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Sounds good Kurt! The only thing I would change is the fast “tense” rock vibrato that you use on some notes. Try to use a subtle slow vibrato instead and you’ll sound jazzier.
Keep up the good work! Look forward to hearing more…
Don’t worry about the amount of time it takes to master a module or exercise, because everyone is at a different level! As a matter of fact, two out of every 3 subscribers to VOL 1, sign up to the course again for an additional year before moving on to VOL2. That’s because it is a college level program and each module is equivalent to almost 2 semesters. However, nobody here is studying music full time or necessarily comes in with the music background requirements needed to be accepted into your typical degree music school. So even though the membership lasts a year, the program except for a select few, is rarely completed in that period of time (even if you’ve been playing for years).
Having said all this, let me add that most students that graduate from a music college, usually have passed exams which prove they have a clear understanding of the theory and application of the concepts at hand. However, they will have to spend many additional years practicing and maturing said concepts in their playing. Trust me, I speak both from experience as a life long student, as well as professor at many schools.
The bottom line when it comes to your question regarding the mastery of the Calisthenics is, spend 4 to 6 weeks practicing them consistently. You don’t necessarily have to match the tempo I do them at. The most important thing is to play them at a slow to medium tempo, consistently without messing up.
Keep in mind that the calisthenics are meant to create fingering habits and help you understand the location of all the chord tones and how to use the given approach concept to target them. Once you feel relatively comfortable, its time to move on, as they are not an end in themselves, but instead a means to an end… to improvise music!
Also don’t worry, you will be using these concepts again and again in the Etudes, Rhythm Templates and other exercises to come. This will constantly reinforce their application in practice.
I hope this somewhat eases your concern regarding any slow progress you may experience. I also recommend you read my answers in the FAQ section under “bebop calisthenics” and “other” regarding this issue. Feel free to let me know if I can be of any further help!
RichieThanks for letting me know. Just had it fixed. For some reason it was redirecting to a post of the same subject.
Try to view it again, and let me know if you still encounter a problem.Thanks Kurt for your demo. It is very good and I can hear you have a solid understanding of the fundamentals such as good voice leading as well as the use of different approaches and extensions. I would say work on trying to get the progressions using the super locrian and locrian down to a similar level, and move on!!
Let me know if you have further questions and feel free to post more videos of your progress when you desire.
I’m glad you are happy with the course!
As far as your question in terms of moving on to Module 8, it’s very hard to give you an honest answer. That’s because I don’t have any clue what you sound like or how much of the material has been absorbed into your playing. Kind of like asking a blind man, “does my impressionistic painting look convincing, or is there room for improvement?”. Through the Gold level I can only provide information but unfortunately the only way I can truly guide each individual is through interactive “one on one” lessons. Everyone is different and has different needs that can’t be met through the videos alone. When learning something as sophisticated as jazz, I believe we all ultimately need feedback regarding our progress (from somebody qualified).
Having said that, if you want to send me a video or mp3 improvising over one of the blues progressions, I’ll be happy to give it a listen and give you an educated evaluation.:)
Great question Kurt! I usually advice that you observe the following parameters: voice lead if the rest before the chord change lasts a dotted quarter note or less. If it’s a half rest or more, you’re free to start a new phrase without voice leading if you like.
Hi Udo,
There is no principle behind this. Target notes can be placed on any beat! At least that’s the case in bebop.The important factor is to make sure that the approach tones don’t last more than an 8th note (at least at a medium or slow tempo).
You might want to check out this video for some Charlie Parker examples:
Richie
I don’t suggest pure picking for chord melody. I recommend either fingerstyle or hybrid picking where you apply the pick to the lowest note in the chord and your remaining fingers to the rest. I use both depending on what I am going for and what the piece requires.
Hi David,
5ths when inverted become 4ths and vice versa. Please watch the video on the Cycle of 5ths for a detailed explanation. It’s in the top menu…go to Lessons VOL1- Chord Studies- Cycle of 5ths.
In functional harmony we usually think in terms of descending 5ths instead of ascending 5ths when denoting root movement and chord resolution. Hence, we say G7 resolves “down” to Cmaj7 instead of G7 resolves “up” to Cmaj7…Hi Jones,
The Heptatonic System is simply the Caged System plus 2 added fingerings conventionally not included. What I find hard to understand is why after mastering the 5 fingerings of the CAGED, anyone would have a problem learning an additional 2 which are only going to open up more possibilities?
Whether or not you can enjoy the course without the additional fingerings, I feel shouldn’t be your main concern. Instead, I think maybe the question should be whether or not you can benefit from it? I surely think so, is my answer! However, I will leave it to others who may read this post to give their unbiased opinion.
Having said all of this, please be aware that many great jazz guitarists who use the CAGED system actually end up using all 7 fingerings. I’ve talked to several and many consider Patterns 2 and 3 as 2 variations of the “G” in the CAGED system, and Patterns 5 and 6 as 2 variations for the “C”. Most just keep calling it CAGED.
Another factor that you should take into consideration is the fact that the main purpose of the Heptatonic System, unlike the CAGED, is to view the relationship of fingerings to the 7 chords that make up any tonality. You might not understand this too well in the beginning, but if you get through the course, by the time you are playing over more complex progressions, it will make more sense. For instance, for improvisation the Heptatonic will give you many logical options to map out the fretboard and guide you in selecting fingerings that are going to seamlessly get you through any given progression. Yes, this can be done with the 5 fingerings also included in CAGED, but you will find certain gaps that are easily resolved with the additional 2.I hope I’ve somewhat answered your question. I guess time will tell. 🙂
Hi David,
If you go back and read again, notice that when mentioning the 3 minor scales, I was referring to a minor tonality in general and not the minor blues which borrows mainly from the natural and melodic minor. I’m sure their are less common minor jazz blues that might borrow a chord from the harmonic minor but it is not the norm.
Hope this clarifies any confusion.
Richie
Thanks Tom for sharing this with everyone! It’s very well organized.
I have placed a checklist which has all the assignments in order with all the pages they are found in, within the 3 books. However, if this works better for some, so be it! 🙂Thanks David, yes I upgraded all the Rhythm Templates…could no longer stand the old ones! I’m slowly trying to make the site better!
