Single String Studies: Volume 1
FREQUENTLY ASKED QUESTIONS
| Q | I came across your "Single String Studies for Guitar" at amazon.com. the title immediately caught my eye as i have never seen or heard of such a method. I researched your book and am impressed with it. I just have some questions and doubts which i hope you can clarify.
I am currently studying with a good teacher and I am using "A modern method for guitar" by William G. Leavitt as my main guitar method course. since you have studied at Berklee and perhaps used this text there, I am assuming you will understand my concerns better. I am also using a Mel Bay guitar method course, which I am studying on my own. My concern is, can I use your "Single String Studies for Guitar" while also learning from Leavitt's "A modern method for guitar" or any other good guitar method course? when i read your comments at amazon.com, you mentioned that your book will force the student to stop playing patterns, which is what i am doing now and haven't seen any other way until now. then I thought, how come your book was recommended for advanced players, when after reading everything about the method, I felt a student should learn via single string method from the beginning. otherwise wouldn't a student, when using a good conventional method, be used to position playing and then if he/she studies your book at a later time, wouldn't he/she have something totally new? and would this cause a problem? does your method also teach how to read chord notation, which will mean one has to read one more than one string simultaneously? how would you advise me accordingly, keeping in mind that I am already using method books such as "A Modern Method for Guitar". can I come up with nice combination where I can use both? the reason why I hope you can clarify this from me is, I only recently started learning how to read and learning "proper technique" using a systematic and structured course such as Leavitt's "A modern method for guitar". otherwise, I was self-taught for 2 years and one day found myself in a rut and disappointed with my progress. so I am now very conscious about getting it done the "right way" from the start. if your book will definately help me, then I will surely focus on it. but being self conscious about using too many "methods", I don't want to find myself on the other extreme of when I was frustrated being self-taught. please advise me and share your wisdom. I appreciate it very much. thank your for you time. |
| A | I am very familiar with Leavitt's books because not only did I study at Berklee, I taught there for 4 years. "A Modern Method for Guitar" by Leavitt is a pretty good book but I do have my reservations about it which is one of the reasons I wrote my own.
You should keep a couple of things in mind; All students at Berklee used the Modern Method book in conjuction with a "chord lab" and a "sight reading lab." The material used in these labs is not available in book form but is crucial to learning the guitar. The chord lab gives you a progression every week to learn. First you have to read four or five part chord voicings and also read these chords as chord symbols. Then, in the sight reading lab you are given short melodies to read. Some melodies are read on the spot and some are prepared for the next week's class. If you want to get the experience of reading chord voicings and symbols, I would recommend my "Chord Workbook for Guitar Volume One." This book will give you 36 progressions either written with chord voicings or chord progressions. This will go a long ways to help you read chords and also teach you how they are used. I would also recommend as a suppliment text, LINES: Sight Reading and Sight Singing Exercises. This book gives you single through 4 part melodies and exercises to work through and helps a lot with learning to read more than one note at a time. As far as the" Single String Studies" goes you could use that in conjunction with the Leavitt books. I would recommend "Single Strings Studies Volume One." One of my main criticisms of the Leavitt series is that it gets students boxed into reading in one position at a time and only presents examples that are in that position. In the real world melodies commonly do not stay in one position so many students who have studied this method end up with problems later on. One way you can avoid this is to work out of a book like Single String Studies, but also spend time reading any music of any style you can get your hands on. A library is a good place to find music, hopefully you have a good library near you. As long as we are on the subject of what I think you need, I should mention that gaining a thorough knowledge of the guitar is a key factor in becoming a great guitarist. I recommend you get the Music Theory Workbooks for Guitar at some point. These books will give you exercises to write out both on a staff and on a guitar fretboard so you learn your music theory in both of these two crucial ways. Also I would recommend you get "Ear Training: One Note Beginning." All of the music information you are gaining means nothing if you can't hear it and understand how you should be hearing music. This book is crucial beginning for a student. Ear Training is really a combination of listening and singing therefore I would also recommend "Fanatic's Guide to Ear Training and Sight Singing" thought you could use the "LINES: Sight Singing and Sight Reading" book as your sight singing book. I realize this is a lot of books, a lot of money and a lot to think about. But you seem to be a very serious and motivated person, so I have outlined for you a complete course of study for improving your musical abilities. I wrote these books because when I was first learning about music, I was rather isolated, and looking back, I could have made musical progress a lot faster and from an earlier age, if I had had access to the information that I have put in my books. You would need quite a bit of time each day to get through all of this information, I would estimate about 4 hours. But, I feel it's my responsiblity to let you know what serious students at New York University and Princeton University are doing to become accomplished musicians. Of course any of these books could be used in conjunction with your current books of study. Good luck and I wish you the best with your music. |
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| Q | I have Single String Studies, and have questions about
pages ix and x.
At the top of page ix, it seems that, by definition, middle C on the treble cleff is played on the 3rd fret of the A string. Thus, rather than sounding middle C, the sound is an octave lower. This is what I get out of the top of page ix. On the same basis, the bottom of page ix indicates that a note played on the 3rd space of the treble cleff will sound middle C. These two plays are consistent, as both sound an octave lower than written. However, the top of page x implies that middle C (Example 5) is played on the first fret of the B string. I am confused as to what is guitar music and what is not. The top of page ix says that middle C in guitar music is played on the 3rd fret of the A string, while top of page ix implies that the same middle C is played on the1st fret of the B string. Would it not make sense that guitar music be transposed upward one octave from the non-guitar music, say piano music, and be written on the treble cleff that way? Could it be that the middle C in Example Five should be on the 3rd space of the treble cleff? This would be consistent with the bottom of page x. Perhaps you can give me a few words of wisdom on this. Thank you |
| A | Your question was forwarded to me, and here are my words of wisdom: OOOOOPS!!!!.
There is a mistake on page "x" the diagram should show the "C" note on the 3rd fret of the A string as shown at the top of page "ix". While I am of course upset that there was a mistake, I really appreciate your bringing this to my attention. Both Muse-eek and I have made every effort to catch mistakes and misprints, but with thirty-six and counting technical books to proofread, some get past us. We will have a "corrections" page up at the muse-eek.com website in about a month. You will be able to download a PDF file of this page so your book will be correct. And because of your comments, we will of course be correcting all future printings of the book (From today on, as a matter of fact!)--so thanks again. 03/30/00 If you have any other questions or comments please let me (us) know. We are striving to make Muse-eek an excellent distance learning company for music education. We hope to provide students with the tools to become first rate musicians and to clear up misconceptions and bad practice habits that can plague their progress. |
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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've purchased Single String Studies and I am having a terrible time not looking at the fretboard. any suggestions? |
| A | Single String Studies is a really hard book. Most people find it takes 6 months to a year before they feel like they are in control of each page in the book. Stick with it because it will make an enormous difference in your ability to read, know where the notes are on the guitar and being able to play any note dead on without looking. |
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| Q | With respect to SSS, I have been doing these religiously for about 6 months now and have definitely seen significant improvement. I have been doing the studies at 1/2 speed, though (around 48 bpm), and was wondering if you think I should gradually increase my speed at this point (maybe 12 bpm every time I change keys) to get back up to regular tempo.
Secondly, I have not yet had the courage to tackle the "All String Studies" which follow the individual single string studies. At what point do you think I should incorporate these into my practice routine? |
| A | Thanks for contacting me. I would start to speed up the Single String Studies. I would go through the book by keys so if you started with the key of C major I would do pages 1, 14, 27 etc. I would speed up the metronome one setting for each key. So you are doing 6 pages before you turn up the metronome one more setting.
I would work through the entire book twice before going on to the All String Studies. |
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| Q | I have your book "Single String Studies" and after 5 sessions of page one, I was still making quite a few half step mistakes. The highest C can only be hit with my baby finger and the lowest F with my 1st finger. In between, however, there are lots of choices. I sort of tried to block out the guitar into positions, but couldn't really devise a method. Do you have any recommendations in this regard or is it purely a matter of feel? |
| A | There is really no real method for fingering with the single string studies. I tend to use my first finger or second on lower notes. On the higher notes I use my 3rd or 4th finger. Some people also use just one finger which is much harder but has it's merit too. One thing that you need to keep in mind is that you should be looking ahead in the music which will also help you choose the right finger. Go to the "member's area" and download the file for "beat reading." This will help you learn how to get your eye moving ahead of the music which will in turn help you to choose the right fingering ahead of time. |
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| Q | I recently bought your book "Single String Studies" and I'm really having a hard time with just the first page. I'm a beginning guitarist and not looking at the fretboard is killing me. I'm determined to stick with it, but any advice you may have on how to approach this book would be very much appreciated. |
| A | Well it's going to take awhile. But in the long run you will be able to:
- Locate each note on every string - Develop uniform tone on each string - Feel where the notes are on the neck without looking - Read music on the guitar; read ledger line notes quickly and easily - Use the material presented to fine-tune sight reading skills It usually takes students at least 6 months before they feel like they are beginning to make progress. I would spend one week on each page and I wouldn't go consecutively through the book. Play page one for a week then go the the 1st exercise in C major for the A string. Play that for a week then go to the C major exercise for the D string. I would continue this through all six strings and then go back to page 2 and do the same thing with the key of F. Don't worry if your not playing ever note correctly - this will happen over time. I would also suggest you download the midifiles from the muse-eek.com website. These files will help you to know whether you are playing the right note. |
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| Q | Why are some of the notes higher than my fretboard? I use a nylon string guitar. |
| A | A nylon string guitar is a "classical" guitar and therefore would not have as many frets as a normal steel string acoustic or an electric guitar. We have a new version of the Single Strings Studies series designed for classical guitar which has just been released. If you want to still use your version (Single String Studies Vol. 1) I would just transpose any notes that are too high down one octave. This may seem like a pain, but it is actually a common thing that guitarists have to do when reading in a professional situation. This is mostly caused by composers writing for the guitar in the wrong octave and then asking the guitarist to play in a lower or higher octave. I would say that unless you are planning on becoming a classical guitarist your are better off learning to transpose because it is a common occurence in the real world and you may move on to a steel string acoustic with a cutaway or an electric guitar. |
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| Q | I came across your books on amazon and then found this site. I have been playing for about 18 years and have a good ear but I don't know how to sight read and I don't really have the notes on the fretboard memorized. I feel left behind and would love to be able to pick up sheet music and read it. I'm so sick of not knowing how to read. Shame on me. So, which book would be best for me? I want to be a great sight reader and have the patience and resolve to do it. |
| A | Thanks for contacting me. I would recommend you start with 3 books.
Single String Studies for Guitar Volume One Rhythm Primer LINES Sight Reading and Sight Singing Exercises. Rhythm Primer is the beginning of the Rhythm Series of books. You would follow Rhythm Primer with: Rhythms Volume One Rhythms Volume Two Odd Meters There are further books but if you can get through these you will be in pretty good shape. I recommend you spend 1 hour a day reading. I would spead 10 minutes on the 3 books I've recommended and then try to get some music from your local library and read that for the last 1/2 hour. In the next few months I will be starting a paid access section of Muse-eek.com where you will be able to download music to sight read. This could take the place of your local library. I suggest you take advantage of this when it happens. |
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| Q | I have a question regarding the first page of Single String Studies Vol. 1. ALL notes to be played are on the low E string. Easy enough to understand. So, when I see the first note of the first measure is A , that is the A on the 17th fret, right? Since it's a higher A in pitch and A can only be played twice on the low E string. The second time i see the A is in the second measure, fourth note. This is played on the 5th fret, right? And so on and so forth? I'm playing notes high and low on the fret board accordingly as they appear high or low on the ledger lines, correct? In short, first A on 17th fret, second A 5th fret, right? |
| A | You are correct in your assestment of the note placement and how to proceed with Single String Studies. Just keep in mind that there is a huge learning curve with these exercises and there is definately a lot of "zen" involved. |
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| Q | I have purchased Music Theory for Guitar Vol 1 and Single String Studies Vol 1. While I like the books, I really feel lost, especially on directions for the exercises. The first exercise on pg 16 of Music Theory gives no direction at all. Since I am a total beginner, it really would help to have some more specifics. I think I figured out what to do by looking at the first few answers. One question I have is on the Single String book. Again no instructions and maybe I'm not as smart as the average person, but take the first example: Exercise 1 Low E string only. There are multiple appearances of the same note at different places on the staff. For instance, A on the second space of the staff and A 2 lines below the staff. If I am to play these notes only on the low E string my gut tells me they should be on 2 different frets... an octave apart? So, I think the one that is 2 lines below the staff would be on fret 5 and the one on the second space of the staff would then be on fret 17? That doesn't seem right to me, so please help me out with some guidance before I give up. I want to stay with this because I want to learn the guitar and learn music but I have to have a sense of progress and right now I'm floundering. |
| A | Sorry to hear you're having problems getting going with the books. Your basic instincts are pretty much right! With the music theory book you need to fill out the answer for each question by placing the correct answer on the staff and within the guitar fretboard diagram. It will take quite awhile to work through this book, but over time you will begin to remember the notes in chords and where they are located on the guitar fretboard.
You are correct about the single string studies: You will play notes only on one string and some notes will be very high up on the fretboard. What I'd like to do is set you up with a practice schedule. If you could give me a detailed listing of the amount of time you have to practice, then I can help you organize and improve at your fastest rate. |
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| Q | Thanks so much for you rapid response ... I work approximately 50 hours a week. I do have time to listen to the CD in the car each day but it differs 3 days a week about 1 hour, 1 day a week about 2 hours. I try to practice between 30-minutes to one hour daily but it's probably more like 5 times a week. I have 3 children including an 18-month-old so it's challenging. I also recently moved and am living out of boxes and restoring the residence in my spare time.
I am currently working on page 16 of the workbook and trying to practice the first 5 chord drills in the beginners book. I also tried for the first time last night to incorporate a few minutes of the single string drill for the low E string. I typically have a little more leeway on Saturday and Sunday but usually things come up so I believe that is a fairly accurate sum of what I can do. I also bring the theory book (just got it on Monday) to work with me and use it on break ... I don't consistently have a free lunch hour to devote. |
| A | I would prefer if you had about 20 minutes outside of your daily guitar practice to do some work in the music theory book. Do you have a lunch break or other short down time consistently each day? I'm also developing some audio CDs for this so if you don't have a sit down time we will work around it. Let me know. |
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| Q | 20 minutes to work on the theory book is not a problem. I can do that in work, on break or lunch. |
| A | OK so you will do the Ear Training twice day while commuting for 10 to 15 minutes. Do the Theory book for 15 to 20 minutes during a break each day. For your 1/2 to one hour of practicing you should split this up 50/50. 50% book work and 50% playing.
1. Single String - study one page per week spend 10 minutes on the page. Don't worry if it sounds awful for 6 months just do it. This process takes time. Try not to look at the fretboard when you are playing the notes. Use the midifiles if you can to make sure you are playing the correct notes. 2. Continue working on the chord progression in the 1st Steps for a Beginning Guitarist. When you feel you have them so you can play along with mp3's on the website it's time to start on the Chord Workbook for Guitar Volume One. Let me know where you are with this. When you're ready for the Chord Workbook I'll give you an assignment in that book. 3. Download the C major scales from my website. You need to go to www.arnoldjazz.com and the music workshop and download the C major scale. You want spend a couple of weeks on each scale. 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 1st Steps book for guitar technique stuff. 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 Music Theory Workbook for Guitar Volume 2 (look on the website for the midifiles). I'm also creating some mp3 files over the next couple of weeks that you can use so contact me in 2 weeks about that. The other 50% should be spent doing something on the guitar that you enjoy. This could be playing the chord progressions in the 1st Steps book, playing along with a CD, or just noodling. If this isn't part of your practice schedule sooner or later you will give up. It's important to enjoy playing the guitar. |
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| Q | Hi, I own Music Theory WB Vol. 1 and Single String Studies Vol. 1. I'm a complete beginner and I've reached the Db major page in the SSS and I'm still going a little slow and making a few mistakes. Is this supposed to happen? Also, in the theory book I've reached the 7th chords and I now know the structures for the chords thus far, but I'm not exactly sure what I'm supposed to learn. Should I memorize every chord in the exercises, or do I just have to familiarize myself with the structures? |
| A | It is common to make mistakes and generally to have a hard time with Single String Studies. This book is developing so many things at once in your playing that you have to be very patient. You should just read a page a day/week. Spend 10 minutes on the page and do this for the foreseeable future. You should find over time that you have the ability to easily find notes on the fretboard, know their note names and where they are on a music staff. Conversely, this will also help you to read music.
The Theory books are developing a few things simultaneously too. By working out all of the exercises in the book you are starting to get a working knowledge of what the 3rd, 5ths etc of every chord are and where you find this information on the fretboard. You should find a familiarity growing as you go through each exercise particularly starting with the 7th chords and beyond. For example, once you get to the Major 7 9 13 chords you should start to recognize that the basic structure is just a major 7th chord and then you are adding in two notes (9,13). You should also start to see where the notes of a major 7th are on the fretboard. As you progress through the book you will find that you start to remember the basic structures of chords which are the underlying structure of all the chords with added tensions. This familiarity with the underlying structure will help you to move through the book at a faster rate and help you to start using music theory as a natural tool. Music Theory should become a natural part of you, just like speaking a language. The most important thing is to be consistent and spend 10 minutes or so on the Single String Studies and 30 minutes or so on the Music Theory book each day. A year from now you will have a real working knowledge of music theory and be able to apply it to your guitar in a natural fashion. This will allow you to process and fly through many things in music that most only dream of. |
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| Q | In the FAQ it is recommended that the studies be worked in key order. C for strings 6-1, followed by F for strings 6-1, etc... I was wondering what the rational for this is versus proceeding in the order of the book? |
| A | You could work through the book either way. Some people find it better to stick with one string and change keys, while others that are a little more advanced like to work on one key, one string and then change to another string with the same key. Either way, the important thing to do is to stick with the book for a couple of years until you have a natural ability to play any exercise without looking at the fretboard. When you achieve this, your knowledge and feel for the fretboard will be at a professional level. You also will find that your sight reading ability has improved considerably. |
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| Q | On the single string studies exercise 1(low E key C major), there are 2 different "C" notes on the first line. I have no problem hitting the lower C fret 8, but the higher C(20 fret) does not really exist. Is this simply because I'm playing on a classical guitar or am I misinterpreting something? |
| A | If you are using a classical guitar, some of the notes will be too high to play. I would suggest you transpose each of these high notes down an octave when you come to them. This is good practice anyway, because many times composers write notes that are not available on the guitar, or will want you to play a line down or up an octave. I do have a Single String Studies for Classical Guitar Volume One which is entirely playable on a Classical Guitar. Although, I wouldn't bother to get that book if you already have the regular book, just do the octave transpositions. |
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| Q | I just received Single String Studies and I'm waiting with baited breath for my next singing assignment! Two note is going great, I am still flipping out at hearing my sung pitch change before my ears. What a great way to hear. |
| A | For single strings, we are going to start off easy and then it's going to get tough. The first thing you have to realize is that some of the jumps and ranges are too large for some people's voice. So you will have to make some octave adjustments from time to time. I want you to start with the first page and sing it over a drone C major chord (C,E,G). After you finish that, I want you to sing the same exercise, but in all keys using a drone. When you get to a key like Gb, you will only have two notes in the entire exercise that are in the key of Gb. I would move through the book by string so that once you finish the key of C major for the low E string go to the key of C for the A string and continue this process. You want to use a metronome to help you find the notes that you hesitate on. Remember, you still want to try and prehear each note before you sing it. Sooner or later, that will turn into the ability to just hear each note right as you sing it. Let me know when you get the exercises up to a quarter equals 80 bpm.
Good luck and keep up the good work. |
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| Q | I am working on your single string studies book. I am just about finished with studying the key of C on each string. I spent about a 15 min. per session for 7 days on each string. I review each string from time to time, especially ones that seemed more difficult like the D string.
By going slowly, and visualizing (in my imagination) the string being studied, I am getting pretty accurate but still make mistakes. Especially going up high on the string from down low. I guess the smaller size of the frets makes it harder and I never have used the frets above 15 on strings E - D before. What should I do next? I am also doing LOTS of ear training in the single string study book. I have only three more keys to go on the first study. My only comment is very challenging at 100 bpm!!! |
| A | So next you will go back and read all the strings but in the key of F. You just continue this through all keys. After that you do the All String Exercises.
For singing, once you feel comfortable with the first page using a C chord vamp I want you to make an F chord vamp and sing the 1st page again. So now you will have a #4. Once you finish that, you need to go through all of the keys, so next would be Bb which will give you a #1 and a #4. As you can see it will get more and more difficult as you get into keys which contain very few notes that are in C major. |
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| Q | I received the Single String Studies for Guitar Vol 1 today. Please let me know how to start the singing exercises on it. It looks pretty intimidating.
I'm doing ok with the 5 note exercises with the metronome. I'm really trying to concentrate on pre-hearing the notes before singing them. In fact, the ones I can pre-hear I get right predictably. I was wondering if singing the notes in time doesn't increase the risk of singing the exercises as a melody? It doesn't seem to be happening to me so far. |
| A | Singing the notes with a metronome does increase the likelihood of hearing a group of notes as a melody, but after this much time of you singing, thinking and pre-hearing the notes hopefully that habit is taking hold and that won't be a problem.
For the Single String Studies you want to take the 1st page and sing it over the C major vamp found on the Fanatic's Guide CD. If you need to adjust the octave of some notes based on your vocal range this is fine. You should use a metronome later after you feel more comfortable with the exercises. Once again this metronome should be very slow (quarter = 40 bpm). After you can sing the page at 40 bpm I want you to sing the same page but with the F major vamp from the Fanatic's Guide again working up to 40 bpm. You will then continue through all keys. Obviously as you change keys you change your solfeggio and certain notes will become non-diatonic so you will have to adjust the solfeggio. For example in the key of F you will sing the B as "fi". |
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| Q | I've been working through your Single String Studies Volume 1 book for a little more than a year now. I am certainly much improved over how I was when I started, but I don't really feel good at it yet. About how long does it take for someone to get good at this? I've been doing each study for a week, then moving on to the next string/study in that key. It takes me a couple of days in the beginning of the week to get the feel for that study, and by the end of the week I have it down fairly well, but I wouldn't say it's anywhere near perfect.
Plus, I think I'm actually associating the sound of the note with the specific place on the fretboard more than sight-reading the note and associating that sight of the note with the place on the fretboard. Is there any way I can improve this? Should I be trying to think of the name of the note as I'm playing it (even though the notes move fairly fast)? |
| A | It usually takes my college freshman 2 years before they start nailing this book. So be patient. You definitely want to know the names of the notes that you are playing. So, if that is a problem, slow down until you can name the notes. You can also practice the book without the guitar where you just name the notes without associating the guitar fretboard to each note. Sooner or later I'll also have you singing out of this book.
It actually sounds like your doing well with this. This book improves a lot of things all at once so just keep at it for awhile longer and then it's time to make it even more difficult with volume two. |
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| Q | I have the Single String Studies Vol 1 book and I was hoping you could suggest some key retention exercises? |
| A | You want to take the first exercise and sing it with a drone as a background. Start with C and then move cycle 5. i.e. Key of F, Bb, Eb etc. Obviously you will have to change the solfege as you change keys. When you have completed that then try singing the same exercise by first giving yourself a cadence in a key and singing through. Go through every key using this method and you should see a marked change in your key retention. |
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| Q | I'm an amateur musician and I play guitar. I have both your music theory workbooks. I have a hard time finding enough time for them with my busy work and family schedule, and I try to put as much time as possible into ear training. I've worked on the theory chord workbook on and off since this spring and recognize the need for working on the scale theory book too as soon as I find some extra time. What I've always realized is that my ear is so weak and that it was really holding me back. I appreciate any suggestions on how to go about applying theory to the ear training-singing exercises. Maybe I could just write out the name of the note the first time it appears on the page (Single String book), for example Key of F, A= MI. |
| A | The assignment for singing I gave you for the single string studies book will really help you with your music theory. By singing each page in every key you will have to learn what all the notes are in every key. This is excellent practice for music theory but also will greatly help your ear training. I'm also working on a couple of audio music theory books that should be out in about 6 months. These would be good for travel. |
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| Q | I'm assuming that since this is single string studies we're only playing one string (at least in Exercise 1) Just to be sure I know what you're going for here:
Exercise 1. Using only the thick metal wrapped E string. For the first few bars you would have the student have the finger on fret 5 then 13 then 7 then OPEN, 10,8,3,5, 7,12,10,8 |
| A | Yes 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. Also you can use a one note or one chord drone and make the book both a guitar study book and an ear training method. I would recommend you get Ear Training One Note Complete and understand the way I want you to do ear training before implementing this course of study. Once you understand the ear training I'd be glad to elaborate on applying the ear training to this book. |
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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 | Well I just got off a Christmas gig and I did something I never did before. A couple of people started to sing some carols (during my break) a cappella and I got up, played the c on the piano, and without getting out my music I started to play with them by ear. And I have to say I did pretty well. Got all the keys right and by the second go round I was playing the melody and most of the changes with them. They were happy and I was thrilled (I didn't let on, though). For the first time I really felt like a musician, not just a pretty good piano player, and I owe it all to you. Thank you so much, this was a great Christmas present.
Been writing you a long letter about teaching... as you know I work with high school dropouts in home study programs and I would love your expert opinion on incorporating the use of repetition in forming and retrieving memory in other subjects outside of music. Kandel's book has opened a new 'gestalt' for me to explore in the hope of improving my teaching techniques and my understanding of the learning process. I'd like to share these revelations with you and also discuss some of the controversies apparent in this field (i.e. the ongoing battle between the pre-synaptic and post-synaptic schools and the influence of brain waves (Pergonine) and brain locale on ease of formation of memory) in light of your experience with students who have a hard time sticking to it. I do have a couple questions about 2 note and modulation in general. First, when working with sixths and sevenths in 2 note the need to hear each scale degree in the diad becomes vital as I tackle varying modulations with the same diad. This has been difficult and often I must sing the notes separately before humming the C (or playing the c on the piano if not sure) to find the right answer i.e. b to g# sometimes changes the c to b6... b2 (which I still don't always recognize) or 3. Once I've sung the notes separately it becomes easier to hear the scale degrees of the diad (i.e. 5 and 3, 1 and 6, or b3 and 1). It seems to be working as the need to sing the notes eventually disappears. The problem with doing this is that sometimes I use resolution tendencies or sing tonic to check if I'm right. It's almost a knee jerk reaction and I know this is wrong. Can you offer another technique to hear the diad in terms of its members? By the way, I hardly ever hear the interval any more, which is great! Second, I've been working with Lines and singing and double line exercises. I learn each single line exercise until I can do it without drone at half note = 80 and then proceed to 2 note slowly without drone until I can get it at quarter = 80. I leave the 3 note alone at this point until hear modulations better. I'm also singing and learning one bass line a week from the blues bass book. I always start by transcribing them and then sing them the first day of the week. My question concerns the solfege used when I hear brief tonal shifts i.e. to the subdominant or other secondary dominant shifts. For example, in the first blues bass exercise in the key of c major, the move to f# e d# e in m. 4 causes my ear to hear the d# as b7 and the e as 7 and the f in m. 5 as 1. So from m. 3 I sing - do te do sol / fi mi te ti / do (f) te la sol / fa mi fa fi /which sounds like ti going to c. Is this the idea? Obviously, this is not a true modulation in the academic sense, but I assume that, especially at slower tempos, this is a perfectly viable way of hearing in your method. Am I right? Also do you have any comments on my approach with Lines and Blues Lines exercises? I am also patiently wading through page one of single line studies in every key... almost done... it's taken 3 months though. Should I speed this assignment up at the expense of lines or keep it up. By the way, I am not doing Fanatic's exercises at this time because there is no modulation and I want to focus on modulating at this point. Third, when I play the appropriate chord to accompany my singing (to the horror of my mom the singer) the shifts in tonality become more apparent and easier to identify. Is this a good idea? I suspect not but am interested to hear why not. OK... I'm pooped (as I'm sure you are also). This is a rough time of year for musicians and coupled with family and shopping and letter writing to you I think I am becoming Steve Scrooge. |
| A | I'm glad you're getting something out of the Kandel book. I'm always interested in your perceptions and comments about memory and learning.
With the 2 note exercise I would first always do the exercise as laid out in the book. After you have done that then singing the two notes and/or repetitive listening to one example is fine to help you hear various aspects of the diad. I of course don't recommend using resolution tendencies. Overall most students find that there is a group of diads that cause them problems. Sometimes through repetitive work these diads become clear, other times you just need to move on to 3 note ear training. In a way 2 note ear training is harder than 3 note because 3 note outlines a key center in most cases better than 2 notes do. So when you hear B and G#, if you do 3 note exercises where the notes are B, E and G#, you most likely hear this in E major. So later when you go back and hear B and G# your ear will more easily hear the B and G# in E major. Overall I'd say when you are getting all but 5 to 10 Two note examples it's time to move on to the 3 note exercise. Your work with the LINES book sounds fine. Basically you just follow any modulation you hear. It may seem weird at times but overall you are trying to learn to follow your ear. Of course when the tempo is slow you will have many more modulations than when the tempo is quicker. I'd just keep plugging away at the Single String Studies singing exercise. I'd spend a few weeks on each page maybe a key a day and then move on. You will probably sing through this book a few times so just do your best and then move on. I'll want you to go through the book once with a drone and then once without a drone. Tough stuff but it will do wonders for your ears. Wasn't sure what you were asking with your last question so please clarify. |
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| Q | Hello! I saw on Amazon that the book Single String Studies For Guitar: Mastering the Guitar Fretboard is available.
I was wondering how this book is different from Single String Studies Volumes 1 and 2. Would I be better off getting vols 1 and 2, or is the same information in the Single String: Mastering Book? |
| A | Single String Studies For Guitar: Mastering the Guitar Fretboard and Single String Studies Volumes 1 are the same book. I would just order one volume at a time. This is an extremely challenging book and probably will take a year to get through each book. |
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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 | I am studying from these books:
One-Note Complete Fanatics Guide Rhythm Primer Single String Studies for Guitar VOL.1 Chord Workbook for Guitar VOL.2 Music Reading for Guitar (The Complete Method) by David Oakes and for now studying theory from different websites. I plan on ordering your Music Theory Workbook for Guitar Vol.1 on Monday. I am a lefty who played righty for about 15 years but about 2 years ago decided to teach myself lefty because I could not get my staccato up to the speed that I wanted. Now after drilling myself in proper technique, the speed in my picking hand is better then when I was playing righty and my vibrato is better. QUESTIONS: 1. Fanatic's Guide - On tracks 5 and 10 I cannot reach the 13 with my voice and if I lower the tonic down an octave then I can't go low enough to sing the 1. Here is where I am starting the singing for each tonic on the guitar for each track: Track One: C on 3rd fret A string. Track Two: F on 3rd fret D string. Track Three: Bb on 1st fret A string. Track Four: Eb on 1st fret D string. Track Five: Ab on 6th fret D string. Track Six: Db on 4th fret A string. Track Seven: Gb on 4th fret D string. Track Eight: B on 2nd fret A string. Track Nine: E on 2nd fret E string. Track Ten: A on 7th fret D string. Track Eleven: D on 5th fret A string. Track Twelve: G on 5th fret D string. 2. On Rhythm Primer you say to get up to playing a whole measure equals one beat at 100 bpm. How am I going to play that fast with 2 downstrokes in a row? I can only play a measure equals one beat at about 55 bpm with consecutive downstrokes. And when it comes to playing the beats on 2 and 4 I have to put the metronome on 100 at a half note equals a measure to feel the beats on 2,4. 3. On Single String Studies I assume that when it comes to the All Strings Exercises you can play any single note on any fret of any string as long as it is the correct octave pitch. So it is a matter of quick decision? 4. I ordered as a seconds Chord Workbook for Guitar Vol. 1 but they sent me Vol. 2 instead. I kept it because I realized that on the top of the pages it shows the spellings for each chord and therefore I can on my own create each of the chords that are on volume one by simply locating the tonic on the low E string or A string and from there go get a fake book and start applying the six and five string bar chords. The only thing I would be missing would be your reharmonization method for Vol.1? Also if I were to play in a band with just a drummer and bass player should I play the six and five string chords or should I play the 4 string chords and inversions? I know 4 string chords are good for ensemble and chord melody. 5. Are you familiar with Music Reading for Guitar by David Oakes? He teaches reading in 5th position, 5th position 8va, open position, 2nd position, 3rd position, 7th position, 12th position, and SHIFTING POSITIONS - The Pipeline he says 'I like to think of positions as sharp-key and flat-key reading areas on the neck. For example, first position is a flat-key reading area. Second position is a good sharp-key reading area. Third position is a flat-key reading area, and so on. I would never read a flat-key melody in the second position. For a melody in this range, I would choose first or third position, up and down the fingerboard (the pipeline technique).' 6. I am going to order your Music Theory Workbook for Guitar Vol.1 just to help drill in all the chord spellings as I will also play 6 and 5 string chords I construct to the progressions from Chord Workbook 2. Until I purchase Theory Workbook 2 I will use the scales on Arnoldjazz.com to improvise over the midifiles for Theory Workbook 2 on museek.com. |
| A | First with your question about being able to sing the 13th of the key of Ab which is the 5th track on the Fanatic's Guide CD. First let me say that in your well documented examples of where you sing each note you refer to singing the root of F major on the 3rd fret of the D string: Why not sing this note for the 13th of the key of Ab major?
Once you get to the All String Studies in the Single String Studies book you can access the notes anywhere you feel is appropriate. Of course, you will first have read through all of the single string studies before attempting the all string studies so you should have a pretty good idea of the possibilities. I'm wondering with Rhythm Primer where you got the idea that you should play these exercises with only downstrokes? As a tempo gets quicker on the guitar you will need to alternate pick. Furthermore you shouldn't start these exercises faster than your current ability but should slowly work up to faster tempos. Sorry to hear that you received Volume Two rather than Volume One of the Chord Workbook for Guitar. Please contact Muse Eek and have them send you Volume One. I'm sure they will do this at no expense to you because it is their mistake. The chords in the second chord book are mostly used in ensemble playing though you will find the voicings in Volume One used especially in cases where the bass player is playing the same bass note over and over again. I am not familiar with the book Music Reading for Guitar by David Oakes. While I believe that position reading can be useful when reading melodies that are mostly in a key center, they really handicap a person when they read a melody that has a lot of accidentals, or switches keys frequently. Therefore I'm not that fond of a sight reading system that bases reading on positions. In general you will find that most melodies will be easy to read in either 5th or 7th position. While this is a generalization I have found this to be the case in most instances. Ledger-line melodies in upper positions should most certainly NOT be read vertically but should be read in a position that allows you to gain access to these notes quickly, especially when the melodies are fast and move through larger intervals. I think the Music Theory Workbook for Guitar would be a good addition to your learning materials. Hopefully you will take the advice I give you above and think it through. I wish you the best of luck with your music studies. |
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| Q | Lets say each of the books/CDs of yours that I purchased are classes I am taking at a University. In which order would my classes be and for how long? I presently have all the time in the world for music, but unless I have a daily road map I sometimes get loose discipline. With the One Note and Fanatics I currently do each of them for 10 minutes one after the other for 8-10 times a day because I can only take them in small doses. So just insert 20 wherever in my routine that you think would be good to work on them.
I OWN: 1. One-Note Complete 2. Fanatics Guide 3. Music Theory Workbook One 4. Chord Workbooks One and Two 5. Rhythm Primer 6. Single String Studies 7. 19 Scales off of Arnoldjazz.com ** a lot of different style sheet music |
| A | You want to build up to 6 to 10 hours a day. I would suggest doing this over a years worth of time in order to change your current life style and develop the mental and physical conditioning needed to work this hard. The schedule is below:
1. One-Note Complete and Fanatics Guide: Do short 10 minute practice periods 10 minutes for each book, alternating throughout the day. 2. Music Theory Workbook One: Work up to doing 5 pages a day. I'd break this up into a few different sessions each day 3. Chord Workbook One: Learn one new chord progression a day with associated chords. Play both the exercises with notes only and with chord symbols. Also, work your way through the book learning all chords cycle 5. I'd work through 5 to 6 new chords per week. 4. Chord Workbook Two: Learn one new chord type per week. Be able to play all the chords up and down the neck for each chord type. After completing this you will then work on the chord progressions. 5. Rhythm Primer: Follow directions in book. Play a new page each day. Try to work the tempo up as fast as you can using directions in book. 6. Single String Studies: One page per week moving to a new string, same key, each week. Do not look at the guitar neck as you play, try to feel where the notes are. Use midifiles to check your accuracy. 7. You should really have: Rhythms Volume One and Two and LINES along with a lot of different style sheet music to complete your sight reading studies. I want you to read one hour a day from the books and various sheet music. Download Beat Reading from the member's area, rhythm studies, and apply to various pieces of sheet music each day. Spend about 15 minutes doing this. 8. Learn the 19 Scales off of Arnoldjazz.com in all keys. I want you to learn all 19 scales in one key each week. Hopefully you have checked out Guitar Technique ebook so you don't go through all of this with bad technique and then have to start over later. 9. You need to apply the scales to real music. Make loops or vamps each day and apply the scales. Also download the Applying Music Theory from the Muse Eek member's area for other scale ideas to try when you improvise. You should spend at least 2 hours a day applying the scales. Remember to build into this so you don't hurt yourself. Again please check out the ebook guitar technique so you don't do all this work in vain. |
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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 | About a year ago I received Volume One and Two of your Single String Studies, and never got around to using them. Needless to say, I am using Volume One now. I've also printed the scales and your rhythm exercises from the member's area to work on. I'm working on the dorian scale right now. I can read music in the 5th and 10th positions fairly well, but I've seen that you are right on with learning the entire fret board without looking at it. This way I won't be limited in my playing, or reading.
Do you think I should work from both books One and Two at the same time? I like to do difficult things. Don't ask me why, I enjoy horribly difficult tasks. In the reading of sheet music in my house (I have about 15 or 20 different fake books) should I be reading them off of one string for now, or stick to my positions, or try to work on the songs on all strings even though I'm just doing the single string reading right now? I don't have money because I don't have a job, so I can't purchase any other books at this moment, but any recommendations for other titles would be helpful. Do you have any books on poly-rhythms? I studied music at a community college for 2 years, and pending on my being accepted to Temple I would really like to boost up my practicing schedule. Since I have no job I could actually put in 6 to 8 hours of practice every day. Any suggestions you have would be of great help to me in my study. |
| A | I would proceed through the book as you had mentioned basically focus on one exercise a week in the key of c, then move to the next string in the key of c. Then go back to beginning of the book and start on the key of f through all strings. I'd do the "all string studies" last.
You had mentioned that you have a lot of time on your hands so you could work through both Single String Studies books at the same time. If you want more things to sight read I would go to your local library which should have a section of printed music. If your library is not well equipped ask them if they have interlibrary loan. If they do you will be able to order books from other libraries to use for sight reading. I would check out all kinds of music from Bach to Webern and also look into Jazz transcription books, there are many out on the market now. A librarian would be able to help you in your searches. You can even do it from home by searching large university libraries like Princeton or NYU. You should sight read one hour a day, spend only about 10 minutes on each book. Also go to the member's area and get the file "beat reading" which is in the "Help files for Rhythm." The technique of beat reading will improve your sight reading dramatically in a short period of time. I do of course have a series of books for sight reading so if you come into some money at some point let me know and I'll give you those titles. |
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| Q | I emailed about 3-4 months ago and you gave me a little program. Well, good news... bad news...
I have made it through the Beginners book doing all 10 of the exercises along with the midi files from your Web site. I'm okay with most of them but struggle with 8,9 and 10. I am working through the cord book doing all the exercises up the 7#5 page so far. Not monumental but making progress. I am working through the single string exercises but have to admit they seem monotonous and don't seem to help. Not so good with the ear training. I do it for a while and I'm soo bad that I just stop for weeks and then pick it up again. Also trying to do some scale work but have to admit that it's confusing... I am very confused about what "playing a scale over a chord" means. In my mind it should be the exact opposite. Maybe you can clarify. |
| A | Let's get you organized and on the right track again.
First it is common to have problems with the 8, 9 & 10th progressions in First Steps for a Beginning Guitarist. You should go back to the Web site and check out many of the new audio and video files up for this book. First I think you should look at the alternate ways to play the 1st three chord progressions using barre chords. Follow the links from the Web page: http://www.muse-eek.com/books/firststeps1/lower.html You will see them listed on the left hand side of the page. You might find the slow MP3 progression file to be of some help with the 8, 9 & 10th progression. So for the 1st Steps book I want you to: 1. Look at the new ways to play progressions 1-3 2. Check out slow MP3's for progressions 8, 9 and 10 and see if they help 3. Watch the other related videos you will find at the link above 4. Join the free member's area where much of this information is stored Great progress on the Chord Workbook for Guitar Volume One. I think we should start looking at the 1st minor blues progression in the key of C minor page 113. Also read the information found on pages 102 to 106. Let me know what you understand and don't understand from these pages. You will find audio examples of how I want you to play the chord progressions at: http://www.muse-eek.com/books/chord1/lower.html See the link on the left for MP3 files. You may have to look up a few chords for the C minor blues. Remember that you can find the exact voicings I recommend on page 137. This is going to be a leap for you so give yourself a least a couple of weeks of working 20 minutes a day on these progressions. Pay close attention to measures 9-11 because these will be the hardest. It's a good idea to isolate these measures and play them over and over slowly. Also continue to learn new chords each week. One or two pages would be great. The Single String Studies doesn't bare fruit quickly. Just do one page a week for 10 minutes. It will seem like a waste of time but see me in a year when you know all the notes on the fretboard and the staff and then you will realize it wasn't a waste of time. Don't worry about mistakes it is very hard to play each page perfectly. It's very common for people to go off and on with the ear training. Mostly because this wasn't part of what attracted you to music. Most people don't get excited about playing music and then instantly decide to do ear training. All I can tell you is if you can make it a habit by doing it while commuting to work or in the shower or somewhere religiously everyday it will pay off big time in a few years. "playing a scale over a chord" means the following: 1. Go to the scale section of the member's area. Watch the videos for each scale and learn them in all positions. 2. Use the progressions found in Music Theory Workbook for Guitar Volume Two to improvise with each scale over the recommended chord progressions. This is what I mean when I say "playing a scale over a chord." You will find the chord progression files listed on the left at: http://www.muse-eek.com/books/mtwbforguit2/lower.html If I could get you to divide up a couple of hours a day with the practice stuff above I think you will find that you will make amazing progress. I'm very happy with what you have accomplished so far so keep it up. Remember it's common to go in and out of practice with this stuff. It's important for you to keep coming back to everything I recommend and keep a positive attitude. If you can do that you will find that music will come out of you and music will become fun. |
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| Q | I'm interested in getting back into choral music singing, and I was never anything beyond a beginner. You recommended the following to another singer:
Ear Training One Note Complete Fanatic's Guide to Sight Singing and Ear Training Music Theory Workbook for All Instruments I'm guessing that those are the books you would recommend. Is there any rhythm work in the sight singing book or would I have to buy the rhythm primer to get rhythm practice? I also wondered whether you had any plans to come out with software versions of your books. As a language student, I've found software drills to be really helpful - especially for generating random drills of Greek verb forms. If you aren't planning to make one, is there a software program that you would feel comfortable recommending for a Mac User - that wouldn't interfere with your system? Are you familiar with Ars Nova's Practica? http://www.ars-nova.com/practica.html |
| A | Currently we are not developing a computer version of our ear training program. We do have plans to do this in the future though. The books you mentioned would be a good place to start with the ear training. It will get you started with the ear training on two fronts and the Music Theory will help you process music and ear training much faster.
For rhythm studies I would start with Rhythm Primer and then proceed at least through Rhythms Volume One and Two. I do have more advanced books after that like Odd Meters but unless your going to be doing some advanced choral music you probably won't need a book like that. I also have a choral ear training book called LINES but I wouldn't work on this book until you have worked through Ear Training One Note Complete and Key Note Recognition. You first need to understand how you hear before attempting to part sing. I also many times recommend one of my guitar books for ear training. Single String Studies for Guitar Volume One and Two are excellent books to use for developing your ability to sight sing. You have to do some octave adjustments but other than that it's a real good book to help develop key retention. I wouldn't use these books until you have finished Ear Training One Note Complete. I know the program Ars Nova's Practica and I wouldn't recommend it as a replacement or as an additional program to my method until you have completed Ear Training One Note Complete, Key Note Recognition and the Two Note Ear Training Books. By the time you have gone through these books you will realize how you can use any program in the right way to improve your ear training ability. I will say that one thing nice and useful about the CDs that go with my books is you can do them anywhere as opposed to a computer program which can only be used when you have a computer with you. A little hard to do when you are taking a walk. |
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| Q | I've been continuing to work on the advanced ear training CD for the past couple of months and I'm at the point where I can recognize the sounds of all 12 notes and get a consistent above 80% average.
Of course there's still room for improvement but I'm wondering if I could start work on the key note recognition CD. I have 3 more weeks to go before I finish the fanatic's 3 note exercises (3 x 10' each day, first note transposed up 1 octave) which I'm currently able to do at 55-60bpm. I'll also be finishing the Single String Studies first page in a couple of weeks (I work on each key up to 40bpm before moving to the next key) and I'm getting much better at transposing and singing the exercise (3 x 10' each day). I'm also doing about 30' of the Right Hand Technique each day. I've been working on the forearm movement on the one string exercises (16ths at quarter note=100 bpm) and also the 6 string exercises (16ths at quarter note=80 bpm) plus a bit of the sweep picking exercises. I'm looking forward to your suggestions and assignments. |
| A | I would move on to Key Note Recognition but also continue doing the Advanced Ear Training CD too.
After you finish the fanatic's guide assignment I want you to transpose two notes up an octave. Your bpm are getting better that's a good sign! Continue with the single string studies, sounds like it's helping. I want you to start applying your right hand technique to scales. Go to the member's area and follow the link to Help files for scales. Watch the video scale movies and try to learn a new scale every week in all positions. In other words, one key only so C major then C dorian, C phrygian etc. |
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| Q | I'm trying to go through the Single String Studies book and have a few questions:
(1) I own an electric guitar and an acoustic, and try to switch between them so I don't become too dependent on one guitar. However, my acoustic doesn't have a cutaway, so it's very awkward to reach notes on frets 17 and higher. Should I just ignore some notes for practice with my acoustic? (2) On page x you write 'I recommend playing these exercises with a low single note drone for each key.' I'm going through your ear-training books now and have not made much progress yet, so I don't think hearing a C would let me know if I played the right note. (3) Not related to this book, but none of your books (except for your most recent one) have much info or exercises on scales. I did not purchase your latest one - I already own plenty of books ;) What would you recommend to learning scales, and how important do you think they are? What do you think of 'Fretboard Logic' for learning and practicing scales? |
| A | If you can't reach the notes on your acoustic sight transpose them down an octave and play them on your guitar.
If your ears haven't developed to the point that you can use the drone to identify notes then I would use the midifiles which are available at the muse-eek.com Web site. I've recently added a whole video section on scales in the member's area. Please see the folder 'Help files for scales' in the member's area. These videos will give you information on how to play each scale, how they are used and ideas for creating vamps and soloing ideas. |
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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 | Here's the history: When I started working with your material I was more than 90% accurate on the single note drills due to previous ear training. I got Key Note Recognition and I am now getting just one or two wrong in a random pass through the 48 tracks. I also got the Lines book and have sung through the single note exercises twice, singing against either a drone or a full major chord. Sometimes it takes a while for a tone to come into my head, so I can't really sing these in time yet.
And here's the question: I have begun the advanced single line exercises in the Lines book (singing without accompaniment). I am not quite sure what do about modulation. For example, when I get to the 8th bar of Exercise 2, I am singing Fa for the F note, but I can't seem to imagine Mi. I realized finally that I hear the F as So. So obviously I COULD begin singing in Bb. The trouble is that when I have followed the tonic around like this, I get into a situation where the following notes are very difficult as well and I realize that the tonic I have inferred is a much worse choice than the key of the piece. Do you have a suggestion for getting past this confusion? |
| A | Well thanks for contacting me because it sounds like your about ready to drive the car off a cliff. I will explain the modulation in a minute but honestly you probably shouldn't be working on modulating yet. It's OK to sing the LINES book examples with a drone, but, once you remove the drone, if your sense of key isn't strong you will find yourself all over the place with modulations. So first it's really better if you work on the 2 note method and get a good grasp on that before attempting modulation examples. I would also recommend getting a book called Single String Studies for Guitar Volume One and doing some singing exercises out of that. When you get the book write back and I'll give you an assignment.
So let me explain modulation to you. When you are singing an exercise and reach a note that doesn't sound the way it should you have modulated. So in your case the F started sounding like So, so you have modulated to Bb. In that case you would continue singing in Bb. Unfortunately the next note is E, which is not in the key of Bb, and your singing and key retention abilities are not strong enough to then hear #4 in the key of Bb. This of course is what you would expect because you would have to be more advanced to be able to do this. So get the Single String Studies book and start on the two note method. We will actually have to work through both Volumes of the Single String books to get you up to speed before modulating. But with some work in both these books you will hopefully be modulating correctly. |
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| Q | I received my books (Single String), and I'm ready for my assignment! |
| A | So we are going to sing out of these books. Let's start with Single String Studies Volume One. I want you to create a drone in C major or use the Fanatic's Guide CD. You want to let the cadence happen and then sing the 1st page, 14, 27, and 40. Do any octave adjustments that you might need to sing some of the notes. Sing through the pages that are in C. If that is fine then I want you to go back to the 1st page and sing that in the key of F with an F chord drone. So basically every B will become "fi" or sharp 4. Now I want you to sing all the C exercises but of course in the key of F (using an F drone of course) so do 1, 14, 27, 40, 53, etc in F. Then it's back to the beginning sing page two in the key of Eb with an Eb chord drone so every A will be "fi" (#4) and every E will be "Raw" (b2). So sing page 2, 15, 28, 41 etc. in Eb). Then go back and sing page 3 in Db you get the picture each time you return you sing a new page in a more distant key.
Once you have gotten through that with a drone then you want to start all over by playing the cadence for the key of C and singing each page but without the drone continuing. So first a cadence in the key you are singing and then no drone and sing page one in the key of C, then page 2 in the key of C and then page 3 in the key of C. Once again you will be introducing more and more out of key notes but still singing in the key. You don't want to modulate in these studies we are trying to build key retention. |
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| Q | Since I have both books we can work with Single String Studies for Guitar Volume 1. Regarding my other questions, would you recommend adding on the non-diatonic notes at this point in time? Right now I'm training only with the diatonic notes, and am hesitant to add more without having fully grasped the diatonic notes.
Regarding note recognition, I'm wondering what to expect. For some reason, I can recognize Fa just fine, but the other notes aren't sinking in as fast. Just wondering what to expect in this area as I make progress. Have your previous students acquired the notes one by one, or gradually acquired them all over time? And lastly, looking for some suggestions on how to incorporate my ear training into applying it to soloing on the guitar, and learning how to play chords on the guitar by ear. Right now I play chord progressions by memory and shy away from soloing cause it's all guesswork at this point. Any suggestions on things I could do, or am I better off focusing on trying to make more progress with developing my ear before I try to apply what I'm learning? One ear training seminar I went to in the past recommended to practice playing a variety of chord progressions in all the different keys for ear training. Is this something you've recommended to students in the past? |
| A | In Single String Studies for Guitar we are going to work on building your key retention. We will start on page one. I want you to first use the Fanatic's guide CD to play the cadence in C major and let the track continue. Sing through the exercise (do any octave transpositions that you might need for your voice). Once you have sung through it with the drone let's now try it without the drone. First play the cadence again in C major and then try to sing through the page without the drone. (Don't be afraid to replay the cadence if you lose the key). This may take a while so work on the first page until you can sing through it at mm=40 bpm without the drone. Remember it is always best to pre-hear each note. Don't be surprised if you are on the same page for awhile. Once you feel you are ready to move on let me know and I'll give you the next step.
I think it's best to add the non-diatonic notes as soon as possible. Many students stay to long on the diatonic notes which makes the non-diatonic notes weaker. They will already be harder so it's best to just jump in and start memorizing their sound. The fact that Fa is coming to you every time is great. Some students don't get any notes for months. It's really hard to give you an idea of how quickly students learn. It really varies greatly. Usually students get one note at a time and usually as they get one note another note might slip. This is because your mind is rearranging it's impression. Think of it like this. If you only knew the colors yellow and blue and your mind thought one was light and one was dark and then all of sudden you learn red your mind needs to adjust what it thinks is light and dark. You can try applying the ear training but it will probably be pretty frustrating until you get closer to mastering one note ear training. One exercise I give my students is to record a one chord vamp (i.e. repeating a chord over and over in some groove) Then have another source play random notes (Make sure both these sources are in tune). Try to find those notes on the guitar by listen to how they sound against the vamp. Muse Eek Publishing has a random note CD you could get for $5.00 (free shipping in USA). If you want that contact sales@muse-eek.com I don't think it's up on the website yet 06/23/04 but maybe your interest will help them get it up. You will definitely want to play vamps in different keys. You will want to sing in different keys too. But remember as far as the ear training goes - ALL KEYS ARE THE SAME. The 3rd in C major will sound exactly like the 3rd in F# major. The 3rd always sounds like the 3rd. You want to do other keys mostly to build up your music theory ability to know for example what the b6th in Gb major is quickly. This is where I recommend using the Music Theory books so you can speed up your music theory knowledge so it's ready when your ears are. |
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