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Hi Frank,
In the 2nd half of video #9 of Module 1, I explain in detail how to practice the scales and arpeggios. I don’t mention what speed to aim for because this will vary depending on your level of proficiency. However, I do recommend that you be able to play them as fast as possible as long as the execution is clean. Moderate speed is the goal, but more important than speed is knowing what you are playing and where all the chord degrees are located within each fingering pattern.
Richie
Walter,
I use 3 hollow body guitars in the lesson videos. A Heritage 535 (semi-hollow), Heritage 575 with Lollar P90s, and a Moll Workingmans Hero with a Lollar humbucker. On all 3 I use the neck pickup only and for the videos I usually go direct into the board.
I also usually keep my tone control most of the way up on each guitar and make the EQ adjustments on the board. There I roll off some highs, boost the mids slightly around 500hz and roll off any lows below 150 hz to avoid muddiness. Of course, I vary or better said compensate based on this recipe from guitar to guitar, as needed. The strings are also an important factor in the sound. I use flatwounds on all 3. 11’s on the Heritage 335 and 12’s on the Heritage 375 and Moll.
Andrew,
Thanks for posting this question, although I know you did it more for the benefit of others as you well know how…The best way to outline the changes when improvising in a nutshell is:
1- Use the underlying chord’s arpeggio as the framework for your lines in each measure.
2- Begin most measures with a primary guide tone (3 or 7). If not, be sure to include them in the measure.
3- Use smooth voice leading (not more than a 3rd), when transitioning melodically speaking to a new chord.
For a detailed explanation please watch and re-watch “Guide tones and Voice Leading” in Module 1 and “Anatomy of a Bebop Line” in Module 2.Granted that you have an understanding of the harmonic make up of the progression, the best way to memorize a tune is to break it down into several cadences. Determine its structure (eg. AABA, AAB, ABC, etc) and then learn one section at a time. You can even learn each section in 4 measure chunks.
Take “Satin Doll” for example. This is a 32 measure AABA form. In the key of C the 1st A section (or 8 measures) is made up of:
IIm7 – V7 (Dm7 – G7)
IIm7 – V7 (Dm7 – G7)
IIm7 -V7 /IIm7 (secondary II-V of the II) (Em7 – A7)
IIm7 -V7 /IIm7 (secondary II-V of the II) (Em7 – A7)
IIm7 -V7 /V7 (secondary II-V of the V) (Am7 – D7)
sub IIm7 -V7 /Imaj7 (substitute II-V of the I) (Abm7 – Db7)
Imaj7 (Cmaj7)
IIm7b5 -V7alt /IIm7 (secondary II-V of the II) (Em7b5 – A7b9)Understanding the harmonic components, enables us to learn the tune in short familiar chunks which in turn reveal how we should improvise each phrase. That’s why it is crucial that we first perform a harmonic analysis of the tune.
Hope this helps!Richie
