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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.
You mean the Rhythm Templates at the end of each module? If so, yes. You can play them in any key using the same fingerings.
Hi David,
Thanks for pointing that out…it should read of the “melodic minor” and NOT “natural minor”!
Should be fixed in the upcoming update this coming week.
RichieHi Joe,
Actually the initial video on the cycle of 5ths is meant to explain how the cycle of 5ths is the basis of functional harmony. As far as when to use it to practice, I think it’s way to early in the course. You will need to learn all 7 heptatonic fingerings for any given scale or arpeggio in order to correctly practice anything through the cycle of 5ths. So, don’t worry about it for now. Just try to complete the assignments in the order they are prescribed in the main lesson book which is also the order in which the videos are introduced in each module.
Let me know if you have further questions!
Sorry David, I missed this one!
I think you are over complicating things by trying to view the half-whole (mode b) from the perspective of the whole-half (mode a). Forget the analysis of the whole-half (1,b3,b5,bb7) when doing this.For example, if you have a Dbdim7 chord use C half-whole (mode b). This way you simply view the notes for what they are in relation to C which is now the root. So Db is now the b9, D# is the #9, E is the 3rd, F# is the #11, G is the 5th, A is the 13, and Bb is the b7. It’s basically a C7b9/#9/#11/13 chord! You can do this for any diminished chord. Because it is symmetrical in nature, any of the notes can be the root. You can therefore make the new root 1/2 step below any of them and apply the half-whole or mode b scale.
Let me know if this answers your question.
You have posted this under “How to use the Forum” but I will answer anyhow…
The altered dominant is derived from the super locrian which is a mode of the melodic minor and not the harmonic minor. Bebop seldom uses the harmonic minor, instead it uses the melodic minor which is also known as the jazz minor. Although Gypsy jazz and Bebop use some of the same concepts, they differ in this and other respects.
Personally, even though I know the harmonic minor, I never use it. Furthermore, bebop isn’t about using a lot of scales, but instead a focus on arpeggios with approach note permutations from a related limited number of scales.
As far as the heptatonic system goes, it is applicable to every 7 note scale, which of course includes the harmonic minor. I just don’t teach it because it would be redundant within the scope of this course. This is the same reason I don’t teach many other modes of the major scale as well as the natural and melodic minor. Only what we need to learn the fundamentals and improvise over the great majority of standards! Once you understand how to use the scales here, you can always explore any scales not included on your own.
By the way, I introduce the harmonic minor and all its modes and provide an analysis of each one in VOL2 of the BGIS.
You have posted this under “How to use the Forum” but I will answer anyhow…
The altered dominant is derived from the super locrian which is a mode of the melodic minor and not the harmonic minor. Bebop seldom uses the harmonic minor, instead it uses the melodic minor which is also known as the jazz minor. Although Gypsy jazz and Bebop use some of the same concepts, they differ in this and other respects.
Personally, even though I know the harmonic minor, I never use it. Furthermore, bebop isn’t about using a lot of scales, but instead a focus on arpeggios with approach note permutations from a related limited number of scales.
As far as the heptatonic system goes, it is applicable to every 7 note scale, which of course includes the harmonic minor. I just don’t teach it because it would be redundant within the scope of this course. This is the same reason I don’t teach many other modes of the major scale as well as the natural and melodic minor. Only what we need to learn the fundamentals and improvise over the great majority of standards! Once you understand how to use the scales here, you can always explore any scales not included on your own.
By the way, I introduce the harmonic minor and all its modes and provide an analysis of each one in VOL2 of the BGIS.
Yes Henry, that is definitely wrong, thanks for alerting me! I have to go back and redo that calisthenic or insert a note in there.
I actually taped all those calisthenics in one sitting which was probably not a good idea…I wouldn’t be surprised if there is another one of those errors somewhere in there but the fact that you found it means that you are paying attention and understand the exercise! 🙂
