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Hi Richie,
No worries and thanks very much for the reply.Coming from a piano background, I recognize that there’s more than one way to finger a given phrase. I suspected that this might be the case for guitar too, and so have been trying to get comfortable with these variations. It’s good to get your confirmation of this fact though.
Looking forward to Volume 2, when I eventually get there! 🙂
Thanks again Richie!
n…also, the same discrepancy appears in the next approach, to the b3 on the 3rd string/10th fret.
In the video the two approach notes are played on frets 8 & 9 of the 3rd string, but the book indicates the first approach note should instead be played on the 13th fret of the 4th string.
Hi again Richie!
Here’s an example where there’s a discrepancy between what’s notated in the workbook and what’s demonstrated in the video, and doesn’t involve the 2nd and 3rd strings.Module 5, video #6 “Bebop Calisthenics 4A, Dorian, Pattern 2”, variation #1, lower double chromatic approach to b7 and b3.
In the workbook on p. 77, #4, ascending, the double chromatic approach from below to the b7 on string 4 is notated as string 5/fret 13, string 4/fret 9, string 4/fret 10. Whereas in the video, at :46, the two approach notes to the b7 are fingered on the 4th string, frets 8 & 9, ending on the b7 on string 4/fret 10.
The fingering in the video makes more sense to me, as we stay in position, vs the notated version, where we have to move out of position to reach the 13th fret on string 5.
Thanks Richie!
Sure, here’s one example.
Module 5, video #6 “Bebop Calisthenics 4A Pattern 2”, variation #3, lower double chromatic approach for 5 and 1.
In the work book on p76, descending, the first approach note to the 5 on the 2nd string is notated as being played on the 3rd string, 12th fret, whereas in the video, at 1:33 the same note is played on the 2nd string, 8th fret.
I supposed this is an example where you mention above that “between the 2nd and 3rd string which in most cases have 2 options.”
I suspect we should be comfortable with both variations. 🙂
Thanks as always Richie!
Hi Richie – I’ve noticed some other discrepancies between the fingerings shown in the calisthenics videos and what’s notated in the book.
Is the purpose of the videos simply to demonstrate how the exercises should *sound*? I.E., not so much how they should be played. Also, given the differences is fingerings between the videos and the books, is it fair to say there’s some room for interpretation when it comes to how we finger these exercises?
Thanks as always!
Ah, fair enough! In my defense, I last read p.17 9 months ago when I first started the course. 🙂
Thanks Richie!
Thanks Richie. I guess I misunderstood how the book is laid out. I was under the impression that for each of the calisthenics listed on the summary pages, you could find corresponding fingerings/notation in the pages that precede the summary.
So, in the instance of calisthenics 4A, #2 (upper double chromatic b7 and b3) on the summary page 80, there would be a corresponding fingering/notation in pages 72-79.
Thanks!
Ah, this is great, thanks very much. And yes, once I’m at faster tempos, and larger enclosures, verbalizing shouldn’t be necessary.
Super, thank you. And I mistyped above: the PDF says to practice Dorian patterns 4 & 2, not 4 & 1. 🙂
Thanks again!
Joe – Have you ventured into the Arpeggio Frameworks yet? That, to me, is where the real meat and potatoes of the course is. That said, I’m only through Module 4, but the AF’s have been a real game-changer.
Ah, I missed that neighboring tone in measure 5, thank you!
I’ll be more diligent about placing resolution arrows on all the approach notes going forward, apologies for that and thanks for calling it to my attention.
Thanks very much for the feedback Richie. I’m really enjoying the course and slowly but surely seeing the work begin to pay off.
Ah, right you are! I need to get in the habit of looking ahead in the books. I just started working on the Module 3 Rhythm Templates, so this is timely.
Thanks Richie!
