Forum Replies Created
-
Posts
-
Creo que estas confundiendo los recintos con las aproximaciones sin preparacion que estan en la pagina 48. En el caso de las 2 notas en un recinto, estas deben resolver por grado conjunto a la nota de resolucion. El 2 y el b7 hacen un recinto alrededor del 1. Ambas notas (2 y b7) estan resolviendo por grado conjunto al 1.
Yes, the V7b9 chord can be derived from the phrygian dominant mode of the harmonic minor, but we are talking here about the V7alt which is derived from the super locrian mode of the melodic minor…. At least when we use it with its upper extensions (b9,#9,#11,b13) which is the goal in these studies.
Yes, you can begin on the arp frameworks although you should only do the exercises pertaining to what you’ve covered in the lesson book and workbook. I would recommend getting through module 4 which deals with upper extensions. I say this because most of the exercises you’ll benefit from in the arp frameworks incorporate extensions.
Using pre-written lines would defeat the purpose of the RTs. They are meant to exercise your mind and ears to learn to use the various concepts taught in the context of a progression.
If you like the lines in the Candy Bars, I suggest you try to write various etudes where you organize them in the context of a progression such as the blues. Just make sure you voice lead properly at the point of chord transition.
Hi Nick,
It’s not bad, but could be better! It’s hard to critique through this means because it requires too much explanation, mainly for your note choices in several measures. I usually reserve that for one on one lessons.
As far as the theory goes be sure to notate your 7’s as b7’s. Currently you have them as maj 7’s. Also, note that in measure 7 you made your 2nd NT a PT instead of an NT. In meas 9 you are starting with a 7 on the 2nd str but there is no 7 there. Also, try to include the “3” whenever possible in the measure at least for now. 🙂
Richie
It’s good for the most part! You used a PT on meas 5 instead of the NT it calls for. Is there a reason why you don’t place resolution arrows on all the approach tones. It would make it much easier to read and differentiate the targets from the approaches.
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 membrecÃa. 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 dÃas, 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.
