Music Theory Workbook for Guitar: Volume
Two:
Scale Construction and Application
FREQUENTLY ASKED QUESTIONS
| Q | Here's how I've been taught scales (modes) by my teacher.
1st: Memorize major keys, major scales, major triads, and major 7th arps. 2nd: Use a pattern based approach to practice above mentioned. He calls them start points. Low E string; C D E A string F G A B C Starting from the C I play Ionian, D I play Dorian etc... Do this with scales, triads and arps. 3rd: Apply this to Jazz tunes Ex. If I see a vi ii V I in C using start points I play Aeolian (A string), Dorian (E string), Mixolydian (A string), Ionian (E string). P.S. You can also apply the above mentioned to learning Chords also. I'm curious of your opinion. My questions; 1. Your Theory volume 2 book looks like it is set up very similar to the way I already play scales. However, instead of playing C Ionian, D Dorian, E Phrygian, etc... you recommend playing C Ionian, C Dorian, C Phrygian, etc... What made you recommend playing them all in C instead of one key at a time? 2. How do you recommend practicing both the 19 scales off of arnoldjazz.com and the 22 out of the theory volume 2 book at the same time? 3. Considering my above vi ii V I example, what ways do you recommend playing scales over a similar example? |
| A | There are two ways that I would recommend you think about scales.
Scale Methods: 1. A Scale can fit over multiple chords because the chords are all heard in one key. 2. A Scale can be played over one chord and that one chord is the key center. Basically you need to work at thinking of scales in two different ways. For instance if you have a C Major scale you need to be able to start on any degree of that scale any where on the fretboard and be thinking C major. So if you start on the low A on the low E string and play the C scale you shouldn't be thinking A Aeolian because in this instance you are trying to get used to hearing C from any degree so you can apply this knowledge to a progression of chords that are all being heard in one key center. Like I vi ii V I. You also need to apply the scales so you hear each scale as a tonal center. This is useful if you are playing a one chord vamp which stays in one key. This is the method I recommend in the Theory Workbook for Guitar Volume Two. For some people the above two paragraphs may seem to be saying the same thing. i.e. practice all scales from all degrees and think of each degree of the scale as it relates to the key you are in. Basically whether it be one chord or a bunch of chords play and think of the scale as it relates to the key you are in at the moment. The problem here is that you will get people recommending that you play I vi ii V I and think of each chord with a different scale. For instance if we were in the key of C Major and had this chord progression: I (play C Major) vi (play A Aeolian) ii (play D Dorian) V (play G Mixolydian) I (play C Major) If this progression was moving extremely slow then you might hear all these chords as a new key center. If that unlikely event occurred then you would think of each of these chords with the scales listed. In most cases you will hear all these chords in the key of C major and therefore should only play and think C major for all chords. (Basically you want to think the same way you hear) The next question is how you practice all this stuff. First off most instruments have the luxury of only having one of each pitch on their instrument. Guitarists don't have this luxury and some notes can be found up to 5 times in different places on the fretboard. This creates a problem when trying to practice things like scales and arpeggios. The next problem is dealing with students tendencies to see patterns and to take the shortest route whether it is the best thing or not. To keep students from seeing patterns I have them play each scale in one key because the pattern I want them to see is how each scale changes i.e. when you go from a C major scale to a C Dorian scale you flat the 3rd and the 7th. I want them to see where that happens. I also recommend you use the vamps that come with the book or the other vamps found in the member's area when practicing each scale so you hear that scale in the right key. (If you just play a D Dorian scale it's easy for your ear to just hear that in C Major unless you have a D minor chord playing then you will hear it in D minor). So with all that as background I would recommend playing each scale from each degree on the low E string thinking of that scale as the key center and hopefully having a vamp going on so you also hear it as the key center. I would also spend at least the same amount of time or more just jamming with the vamps on the website or make your own so you start to hear ideas using these scales. I would also recommend you get Ear Training One Note Complete and Fanatic's Guide to Sight Singing and Ear Training so you learn the proper way to hear sound. |
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| Q | I really enjoy the book. I've been moving lately and have put it down but will start again soon. I have been studying West African balafon for the last few years and I was so excited to hear about the proposed exercises that I sat right down and ordered it at my next internet session. I'm also strongly considering applying to Berklee. Do you have any tips? thanks again |
| A | It's hard to mention everything you might need to prepare for when entering Berklee College of Music or any college to study music. One big thing will apply at most music colleges: You will have very little time to actually play your instrument. This is because music colleges will initially try to improve your basic musicianship skills, like music theory, sight reading to develop your recognition and performance of rhythm and melody, and ear training. The colleges must bring the students up to a basic level of musicianship before anything further or more exciting is taught. So if you can get yourself up to that level BEFORE you go, you will really get a lot more out of the program, and you will get to play your instrument a lot more. I would recommend working through as many of my rhythm books as you can. i.e. "Rhythms 1-3", "Rhythm Primer", "Odd Meters", and "Contemporary Rhythms 1-2" and "Independence One". You should be able to read these books at the following tempos: "Rhythms One" at half note equals 120 (metronome on 1 and 3 and also 2 and 4) "Rhythms Two" at quarter equals 120 (metronome on every beat) "Rhythms Three" at quarter equals 50 (metronome on every beat) "Rhythms Primer" whole note equals 100 (metronome one beat per measure) "Contemporary Rhythms One" same as Rhythms One "Contemporary Rhythms Two" same as Rhythms Two "Independence One" various tempos depending on exercise For music theory I would work through "Music Theory Workbook for Guitar Volume's One and Two". Even if you are not a guitar player you could work through the exercises because each problem requires that you answer it in traditional notation (guitarists are also required to place the notes on the fretboard.) If you can bring your music theory up to a level where it is a language you can speak fluently you will get a lot more out of music school For ear training I would recommend getting" Ear Training: One note" either Beginning or Intermediate level depending on your background (read more about the book at amazon or on muse-eek's website to make your choice) I would also purchase "A Fanatic's Guide to Ear Training and Sight Singing". If you can get your ear to the point that you understand what's going on by just hearing the notes you can process music and musical concepts much faster. I know this sounds like a lot of work but this can make a major difference in your success at college and in music in general. |
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| Q | Thank you for the books you have put together. I am new to music theory and newly learning the acoustic guitar. I have taken one semester of guitar at a University and I am presently enrolled in Fingerstyle Guitar 2 and Guitar Chord Theory. I was looking at Amazon for additional books to supplement my learning, and I found your books. I have purchased the first and second volumes of the Chord Workbooks. The information contained within those two volumes about chords is impressive, and I'm sure as I grow in my development I will find it all indispensable. However, I was wondering if you have written a book that describes scales in detail? My Guitar Chord Theory class just started and there is quite a mix of beginners to advanced guitarists. I'm feeling a little overwhelmed by their knowledge of guitar/music theory and my almost complete lack of it in comparison. I'd like to learn how to build scales, the best way to study them, and I'd like to play them with ease. I do have a workbook provided by the University that is helpful, but it seems written more for the student who has more knowledge than I. It doesn't explain which finger goes where when you start at the second position, or what does it mean to be at the second position, etc... It assumes that I will understand this already. I didn't skip any prerequisites for the class, so I feel I must need additional instruction. Can you tell me if a beginner will find it easy to grasp scales and how to perform them by purchasing your Music Theory for Guitar Vol. 2. I realize that I should probably purchase both Vol. 1 and 2, but I'm a little tight for spending money after buying all my books for 19 credits. I'd like to just get the one that will help me right now, and I'd get the others later. Also, A Big Metronome, is it helpful for sight reading guitar sheet music and understanding the timing between notes? I'd love to have some more practice with that as well. Thank you very much for your time, and I'll be looking forward to your response. |
| A | Thanks for contacting me and thanks for buying my books. I think the 2nd volume of the Chord Workbook may be a little over your head to start with. But you should find that once you get comfortable with the chords in Chord Workbook Volume One the chords in Volume Two will be particularily helpful when you start playing with ensembles. The chords in Volume One are more commonly used in solo and duet playing. The chords in Volume Two are more useful when playing with an ensemble because in those situations one doesn't generally play any notes on the two lowest strings on the guitar. That's because the two low strings can interfere with the bass player's range and cause a muddy sound. Using chords based on the upper four strings keeps your sound more separate and discreet and can also help you work better with a piano player. As far as scales go I would highly recommend getting the 2nd volume of the music theory for guitar. This book gives you information on how to build 22 scales and also gives you exercises to help you memorize each scale. Also the muse-eek website gives you a bunch of audio examples so you can start applying these scales. If you need help on how to practice scales go to www.arnoldjazz.com and go to the music workshop. If you look under the scale section you will find 19 scales that you can download for free and these will give you the fingerings and how to play them all over the guitar neck. You definately should not get The Big Metronome. This book is for intermediate to advanced musicians looking to improve their internal concept of time. Obviously it would help you but I think for now you need to work on the basic mechanics of music. If you want to help your recognition of notes on the guitar via notes on a page I would recommend Single String Studies for guitar Volume One. This will give you exerices on one string at a time so you can concentrate on learning were each note is on each string in relation to the notes you see on a music staff. As far as rhythm goes I would recommend Rhythm Primer. This will not explain the timing between notes but it will give you simple rhythms that you can learn. If you run into a rhythm you don't understand, e-mail me or check the FAQ page where your question may have already been addressed. It sounds like you are very dedicated to learning music the right way and I applaude you for this. You are the type of person I have written my books for and I'm glad you have found them useful. I wish you great success and don't hesitate to contact me if you have more questions. By the way postions on the guitar neck refer to the fret that you place your index finger on. so... if you start playing something on the 5th fret with your first finger on the 5th fret you are playing in 5th position. I too was mystified when I fist started studying at Berklee, as to what they meant when they talked about position. but its really that simple---it's where you put your index finger that determines the position. |
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| Q | I've recently purchased your Music Theory and Chord Theory workbooks and find them to be excellent sources for studying the guitar. However, I do need clarification on the "Cycle 5" Movement through the cycle 5, (C,F,Bb,Eb, etc.) is in 4th's (5 half steps) and not in 5th's as I previously assumed - Please explain.
Also, I know the study/practice pace will vary depending on the student's time, motivation, etc. but is there a recommended pace for your workbooks? |
| A | Thanks for buying the books and I'm glad you are finding them useful. Cycle 5 can be thought of in two ways. The most common way is to think moving UP in 7 half steps i.e. C to G etc or 5 diatonic step in the key of C C i.e. C to D to E to F to G equals 5 steps or a 5th. But, you can also think of moving DOWN 7 half steps from C which would be the note F. Once again if you are in the key of C you could also move down 5 diatonic steps i.e. C to B to A to G to F which equals 5 steps or a 5th. The reason I use the cycle moving to down rather than up is because of the way music (particularly contemporary music) moves in many compositions, i.e. it modulates through keys moving DOWN the cycle 5 pattern. But, really either way will work when practicing your theory or chord work.
As far as how to work through the "Chord Workbook for Guitar Volume One and Two" I would learn maybe 10 to 15 chords moving them cycle 5 the way I recommend in the book. This will help to make sure you know these chords in all keys and will also help you memorize the notes on the two lowest strings on the guitar. The next step would be to skip to the progressions in the back of the book. By learning chord progressions you will hear how these chords relate to real music and it will help you to memorize each new chord. One of my main criticisms of other chord books is that you aren't given enough examples of how these chords are used and what they sound like in a musical example. I noticed through my many years of teaching that if you don't apply chords to a musical situation it is almost impossible to remember a chord voicing for a long period of time. In "Music Theory Workbook for Guitar Volume One" I would recommend doing a page a day. Some of my students also do one example from 10 different pages a day because they feel it helps them remember chords better. The most important thing is to at least do some work everyday. In "Music Theory Workbook for Guitar Volume Two" I would recommend taking one scale writing out the answers and then applying that scale to the midifile chord progressions found on the Muse-eek website. Once again some of my students do one example from 2 or 3 different scales a day because they feel it helps them remember scales better. The most important thing is to at least do some work everyday, and applying these scales to the midifile progressions is a must. Really the bottom line of both theory books is to keep you "thinking the notes." Over time you will see a pattern developing which is OK as long as you know what the notes are and you are not relying on a pattern. With all practicing, consistency is the key. Whatever amount you can do always try to practice every day rather than once every few days. I wish you good luck and feel free to write back if anything I have said is unclear. |
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| Q | Do you have to know how to read music to use this book? I'm a beginner and I'm starting to feel like a parrot playing songs with no understanding of how or why it works. I want to learn much more. Do you have any suggestions? If this book isn't right for me, which one is? |
| A | That's pretty funny about feeling like a parrot; I like the analogy. You don't need to know how to read music to work with the "Music Theory Workbooks" because both of them teach you the basics of reading music so that you can work through the exercises.
"Music Theory Workbook Volume One" helps to develop your ability to spell chords and know what notes are in each chord type along with what tensions are available for each chord. It also teaches where the notes for each of these chords are on the guitar. "Music Theory Workbook Volume Two" teaches you 22 scales in all keys and gives you typical progressions to use to improvise with the scales. There are audio examples of each scale on the muse-eek website. Both books also talk about the typical chords that make up chord progression and why. Of course no book can cover every chord progression and explain how it works. That's part of the reason for the info@muse-eek.com and the faq@muse-eek.com which is a forum where you, the student can ask specific questions. Building an understanding of the "hows and whys" of music really requires many different tools. Using the Music Theory books is like learning the alphabet of a new language. Building sentences, paragraphs and stories would be the next step. I have books that will help you with that phase when you get there. Remember that consistency and having a regimen of practice when working through these books is the key. Try to do at least a few of the exercises every day. If you have any more questions let me know |
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| Q | I don't understand how transposition works with the guitar. I realize that guitar is a transposing instrument when you read a written part but I don't understand what that means. Could you explain it to me? |
| A | Well this transposition stuff does get confusing doesn't it. Let me give you a couple of examples that will help you see how to write for the guitar and also understand what you are reading when you play guitar music.
First, let me say that the guitar is a transposing instrument and sounds an octave below where piano music is written. So, let's say I'm composing a melody at the piano and I want the melody to be C, D and E starting on middle C on the piano. If I want the guitar to play this melody in the same octave that it is sounding on the piano I will have to write this on the 3rd space of the staff for C, moving to the 4th line for D and then the 4th space for E. As you can see the guitar is reading notes an octave above so that the sound will come out in the same octave of the piano. Second, let say you are reading a guitar part and the first three notes are C (one ledger line below the treble clef or what would commonly thought of as middle C) to D space below lowest line and E first line of the treble clef. When you play the first note C this is not sounding in the same octave as middle C it is the pitch one octave below middle C. As you can see from these two examples the guitar as far as pitch is concerned is a fairly low sounding instrument - (the low e-string sounds way down an octave and a minor sixth below middle C) but with a very broad range of notes; at least four octaves. This actually is one of the reasons they made the guitar a transposing instrument because it would need both the bass and the treble clef to accomodate all the notes on the instrument. Rather than have guitar written with a grand staff (grand staff is when you use both the bass and treble clefs together, like piano) they just use the treble clef but make the guitar a transposing instrument. It's really ultimately easier to do it that way. (--you don't want to have to read grand staff, do you?) Single String Studies is written for guitar, therefor it is already transposed into the treble clef for you . But remember if you read middle C in an exercise, you are playing the 3rd fret of the A string and it is actually sounding an octave below this note. If you are playing along with a pianist and looking over their shoulder at treble clef, you will have to play an octave higher on your instrument if you want to play the same pitch and blend with the piano.. Hopefully this helps you understand and picture how this system works. |
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| Q | I am a beginner of actual guitar instruction, but have played for 2 years. Anyway, I was wondering if you were to place your books in order of "importance for beginners" or "best way to learn" and the student had the amply time and money to focus his/hers time and energy into the books what order would you recommend them? I have already bought your, "Chord Workbook for Guitar Volume 1" and already (in only a week in fact) have learned tons about what makes chords, why certain chords go together etc, but is there a book of yours that would be more beneficial in the long run to study before this one? I realize that all students have different wants/desires out of the guitar but could you please give me a kind of "road map"? Thanks again Mr. Arnold, and I look forwarding to getting better at the guitar through your books. |
| A | Regarding a regimen of study with my books, I recommend starting with "Chord Workbook for Guitar Volume 1" and "Theory Workbook for Guitar" Volume 1 or Volume 2 (you don't have to complete Volume One before going to Volume 2) Along with this I recommend getting started with Ear Training. You should at least work with "Ear Training: One Note Beginning" and at some point not too far in the future you should start working with "A Fanatic's Guide to Sight Singing and Ear Training."
You should download the proper way to play scales, which is located on the www.arnoldjazz.com music workshop site. This will give you a good base to start from. Also you should get yourself a tape recorder so you can record some chords/vamps to play over. Keep in mind that there are 5 basic areas that you should be working on to develop properly: 1. Music Theory 2. Chord Work 3. Ear Training 4. Scale work 4. Improvisation (playing over chord progressions)-- basically being creative! This is where you apply the chords, scales, theory you've been working so hard to learn. This will also develop your ear and your musical connection to real music. You should also register for the "members area" on the main book page of muse-eek.com Over the next year muse-eek will be adding extra text and audio files, videos and other educational information which is free for you, being an owner of one of my books. |
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| Q | Hello I play in a group that plays strickly for fun. I am interested in learning how to play some lead. All I play now is strickly basic. I know my major chords G,A,B,C,D,E,F,most minors. How do I get to where I want to get. Everyone I talk to tells me they just picked it up. That don't help very much. Do you have any solutions? If so, please help me. |
| A | I would recommend you that you purchase the "Music Theory Workbook for Guitar Volume 2." This will show you the scales you need to learn to improvise, and through using the muse-eek website you can download midifiles and play along with a "band" using the scales you have learned. You should also go to the www.arnoldjazz.com site and download major scales. This will show you how to finger the scale.
You would probably want to pick up a chord book too. This will help you expand you chord palette. It will also help you to understand how to play the chord progressions found in the Music Theory Workbook Volume Two. Of course I would recommend the "Chord Workbook for Guitar Volume One" because it explains how these chords are built and gives you 36 chord progressions to work on the chord voicings you will be learning. Some of the theory information in the "Chord Workbook for Guitar Volume One" is contained in the beginning of "Music Theory for Guitar Volume Two" but the "Chord Workbook" goes into more detail especially about where and how each chord is used, which is important information for someone like you who is just getting started. Also, I plan to develop additional audio files for the "Music Theory Workbook for Guitar Volume 2" which will be found in the new "member section" of the muse-eek website. (But it may be a while before they are up.) Let me know if I can be of any further assistance |
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| Q | In the scale workbook (and elsewhere) you emphasize learning the scales not as memorized finger patterns but by learning the notes and the spacings. I have pretty good muscle control and memory so I quickly begin going too fast to keep up with the labeling of the notes, especially on the descension. What do you recommend? Should I practice the scales very slowly while reciting the notes or spacings and also practice them for muscle memory? |
| A | Overall you want to be able to stop on any note of a scale and know what the note is and what relationship it is to the scale you are playing. For instance if you were playing an Ab Phrygian scale and you stopped on Db you would know it is a Db and that it is the 4th of the Key of Ab Phrygian. You also want to be able to stop on any note and know what that note is in relationship to the scale just by hearing it. One thing I would recommend as you work on these scales is to hum the root of the scale as you play the scale. This will help you to hear each note in relationship to the key. Once you have this ability you can think patterns. When you are improvising you should not be thinking notes but trying to hear melodies. Usually limiting yourself to a small region of the neck is a good idea so you get comfortable with what the notes are and how they sound so you can then listen for melodies you might hear. Remember in some cases it can take a while before you hear melodies in your head and even longer before you can play them on your instrument. |
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| Q | Regarding the recommended chord progressions for use with the scales: I am not set up to record very easily. Is there anywhere you know of where I can obtain recordings of the chord progressions you recommend for use with the scales? Or other useful progressions for that matter? |
| A | Midifiles of the chord progressions in Music Theory Workbook for Guitar Volume Two can be found under the book's title on the muse-eek.com website. |
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| Q | In an article on your website you said that a great way to master a scale is to use modal sequencing. Do you have a series of sequences that you recommend or does it really matter? |
| A | There is an article in the member's area on applying music theory. It contains a rough explanation of modal sequencing and some examples. I would recommend you start with 2 note sequences. For every two notes there is two possible combinations i.e. If you had the sequence C up to E, then D up to F then E up to G you could also do this sequence E down to C, then F down to D, G down to E etc. You could also add one more permutation in there which you could do later C down to E, D down to F etc.
To start with I would go through all the 2 note sequences with all 19 scales listed on my website. I know you probably think I've lost my mind because that is a huge job. But this is what my students do and at the other end they are incredible. Give yourself a few years to work through all this. Just try to do it an hour a day consistently and you'll see amazing improvement. Use the fingering from my website and the right and left hand technique from the ebook. Be careful with your technique you don't want to go through all that with bad technique. So just so you understand what I want you to do. you have: C to D 2nds C to E 3rds C to F 4ths C to G 5ths C to A 6ths C to B 7ths Two possible forms for each i.e. ascending and descending. I would start with C major and start with the second sequence in every position on the guitar. i.e. C up to E, D up to F, E up to G etc. (start from the low E string so the sequence would actual start F up to A, G up to B and work your way across the neck, then go back and start on G on the low E string up to B, A up to C etc.). When you finish that do the same sequence using the C dorian scale. i.e. C up to Eb, D up to F, Eb up to G etc. Go through all the scales in C like this then move to the key of F. The reason I started you on the 2nd sequence (3rds) is because students find that one more interesting. You should do the 2nds but do them last. |
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| Q | I looked at your web site and noticed that your ionian mode major scale study included 7 positions/patterns with 3 notes per string and a one fret position shift between the 2nd and 3rd strings. This is a bit different from Leavitt's book.
Your method seems better because it: 1. has picking symmetry 2. has less patterns to memorize which is important considering all the scales, arpeggios, etc. (I have been getting bogged down with this using Leavitt's method) 3. provides 6 V - I scale changes without changing basic position and any other scale root is just one fret position change away. 4. has patterns with a larger range of notes. Am I missing anything? What are the relative benefits of Leavitt's method, easier sight reading? |
| A | Both the 3 note per string and the "Berklee" method of playing scales have their merits. You should know both methods. One is not overall better than the other. The only criticism I would give of the Berklee method is that it puts to much emphasis on playing in position. Position playing is OK if the melody you are playing is available in a position. Most of the music I play isn't, though I should also say that I play what many people would consider to be very weird music. Check out my website and CDs to make your own decision. |
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| Q | How do feel about the CAGED system of learning chords, scales, and lead patterns? Do you feel that this system helps with fretboard navigation and being able to play anywhere on the neck? At about the same time I purchased your ear training material, I also purchased the Bill Edwards book "Fretboard Logic", and it seems that he is basically using the CAGED system to attain a greater understanding of the fretboard. Should I use this system? Will it help me? Or will it clash with the stuff that you want me to learn and start out with? Thanks. |
| A | I have a few problems with the CAGED system but mostly I have a problem with how it is presented in "Fretboard Logic." I guess first you have to understand that I believe to be able to play an instrument well you need to know the names of the notes on the instrument, and in order to understand a scale or lead pattern you need to understand what notes are in the scale, how it is organized and where you can use it in real music. To anyone who plays any instrument but guitar this is obvious but you'd be surprised how many people go merrily along playing a guitar for years and don't have a clue as to what they are playing because their playing is executed through visual cues.
The CAGED system is pretty limited and you'd be hard pressed to use it successfully over even the most basic of contemporary music chord progressions. The CAGED system as taught in "Fretboard Logic" promotes not knowing the notes you are playing and just learning patterns. Not that patterns are bad, but you first need to know the notes and degrees of a scale that you are playing and then notice a pattern. As you will notice in the "Fretboard Logic" book, none of the diagrams give you the name of the notes, properly identify the scale or tell you where you can use it in music except on a C,A,G,E and D chord. Which really brings me to my next point. There are 13 basic chord types in music and 12 major keys not to mention 100's of modes. Can anyone really believe that learning where the scales for 5 major chords are with no explanation as to their relationship to a key center or how you will hear these chords/scales in real music really help you to play well? I'm sorry but I don't think so. |
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| Q | I've been working through your books, mostly the Chord Workbook for Guitar Volume 1, and I've gotten to the point where I'm trying to improvise solos over the various blues progressions in the book. I'm wondering if you could offer me some general guidelines for soloing over chord changes?
For instance, the 12 bar blues in C on page 107 of your Chord Workbook. For the first chord, C13, C Mixolydian seems to work. The second chord, F9, could be accommodated with a change to C Dorian or - and this is what I'm confused about - one could pick out a mode from the key of F for that F9 chord. What I'm wondering is, is it normal to change to a scale that shares the same root as the chord when soloing over chord changes? For example, if the progression goes from a C chord to an F, should I play a mode in the key of C for the first chord, then a mode in the key of F for the second, or should I play a mode in the key of C for both chords, if possible one which shares the same notes as both chords? Or should I change modes, staying in the same key, playing for instance C Mixolydian over the C13 and C Dorian over the F9? Or is this completely up to one's own tastes? Should I just try everything and see what sounds best? Are there any books that cover this subject? |
| A | When soloing over chord changes it is important to consider what key you hear each change in. This of course implies that you have worked through my ear training books so you understand how you should be hearing notes relative to the key and how to tell if you have changed keys as the chords go by. In general though you want to play a scale based on the key you are in so if you go to the four chord F7 in a C blues and you hear the F7 as a four chord then you would play a C dorian scale because you are still in the key of C. If for instance it is a very very slow blues you might hear the four chord modulate to F so then you would stop thinking C dorian and start thinking F mixolydian. I would recommend you get the Music Theory Workbook for Guitar Volume Two because that will explain this concept of key vs. chord and give you the common scales play for each chord type along with audio files to practice each scale.
If you run into chords in the chord progressions that you are not sure what scale to play let me know and I'll help you out. But remember you should always think about what key you are in before deciding on how to think about any scale that you are going to use for improvisation. |
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| Q | I recently started studying 4 of your music books. Right Hand Technique, Single String Studies, Volume 1, Ear Training:One Note Complete and Fanatic's Guide. Prior to that and on an ongoing basis I have been studying W. Leavitt's "123 Complete". I am reviewing parts of book 2 and am about 30 pages into book 3 i.e. just before the 4 voice arpeggios.
What recommendations can you make for learning how to improvise with the major scale, or any scale for that matter? I know the mechanics of the major scale pretty well, i.e. 11 scales in each position. I know all the triads in position as well as the two octave triads presented in Leavitt's level 2 book. The ear training materials are helping, but I am a beginner in that area. My guitar playing on the otherhand is approaching intermediate level. My second question is about songs written out for guitar. I really enjoy all the songs and chord studies in W. Leavitt's book. I have composed a few chord melody studies on my own using fake sheets, but my versions are comparatively boring. Where can I find more materials like Leavitt's or materials of similar difficulty to read and memorize? |
| A | To start to improvise you need to pick a scale and then begin using it over a chord progression. At the beginning this can be quite awkward but you should find if you try a little each day that you start to hear little melodies. As far as which scales fit with which chords I would recommend you get the Theory Workbook for Guitar Volume Two. This will give you all the scales you need to know along with chord progressions to use to start to improvise. There are also midifiles of these progressions on the muse-eek.com website look under the books title. You could use the progressions without getting the book but if you also work on the exercises in the Theory Two book you will find you will make faster progress. As your ear gets better with the ear training I would start trying to pick a few notes off from solos you like too. This will help you understand the proper rhythmic feel as you solo.
Finding chord solos and other interesting guitar music isn't as easy as you might think. I know there is a Joe Pass solo guitar book that is quite good. One thing I would recommend as a longer term project is to understanding a lot of the harmonic aspects that many solo guitar pieces use. You should study the Theory and Reharmonization section in the back of Chord Workbook for Guitar Volume One. The chord progressions in this book will show you many example of how to use these Reharmonization principles. If you need more help on applying these concepts to chord solos, let me know and I'll step you through it. |
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| Q | Would Guitar Clinic be a good supplement to the following titles: 1st Steps for a Beginning Guitarist, Music Theory Vol. 1 and Vol. 2? |
| A | Much of the information presented in 1st Steps, Music Theory One and Two is in Guitar Clinic, so I don't think that would be a good choice. Guitar Clinic does contain some advanced techniques for improvisation such as Modal Sequencing, Approach Notes, Superimposition and Hexatonic Scales. All of these are quite cool but are more advanced concepts.
Overall you are expected to augment your serious study in these books with long hours of applying this information to chord vamps, songs and jams that you create through the knowledge you gain in these books. If you approach these books like they are giving you the raw knowledge and then you apply your own creativity you will be greatly rewarded. |
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| Q | I have downloaded the C scale in all positions as you recommend. In your answer to a question you instructed the questioner to email you to get advice on how to apply the C scale in improvisation. I read on your site about recording a C-chord vamp to play to, which I will do. Do you have any further recommendations? Secondly, what is the proper way to do pull-offs (four fingers down, pinky to ring to middle to index)? My main concern here is my fingers' tendency to "splay-outward", one finger following the other and opening up like a Geisha girl's fan. I have been trying to let the finger doing the pull-off to land on the next upper string, thus stopping its motion. But on the high E string the fingers travel too far out, I think. Any advice or materials you might recommend would be appreciated. |
| A | For improvisation I would also download the Applying Music Theory from the "member's area" and look at the section on sequencing scales. The exercises presented there would be good technical exercises but you could also apply them to improvisation. There are also some midifiles that accompany the Music Theory Workbook for Guitar Volume Two on the muse-eek.com website that you could use for backing tracks.
It is hard to control your fingers "splay-outward" as you pull off notes. There will always be some "splay-outward" but if you can minimize this by being aware of it it will help. Keep in mind that the left hand technique I recommend does not work perfectly in every situation. You should think of your basic position as being a relaxed unstretched hand that stays close to the fretboard. But when you play 4 and 5 fret trills, bending and other factors your technique has to change momentarily. Try to always come back to the relaxed, close to the fretboard state. |
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| Q | Hi, I am a guitar player using your beginners courses (fanatics guide, and complete one note). Currently my playing consists of patterns and memorized licks I can hear in my mind. It sounds pretty good but is not very free. As of now I am not playing in a band and I thought it may be beneficial to cease playing the guitar for a while to concentrate on this new approach for my musicianship. What are your thoughts on this? If I should keep playing, what kinds of practicing should I do? I feel that I don't want to reinforce any of the habitual ways of hearing and playing I use. |
| A | I'm glad to hear you have started on the ear training. This may be a long path for you but at the other end you will really "hear" music and that makes all the difference.
I don't think you should stop playing, I think you should just expand. Obviously it's good to hear stuff in your head and then play it, but it's also good to understand what you hear intellectually so you can play something and then realize all the possibilities. I would recommend you add a couple of things into your playing/practice sessions. Actually some of these things could be done without a guitar. Music Theory Workbook for Guitar Volume One and Volume Two. Both of these books will actually help you with your ear training too. You need to develop your understanding of theory so that when you hear a note, and let's say you know that note is the 5th and you know your in Gb, then you need to instantly know that note is Db and then you instantly need to know where that is on the guitar. These two theory books will help that to happen. I also think you need to go to www.arnoldjazz.com and the music workshop and download the 19 scales. You want to learn a new scale each week or every other week depending on how much you practice. You are going to first work your way through all the C modes, so first C major all positions and then C dorian positions etc. Remember, we are learning note names and degrees here, not just fingering positions. I would pay close attention to your technique and look in a mirror to check out your hand. Reference the Guitar Technique ebook and be anal about this because the more relaxed and close to the neck your hand is the better you are going to play. You also want to spend time playing/improvising with the scales. Use the midifiles and progressions connected to the 2nd Theory book or create your own. You should also download the applying music theory article from the "member's area" this will give you other ideas on sequencing scales. It's a little advanced but if you need some help applying let me know. Because you haven't approached music with such a structured practice style give yourself a break and try to incorporate all this stuff slowly over a couple of months. The important thing is to keep doing this for a few years. If you give this stuff some time amazing things will happen. |
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| Q | I have the first books and I am ready to start. What type of schedule should I use to practice? I take the train to work so I have an extra hour and a half away from the guitar to do the exercises in the workbook. |
| A | For the Ear Training One Note Complete book try to listen to the Ear Training One Note CD 5 to 10 times a day for 5 to 10 minutes. Make sure to go to www.muse-eek.com and read all the FAQs this can help you think of this practice correctly. Doing this on the train is a good idea.
Now for the Chord Workbook for Guitar Volume One you want to learn around 10 new chords a week. Go through the chords from the beginning and make sure you learn them all. Use the cycle 5 suggestion to help you memorize these chords. If you already know quite a few go to the back of the book and start learning the chord progressions. You should try to learn one chord progression per week. There are mp3 files up on the muse-eek.com website for these progressions. Look under the title and you will see a folder on the left side called mp3. The Music Theory books you want to do one page a day from Volume One. Additional stuff: You need to go to www.arnoldjazz.com and the music workshop and download the 19 scales. You want to learn a new scale each week. You are going to first work your way through all the C modes so first C major all positions then C dorian positions etc. Remember we are learning note names and degrees here not just fingering positions. I would pay close attention to your technique and look in a mirror to check out your hand. I'd recommend you buy the the Guitar Technique ebook and check out how I recommend you play the guitar. http://www.amazon.com/exec/obidos/ASIN/B00006J9UF/museeekpublishin Be anal about this because the more relaxed and close to the neck your hand is the better you are going to play. You also want to spend time playing/improvising with these scales. Use the midifiles and progressions connected to Music Theory Workbook Volume Two or make up your own. You can find the Music Theory Workbook files under the book title on the muse-eek.com website. Also download the applying music theory article from the member's area this will give you other ideas on sequencing scales. |
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| Q | I have previously studied classical guitar, especially Spanish master's pieces by Tarrega, Torres and Segovia, and some Brazilians like Villalobos, obviously as an interpreter. Needless to say, in a pretty much mechanistic way since I feel my knowledge in music theory is rather too modest, not to say mediocre.
I've read outstanding reviews about your accomplished musicianship and teaching approaches and therefore I would like to get some advise from you; I am planning to purchase some of your publications and in face of your prolific editorial production I would like to count on your proficient advise to choose the right ones for me. As I said before, I have some background, I don't have huge playing limitations, in terms of my playing skills I would rank myself as an intermediate-to-advanced amateur player. I am looking forward to getting an in-depth understanding of basics in chord construction, classification and terminology, intervals and scales over chords concepts. Needless to say, exercises on modes and scales are always welcome as well as other concepts not mentioned above. |
| A | I would recommend the following books for you.
Music Theory Workbook for Guitar Volumes One and Two Chord Workbook for Guitar Volumes One and Two Ear Training One Note Complete Fanatic's Guide to Sight Singing and Ear Training Guitar Technique Ebook If you let me know the amount of time you have to practice I will help you with a practice schedule. If you want me to do this also let me know when throughout the day you might have 10 to 15 minutes of down time that you could do ear training exercises with a discman. You need to go to www.arnoldjazz.com and the music workshop and download the 19 scales. You want to learn a new scale each week. You are going to first work your way through all the C modes so first C major all positions then C dorian positions etc. Remember we are learning note names and degrees here not just fingering positions. I would pay close attention to your technique and look in a mirror to check out your hand. Reference the Guitar Technique book and be anal about this because the more relaxed and close to the neck your hand is the better you are going to play. You also want to spend time playing/improvising with these scales. Use the midifiles and progressions connected to the book or create your own. Download the applying music theory article from the member's area this will give you other ideas on sequencing scales. PS Guitar Clinic would also be a good book because the back of the book contains information on 3 very important concepts of improvisation. |
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| Q | Hello, I am a student at Harvard College, though I am taking this year off to pursue other interests. High on my list is Jazz guitar. The reason I'm contacting you is to ask your advice. I've been playing guitar for many years. I've also played bass and classical piano. I have a fairly strong background in music, that is, my ear, manual dexterity, and basic musical knowledge (with the addition of a few Music Theory courses) is present. Still with Jazz, it's spotty, as I've never had a teacher for guitar. I've learned what I could from books and listening, and I've come a long way in this respect. I've reached a point where I very much want to solidify my groundings in Jazz theory. I have the enthusiasm, passion, work-ethic and ambition, but I lack direction. Can you recommend a way that I can get to the level appropriate to show up to a jam session and be on the same page as other Jazz musicians? Should I go straight to lessons? Should I enroll in a jazz theory course? Or would I be wasting my time and money with both of these, when I could make a lot of progress on my own (following a book you might recommend, perhaps one of your books and your website)? |
| A | I'm going to make a leap of faith here and figure that you have a decent knowledge of scales but probably haven't organized them well or know them like you need to know them in every key. Furthermore I'm figuring you know the name of any note on the guitar fretboard if I pointed to a note. I'm also figuring you know your basic barre chords with the root on the low E or A string. Let me know if I'm not correct.
Given that this information is close to correct I think we need to first completely organize your knowledge of the fretboard in regards to scales. To do this you to need to go to www.arnoldjazz.com and the music workshop and download the 19 scales. You want to learn/review these scales. Using the fingering suggested on the downloaded sheets I want you to first work your way through all the C modes so first C major all positions then C dorian positions etc. Remember we are learning note names and degrees here not just fingering positions. I would pay close attention to your technique and look in a mirror to check out your hand. I'd recommend you buy the Guitar Technique ebook and check out how I recommend you play the guitar. http://www.amazon.com/exec/obidos/ASIN/B00006J9UF/museeekpublishin Be anal about this because the more relaxed and close to the neck your hand is the better you are going to play. You also want to spend time playing/improvising with these scales. Use the midifiles and progressions connected to Music Theory Workbook Volume Two or make up your own. You can find the Music Theory Workbook files under the book title on the muse-eek.com website. Also download the applying music theory article from the member's area. This will give you other ideas on sequencing scales. So to review: For scale study download the scales and get Music Theory Workbook for Guitar Volume Two and the Guitar Technique ebook. Nothing you do on the guitar is going to be worth anything if you can't hear correctly so get the following books. Ear Training One Note Complete. Try to listen to the Ear Training One Note CD 5 to 10 times a day for 5 to 10 minutes. Make sure to go to www.muse-eek.com and read all the FAQs. This can help you think of this practice correctly. Also get the book Fanatic's Guide to Sight Singing and Ear Training and start working on the first assignment in the book. There are also a few suggested lessons in the muse-eek.com member's area for the Fanatic's Guide. You can join the member's are for free after buying the books. http://www.muse-eek.com/books/members/members1.html We are also going to review and apply all your chords with the root on the 5th and 6th string. I want you to start learning the chord progressions in the back of the book. Learn both versions of each progression. By this I mean learn the chords using the chord symbols but also look in the very back of the book and learn the progressions by just looking at the actual notes. If you find chords you don't know look them up in the book. You also need to read the section of Chord Reharmonization which precedes the chord progressions. This information is extremely important to help you understand how to analyze, create and alter chord progressions. We are also going to use this information to superimpose melodic lines later on. You should try to learn at least a couple of progressions per week. There are mp3 files up on the muse-eek.com website for these progressions. Look under the title and you will see a folder on the left side called mp3. |
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| Q | I have obtained the following books:
Guitar technique (thanks for the email version) Guitar clinic Music Theory Workbook for Guitar Vol 2 ET one note complete Fanatic's Guide to Sight Singing and Ear Training Rhythm primer Rhythms Vol 1 Single String Studies Vol 1 Chord Workbook Vol 1 Rhythm primer: started working assignments on page xxi. These are not difficult for me, but the faster tempos (whole note = much above 60) seem excessive in that by that point I think I have gotten what I need out of the exercise from a reading standpoint. ET one note: I read through the book and understand what you are saying. I was on the road in the car a lot this week with the first CD on random play. What a blast! I get more than 80% right overall, but have particular problems with b5, b7 and the highest register for some unknown reason. I'm working on it. Fanatic's guide: I can sing 1, 3 and 5 in all keys and am working on the other diatonic tones. Let me also say that I am deeply impressed by your scholarship and dedication. I have been teaching and studying for years and have never seen such a comprehensive and well-thought-out method. I could use some guidance through this vast forest of material. What next? |
| A | The reason for the faster tempos in Rhythm Primer is to get your eye moving quickly across measures of music. Don't underestimate the importance of this. You should also check out the file on beat reading found in the member's area. This is closely related to training your eye to move ahead of the music which is key to sight reading.
As far as the other books first check out the modal sequencing information found in the Guitar Clinic and the Applying music theory in the member's area. As mentioned before I want you get all 19 scales listed on the www.arnoldjazz.com music workshop website down in all keys from every degree. Remember we are just doing an introduction to all these scales they don't have to be fast but they need to be consistent and Gb major should be as strong as C major. We are working towards using the 19 modes as a warm up everyday. So you might for instance run through all 19 modes in one key from every degree for a warm up. This will take time to reach that point but sooner or later you should be able to do this in 20 to 30 minutes. But for now you want to make sure you know all of these scales by playing all of them in every key. You can also use flash cards to test yourself. Make the following flash cards: 1 set with list of all 19 scales 1 set with degress 1-7 1 set with all keys. Flip over one card from each set and play the scale. Along with these technical ways of working on the scales complete the exercises in Music Theory for Guitar Volume Two and play along with the vamps that are suggested for each scale type. Remember there are midifiles of these progressions on line at: http://www.muse-eek.com/books/mtwbforguit2/midi.html For sight reading you want to do this for 1 hour a day. Do 10 minutes out of each of the following books: Rhythm primer: try to do these as fast as possible Rhythms Vol 1: metronome on 2 and 4 read with a swing feel if you tap your foot do it on 1 or 1 and 3. Single String Studies Vol 1: One page a day move through the book by string. So first low E string in C major then A string in C major, D string in C major etc. Chord Workbook Vol 1: Learn one new chord progression a week. You can also find examples of me playing these progressions at: http://www.muse-eek.com/books/chord1/mp3.html Augment this time with reading out of books check out of the library or other sources. Remember to read as many types of music and manuscripts as you can find. Ear training continue as you have described, seems like your on the right track. If you have more questions let me know. I would like to move on past scales in a few months so try to get all the scales together. Study the concepts of modal sequencing and rhythmic variation that I have set forth in the member's area files and Guitar Clinic. |
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| Q | I'd like a little advice on what books to purchase. Right now, I am a beginner. I am working through Hal Leonard's Play Guitar Today series which basically teaches the user to read in 1st position, a little in 5th position, delves into chords a bit, technique, and a bit on theory (scales, etc). After I complete those books, I want to keep up my studies. I've been looking at Leavitt's Modern method for guitar, David Oakes's music reading for guitar, Leavitt's Reading studies for guitar, and of course your books. What I want to do is to keep developing my ability to read music on the guitar but to further my knowledge in theory as well. I want to know how (and to recognize when) to read in different positions, recognize things like different keys, develop my knowledge of scales, things of that nature. Single String studies piqued my interest. Will this book teach me reading, position changing, how to transpose, things like that? What about proper rhythm, time signature and music notation? Does SSS cover these things? How far up the fretboard will SSS take me? |
| A | Thanks for contacting me. I've given you a pretty comprehensive look at studying guitar. I'm sure it will be overwhelming but take some time and study what I've said. Most importantly, if you do decide to get serious about this and start working from my recommendations, build up your practice time slowly over a few months. Don't just jump in and overwhelm yourself.
Throughout this email I'll make some recommendations for books that will help you: 1. Learn read music on the guitar 2. Learn to read in different positions, 3. Recognize things like different keys 4. Develop your knowledge of scales 5. Include additional suggestions and assignments I'll first make some comments of the books you mentioned. I'm not familiar with David Oakes's book. Leavitt's Modern Method and his sight reading books I both learned out of when I was at Berklee and taught from when I taught at Berklee. I have to say I'm not totally in love with these books and that's one of the main reasons I wrote my own methods. I would say in general it is good to own and have worked through Leavitt's books because it does show you how to develop reading in one position and gives you little reading exercises, shows you the 5 position scales. On the other hand: 1. I don't believe reading in position is always the best thing to do. As a professional guitarist most music I play is not stay in one diatonic key so the position play is a hindrance rather than a help. Of course if all you every play is diatonic music position playing is fine. 2. I think learning scales in only 5 positions isn't the total picture. I teach scales starting in all 7 positions with 3 notes on every string. I find this method helps to open up the guitar fretboard in a more linear fashion. You can download my scales for free at http://www.arnoldjazz.com/workshop/wslinks.html#SCALES 3. Leavitt's book does teach you about scales, chords and music theory. But honestly, just because you read something in a book doesn't mean you know it the way you will need to use it. It's kind of like if you read a book about speaking French and it explained all the words and how they are put together into sentences. You still wouldn't be able to speak French because you need to apply and use the information. This is were the Leavitt books fall short because once your at Berklee College they give you the exercises to help you apply the information. I guess they feel if they include this information in book form students wouldn't have any need to go to the school. This of course would be short sighted because Berklee can add so much more to your education but most students don't think that deeply. So this brings me to what I would recommend. I'm going to give you a rather large list here so don't think I'm just trying to get you to buy a million books I just want to set out a course of study for you over the next few years so you can develop into a great guitarist. The amount of this that you can work through at any given time will depend of how much time you have to practice everyday. To develop yourself I think you need to explore the following things: 1. Make sure your guitar technique is correct so you don't go off learning a bunch of stuff only to find later that your technique was flawed and have to start over. 2. Develop you ability to play any chord and read through chord charts that either give you chord voicings or chord symbols 3. Develop your music theory in relation to understanding all commonly used chords and scales and have a working knowledge of this information on the guitar fretboard. 4. Develop your knowledge of the fretboard in conjunction with reading music in time. 5. Develop your overall sight reading skills. 6. Develop an ability to play and apply all the scales you need for improvising which will also help with your overall technique and sight reading skills. Now here are the books I would recommend for each of the points above. I've also given you a more detailed explanation below. These books would be what I would begin with: 1. Guitar Technique ebook 2. Chord Workbook for Guitar Volume One 3. Music Theory Workbook for Guitar Volume One and Two 4. Single String Studies for Guitar Volume One 5. LINES Sight Reading and Sight Singing Exercises 6. Rhythm Primer Here is a more detailed explanation with practice tips: 1. Get Guitar Technique ebook so you can see how to play correctly with both hands. 2. Get Chord Workbook for Guitar Volume One. Start learning the chords cycle 5 as suggested in the book and as soon as possible start learning the chord progressions in the back of the book. You want to learn both the chord symbol and chord voicing examples for each exercise. You can also find examples of me playing these progressions at: http://www.muse-eek.com/books/chord1/mp3.html 3. I would recommend working through both Music Theory Workbook for Guitar Volumes One and Two. I'd do a page out of each book a day if possible. This course of study will take you about a year but you will know all chord types everywhere on the guitar and all of the important scales used in music 4. Single String Studies will help you develop your knowledge of the fretboard in conjunction with reading music in time. Keep in mind that this book is hard and will take you some time before you can play any of the exercises completely correct. Most students find they have to work through this book at least two times before things start to click so be patient. Start with metronome on 60 and give yourself two clicks for each note. The first exercises are all on one string. I would recommend going through the book as follows: C major low E string exercise C major A string C major D string C major G string C major B string C major high E string Then start the process over in the key of F. Do the all strings study after completing all single string studies. Try to work towards not looking at the fretboard but feeling where each note is. 5. LINES would be a good book to get you reading in all keys. Read first four pages of each key as fast as possible. Half equals 132 would be a good place to start. Once you work through the book start reading the 2 note examples at a slower tempo like quarter equals 60. I would work on these two exercises through all keys in this book. Try to do one key a week. 6. Rhythm Books First you need to understand how rhythms are written out. There is a file in the member's area which explains the basic of rhythm and how to write out various types of rhythm. You need to develop your recognition of rhythms written on a page and also learn and internalize what they sound like. I would recommend you start working through the rhythm series of books in order to gain this ability. The rhythm books have midi files with them so you can play along with a file. This will help you know if you are playing the rhythms correctly. Start with Rhythm Primer and follow the directions given in the book. Overtime you want to work through the following rhythm books to fully develop your sight reading skills. The books are in order: Rhythm Primer Rhythms Volume One Rhythms Volume Two Odd Meters Rhythms Volume Three Contemporary Rhythms Volume One Contemporary Rhythms Volume Two Scales Remember we are just doing an introduction to all these scales they don't have to be fast but they need to be consistent and Gb major should be as strong as C major. You need to go to www.arnoldjazz.com and the music workshop and download the 19 scales. You want to learn a new scale each week. You are going to first work your way through all the C modes so first C major all positions then C dorian positions etc. Remember we are learning note names and degrees here not just fingering positions. I would pay close attention to your technique and look in a mirror to check out your hand. Reference the Guitar Technique book and be anal about this because the more relaxed and close to the neck your hand is the better you are going to play. You also want to spend time playing/improvising with thes scales. Use the midifiles and progressions connected to the book or create your own. Download the applying music theory article from the member's area this will give you other ideas on sequencing scales. You can also use the midifile from the 2nd Music Theory book which are downloadable at: http://www.muse-eek.com/books/mtwbforguit2/midi.html You can also use flash cards to test yourself. Make the following flash cards: 1 set with list of all 19 scales. 1 set with degrees 1-7. 1 set with all keys. SIDE NOTE: Augment reading out of these recommended books with books that you check out of your local library or other sources. Remember to read as many types of music and manuscripts as you can find. SOME ADDITIONAL INFORMATION If at some point you want to study reading like a freshman majoring in music here is the assignments and books given for any student entering NYU as a jazz guitar major: 1. Go to the member's area and download the file 'beat reading.' Find some music at home or from a local library and do the beat reading 10 minutes a day. 2. Rhythm Primer: start with first pages. You want to work these exercises up to a very fast tempo. I'm talking like 120 bpm for a measure (so a whole measure goes by in one beat of the metronome). Obviously your not going to start there but start where your comfortable and speed up the exercise each day. Read from this book for 5 minutes then move on. Just one page a week. 3. Rhythms Volume One: Three pages a week. First read through the 3 pages. Over time you want to start using the metronome on beats 2 and 4 rather than every beat or 1 and 3. Isolate the measures you have problem with after reading all the way through and work on them. Do this for 10 minutes. 4. Rhythms Volume Two is the same as Volume One except you will use the metronome on every beat. 5. Single String Studies for Guitar Volume One can drive ya nuts so be patient with this book. One page a week, don't look at the fretboard, use the midifiles on the muse-eek.com website to let you know if you are correct or not. Start REAL slow. Don't worry if you make a lot of mistakes this will improve overtime. Make sure you're standing when you work with this book. This should be 5 to 10 minutes of practice. You want to move through the book by keys so first do low E string in C then A string in C, etc.. 6. LINES will be one key a week (10 pages). Obviously you will be able to read through the first 4 pages much easier than the pages with double stops etc. If you have to play the multiple note chords really slow that's totally cool. You'll see over time you'll just start to remember the shapes. Should be about 10 minutes of practice. 7. As you get better with the reading you also want to add in reading just any kind of music you can find and vary it as much as you can. I'm working on a new section of the website with downloadable pdfs of music to sight read but this may be awhile. EVEN MORE INFORMATION This is the assignment sent out to NYU guitar students to prepare for entry into NYU Assignments: Suggested Work for entry into NYU performance program You want to read one hour a day. 10 minutes or so from each of these books. If you have time left over read classical music, transcribed solos and any other music you can find. It is good to look at lots of different types of scores to train your eye to deal with multiple manuscript styles. 1. Chord Workbook for Guitar Volume: learn one chord progression starting on page 107 a week (use a swing/blues feel). Use metronome markings from book but make them half notes rather than quarters so the progression on page 107 would be a half note equals 80. Put the metronome on 2 and 4. You will be expected to play the progression by yourself and also solo over these changes while someone else comps for you. Learn to read chord voicings for this chord progression which is located on page 131. We usually do the reading of the actually chord voicings slower so say half note equals 60. You should go to the address below to hear me playing these progressions so you know what I'm looking for: http://www.muse-eek.com/books/chord1/mp3.html 2. Rhythms Volume #1 Read 3 pages a day, play rhythms on one note at half equals 80, metronome will be on 2 and 4. This will be with a swing feel. You can hear some examples at: http://www.muse-eek.com/books/rhythm1/mp3.html We are shooting for a half note equals 120 with this book. Start where you are comfortable but always have the metronome on 2 and 4. If you are going to tap your foot tap it on 1 and 3 or not at all. 3. Rhythms Volume #2: 3 pages a day, play rhythms on one note. We are shooting for quarter equals 120 with this book. Start where you are comfortable. Metronome should be quarter notes. You should tap your foot with the quarters or not at all. 4. Single String Studies for Guitar Volume #1: Read one page a week and be patient with yourself this is a hard book, play exercise on one string, start somewhere at around quarter equals 50 with the metronome on each beat. Try not to look at the neck to find notes. You can find audio files to help you make sure you are playing correctly at: http://www.muse-eek.com/books/sst1/midi.html 5. Rhythm Primer Pages 3 Pages a day. These are easier rhythms so the idea is to get your eye moving through music quicker so shoot for a whole note equals 200 on the first 6 pages or so. Once you get into the eight note studies slow the metronome down to around a half equals 120. 6. LINES: Read first four pages of each key as fast as possible. Half equals 132 would be a good place to start. If that is fine then start reading the 2 note examples at a slower tempo like quarter equals 60. I would work on these two exercises through all keys in this book. Try to do one key a week. ********************* Jury requirements: I'd like you to get through the 19 most commonly used scales in improvising. You can find a list with fingerings at: http://www.arnoldjazz.com/workshop/wslinks.html#SCALES All keys all degrees. Learn it by the notes not the patterns. Technique is extremely important here so if you can send a video before starting that would be great. I would learn the scales all in one key and then move to another so. C major then C dorian then C phrygian. etc... The learn them all in F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G. Use flash cards to check yourself so: 7 cards for degrees of scale (there are 6 and 8 notes in some of the scales but just use 7 cards) 12 cards for the keys 19 cards for the modes You turn over a degree card it says 5th You turn over a key card and it says Gb You turn over a mode card and it says Dorian b2 So you play a Gb Dorian b2 scale from the 5th. These scales do not have to be fast but should be played consistently from beginning to end without stopping. ************************* Ear Training: Get: Ear Training One Note Complete Fanatic's Guide to Ear Training Follow the concepts laid out in the book. Go to the muse-eek.com website and read the FAQs. http://www.muse-eek.com/books/ET_1_note_complete/eartrngfaq.html http://www.muse-eek.com/books/fanaticsguide/lower.html Try to do work out of both of these books about 5 times a day for about 10 minutes. It would actually be a great idea to get these two books soon. The ear training process takes quite a while. Email me if you have questions. If you can get a head start on this stuff it's going to make a major difference in your ability and your work-load at NYU. As I'm sure you know it's hard to find time to practice when you are in school so getting some of this basic stuff together before hand will help us concentrate on the hipper stuff. |
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| Q | Is there a technique that you can suggest to help someone memorize the notes on the guitar? |
| A | Because I don't know your level it's a little difficult to help you out. I would recommend playing all major scales up and down each string. This will help you memorize the notes but keep you from memorizing patterns. To do this I would start on the low E string and play a C major scale up the E string
E F G A B C D E F G ... go as high as you have frets on the guitar Then move to the A string and play a C major scale A B C D E F G A B C D ... go as high as you have frets on the guitar Continue on the D, G, B, and high E strings. I would then switch keys to F major and start back at the low E string. So the notes in F major on the E string would be: E F G A Bb C D E F go as high as you have frets on the guitar Continue through all 6 strings and then move on to the following keys in this order Bb Eb Ab Db Gb B E A D G In the long run I would recommend working through the Music Theory Workbooks for Guitar Volumes One and Two so you can learn how the notes on the guitar fit into chords and scales. |
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| Q | Could you please help me choose an effective practice schedule? My musical history: guitar playing for 12 years, graduate from a two-year jazz studies degree in guitar performance. I have been working diligently on the Beginner's One Note and Fanatic's Guide for about 2 months now. I have worked on the major scale with success incorrectly using resolutions such as re to do and la to so etc. I figured it out after starting the non-diatonic notes and I saw that I was blatantly doing this. So I will have to start again trying to make sure this habit does not persist.
Also I would like to learn to play the piano and I only have class piano lessons that I don't remember much of (I know you are a guitarist but I would like any suggestions you may have). I have a lot of music theory knowledge from school such as what scales go with each chord, chord substitutions etc. but I don't know any voicing on the piano accept what I build using my theory knowledge. One problem with my theory knowledge was based on scale degree recognition (by position) on the guitar and I have never memorized the names of the notes within the scale. I would also like to learn to read (I used to get by in rehearsals by my chord chart reading skills base on known chard shapes). All of this in a consistent two-hour a day. I am an electrical engineering student and this is what I have to offer my musical life. I would like the focus to be ear training (could you please tell me what exercises to focus on?). I feel that my ear should lead me to technique advancement because my technique (fingers and guitaristic patterns) have been leading me for years. |
| A | First for the ear training I would listen to the One Note CD 5 times a day for 10 minutes. You should space this out throughout the day. You can even do other short 3-5 minute listens. Every little bit will help you remember the sounds. In the Fanatic's Guide I'd start with the One Note exercise. If you could do that for 10 minutes at the beginning, middle and end of your practice session that would be great.
For piano I'd highly recommend Roberta Piket's Jazz Piano Vocabulary http://www.muse-eek.com/books/piket_v1_major/lower.html She has one of the few books that gives you hip chord voicings along with lots of other information to get you playing the piano quickly. To help you learn what the notes are of every scale and where they are on the fretboard I'd recommend Music Theory Workbook for Guitar Volume Two. This will have you write out every scale on the music staff and on a guitar fretboard to help you learn it in a way that will be useful. I would also follow the links provided with this book to start learning the scales on the guitar. You will find PDF's and Videos to help you learn the scales properly. I would also get the ebook Guitar Technique so you can use the proper technique when learning the guitar. This is important stuff. If you use bad technique you will not improve past a certain amount. For sight reading I have a pretty big resource for this. To start out with I'd spend approximately 30 minutes sight reading. I'd work out of these books for 5-10 minutes a piece. Rhythm Primer LINES Chord Workbook for Guitar Volume One Single String Studies 1. Rhythm Primer: 3 Pages a day. Follow the direction in the book. 2. LINES: Read first four pages of each key as fast as possible. You want to strive to put the metronome on 2 and 4 when you read these pages. You may have to start with the metronome on every beat or on 1 and 3 if that's where your current ability is. In any case you always want to tap your foot either on 1 and 3 or on every beat if it is slow. I'd go through the book just reading the single note pages first, then start the book over reading the 2 note pages. Try to do one key a week. 3. Chord Workbook for Guitar Volume: Learn one chord progression starting on page 107 a week (use a swing/blues feel i.e. 1 and the and of 2). Use metronome markings from book but make them half notes rather than quarters so the progression on page 107 would be a half note equals 80. Of course play these pages slower if you have to and if you can put the metronome on 2 and 4. Learn to read chord voicings for this chord progression which is located on page 131. We usually do the reading of the actually chord voicings slower so you may have to read them out of time. You should go to the address below to hear me playing these progressions so you know what I'm looking for: http://www.muse-eek.com/books/chord1/mp3.html 4. Single String Studies for Guitar Volume #1: Read one page a week and be patient with yourself this is a hard book, play exercise on one string, start somewhere at around quarter = 50 with the metronome on each beat or slower if you need it. Try not to look at the neck to find notes. You can find audio files to help you make sure you are playing correctly at: http://www.muse-eek.com/books/sst1/midi.html I'd like you to get through the 22 most commonly used scales in improvising which are contained in the Music Theory Workbook for Guitar Volume Two. You can find a list with fingerings in the member's area under Help files for Scales All keys all degrees. Learn it by the notes not the patterns. Technique is extremely important here so if you can send a video before starting that would be great. I would learn the scales all in one key and then move to another so. C major then C dorian then C phrygian. etc... Then learn them all in F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G. Use flash cards to check yourself so: 7 cards for degrees of scale (there are 6 and 8 notes in some of the scales but just use 7 cards) 12 cards for the keys 19 cards for the modes You turn over a degree card it says 5th You turn over a key card and it says Gb You turn over a mode card and it says Dorian b2 So you play a Gb Dorian b2 scale from the 5th. These scales do not have to be fast but should be played consistently from beginning to end without stopping. |
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| Q | Here's what I own:
Music Theory Volumes 1 and 2 Jazz and Blues Bass Lines Comping Styles for Bass Single String Studies for Bass Volumes 1 and 2 Rhythm Primer Fanatic's Guide One Note Complete Big Metronome What kind of schedule would you recommend for someone who works two jobs and has a wife and three kids? I can give a committed hour everyday in addition to time in my car (delivery job). What would you recommend I do when I have additional time (very sporadic)? |
| A | In your situation practicing in your head is the best solution. It is common knowledge among classical musicians that you can learn a piece of music or for that matter anything in music by visualizing it in your head. Many classical musicians don't even play a piece on their instrument before performing it live in front of an audience. You can use this technique to help you work on music when driving a car or waiting for a light to change. Of the books you have you could use any of them to practice in your head. For instance you could think through and finger in your mind any scale or arpeggio from the Music Theory Books. You could memorize a bass line from the Jazz and Blues Bass Lines or Comping Style book or you could work on hard rhythms from the Rhythm Primer. You of course can listen to the ear training and sing notes over the Fanatic's Guide CD as you drive. (You might want to get a chromatic pitch instrument to help you check notes.)
http://www.encoremusic.com/vocal/6630002.html Just remember that mental practicing is exhausting when you first start it. It takes months before you can do it for any length of time. As it develops you will find it to be the most efficient way to learn. I would then spend your hour or instrument practicing playing the things you have mentally practiced or use the time to improvise with the scales you are learning in the Music Theory Workbook for Guitar Volume Two. |
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| Q | OK, so I am doing the ear training everyday during the week, but only sporadically on the weekends (I know that I should be doing this everyday, and will be starting next Monday). I am at about 60% as far as correct guesses. Sometimes I just know what a note is, other times I feel kind of lost. It seems that I get D and A confused a lot and F# and G#. Otherwise, though, I am recognizing most of the notes (well about half of the time). I have two more pages in the music theory workbook volume one and will be ordering the second volume next week and then beginning one page a day.
As far as scales, I have learned all of the modes in all of the keys, though I feel that there is a disconnect between note names/degrees and playing patterns, though I pretty much know where all of the notes are on the fret board (most of them I know right away, others I have to use an anchor to find). Will the second music theory book clear this up? Also, I have strayed a little from the 19 scales that I should have been working on. I basically started at C, learned all of the notes from the first position and all the way up the neck... then went cycle 5 through the rest of the keys. I played 16th notes all the way and got pretty articulate (I started at 60 and can now play at about 95 bpm). Admittedly, the last 2 weeks I have slacked off a little because I have had a workshop that I have had to attend that was three days during the 1st stretch, then resumes tomorrow and ends on Sunday. I cannot take a guitar, but I will resume the intense practice schedule next week. Finally, the chord workbook, this is my weakest area since it seems to take me soooo long to memorize chords. I am only half way through this book and I hope that the theory workbook vol 2 will help me to build my own chords depending on what the music (what music I am using) calls for, though this doesn't mean that I am not going to continue drilling with the chords and the progressions. So, overall, I feel that it is easier to write music by simply listening to what I am playing. I have a computer based recording set up at home that I have spent some time and money building and it produces a pretty good sound and my new ear is really beginning to appreciate what I am learning. I feel good overall, but feel that I have only scratched the surface when it comes to playing, writing, and theory. Anyway, if you have the time, can you make some suggestions as to what I should be doing, or doing differently? Should I be ordering any other books (other than the theory book vol 2 and the second chord workbook)? |
| A | Overall it seems like your doing well with your studies. I think most students could practice more and spend their time more efficiently but the important thing is to continue over a long period of time to do the right thing and to constantly question and adjust your practicing both mentally and physically to help yourself improve at your best rate.
I've recently added quite of bit of information in the form of video on the muse-eek.com Web site. I suggest you take a look at the video scale files found in the Help files for scales link in the member's area. This will be of particular help once you start the Music Theory Workbook for Guitar Volume Two. It also sounds like you could use someone to play jazz standards with so you can apply the chords in Chord Workbook for Guitar Volume One. Also I'm currently working on putting up some jazz tunes where I play the chords to common jazz standards in the form of a video to help you apply the chords you are learning. Just remember what you don't apply you lose. This is true with the chords and the music theory so it's always a good idea to try and play the chords with others or find various ways to get yourself using your newly learned information. I've given you the chord progressions in the back of the chord books to help you apply the chords which in turn will help you to memorize them but you also need to apply them in your everyday use which can be hard for students. I think you are all set for books right now and I think the ear training is progressing well. You should be proud of your progress. It's nowhere near your potential but you have made some major leaps in the right direction. You just need to continue and you will see a lot of this information start to come out in your musical abilities. I might also suggest something that in some ways will be information you already know but I think you will also find some useful information about chords. Go to the Help files for Chords link in the member's area. Download the PDF with the chord progressions for the book 1st Steps for a Beginning Guitarist Book. Then go further down the Help files for Chords page and click on 1st Steps Slow MP3 files. On the new page go to the bottom and click on each link. You will find a lot of MP3 files on these pages put you should view the videos that show alternate ways of playing each chord progression and any other video that will give you useful information. I think you may find some good information here even though some of it will be quite simple. Also check out the Progression 10 for the blues information. |
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| Q | What's the definition of a chord vamp? |
| A | A chord vamp is just a repeating chord progression. Can be found of course in most tunes. We are using it as a backing track so you can improvise with the scales. |
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| Q | I am trying to improve my skills to build up and make my melodies and solos more compeling! I need some exercises and advanced theory! I play a mix of bluegrass, funk and rock! How can you help? |
| A | I'll do my best to help you. You might want to think about the limited amount of information you have given me to go on. The relevance of my comments are always inversely proportionate to the amount of knowledge I have about a students past education and specific goals.
First if you don't know the notes on your instrument or how to build and find complex chords on the guitar I would recommend Music Theory Workbook for Guitar Volume One. Second if you don't know all the 23 scales most used in improvisation I would recommend Music Theory Workbook for Guitar Volume Two. Third I would recommend you start working on some ear training so any advanced theory you might learn isn't just a mental process but is accompanied by an ability to also hear these relationships in a musical situation. For this I would recommend Ear Training One Note Complete and Fanatic's Guide to SIght Singing and Ear Training. Fourth if you don't know all the chords on the guitar and how they are used in a musical situation I would recommend the Chord Workbooks for Guitar Volumes One and Two. These books also contain advanced theories of reharmonization which is one of the corner stones of what I anyway would call advanced music theory. Overall most of my books are not stylistic. For instance the Music Theory Workbooks are not specifically for a rock, jazz or bluegrass player. While certainly idioms use more of one type of scale or one set of chord types I'm figuring you will get this information by transcribing solos etc. from CDs. My books concentrate on teaching the basic building blocks of music which you can then apply to the style of music you are interested in. |
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| Q | I am interested in studying from your Music Theory for Guitar Workbooks. Can you recommend which book I study from first ... or can/should I work through both simultaneously? |
| A | You can study from both at the same time. One covers chord knowledge and the other covers scales. Make sure to also look in the member's area for many videos, mp3 and help files that go with these books. |
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| Q | Would you explain the concept of avoid notes more in depth than you do in your books. For example, when do you and when do you not use these notes? How do you go about practicing scales in regard to avoid notes? |
| A | Most scales contain one or more avoid notes but there are some scales that contain no avoid notes. You can find a complete list of the avoid notes in either Music Theory Workbook for Guitar Volume Two or Chord Workbook for Guitar Volume Two. These books cover the avoid notes found in 23 of the most common scales used in improvisation. There are of course many, many more scales that could be used and many of those would have avoid notes. It is hard to make generalizations about avoid notes because there always seems to be an example that goes against any rules you want to apply. In general it is common to find avoid notes as notes that are 1/2 step above a chord tone and it is also common that these notes feel like they want to resolve. As far as practicing scales you should know what the avoid notes are but remember an avoid note can be played just as much as any other note it just isn't a note you want to end a melody on because it feels like it wants to resolve. On the other hand there are many cool techniques you can use by not using the avoid notes. Take a look at the reharmonization techniques in Chord Workbook for Guitar Volume Two or take a look at the Hexatonic method I use in my compositions by reading
MY MUSIC: Explorations in the Application of 12 Tone Techniques to Jazz Composition and Improvisation Sorry for being so general about avoid notes but you could write an entire book about their use. I think the books I mentioned give you some very interesting and common ways that musicians use avoid notes. I also have a series of books coming out in few months that will cover more uses of avoid notes. This series is called the New York Guitar Method. |
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| Q | I've been working on sight singing and ear training for 5 weeks now, it's slowly starting to get easier. I still need to use a pitch pipe for the sight singing, my short term memory can keep the pitch once it hears it, but hearing it first is still very hard. I could find the pitch by singing triads or intervals in my head but that defeats the purpose if I understand correctly. Ear training is coming along, I'm starting to break away from using the resolutions to identify the notes, but I still catch myself doing it.
I'm also working on your theory books, that's kind of painful, but I'm getting it. I have played piano for many years before guitar, so I usually visualize the piano when I have to think about theory... it's becoming more automatic now, I don't need to do that too often. I was wondering about your single string method. I recently graduated from GIT, my sight reading isn't too bad and my knowledge of the fret board is getting better. I'm beginning to find the patterns limiting (even though I still don't have them completely memorized), I'm just moving my fingers. I was wondering how your method compares to GIT's (5 patterns), if you think they'll work well together, or if I should stick with one method. |
| A | Sounds like the ear training is coming along just remember it takes time and patience. I'm glad to hear you are policing yourself on the resolution stuff.
Single String Studies is another frustrating book that usually takes about 6 months before you play anything correctly. So I don't know if you want to torture yourself more. It's a good book for memorizing all the notes on the guitar fretboard, getting your note to fretboard reaction together and for learning ledger lines. Because it's doing all this at the same time is the reason it's so hard. I will also have you sight singing out of that book as you progress with the ear training. For scales you should know both the 5 position and the 7 position scales. Sounds like your 5 position patterns are starting to wear thin. I'd suggest you go into the member's area and start learning the scales found in the Music Theory Workbook for Guitar Volume Two. Follow the links and learn all 22 scales in the key of C then move them through all keys. Make sure to also improvise with them using the vamps. But before you do all that you want to make sure your technique is correct before doing such a massive assignment so I'd suggest you get the Guitar Technique E book and read that along with watching the videos. After your up and running with that I would check out the applying music theory file in the Music Theory Workbook for Guitar Volume One along with implementing some of the ideas I present in the additional videos that accompany the scales. All this will give you an in-depth understanding of scales and some important ways to apply them. |
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| Q | Ugh. That answer on modes will take some thought with a fresher mind than I have tonight. I guess that I did not look very closely at modes, since I didn't even catch that the intervals change from mode to mode. This is a prime example of the difficulties of trying to gather ones music education from a literal pile of books from a variety of authors and content. Some are method books, some are reference, and some appear to be pure dribble, after you actually waste your time reading it. I will try to sort that one out in my head over the next few days. I have a reference book on modes, but it does not really explain anything very well. Also, I only recall brief mentions of modes in your books that I have now. I suspect that this material may be in the Music Theory Workbook for Guitar Volume 2. If I recall correctly, that one goes into scales in depth.
Also, at what point should I be looking at working in the Chords Workbook? The Music Theory Workbook for Guitar Volume 1 is not really about chords in my definition, since many of the chords have two notes on one string and therefore are not playable as a chord. Arpeggios, perhaps... but not really chords. Then again, I may be misinterpreting. It is of no moment. What is important is that I need to know when one should normally work on the Chords Workbook and how does it differ from the Theory Workbook... more accurately where does it fit in the sequence of your ongoing saga. I have read the recommendations and it appears to vary by the person's experience level to some extent. Also, thank you for the compliment. I am not certain that it is intelligence so much as common ground. We share a lot of the same views, at least about how to teach things. Besides, I have also taught in an industrial forum (not the same as academia or private teaching, I realize) and I communicate for a living (writing technical documentation). I enjoy the conversations as well. It is refreshing to chat with someone with something interesting to say. That is rare today as well. |
| A | The example I sent you about scales could be a little confusing. What I'm basically saying is the degree names for any scale always relate to a major scale. This is not particularly important stuff for you to know now but what is important is you start to learn not only what the names of each note in a scale are but also what degree these notes are in the scale. So C major is:
C=1, D=2, E=3, F=4, G=5, A=6, B=7 I'd start there and make sure you can go up and down the scale saying the notes and the degrees. You are correct, scales are covered in depth in the Music Theory Workbook for Guitar Volume 2. The Chord Workbook for Guitar Volume 1 covers all the chords a professional guitarist should know and gives you 36 progressions to learn using these chords. For you I'd stick with 1st Steps until you can play the 10 chord progressions. Once that is feeling pretty good then it's time to start into the Chord Workbook for Guitar Volume 1. The Music Theory Workbook for Guitar Volume 2 can be done at the same time as the 1st volume but that may be too much for you right now. Though I do usually teach scales to people working out of 1st Steps. That makes me think here is what I'd recommend for a student like you to practice. 1. Practice one chord progression each week in the 1st Steps book. Use the on-line help files to gain ability in switching between chords. (You can practice on more than one chord progression if you get bored or need new stimulus. 2. I would do two or three examples out of the Music Theory Workbook for Guitar Volume 1 each day. This should take about 15 minutes. Check to see you have the correct answer in the back of the book. 3. Try to do the ear training 5 minutes 5 times a day. Don't worry about getting the right answer just listen and absorb the sounds you hear. If you can only do 1 minute 5 times a day do it. Do it during commercials if you watch TV. 4. Spend 5 minutes 5 times a day singing the "one note" exercise. If you can only do 1 minute 5 times a day do it. 5. I'd learn how to play the C major scale in 7 positions which are listed in the Music Theory Workbook for Guitar Volume 2 folder in the member's area. Learn one position a week. Say the names of the notes and the degrees for each position of the scale. Spend 15 minutes a day on this. 6. Improvise with the scales you are learning using the chord vamps which are also in the Music Theory Workbook for Guitar Volume 2 folder. Spend 15 minutes on this or more. It's fun so it's hard to quit. 7. If you have problems motivating yourself to learn the scales then at least play along and improvise with the vamps. This is a common assignment I give to a student who is studying with me. |
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| Q | Sometimes I guess g# for g and d for d# and like that. Is this okay? I have read about another of your books. About Rhythm Primer and Rhytym One, I just know that they are teaching rhythm... how important is it and whats the function of these books? And what is your fact that tapping your foot isn't very good? I`m considering to purchase it, because I have a habit to tap the foot. And I'm asking about, if I have learned your ear training method, how can I use it because I have to learn about the solfege in all other scale, right ? So I must learn the solfege in other scales? |
| A | As I'm sure you know it's not OK if you guess g# for g and d for d#. It doesn't mean anything if you are close to the correct answer. All notes have a distinct sound none are like others.
Rhythm development is extremely important. Rhythm Primer will teach you all the basic rhythms and Rhythms Volume One will introduce you to rests and ties. These are excellent books for developing a strong rhythmic sense and I recommend you get these to start developing your rhythm. Tapping your foot is OK if you are still having problems playing a rhythm or are just a beginner. Overtime though you want to stop tapping your foot as your recognition of the rhythms you are playing improves. You need to learn all scales and chords in all keys in order to apply the ear training to all keys. I would suggest you work through Music Theory Workbook for Guitar Volume One and Two or Music Theory Workbook for All Instruments if you don't play guitar. This will help you memorize what all pitches are in every key so when you are doing your ear training in any key you will know the correct answers. |
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| Q | Skeptic time. I knew there was a valid reason that I was avoiding the Fanatic's Guide... Now I know why! I read the instructions and looked over the exercises during lunch today and will not type exactly what went through my head. Let's just say it was colorful.
I have to ask. You indicated that everyone that sticks with the lessons eventually gets it. How many people have actually sucessfully completed even the One Note Series (three levels) and the Fanatic's Guide? I am quite certain that more have given up than have completed it. That is true of anything difficult. Must be like the attrition rate at college. Seriously though, how many people and/or what percentage actually complete it that start? I thought the One Note stuff was out there (I am still doing One Note Beginning, but the results are not yet improving - they will), but this Fanatic's Guide stuff looks completely esoteric at first glance. Don't misread. I believe that people do it. I am keeping the faith. I just want to know the success rate/versus dropout rate. Average time to complete One Note series? I am not giving you a hard time, and you never said it was easy stuff, but where on Earth did you come up with this stuff? Admittedly, I can see enormous value in learning the methods. When I read the part about knowing (by ear) the degree within the scale, the lightbulb finally came on and I said "Oh! Damn! That would really work! Would just need a key and off you go! Any melody... any key! Wow!" Then came the "But how the hell am I gonna ever get there?" I know that people actually do it. I understand to some extent, how this method is much better than interval training. I get all that. All I know is that when I read that book at lunch time, I realized the enormous task I am about to undertake. I had no idea. I thought I did, but I didn't. It is truly overwhelming to think of. While I understand (to some extent) the idea behind part of the methods, the implimentation is quite abstract at this time. It is very difficult, as you already know, to visualize when ya just don't hear it right now at all. Everytime I put on the headphones, I set my mind to what I think is the right place... just hear the note... learn what it sounds like... what color is that note?... result? Wrong answer. Don't get me wrong, I am not actually getting discouraged, perhaps getting even more determined to beat the challenge. But man, this is really tough to blindly keep pounding at. I am hoping that the Fanatic's exercises will, as you said, help. Right now they look virtually impossible. I keep thinking if only I had a better understanding of theory... You know how they always tell athletes to visualize success before a game? If put in that context, I visualize myself in crumpled little pieces on the football field with cleat marks from head to toe. But hey... I will get over it. It is amazing what doctors (and musicians) can do these days. Okay... end of rant. I just had to give you an initial reaction. I will start work on it and work on that visualization at the same time. I also see why you suggest short practice sessions for these exercises... Lowers the frustration level as well as keeping the material fresh in short-term memory... You must have some amazing students working with you in person. |