Guide to Developing a Practice Session

Got a question on a lesson? Don't quite understand what or how or why? Just want some company as you learn? Come join the gang in the lesson forum
Post Reply
Jezzabelle
newbie
Posts: 1
Joined: September 14th, 2004, 9:17 am
Location: Houston, Texas

Guide to Developing a Practice Session

Post by Jezzabelle » September 14th, 2004, 9:55 am

Does anyone understand the tetrachord stuff. I don't see how adding a Lydian pattern to a Major pattern works (as it says Ionian=Major+Lydian). Which patterns, what are the resulting patterns? This one has me intrigued.

Call_me_kido
Full Member
Posts: 192
Joined: August 18th, 2004, 8:05 am
Contact:

Post by Call_me_kido » September 15th, 2004, 4:04 am

Unfortuanately that is a typographical error, the combination for an Ionian Major scale is Major + Major.


Sorry for the confusion.




Kido

jeremy
newbie
Posts: 15
Joined: May 5th, 2004, 11:15 pm
Location: Munich, Germany

Scales

Post by jeremy » September 21st, 2004, 11:11 pm

I have also been trying to follow these diagrams. Are they all correct?

Are all the formulae correct?

Call_me_kido
Full Member
Posts: 192
Joined: August 18th, 2004, 8:05 am
Contact:

Post by Call_me_kido » September 22nd, 2004, 3:53 am

Unfortunately most of the diagrams I originally subitted were distorted upon publication. I have the originals in complete form. Im just tired of all the difficulties involved in the article submition process, I have already submitted an extensive follow up and havent received a reply for weeks. If I were you, Id just forget about it.




Kido

jeremy
newbie
Posts: 15
Joined: May 5th, 2004, 11:15 pm
Location: Munich, Germany

Post by jeremy » September 22nd, 2004, 4:13 am

Hiya Kido,

Sounds like you are pissed off with GN at the moment.

The site has been quiet the last couple of weeks. I do know that Dave Hodge has been offline a while because his mother died, and I seem to remember Paul in Beijing is busy with some filming project, so I don't think they have been able to concentrate on this site much. Heaven knows I also can't even read it like I used to with my first year of fatherhoood!

Please don't lose heart. Comply with whatever they ask with respect to format. I found your article extremely interesting and am trying to decipher it on the German undergraound train every day!

BTW I recall something of the tetrachord system explained on Olav Torvund's website for the Blues, I may be wrong.

Jeremy.

User avatar
Nick
Administrator
Posts: 9694
Joined: June 17th, 2002, 11:04 am
Location: Alexandria, VA USA
Contact:

Post by Nick » September 22nd, 2004, 5:49 am

If only this was what any of us did for a living. Heck if only we got paid anything at all. As it is we all do what we can when we can.

I'll ask about your update.
Click below for all my guitarnoise articles and reviews

http://www.guitarnoise.com/author/nicktorres/

My songs (Some not suitable for minors)

http://www.soundclick.com/nfshakespeare

User avatar
Musenfreund
Guitari Lama
Posts: 8581
Joined: September 15th, 2002, 6:20 am
Location: Nutopia!

Post by Musenfreund » September 22nd, 2004, 6:40 am

I teach, research and publish for a living. In my profession, turn around time on an article once it's been accepted ranges from 18 to 24 months. Getting the article accepted and responding to the constructive critiques of outside reviewers and revising the piece is a long process in its own right that doesn't count toward that 18 to 24 month process. By contrast, what happens here on Guitar Noise seems to happen at the speed of light. It's frankly a compliment that outside readers take an author's work seriously enough to read it, check it, and critique it. It may seem slow, but it isn't really. And, as Nick suggests, we all volunteer here too and contribute what little we can to making this site a good resource. I'm glad everyone takes the time to do the work they do and that they all give generously of their time.
Well we all shine on--like the moon and the stars and the sun.
-- John Lennon

Call_me_kido
Full Member
Posts: 192
Joined: August 18th, 2004, 8:05 am
Contact:

Post by Call_me_kido » September 24th, 2004, 5:28 am

Hey guys,


First off, Jeremy thanks for your post. Ive received many similar emails and the such in the last month or so that were very supportive and kept me going through some difficulties in exchanging information.

Im not pissed off with GN, people think I am, but I suppose its just this internet barrier we have in communicating this way. Cant read someone who you cant see and converse with in my opinion. I know the things I keep being told.

"We don't get payed to moderate/administer here."

"We have lives outside of this forum/ things to do."

"These things take time."

"Editing/publishing is a difficult/slow process."

"The owners of this forum pay out of their pockets so we can have a place to converse on the things we love. Guitar and music."


These things are all very true. Ive never once questioned any of them. I actually love coming here, because I sit at work bored all day and study music. Thats all I do, 8 hours a day. I collect pictures, quotations, theories, information, texts and diagrams. I go home and put them into practical application, and share with others what I can.

Unfortunately, although publishing and editing does take a long time, so does typing up one of these peices along with hand made diagrams. Do you have any idea how long it takes to Create an article like the ones Ive made? Im not a litterary expert, or a grammatical one at that (not even sure if thats a word). But I know what I want to say and how to say it.

Ive already submitted two finished articles twice as thorough as the one currently on the main page, and I havent even gotten a response. To me that says Im just annoying the higher powers here, and I can accept that. I can go back to reading and posting small responses to the million questions here at this little corner of the guitar conversation community, and keep to myself (as much as I can). Im sure Ill get bored with it and move onto something else, and until then Ill enjoy staying in contact with all the great people here.

I hope this explains my position. My desire to help people and share common knowledge is important and very exhausting. Im tired of being tired from this.

Dont forget...I dont get paid for this either.




Kido.

TRMcCoy
newbie
Posts: 5
Joined: July 26th, 2004, 1:21 pm

I'm very puzzled about your article

Post by TRMcCoy » October 1st, 2004, 11:38 am

Hey kido,
Maybe you could answer me a few questions about your article?

Okay - I think I got what the CAGED format is - This is what I'm using now.
The 1st Major scale pattern, is the one whose root is the same as a C-type chord played on it. The 2nd pattern is the one whose root is the same as an A-type chord played on it. The 4th one is the same as a E-type chord. The 3rd and 5th are ones you can play G-type and D-type chords - though these chords are usually too tough for guitarists to play anyway - so lets just leave them be as the 3rd and 5th pattern of Major scales.

Anyway - I still can't understand what's your system... Can you perhaps explain to me, in as much layman terms as possible, what is exactly the 3 fingering possibilites. You write: "These are the fingers you start each scale with"
Though I guess I misunderstand you, because I know that to play, say - a C-major scale in the 3rd pattern, starting from the 5th fret of the 6th string, you would start with the 1st, 3rd and 4th fingers...

Code: Select all

5:A|---|---|---|---|-1-|---|-3-|-4-|---|---|
6:E|---|---|---|---|-1-|---|-3-|-4-|---|---|
I can't really understand what's tetrachords are, and the charts make very little since to me - how do you start reading them?

Maybe your piece was a bit too advance for me, but I would appriciate it, if you or someone else could clear this up for me.

Thanks...

TRMcCoy
newbie
Posts: 5
Joined: July 26th, 2004, 1:21 pm

Post by TRMcCoy » October 1st, 2004, 11:44 am

Call_me_kido wrote:Hey guys,

Ive already submitted two finished articles twice as thorough as the one currently on the main page, and I havent even gotten a response. To me that says Im just annoying the higher powers here, and I can accept that. I can go back to reading and posting small responses to the million questions here at this little corner of the guitar conversation community

Kido.
Why don't you publish these articles here on the forum?
Or, if you're really ambitious, and up to it, (and willing to spend a lot of time and get no pay) create a website incoroporating all the material you've gathered (of charts and grids and what not)...

Just a friendly comment...

Call_me_kido
Full Member
Posts: 192
Joined: August 18th, 2004, 8:05 am
Contact:

Post by Call_me_kido » October 13th, 2004, 4:32 am

Wow havent been here for a while, Im working on something special. We'll see how it goes.



Kido

User avatar
malcster
newbie
Posts: 7
Joined: December 6th, 2004, 8:35 am
Location: falkirk - Scotland

practice session

Post by malcster » December 13th, 2004, 3:48 am

have read article and found two mistakes. the first was the ionian (major) should be these tetrachords = major + major, and the lydian should be = lydian + major. However have found the mistake meant that I had to really study and work through the examples , which is no bad thing. so cheers to kiddo for info/help.
"its better to burn out than it is to rust"

User avatar
Musenfreund
Guitari Lama
Posts: 8581
Joined: September 15th, 2002, 6:20 am
Location: Nutopia!

Post by Musenfreund » February 2nd, 2006, 2:48 am

Alex asks:
Hi all, just a quick question; in the practice schedule at the bottom of the article, there's a lot about the circle of 5ths. I'm not really sure what this is (I've read some of the lessons on the subject) apart from its something to do with chords. In his warm exercises it says 'practice chromatic scales through circle of fifths'; what does this mean? Confused

Thanks
Alex
David answers:
Hi Alex

One of the cool things about music is that you can find a lot of repetitive patterns in it. The "circle of fifths" is one of the interesting relationships of musical notes, and chords and keys as well.

Say you're in the key of C, the fifth of C is G. Now let's go on from there:

The fifth of C is G

The fifth of G is D

The fifth of D is A

The fifth of A is E

The fifth of E is B

The fifth of B is F#

The fifth of F# is C#

(and C# is the same note as Db, so let's continue on in flats...)

The fifth of Db is Ab

The fifth of Ab is Eb

The fifth of Eb is Bb

The fifth of Bb is F

And the fifth of F is C.

We've come back where we started from and we hit all twelve of the chromatic notes while doing so.

So if you're practicing a particular scale in C, then pratice it in G, then in D, etc. and you'll eventually have hit every possible variation of that particular scale. This is a good thing to do with riffs as well.

Hope this helps.

Peace
Alex responds:
Very helpful; thanks

Alex

(Just cleaning up a duplicate thread -- remember to avoid these!)
Well we all shine on--like the moon and the stars and the sun.
-- John Lennon

U34Km
newbie
Posts: 1
Joined: November 18th, 2011, 2:32 pm

Re: I'm very puzzled about your article

Post by U34Km » November 18th, 2011, 2:45 pm

TRMcCoy wrote:Hey kido,
Maybe you could answer me a few questions about your article?

Okay - I think I got what the CAGED format is - This is what I'm using now.
The 1st Major scale pattern, is the one whose root is the same as a C-type chord played on it. The 2nd pattern is the one whose root is the same as an A-type chord played on it. The 4th one is the same as a E-type chord. The 3rd and 5th are ones you can play G-type and D-type chords - though these chords are usually too tough for guitarists to play anyway - so lets just leave them be as the 3rd and 5th pattern of Major scales.

Anyway - I still can't understand what's your system... Can you perhaps explain to me, in as much layman terms as possible, what is exactly the 3 fingering possibilites. You write: "These are the fingers you start each scale with"
Though I guess I misunderstand you, because I know that to play, say - a C-major scale in the 3rd pattern, starting from the 5th fret of the 6th string, you would start with the 1st, 3rd and 4th fingers...

Code: Select all

5:A|---|---|---|---|-1-|---|-3-|-4-|---|---|
6:E|---|---|---|---|-1-|---|-3-|-4-|---|---|
I can't really understand what's tetrachords are, and the charts make very little since to me - how do you start reading them?

Maybe your piece was a bit too advance for me, but I would appriciate it, if you or someone else could clear this up for me.

Thanks...
its 11.18.2011 and i came upon the article, have tried to follow along, even got the "guitar cookbook, pp5" to help along with the diagrams. i'm like this poster, having a hard time following the finger position exercises. the "cookbook" does show three fingering possibilities for any tetrachord played on adjacent strings -- kinda helps but kinda doesnt.

Post Reply