing the intervals and match them as close as possible to the correct pitch. In certain keys, this will require that we sometimes sing in “falsetto”. If you’re slightly flat that’s ok, as long as it’s not an entire half step off.
Guys,
The more you do the better. However, each person knows how much they can handle according to their level of proficiency. I present the exercises in a slow, as needed fashion so you won’t get too overwhelmed. It takes a while to get comfortable with all the fingerings and understand where everything is in terms of the intervals. For the record, it took me at least a good 2 years back when I first started to work on them, before I could feel semi comfortable with them.
