Forum Replies Created
-
Posts
-
Wow, Tom, that’s lots of work.
I’m now 2 years and change into Volume 1 but I upgraded to Arpeggio Frameworks in the summer and am working on these together. My hangup was super locrian and it took me months to hear this sound and transmit it to my fingers and this is still going on. I think it takes as long as it takes. Every time I come back to some of the calisthenics, they are played better.
Life gets in the way. I play regularly with others with my old style, but slowly but surely, Richie’s course has changed my playing when I least expected it.
Phrases and licks happen especially when one is not thinking specifically and the reflexive aspect of playing comes to bear.I may spend another year before I go into Volume 2 but this is the time it takes. Richie has said in the beginning that some players take years, not 15 months to finish a module. If this is the case, so be it, and enjoy the ride. This is a spectacular course but requires long term commitment to bring it to fruition.
Jack.
Richie, further, Exercise 3 pattern 5 ascending you have a lower NT for 3 instead of 1.
I’m being particular because I’m trying very hard to get the Super locrian patterns under my fingers and I must say this has been extremely difficult to hear them as they are and not as a melodic minor 1/2 step up. (I think I’ve spent about 4 months on this.) But I’m forging through and encouraging anyone else who is having difficulty to keep plugging away and the breakthrough will come, even though it might take longer than expected!
Jack
Richie, further comment about Calisthenics 1E:
I believe that 1. Lower NT for 3 and b7 may need adjustment as I am hearing you play descending the lower neighbor b7 #5 b7 as an upper neighbor.
Jack.
Possible Errata, correct me if I’m wrong.
Bebop Calisthenics 5A Exercise 4 Pattern 4 Dorian 3 note enclosure.
You seem to be playing an extra b7 (Eb) on the G string descending which seemingly should not be there when comparing it when playing pattern 2 on exercise 4. Is this correct?
Even so, the extra note creates a symmetry between the 2 phrases that is slightly off without it.
Also ascending, you’re playing an upper double chromatic instead of lower.
Jack.
In fact, initially for the first few modules, I looked at the elaborated calisthenics. As of late, I’m only looking at the summary. Going back to the elaborated versions for a peek, in fact, you suggest inverting the order as above.
Thanks for the elaboration. Trying to get the rules in my head and following them rendered some “cognitive ambiguity” in deciding if the 2 was a 9. Your answer is great; the ear is usually king, but the theory is helpful as well.
I know it’s picky but I remember having only seen PT defined between chord tones. If the “line” above (3, ch pt to 9, and 1) is all 8th notes, I don’t see definition for the 2 being a 9 UE. Have you defined ChPT to non harmonic tones (2,4), or are we to assume this back in Lesson 2?
Thanks, Richie. That was not intuitively clear to me, so this is very helpful….
Can you think of any particular song or album by the beboppers where they are playing slow enough that we hear them deliberately using this device. Most of the stuff I listen to has screamingly smooth chromaticism and this is hard to slow down to digest the small portions…PS. A song by Jo Stafford, on the top of the 1954 Billboard hit parade, “Make Love to Me”. I have included an excerpt which has an upper double chromatic from the 5 to the 3 via the #4/11, 4, 3. This would be a modally ambiguous device (it sounds OK to me). Can you comment…
I actually wasn’t sure how to notationally portray it but I was thinking, for example, of the 1st few bars of Blue Monk and how I might express those tones intervalically.
I think you have explained the rest.One further note: I see 1-6-b7-5 as part of #2 Summary of bebop calisthenics p. 67 workbook Arps with 2 note enclosures…..
Actually, I should have compared to 1-4-2-3 of measure 4 which is similar as I see it. So form 4-2-3 with 6-b7-5.
