New York Guitar Method
Ensemble Book One
FREQUENTLY ASKED QUESTIONS
| Q | I've been working on two note for about a month now, as well as the Single String singing and 2 note blues assignment. Everything seems to be coming along. Two note doesn't seem to be that bad, I get a decent amount of the modulations, ignoring the interval root movement is the hardest part. I can't separate the notes yet either, but it sounds like that will happen in time. I'm almost up to 65 bpm with the 2 note blues, I do it in Bb instead of C because it's easier to sing the high notes. I can get through exercise 1 in the Single String book in the keys of C and F, sometimes perfect, sometimes within a half step (without playing chords or notes after I begin).
I was wondering if I could move the other way through the keys in Single String, work on G, then D, A, etc. It seems that working through mixo and the minor modes might be a little easier for now, then work my way up to the harder non-diatonic keys (trying to sing the exercise relative to Bb would be very hard right now). Also, should I do different exercises out of the Single String book so I don't just memorize the line or intervals (without realizing it, of course)? Typically I do each of these three exercises twice, (so a total of 6 times) spread out over the course of the day, is this enough? This is more of a general ear training question, my basic idea of the purpose of all of this is to develop your internal ear so you can pick the notes that you want to play by hearing them first, in relation to what's being played around you. Right now I play like most guitarists, I know lots of patterns and licks, I'm picking my notes based on theory and mechanics. I try to make it as musical as I can, but it wears thin and lacks intention (most of the time). It seems that improvising should be a combination of all three (ear, theory, mechanics), but with more of an emphasis on being able to hear the notes you want to play, then using the theory and mechanics to make it happen. Does that make sense? With all of that said, I was wondering how this transition occurs, I'm guessing it takes a very long time. I try to sing my solos in my head while I play; but it's very difficult, I almost always fall right back to the licks and scales (especially during gigs). Any suggestions? |
| A | Yes you certainly can move through Cycle 5 moving to G then D, A, etc...
It's hard for me to judge how much practice will be enough without teaching you in person. You will have to judge that based on your improvement. You are correct that some of the important aspects of improvisation are ear training, learn music theory until it's second nature and playing your instrument properly but of course there is so much more involved. Your question about transition is really individually based so I can't tell you the answer because I don't know your ability nor do I know your problems. I could make some recommendations: 1. Continue to practice ear training using the books you are currently using. 2. Check out the newly released New York Guitar Method. This is a combination of many of my books and gives you a concise and concentrated method to improve your skills on the guitar. Both volumes of this method talk about many aspects of playing and help you understand how ear training and playing music can be combined to give you a closer connection to the music inside you. 3. Write me with a complete breakdown of your practice schedule so that I can evaluate what you are doing. |
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| Q | Here's a little info to help you get an idea of where I am. I studied piano (privately) for 10 years, starting when I was six or seven. Basically I memorized pop/rag time/classical tunes, got bored and pretty much stopped (I can still play a little though). I started messing around with guitar and bass in high school (15 years ago, I'm 28 now), I didn't do too much after that (went to college for engineering). I started taking some blues lessons (for about a year) as well as playing guitar in rock/funk bands about 6 years ago. Then last year I attended GIT, I did fairly well, I was able to complete the 18 month performance program in 12 months, with honors (grading was based more on participation than actual performance though). I also studied with an excellent teacher/guitarist, BZ Gerber, down in San Diego for a few years, he really kicked me in the ass and helped me get ready for GIT.
I can get through some jazz tunes using the key center approach, such as Blue Bossa (of course), Autumn Leaves, All the Things You Are, Solar, Tune Up. I can struggle through more difficult tunes such as Joy Spring, Black Nile (you don't by any chance know a piano player named Carl Shroeder do you?). Regardless of the tune, I'm using theory and patterns to try to find some right notes, it's usually very far from musical. I know this is the first step that every one has to go through, but I really want to push to the next step...I'm assuming (and hoping) that there is a lot more than this. As for my typical practice routine: -Ear/sight sing - 6 times a day -Theory - Guitar Theory for Guitar Workbook One - typically half a page per day, (I'm getting close to the end) -Technique - I just ordered Right Hand Technique, I don't feel my technique is too bad, but I still have some problems with accuracy and speed. - Intermediate Jazz Improvisation by George Bouchard - working on exercises 1 (major) and 2 (dorian). Each exercise goes through all 12 keys and contains the chromatic scale starting and stopping on chord tones, scale sequences (1,3,5,3; 1,5,6,5;etc), and melodic lines. I switch between 5 patterns (that's what GIT uses). I try to spend a total of 3 to 4 hours practicing each day. I also have tunes I work on for my band (blues/funk/rock). That's about it. I would like to get back to sight reading, I know it's important, but have been putting it off. Sorry this was so long, I ramble, I know, I have too much free time... but I hope it gives you a better idea as to what my background is. My ultimate goal is to be able to improvise (jazz, blues, rock, country, whatever), as freely and musically as possible, using less of the technical side of my brain and more of the creative/intuitive side. This could, and probably will, take a lifetime, but what else is there really to do? Thanks again for all your advice and help, your books are really making me work hard at areas that I know are very important. It's not always fun, but I think the rewards will be well worth it! |
| A | Yes the New York Guitar Method is exactly what you need. Let's start with Volume One and Ensemble Book One. I'm going to have you work through them slightly differently than the way they are written so write back when you have them and we will get you going so you can get rid of these problems. Make sure when you write back to include the information from your previous email so I can remember your problems. |
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| Q | I just received the books you recommended (New York Guitar Method and Ensemble), it looks like a ton of work! I also recieved the Right Hand Technique book recently. So I'm going to try to spend 3 to 4 hours per day practicing (not including ear training).
I have one more question about singing the lines out of Single String, once I get to the minor modes, should I play a minor or major I-IV-V? I still hear "C" in relation to the relative major on many of the minor examples on Key Note Recognition, should I switch between major and minor as a reference for singing? Please let me know how you'd like me to work through all of this! |
| A | The reason you are hearing the relative major is because the relative major chord is contained within the upper structure of the minor chord. This is a common problem students have and if you just continue to work with the Key Note Recognition it will go away over time.
You can use a minor ii V i cadence to establish a minor key when singing the minor mode examples of Single String in the New York Guitar Method. If you would like me to give you a practice schedule please write back with a list of books you now have and how much time you have each day to practice. |
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| Q | I luckily inherited your Music Theory Workbook for Guitar Vol. 1 because my brother lived above some people who were suddenly evicted and had to throw out all their stuff, and its exactly the type of book I've been looking for. I am going to buy your Vol. 2 and study them together, and I have arranged my classes in school (I am a senior in college) so that I can give three hours DEFINITELY a day in the mornings of actual playing, sufficient time in the afternoon to do at least a few exercises a day in the books, and if extra time allowed at night I will practice as well. On a side note, I want to say that even though I am 100% capable and willing to pursue practice like this for perhaps the rest of my life, it becomes tough when people who are around me in my life feel alienated when all I wanna do is play the guitar. I guess thats life and I need to just find a balance. I am a math major, music minor and am studying the guitar simply because I love it and know it will be so rewarding to see how much I have learned over the years. My music theory is pretty good, I've aced all my theory classes, but am lacking in the ear training and sight reading department. I feel slightly behind the ball since I didn't get into music until freshman year at college, and if I won the lottery today I would enroll in Berklee school of music next year and get another bachelors in music to pursue music and specifically the guitar. Realistically, since I consider myself somewhat behind the ball (I've only seriously been playing the guitar for about 1 and a half-2 years), I can't risk devoting myself to it completely with the hopes that it will put food on the table. So I plan to carry it with me with whatever career I have (ideally with this 3 hours a day regiment) and see if maybe something could happen with it. If not, I will always enjoy learning the knowledge anyways. 1) I guess this leads me to my question which is that is there a strict age after which learning to become an accomplished musician is impossible? I know there are of course ideal windows in life, the earlier the better, but can this be overcome with persistence? Have you seen it happen? I would like one inspirational story of such to keep as supplemental motivation, regardless of whatever I become. 2) Secondly, I was wondering something about learning various keys. What do you think is better: learning a scale/song for the first time and then proceeding to learn it in all keys right away (which can take a while, I've learned) or to sort of stick with a few basic keys to learn concepts and then when I have become very advanced later on, start to transpose them to different keys. I started a circle of 5ths routine where I devoted a day to a key and learned all scales (modes) that day, doing different sequences as I learn all the way up and down the fretboard, then moving up a 5th the next day. I am willing to do this drudge work, but am wondering if it may be sort of overload and too much focus on technical rather than creative (it takes me an hour and a half, then I spend the next hour and a half doing some fingerpicking and acoustic guitar exercises along with learning a bach minuet or something like that.) I read some FAQ's, and so I guess I am wondering if your one scale per week method is enough to INGRAIN a scale into my implicit memory so that I can move on to the next one?? 3) Lastly, should I look to buy some software for my computer so that I can record some vamps and solo over them? I am not exactly surrounded by people in my life right now with whom I can practice the guitar, so I need something to give me a riff that I can solo over. I have the money now, should I get it now or wait until I have gotten through your books? If so, any suggestions on good software for someone who isn't looking for Protools or something that advanced but rather something pretty standard and basic for practice? |
| A | To answer your first question there is no age limit for learning music. Most younger students get serious about music in their 20's so it sounds like you are part of that group. Becoming a great musician is more about the amount of time you give to it each day and how long you continue to work. Hopefully you can find 4 to 5 hours a day to do music and plan on doing that for the rest of your life. If that is the case then you can be as good as anyone. I recommend learning all your scales in all keys and improvising with each of these scales as you learn them. You can use the following program to record vamps into your computer: http://audacity.sourceforge.net/ I'd balance the technical work with the creative side as much as possible. Doing one scale a week is a good way to balance out these considerations. As far as what books to work out of. I'd recommend the New York Guitar Method books because you seem like you are serious about learning the guitar. To start with I would get the following: http://www.muse-eek.com/books/nygm_v1/lower.html http://www.muse-eek.com/books/nygm_eb1/lower.html I'd do a chapter every week or two out of this book. These books are very hard but give you a complete study of the guitar like you would get at NYU or Berklee. I'd also recommend getting an ear training book. http://www.muse-eek.com/books/ET_1_note_complete/lower.html With those three books you will be well on your way to becoming a great guitar player. |
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| Q | I can't wait to audition for next summer's guitar intensive, I'll keep you posted on my progress. Can you send me the practice schedules for the books you recommend I get started on? |
| A | I would like you to get through the first two volumes of the New York Guitar Method and have at least started on the 2nd volumes before you come to the intensive. You should also work with the ear training books because I relate most things to how you hear them so you need to get your ears working properly. Here is what I'd do.
Get these books: http://www.muse-eek.com/books/nygm_v1/lower.html http://www.muse-eek.com/books/nygm_eb1/lower.html http://www.muse-eek.com/books/ET_1_note_complete/lower.html http://www.muse-eek.com/books/fanaticsguide/lower.html Here is how I would get started with the books NYGM Volume One 1. Read through page 12 and make sure you understand the concept of adding tensions to basic traids. 2 memorize chord tones and tensions on page 14. 3. Do theory exercise on page 15. If you want to apply it to guitar do the diagrams otherwise just write out the notes. 4. pages 18 to 24 play and memorize chord voicings on either piano or guitar or both. 5. Read page 26 about how to think/hear scales. 6. Page 28 and 29 write out scale from given degree and also do fretboard diagrams if you want to apply to guitar. 7. Page 31 either learn major scale on guitar as shown or play the C major scale 2 octaves with both hands up and down in all keys cycle 5 i.e. C,F,Bb, etc. 8. Once you can play major scale in all keys try doing the suggested sequences on page 32. 9. page 33. Some articulations will work on the piano in this book and some won't. If they do, apply to scales. 10. Study and play examples of using a major scale on page 34 and 35. 11. Try writing a few lines of your own. Continue with this process through each chapter and all the scales. When you have completed it you will know all the most commonly used scales in all keys. You will also understand how they are built and used. You will also understand what chords they work over and how those chords are built. In addition you will know how to think of them in relationship to your ear training work and you will know many of the possible articulations that you can use to make them sound more musical. After a few weeks I would also suggest you starting reading through all the additional information in the back of the book and do the extra credit exercises. The stuff in the back of the book is a great resource and will really help you with understanding how to apply scales to multiple situations. NYGM Volume One Ensemble book. Read one chapter out of this book per week. This is sight reading so you don't have to play everything perfect but find tempos that you can play things about 80% right and speed it up over time. Ear Training One Note Complete Listen to Intermediate CD 10 times a day for 10 minutes Fanatic's Guide Work on the "one note" exercises in the book. Once you can sing any note in any key let me know and we will go from there. I would also join the member's area of the muse-eek.com website: http://www.muse-eek.com/books/members/members1.html Once you have a username and password go to the "Help files for Vamps". Follow the links for the Vamps. As you learn each new scale in the NYGM play along with the vamps and improvise. If you need help getting started follow some of the suggestions made in the "Help files for Improvisation" which is also found in the member's area. |
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