[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! 🙂

[Richie]

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!

[Richie]

I think your ear is not trained to hear this, and you are not used to the altered scale. There is nothing wrong with the etudes. These are all very typical bebop lines and techniques.

• This reply was modified 6 years, 2 months ago by Richie.

[Richie]

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.

[Richie]

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.

[Richie]

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

[Richie]

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…

[Richie]

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.

[Richie]

Hi Han,

I’m not sure what you’re hearing but I just checked and I am playing exactly what is written…

[Richie]

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 Guitar

• This reply was modified 6 years, 5 months ago by Richie.

[Richie]

At 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.

[Richie]

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.

[Richie]

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.

[Richie]

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…

[Richie]

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.

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