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I said I was planning on making a video about this. Will let you know when I get it done. Meanwhile if you have any questions about it, please feel free to let me know.
If you play it the way you are suggesting in F#, it would no longer be pattern 1 but instead a composite fingering combining Pattern 1 and 2. You will use this in the future for transitioning between fingering models but for now this will create all sorts of confusion for what we are going to deal with throughout this volume. So please play them as taught here. As you learn other fingering patterns and start on the Bebop Calisthenics and etudes, you’ll better understand the “why” behind each fingering, and most important of all, understanding what a “heptatonic fingering model” consists of.
Hi William,
The individual fingering diagrams are for download in Scale & Arpeggios Library. However, I have just placed downloads for the 3 Mixolydian fingerings under the main video in Module 1 that introduces them.As far as your 1st question goes, can you give me a concrete example? Thanks
Thanks Han. I just listened again to the mp3 you mentioned and I can’t hear those notes you mention which makes it strange. I’ve taught these etudes to hundreds of students over the last 6 years and nobody has ever made a comment about hearing something different on the recording, so I’m not sure what you are hearing. It could be the comping but I can’t even hear them in there…Don’t know what else to say…
Sorry Jack, but I will not discuss the arpeggio frameworks on the forum…only with students who are doing lessons with me. What is there is correct but you are misunderstanding the rule on p.9.
Hi Han,
I’m not sure what you’re hearing but I just checked and I am playing exactly what is written…
That’s why we need to listen and understand the rhythmic aspect of “comping” so we can interact w/ the soloist. Also, no one is going to stick exclusively to voicings on strings 1234…
As far as piano and guitar comping at the same time….that only works with very experienced players. Usually guitarists have to resort to what I like to call “minimalist comping” when playing with a keyboardist. If interested check out my video on YouTube on this:
Minimalist Comping for GuitarAt this point, in all honesty, it’s not looking good. Unfortunately, not enough hours in the day. It will happen though…just can’t give a date for now.
You answered your own question at the end! The key is to do one set of chords at a time and then try to apply them to a musical context. I usually have my private students learn the dom 7th chords and then have them play blues in all 12 keys in at least 2 zones. Then I have them incorporate min7 chords as in jazz blues and so on. I gradually introduce standards containing only the chord types they are learning.
Trying to do all at the same time often creates confusion. Undeniably, it just takes time to master.
Actually both ways you describe can work. I can’t give much guidance on this because the depth of explaining it is beyond the scope of what I can cover in writing. I usually guide my “one on one” students here after I can actually see and correct the previous “guided” templates.
The objective is to create a solo using the approach notes correctly, create a balanced range/contour, and use proper voice leading at the point of chord change to the closest guide tone.
The sample on p.10 is from exercise 3 while the sample on p. 64 is from exercise 6. So everything is different. The rhythm groupings assigned for each exercise are for all its variations. Is there a specific reason why you chose Exercise 1? It is the only exercise with a 4 note rhythm grouping and probably the most limited one due to the limited amount of options available.
By the way, if you want to do these on your own, that’s fine, but I strongly recommend that you do them under my supervision through Skype lessons as I will otherwise not be able to help you. At least to start out. There is too much room for misunderstanding due to a lack of more detailed interaction/feedback on both parts…
Sorry, the videos are not downloadable. The great majority of the information is available in the 3 e-books which you can read and use to review when you’re not online.
No, you aren’t supposed to do the other ones for now. Please be sure to follow the checklist at the end of the Lesson book if you need a detailed road map as how to work with the 3 books. If you are in module 2, you should now be able to download the books in their entirety from the dashboard. Also in every module, in it’s “download” section, there is an instructions and assignments PDF you can follow just for that module. Hope this helps 🙂
Hi Matt,
You must be looking at an old version of the Lesson Book. That was corrected a while back. Make sure you download the latest version for all the books from the dashboard.
Richie
Alex, I think you are reading the exercise incorrectly. From your description I assume your root is C. Are you aware that this specific exercise is descending only? Therefore it goes from the highest 3rd (E) on the 1st string down to the 6th string and does NOT ascend from the 6th to 1st string.
In the Calisthenics, when there is a “down” arrow on the left, the exercise only works descending; if there is an “up” arrow, it only works ascending which is the case for the 3rd and 4th exercises. All other exercises are to be played descending and ascending as in the videos. Is this what is throwing you off?
