[Ervin C Osvart]

Hi Richie,

Thanks for the prompt reply.

That makes perfect sense and I kind of figured there was a “means to the madness” so to speak. I am a bit of a slow study, so the challenge for me is also retaining what I’ve covered, so I certainly don’t want to forego any techniques or devices that are going to appear in subsequent modules. That said I will heed your advice and work on the recommended callisthentics. I try to make a point to spend time only improvising lines using the principles studied so far, but I always end up sounding more bluesy than jazzy, even though the etudes covered have some nice jazz tonality. Even some of my own rhythm templates sound like bebop, so I’m quite happy about that, but I do struggle to capture that essence when improvising. I see the lines in the etudes in module 5 are more complex in their harmonic structure,resulting in a lovely, yet subtle bebop sound, which ultimately, I am trying to emulate. .

Nonetheless, I shall continue as suggested.

Thanks,

Ervin

[Ervin C Osvart]

Hi Richie,

I stand corrected, we are on the I7 chord. With what you’ve illustrated in Module 1, I’ll make a point to utilize the 3 and 7 as my guide tones through the changes as I begin to compose my own lines with the resources available up until now.

Thanks for your input.

Ervin

[Ervin C Osvart]

Hey Richie,

Thanks for that and it is very helpful.

What you’re saying makes perfect sense and could very well be the reason why I struggle with it, putting the cart before the horse, so to speak. There’s a video of Al DiMeola where he talks about how the foot cannot sway from the beat whatsoever, and he actually calls it a “deep study” , which I believe to be true.

I’ll follow your advice and adjust my practice regimen accordingly.

Thanks again,

Ervin

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