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Well said. I’ve felt the limitations of my playing over the years with only the forms that I know and have used regularly. That’s why I’m here!
Chris, I think being able to do the etudes in all 7 positions is quite advanced and what might be expected toward the end of the course. Richie can call me on this if I am wrong. I think what Richie has done is put the “stretchy” patterns first as they are harder to master than those without stretch. Previous teachers of mine never did patterns one and four saying one didn’t need them if you could do patterns like 2, 3 and 6 (E, G, and C of CAGED) designation.
You can probably put a ,caution, explaining the difference with that video download. That’ll save you from having to correct for a while, it might save some time for those who are wondering what’s happening here. I like to use all resources for my learning and therefore I didn’t analyze just the summary or the workbook patterns at length…
Thanks Richie.
My issue was trying to remember these in a logical order that I could reproduce on demand in my head. Thus I would have the Global Base diatonic exercises and then add the chromatic nuances. The only technical difficulty that I had was and is trying to learn the chromatics to each exercise. Thus, this was organization for me….
Jack
I’ve uploaded here an “elaborated” summary for my reference of all the enclosure pair numbers and their exercises for anyone who might find this useful. These correlate with the video and workbook mixolydian 2 note enclosure exercises. This is a Word document so it can be adjusted to one’s needs…
I found that I can learn the various enclosures much easier if I have each exercise of the Calisthenics on 1 page as Exercise 1–Patterns 1/4/5, Exercise 2–Patterns 1/4/5 rather than having to flip back and forth between pages of ALL Pattern 1–exercises 1-8. See examples of Exercise 1 and 2 that I made. I do use the summaries but like to look at the full “audit trail” as well when learning these.
Have you thought of putting the exercises also in such a form (ie. as another way of looking at them.?
Jack
Richie, question about defining UA’s. They’re suppose to be 2, 4, and 6. So in the ascending with U/A from above, we have 1 and 3-6-5’s. We then go to b7-2-1 and b7-4-3.
1 is a chord tone. Can we have a 3 or 5-1-b7, or is this not allowed (not a non-harmonic tone)?
BUT, then, in the enclosures, we have 5-1(above)-6(below)-b7 which has the first approach tone (‘1’) as a _chord tone_. (I’m not sure if the ‘5’ prepares the ‘1’).
I think what I’m trying to ask is can the 1 be used as an approach in this situation even though definitions say only the 2,4, and 6 should qualify…..?
Richie, doing mixed enclosures and have the 5 ch 6 b7 which shows a chromatic from above. Can you explain if we are to watch the chromatic from above due to ambiguity….
thanks, JackI wanted to add:
Do you mean the LEAP should be less than 1 octave. ie. 3-UP 2/-down 1 is OK but 3-UP 4/down 2 is too much. (sorry no scripted arrows here).Hi Richie.
So, I’m at the Diatonic unprepared approach summary sheet. I see they are not complete as you note.Are there any restrictions like we had ambiguous upper neighboring chromatic tones?
Is this summary correct: As long as we are going from one chord tone to another via approach note (2, 4, 6) a 3rd or greater and less than an octave (greater is outside of bebop), we are OK?
Jack.
I understand what you are saying. I know that you have said that it becomes impossible to use accurate pick stroke based lines when you incorporate 8th note triplets (mid p43 workbook) but I did not see it for more simple 8th note groups and thought we should. Interestingly, on p. 43 you show pick strokes; on page 44 and 45 (syncopated rhythms 2) they are not shown. Might this be the transition from alternate picking to keeping track by foot or ear?
1) So you are saying we should be looking at the larger picture of the rhythm cells of each measure as a words. (Then we can keep the proper time in our feet and then our heads).
2) I hope we are not wrong if initially we maintain exact alternate stroke pickings for these cells in the etudes. (I have over the years studied Bill Leavitt’s Melodic Rhythms for Guitar and this book is packed with varying forms of syncopated 8th note rhythms, but not in the form of Rhythm Cells).Thanks for your comments on these points.
Jack.
Richie, p.45 of workbook Syncopated Rhythms 2, haven’t seen previously mentioned (and don’t know if this has been corrected) but I believe that the picking is incorrect on the 4 triplets and should be down/up/down.
Jack
That’s what I was hoping for. I thought we were to try and master every combination in the weeks that we had on this module in that some of these combinations might be better suited to some of the upcoming lessons with double enclosures. But then, I think I am getting ahead of myself.
Thanks Richie.
