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Yes, you are supposed to play them as “swing” 8th notes. The video on Rhythm Lab 1 demonstrates how the whole exercise should sound and has a visual depiction of the downbeats and upbeats. In addition there is an MP3 that you can download to listen and play along with the exercise if needed. Downloads
Thanks Marc! In all honesty several of the solos you hear, I played on CDs in which I was a sideman. Most of the stuff is pretty old…between 1995 and 2005 and some not even representative of how I play these days. The CDs I did under my name were not mainstream jazz, but instead Latin Jazz and fusion, and I played a solid body on them. Three of the tracks you hear that I wrote are Cherokee Samba, Blue Whale Street and Tel Aviv Blue. The 1st 2 are based on Coltrane changes. They are all from an album I did in 1998 called Metal Caribe with David Leibman, Dave Samuels and others. You can find them on I Tunes or here at CD Baby:
http://www.cdbaby.com/cd/zellon7
I also recommend “Latitudes” , “Cumbiacao” and “Scrapple from the Apple” from my album “Cafe Con Leche” with Jerry Bergonzi, Paquito D’ Rivera, Danilo Perez and others. Also found on I Tunes or here at CD Baby:
http://www.cdbaby.com/cd/zellon2There is also the “Nazca Lines” with a Latin post-bop tribute to Jimi Hendrix (I recommend “Fire” and also the version of Cream’s “Sunshine of Your Love”):
http://www.cdbaby.com/cd/zellon5
Finally, if you like the Beatles, I did an Afro-Peruvian tribute (very interesting rhythms) a few years back:
http://www.cdbaby.com/cd/richiezellonAll these you can download for $0.99 per track, so it’s not bad.
Hopefully I’ll have something more current soon. I’ve been teaching almost full time for the last 10 years and have had very little time for recording and the road…which by the way can be more of a drain than what it’s worth these days…Yes, this is on purpose, for those who optionally wish to develop all 7 fingering patterns on their own in order to gain a better understanding of the Heptatonic System.
Thanks Ken. You must have downloaded an earlier copy, probably right after you joined. I corrected this and uploaded a new copy almost a week ago. Try downloading it again. If you still get the copy with the error, try emptying your cache on your browser. Let me know if this doesn’t help…
Hi Miguel,
You don’t need to memorize them.
Just make sure you can play p10 and 12 (no notation or tab), just by looking at the intervallic script in any key using the prescribed fingering model.The goal is to immediately recognize the exact location of all the arpeggio notes within the 3 patterns because everything we are going to play is going to lead to one of these notes (especially the 3’s and 7’s). This will constitute the framework of our solos.
This practice is known as Modal Super-Imposition and I introduce it in Module 6 (or p.81 of the Lesson book) when introducing the Super Locrian Mode.
This practice is usually ineffective in jazz, unless you are very advanced and have years playing and understanding the individual modes from their original perspectives. Pat Martino comes to mind…he is one of the few masters at this.
This is the reason why many players that come from a Rock background and try to play jazz using this practice, sound like they are just running a bunch of scales. If you strip away the changes and leave them soloing without the accompaniment, you have no idea what progression they are soloing over. On the other hand, a player who is aligning his target resolution notes to the given harmony will outline the harmonic progression through the melody alone. See Guide Tones and Voice Leading (Module 1) and Anatomy of a Bebop Line (Module 2).When you are using super-imposition, you have no idea where your guide tones, upper extensions or “avoid notes” are. Therefore you are not using the 7th chord arpeggio of the moment as the framework to construct your line. As a result, you can’t use approach notes properly and you will often end a line on an “avoid note'(ouch!).
If super-imposition truly worked for the beginning jazz improviser, everyone would be playing jazz in no time and sound great. The advanced player can use super-imposition because from years of experience he’s come to understand the true underlying relationship of the notes he is playing to the chord of the moment. This of course, still does not lead to great bebop lines. It is more conducive for modal progressions of the post bop era, and even then it is mixed with the traditional bebop approach.
Our goal in this series is to learn bebop. I was fortunate to have Red Rodney (trumpet player with Charlie Parker) as one of my mentors. I learned that Bird, Diz and all the bebop greats did not think in modes. Remember, the arpeggio is the foundation and the scale/mode only dictates where the guide tones, extensions and avoid notes lie when aligned to the chord they are soloing over. Without this understanding you are flying without a radar. In other words, you rely exclusively on your ear but have no understanding of how to consistently construct a grammatically correct jazz phrase. It’s hit and miss, capish?
Absolutely! When you understand and master the Heptatonic Fingering models, you come to the realization that there are 7 positions which you can employ to finger or execute almost any piece of music (although some of them might not fit the desired octave range). This can be done staying entirely in the position designated by the chosen fingering model, or you can shift freely between the 7 models as you see fit. The latter is the goal and the possibilities are endless!
When freely shifting between the 7 models, rarely are 2 players going to finger any extended musical passage the same way. There are many ways of getting from point A on the fretboard to point B. It brings to mind the old adage, “All roads lead to Rome”. Of course, for this to hold true, you first have to map out the entire fretboard. That is the reason why we must have a solid understanding of how the 7 fingering models relate to each other both vertically and horizontally.
In the Bebop Guitar Improv Series, I purposely devote a good portion of Volume 1 staying entirely in the Pattern 1 fingering model, in order to illustrate how to play vertically through the changes. Once the concept is understood, the goal is to move horizontally; in other words shifting through the 7 fingering models. Pattern shifting will be the technical focus of Volume 2, which is first introduced in Module 8 of Volume 1. This is how almost any good jazz guitarist improvises, wether or not he is aware of it. I find that when it is organized systematically and labeled as in the Heptatonic System, it both provides a method for teaching and saves time in the learning process.
Hope this answers the question…
Correct, the books are given in portions corresponding to each Module.There are 9 Modules which correspond to the 9 Chapters in the Lesson book.
Yes Miguel you are correct! Thanks for the input!
In terms of what to do, I have included a detailed PDF called “Instructions and Assignments” for Module 1. It is available in the Lesson PDF downloads for Module 1 along with the Lesson and Workbook portions.
The advantage of the heptatonic system is: 1) it adds 2 fingerings that are often left out in the conventional CAGED system, thus covering every fingering possibility available for any 7 note scale throughout the guitar’s fretboard. 2) It organizes the scales for easier visualization and relational categorization into practical cycles when playing horizontally or vertically on the fretboard.
Yes, I do recommend relating to the scales/ arpeggios that they generate. Keep in mind though, that there are many voicings generated from each of the 7 fingerings for each chord type. This is a subject to which we would have to devote a whole course and which I plan to do so in the future. However for now, I briefly touch on the subject in the Chord Studies that are available for voicings on strings 1,2 3, & 4. Furthermore, when looking at the PDF for each fingering pattern from the Scale & Arpeggio Fingerings book, in addition to the tab and notation, there is a fretboard diagram that shows the arpeggio in white circles. You can easily deduce what voicings or shapes are related to the pattern in question.
Here are the initial 3 fingerings that I introduce In relation to the CAGED system :
Pattern 1 generates an open E shape
Pattern 4 generates an open A shape
Pattern 5 generates an open B shape (although this is not part of the conventional CAGED)Hope this is helpful….
Correct, the Bebop Calisthenics are only available in Module 2 in spite of the fact that they are mentioned in writing in the Preparatory Section currently available in the workbook portion for Module 1.
No, you are only to learn Mixolydian Patterns 1, 4 and 5 in Module 1. Further modules will assign new fingerings and modes as the harmony gets more sophisticated.
The 7 patterns are explained in detail in Module 1, so you understand the big picture as to how we are going to relate to fingerings in general from there on. This helps us speak a common and more precise language, especially when mapping out different routes we can use on the fretboard to smoothly connect the changes. That said, it takes most players at least 2 years to learn the 7 fingerings to all the commonly used scale and arpeggio families that you encounter in most 32 measure standards. So please don’t let it overwhelm you! Now, if you’re a more advanced player and you can learn them at a faster pace, go for it!
Hi Frank,
I agree, 5 fret finger stretches can be difficult for some, especially in the lower positions. What I recommend is to use your middle finger instead of your ring finger if you have trouble, at least when playing the scale. When playing the arpeggio however, you will need to go from your index (playing the root) to your pinky (playing the 3rd) on both the 6th and 1st string. No way around this except like you mentioned, in your case having to pick up your index finger in order to reach with the pinky.
Ultimately, what I recommend to my students who have this problem (as I do in the videos when we start the etudes and bebop calisthenics in Module 2) is to play everything in the key of C (Pat1) which is on the 8th fret where the frets are much closer. Here you can learn to play the scales and arpeggios with 5 fret stretches hopefully without picking up your fingers. This is natural for some and difficult for others. Those that have difficulty have to patiently practice slowly and consistently (every day!) and in due time (usually a couple of months), the hand becomes flexible and adapts to the proper habit. Then you gradually start stretching in the lower regions of the fretboard where the frets are farther apart. Fortunately most soloing is not done in that region.
5 fret stretches are common in jazz guitar technique and are present in several of the fingering patterns in diverse modes. Even the ever popular Berklee Guitar Method teaches you this as do the “3 note per string” composite fingerings designed for economy picking.
I could have started with another easier fingering pattern, however aside from breaking the logic behind the numerical order I explain in the heptatonic cycle of horizontal fingerings, the moment we introduce chord changes, there is no getting away from at least one or two 5 fret stretch fingerings if we want to improvise through a busy progression smoothly (connecting all the changes).
The good news is that I teach and demonstrate all the Bebop Calisthenics in the key of C (8th fret). These are the exercises to build up your technique and bebop chops.
Hang in there… I’ve watched literally hundreds of students throughout the years patiently persevere and get good at stretching!Richie
Hi Ken,
The actual fingering patterns for all the modes are not printed out or shown in Module#1. This would be exhaustive! What is taught here is the fingering concept that will be employed. After several videos that explain the Heptatonic System in detail, in video #10, I teach the 3 Mixolydian fingering patterns that we will be using initially. I also direct you to the Scale & Arpeggio Library where you will be able to view and download the current fingerings we will be working with. These modes & patterns are introduced gradually throughout the course, so that by module 9 you have a good working understanding of how to use them together throughout the fretboard.
In the dashboard when you first login, you will find a link to download a checklist for the entire course. This will give you a picture of what order everything in the course will be presented and in which of the 3 book PDFs to find them. Also, as stated at the top of the Module, please watch the videos in the given order!
Finally, the PDF downloads contain the Lesson Book, Workbook and Scale & Arpeggios Book portions that correspond to the current Lesson module.
As stated in the dashboard, If you feel that the content in the module is not enough to keep you busy because you feel you are more advanced, you have the option to request that all the modules be activated at once. I normally don’t recommend this because as soon as module 2 opens up, the content and exercises will become more and more challenging and I don’t want to overwhelm you. However, without knowing your level of proficiency, I cannot judge what is best regarding your pace of learning.
I want to thank you for your questions and feedback! Although I have used the material in the books successfully in the live classroom environment, this is a brand new online course and I am open to learn and implement what is best for its participants. As a result, I will produce a video this coming week which I will place in the dashboard clarifying all these points for future newcomers!
Let me know if this answers your questions and do not hesitate to let me know if you have more!
Richie
