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I agree with the person who wrote that. I like the “gravity” analogy. It is really the same thing I am saying. Have you watched the video on the cycle of 5ths in the chord studies section?
When we talk about the cycle of 5ths we are doing so in the context of root movement in a chord progression. In any composition or harmony book as well as any instruction I received both in classical and jazz, the dominant always resolves “down” to the tonic, and never “up”. The reason being that if you were to use “4ths” going up instead, your bass which supports and gives definition to any given chord, would end up in a very high register for many of the chords in the progression. In that high range, the root now will loose it’s role as what is known as the “fundamental” in the overtone series. So some chords would loose definition in the progression! They could at some point even sound inverted and some other note in the chord might be identified as the root.
Furthermore, thinking in the cycle of 4ths is something that has become popular among guitarists because of the tuning of the instrument which makes it easier to visualize. That in addition to the fact that most guitarists are notoriously bad at theory because they usually learn in more of an informal Rock context (I was once one of them). On the other hand, all other instrumentalists learn proper theory and sight-reading from the very first lesson.
Don’t know if this puts to rest the dilemma, but it’s all I can say for now. If you rather think in terms of ascending 4ths when thinking of chord progressions, that’s your prerogative, although I don’t recommend it.
Hi Ron,
That’s very strange! I logged on from my phone to check and had no problem viewing everything normally. I also haven’t heard anything from any of the hundreds of members on the site.
What browser are you using? I know that in general Safari tends to always be behind a lot of the changes in WordPress and other internet updates. If that is the case, you might want to try to use Google Chrome or Firefox.
Finally, I strongly recommend that you try to log on from a different phone to see if the problem still persists. If not, that will confirm that it is a browser problem or some other setting on your phone.
El curso dura 1 anho. Durante ese periodo tendrá acceso a todo los videos y todo lo incluido en su nivel de membrecía. Si luego de completar el primer anho desea suscribirse nuevamente, lo puede hacer a mitad de precio.
Ademas, si desea que todos los módulos estén accesibles a la vez, y no tenga que esperar a que se abran en orden, cada 30 días, puede solicitarlo enviándome un correo.
Nick,
The introductory notated calisthenics for each module and the calisthenics with only script are not necessarily meant to be the same! For the most part they coincide. However, it is not always possible to fit all the exercises included in the full notation pages, again in the single page reserved for the script.I believe each summary includes a good selection of exercises which should be enough to provide the skills needed to use the arpeggio in combination with the prescribed approach. Keep in mind that even in the initial notation/tab, it is not always a comprehensive set of all the combinations possible. There are more… 🙂
They are supposed to sound as a continuous melodic line! Make sure you are reading the summary with the intervallic script only. If you are reading just the regular notation/tab and playing it too fast you will not be thinking intervalically and you will be missing the point of the exercise. That is,to learn the application of the approaches within the arpeggios using different fingerings. Also by playing them slower but steady, your ear should be better aware of the approaches when they resolve.
The varying of rhythms is reserved for their use within the musical contexts which follow, such as the opus etudes and most important of all, the Rhythm Templates.
You don’t have to memorize them. As long as you can play them at a steady medium tempo correctly, you are good. Just be sure you can read the interval script which is what you want to focus on learning for the mindset required to improvise.
Mainly your choice of notes could use improvement in several places which would create better melodic lines. Unfortunately I can’t go into detail here.
Also, try not to start a new chord on a 5th for now. You want to imply the harmony by voice leading to guide tones at the point of chord change (which you are doing most of the time). Down the road you’ll be able to incorporate 5ths as starting notes in the proper places. However, if you choose to do so, always include the 3rd in the measure!Hi Nick,
I tried to watch the video but YouTube says it is private. So I just looked at the RT and found several problems.
First of all, you are showing resolution from CTs to approach tones with the horizontal arrows, which tells me you are not entirely understanding the theory. It’s the other way around, only approach tones resolve to CTs! You aren’t showing if you change 8ve’s with vertical arrows, so it is sometimes hard to understand where the interval is played. Also, your choice of notes could be a lot better. Unfortunately that is something too lengthy to go over here, which is why I recommend “one on one” lessons. Also, you need the proper feedback, otherwise you are going to risk spending lots of time practicing something that might be wrong.
Either way, this is just your first one and it takes writing several of them, before you can get all the concepts down and get them to sound good! For now, all can do is I advise that you review the tips on p.36 of the latest Lesson Book, and watch some of the initial demonstration videos.
Welcome to the BGIS!
The reason is because it is much more efficient to play the arpeggio using those degrees on the 2nd string when using those fingerings. It’ll also help you visualize the underlying chord better. However, you can still use the alternate fingering when playing scales. Keep in mind that you will always have those 2 alternative options for any scale when it comes to the 2nd and 3rd strings. Ultimately, you need to be flexible and decide what’s best for whatever you’re playing at the moment.Hope this answers your question!
It all depends on how much time you have and long it takes you to cover all 10, which has to do with your current level of technical proficiency. But if you can do all 10 you will get a more even workout in the long run. Just be sure to alternate the order of the exercises each day. If you always start with exercise 1, the last portion will always be your weakest because by then your mind is tired.
Hi Kurt,
If in the VOL2 Lesson book and Workbook (Chapter1), you look over the composite fingerings, you’ll notice that they are in essence what many call 3 notes per string. All the techniques out there, whether it be C-A-G-E-D or 3 NPS, are encompassed by the heptatonic system. The heptatonic system is the most complete system! It is based on a mathematical foundation. People are just not seeing the big picture, because they have not been exposed to it, or are not organizing their understanding of scales on the fretboard in those terms! Others that have, don’t necessarily have a name for it. That said, most great players are “unknowingly” using a combination of C-A-G-E-D plus 2 overlapping fingerings (when playing vertically or in position), and 3 notes per string when moving horizontally across the fretboard. This may even be the case with your teacher if he is a good experienced jazz player.
It is my personal experience that using only one of these techniques exclusively will limit what you can play in several contexts. I say this because I was first a 3NPS guitarist, then discovered C-A-G-E-D, then the 2 additional fingerings, and ultimately was exposed to the big picture that encompasses everything!
If I can ever find the time, I’d like to post some videos slowing down solos of several great jazz guitarists, and pointing out measure by measure, how all their fingerings are included in the heptatonic system, regardless of what anyone may be calling it!
Hi Nick,
The important thing is to play the patterns at a consistent tempo. Also, it is very important to be aware of what scale degrees you are playing at this point, which is something you won’t be able to do if you are playing fast! So for now, slow to medium consistent execution of the material is far more valuable. This holds true for all the material!The chords without the extensions are mainly a means to understand and derive the chords with extensions. Without their knowledge you won’t know,for example, where the imaginary root is when it is exchanged for a 9th. That said, once you understand them, yes, it is better to focus your time on the voicings with extensions.
