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The Opuses are fine! The RTs are pretty good for the most part…the last 2 especially, have some note choice issues which I would have to go over with you in more detail but I can’t really do here because of the time required.
Sounds good Robbie! Look forward to hearing more rhythm templates as this is what reveals how you are thinking and combining the notes. However, try to include your written templates so I can follow along and make sure you are really using the prescribed approaches correctly.
No, UAs like all approaches have to resolve by step-wise motion to their target.They must be preceded by a leap of a 3rd or more. In other words the leap should be larger than a major 2nd. This is what makes it “unprepared” versus “prepared” where step-wise motion is the norm.
For your ascending examples using 2 neighboring chord tones:
1 – 2 – 3 (UA can only use 4 or ch from below instead of 2),
3-4-5 (UA can only use 6)
5-6-b7 (Ua can only use 1)However, UAs don’t only occur for 2 successive chord tones in the arpeggio. For example, you might have a b7 followed by a 3 above it. Here your UA choices are b7 followed by a 4 resolving to 3 or b7 followed by 2 or ch resolving up to 3. If we were descending or using the reversed situation (3 followed by a b7 below it), it would be 3 and a 6 resolving up to the b7.
Let me know if this clarifies the concept. Other than that, I suggest you practice the summary of calisthenics and analyze how the UAs conform to the definition given on p.46 of the Lesson Book. Also the related etudes contain several examples.Sounds good Kurt! The only comment which I think I made in the past, and is a small detail, is when you apply vibrato. It’s more of a rock vibrato. Try to make it slower and more relaxed and it will sound jazzier.
I would say that you are ready to move to VOL2.
Keep up the good work!
Can you please elaborate why you’re getting overwhelmed? In other words, what is happening when you try to play the summary? I ask to determine if there is some info you might have missed or misunderstood. Also try to describe in detail how you practice them.
It all sounds good, however it is hard to recommend what you need because I’m not familiar with your playing. Everyone is different and may have weaknesses that they are not aware of. The only way I can honestly advice is by hearing you improvise. That way I can determine what resources you are using or not using, and I can prescribe the proper exercises to improve.
That’s great if you can improvise over Bird Blues! Normally that is the time to proceed to VOL 2. If you like send me a sample of you improvising and I’ll give you my evaluation.
I always state that the arpeggio frameworks should be done only with my guidance in our Skype lessons. That’s why it is only offered to Platinum members. Jazz at this level is not meant to be taught through a book alone! I did not learn that way. Too much room for misunderstanding in general. You really need the feedback and guidance of someone who understands the process. Having said that, 2 out of every 3 platinum members who attempt to do it on their own later decide to take one of their included lessons with me only to find that they had done everything wrong!
Sorry and I truly hope you don’t take this the wrong way, but I’ll be glad to answer all your questions regarding this and more, only after you start your lessons.
Excellent observation! It is indeed functioning as an approach tone. When writing the book I decided to leave the same interval name on any instances where a note functioning as an extension appears again within the same measure as an approach. I did this for the sake of making the sight reading of the interval script easier in these cases.
In other words, its like when you notate the 6 in a measure with a C6 chord and then in the same measure you notate the bb7 for a Cdim7. To make things easier for sightreading in both instances, the 6 and bb7, are notated with an “A” instead of “A” and then “Bbb” which is the proper notation. This has become common practice.
Hope this is clear and doesn’t instead complicate things! 🙂Hi Kurt,
Thanks for pointing it out…yes I am aware of it. I have been in the process of making some revisions in the book and will upload a corrected version soon!
Richie
The notes from the altered dominant come from the super locrian which is the 7th mode of the melodic minor. The theory for this is formally introduced and explained in module 6.
F or C is fine.The whole point of the patterns is that they are not “key dependent”…in other words they can be played in any key.
Doug, I think that’s a great idea! That’s what I have all my “one on one” students do. The tab is just a preliminary step for beginners to initially check if they are fingering the proper notes. Ultimately, you have to think “intervalically” if you want to grow as an improviser. Otherwise, you have no understanding of what you are playing.
Hi Antonio,
I checked it and somehow it appears like the last update didn’t work. I have just replaced the files with the correct ones. Please check them again and let me know if you still encounter the errors.Thanks for alerting me to this and sorry for the inconvenience.
Richie
