A Modern Method For Guitar Volume 1 Pages 35 to 38

**oldhead** · 03-28-2012, 09:59 PM

Triplets and Waltz, not as smooth as I'd like, but practice time is tight right now.

TLT: This waltz fingering drove me nuts! It doesn't look that difficult and FEP and Marty make it sound/look easy. I really struggled with this one.

I've also noticed that after upload to box files sound more muffled/bassy.
Anybody else notice this or know why it happens?

Page 37, The Triplet.mp3 - File Shared from Box - Free Online File Storage

Waltz.mp3 - File Shared from Box - Free Online File Storage

**Kojo27** · 03-29-2012, 04:46 AM

Originally Posted by bobsguitars09

Thinking about going through the books also.

can someone please post a diagram of the scale shapes used in the book?
or a Tab in the key of C?

Here's a link to the 12 "Berklee fingerings" in D major. This is from Volume THREE - so understand that Leavitt doesn't throw all these at you in the first volume! In volume 1, you probably won't learn but four or five patterns, the most common, maybe. I'm about to start working through the books - although, many years ago, I did work through 1 & 2...

A note: working through these books the way Fep has hit upon here (posting work, working in a group atmosphere, etc.) will take your understanding of guitar, and your musicianship, and your fretboard awareness, all this, up and up - way up! Leavitt was inspired, IMO, when he created this method. You learn so much, so fast -- just by flipping through the pages, it's hard to tell. Get aboard, and you'll be amazed, regardless of how good you already are, at the strides you begin to make.

If these fingerings look difficult because of the "stretches," don't worry - the stretches become very natural after a few weeks of practice. And, the stretches are KEY to visualizing the fingerboard, and to coming to know all the various scale types (major, melodic minor, harmonic minor) and modes, FAST. If you prefer CAGED fingerings, that's fine! There's no law about having to stop using those. But now you'll know two ways. Mix and match and you've got power!

So, when you're all the way through the three volumes, you'll have these fingerings under your belt, along with the whole neck of your instrument:

12 Berklee Fingerings in D Major.jpg - File Shared from Box - Free Online File Storage

kj

**fep** · 04-03-2012, 10:26 AM

Originally Posted by Kojo27

Good job, Frank. I appreciate what you're doing here.

Is that a Martin D-35? If not, it's a killer copy. (You have some awesome guitars.)

kj

Hi KJ,

I bought that guitar when I was 14 years old in 1971. Good call on the "killer copy" comment. Takamine made such close copies that this in one of those guitars that is known as a "lawsuit guitar" (however, Martin never actually filed a lawsuit).

**Kojo27** · 04-15-2012, 01:28 AM

Jeez, it's good to upload something -- this is Guitar #1 from the duet in F, p.35. As soon as I learn to do overdubs, I shall.

Meanwhile, just imagine the second part. Ha. The sound quality is terrible - I'm using that $4 flea market microphone and Windows Sound Recorder.

Was gonna play this on me archtop, but was lazy and played it on what I had in my lap, a Breedlove C250/cm, a cheapie, but it's comfortable as heck.

I didn't use a metronome or click track (I still can't use an earphone click track - too distracting, I'll eff-up every time... more practice ahead.) And I let it swing; I figured since we're a jazz forum.... I wish I'd used a drum track or metronome; but the time seems fair anyway, and I just wanted to get something up here. The pick sounds thin, but it isn't - don't know what happened there. (Part 2 coming real soon.)

All comments appreciated! 1st Guitar Part_Duet in F_p35_MMfG1.mp3 - File Shared from Box - Free Online File Storage

kj

**ten left thumbs** · 04-15-2012, 04:57 AM

Hi Kojo, that swings well! Sound quality is actually OK. You want to check out system 1, bar 4, low note of final chord is an E. Same with repeat on system 4.

Looking forward to part 2.

**fep** · 04-15-2012, 09:23 PM

Originally Posted by Kojo27

Jeez, it's good to upload something -- this is Guitar #1 from the duet in F, p.35. As soon as I learn to do overdubs, I shall.

Meanwhile, just imagine the second part. Ha. The sound quality is terrible - I'm using that $4 flea market microphone and Windows Sound Recorder.

Was gonna play this on me archtop, but was lazy and played it on what I had in my lap, a Breedlove C250/cm, a cheapie, but it's comfortable as heck.

I didn't use a metronome or click track (I still can't use an earphone click track - too distracting, I'll eff-up every time... more practice ahead.) And I let it swing; I figured since we're a jazz forum.... I wish I'd used a drum track or metronome; but the time seems fair anyway, and I just wanted to get something up here. The pick sounds thin, but it isn't - don't know what happened there. (Part 2 coming real soon.)

All comments appreciated! 1st Guitar Part_Duet in F_p35_MMfG1.mp3 - File Shared from Box - Free Online File Storage

kj

Bravo Kojo, You took that at a good clip and I really like the swing feel. Very musical.

I'm smiling. I'm so glad you are posting.

**fep** · 04-15-2012, 09:29 PM

Originally Posted by ten left thumbs

I grew up playing piano and I am very used to dealing with my hand size. There's always a work-around. You arpeggiate, stagger, shift the voicing to suit. Some things are just harder, a few are easier.

Yes there is.

I've been wanting to talk to you about the techniques for playing bass guitar which has a much longer neck than a guitar. Some of the fingerings and techniques for playing scales translates well to the guitar for those with small hands.

Talking about a work around; Django:

With rehabilitation and practice he relearned his craft in a completely new way, even as his third and fourth fingers remained partially paralysed. He played all of his guitar solos with only two fingers, and used the two injured digits only for chord work.

**ten left thumbs** · 04-16-2012, 04:43 AM

Talk about inspiration, check out this guy:

Originally Posted by fep

I've been wanting to talk to you about the techniques for playing bass guitar which has a much longer neck than a guitar. Some of the fingerings and techniques for playing scales translates well to the guitar for those with small hands.

Go ahead, I'm listening. There is a bass in the house, which I do occasionally play.

For MM so far, there has been nothing unreachable, though sometimes I do need to give myself permission to move my hand where Leavitt says not to, and sacrifice the legato.

If memory serves me well, it was Chopin who told his students, if you can't reach, lift the hand. Provided you play the right note with good timing and good tone, your audience will forgive imperfections in legato. I have done this on piano (even without pedal) and honestly, sometimes you can fool the ear and make the illusion of legato where legato is just physically impossible.

Both instruments I just strive for the best legato I can get but the hit-and-miss nature of my guitar-skill means sometimes I am more concerned with getting the right note.

**fep** · 04-16-2012, 01:32 PM

Originally Posted by ten left thumbs

Go ahead, I'm listening. There is a bass in the house, which I do occasionally play.

Check out page 11 of this:

Hal Leonard Bass Method - Complete Edition: Books 1, 2 and 3 Bound Together ... - D. Dean, Ed Friedland - Google Books

There are other techniques in the book that involve shifting the hand and pivoting the hand.

**fep** · 04-16-2012, 02:14 PM

TLT I did a video on these bass techniques etc.

**ten left thumbs** · 04-16-2012, 07:03 PM

Hi Frank, That is kind of you, I do appreciate you taking the time. I do use pinkie a lot, however, I have learned (if I possibly can) to do things with the conventional fingering, even if it is difficult, because sometimes there's a reason.

Way back when I was learning open chords I played a C chord with pinkie on C. (Bear in mind my pinkie is very strong, certainly stronger than ring finger). My son's guitar teacher noticed me doing this, and asked why. Why not? Well, he continued, what if you want to go quick to a C7? A what? - I asked. Well, sure enough it helps to have pinkie free for that C7.

The quick shift I certainly do, but I had not considered using the thumb as a pivot. Compress then stretch is also a piano technique.

I couldn't get to see the book on googlebooks, but I think you explained it all quite well. Actually, I've been having trouble with a set of chords, and am unsure how to go about them, maybe I should do a video? It's a physical problem and difficult to explain. Failing that I'll wait till I have enough problems to warrant another lesson.

**Kojo27** · 04-17-2012, 04:07 PM

I realize how silly this might seem - posting duets one part at a time; bear with me if you will; I'll catch up soon enough.

Part 2 of the Duet in F, p. 36 is here...but it sounds odd to me. I played the first part w/a swing lilt, and did the same with this one. Maybe it isn't suited to swing? Maybe it's too fast. I don't know. Maybe it's okay and I'm paranoid....

I'll put up the rest of the "Key of F" section tonight or in the morning, and my goal is to catch up with you guys within a week.

Oh yeah: the final F chord here, a 1st-fret triad -- I played it a bit too hard and just pegged out the little cheap-o microphone. Yikes.

Comments much appreciated....

kj

Duet in F Part 2 p36 Vol 1_TAKE02.mp3 - File Shared from Box - Free Online File Storage

**ten left thumbs** · 04-17-2012, 05:34 PM

Hi kojo, yes, maybe paranoia creeping in. I think it swings fine, but it is only half a duet so by itself if will sound a little odd, especially those phrases that start on the off-beat.

**Kojo27** · 04-17-2012, 05:37 PM

Originally Posted by ten left thumbs

Hi kojo, yes, maybe paranoia creeping in. I think it swings fine, but it is only half a duet so by itself if will sound a little odd, especially those phrases that start on the off-beat.

Whew! Yeah, half a duet is probably going to sound a little strange.

Thanks, TLT.

kj

**Kojo27** · 04-21-2012, 09:52 AM

Here's the remainder of the "F" studies. I flubbed the triplet study at about 1:00, but I'm not up to doing it over... : | I also skipped the repeats in that piece. Shoot me.

Now, finally on to the next week. I *will* catch up with you kids.

https://www.box.com/s/6bb9790afde768c12c9a <Rhythm Study

https://www.box.com/s/819f1b20632f9f01e497 <Triplet Study

https://www.box.com/s/d7c2a1292cd794befe06 <Waltz in F

kj

**oldhead** · 04-21-2012, 06:02 PM

Originally Posted by Kojo27

Here's the remainder of the "F" studies. I flubbed the triplet study at about 1:00, but I'm not up to doing it over... : | I also skipped the repeats in that piece. Shoot me.

Now, finally on to the next week. I *will* catch up with you kids.

https://www.box.com/s/6bb9790afde768c12c9a <Rhythm Study

https://www.box.com/s/819f1b20632f9f01e497 <Triplet Study

https://www.box.com/s/d7c2a1292cd794befe06 <Waltz in F

kj

Sounding good, KJ. The chorus is a bit much for me, but that's just personal preference.

**ten left thumbs** · 04-21-2012, 06:30 PM

Kojo, I have no doubt you will catch up with us. The waltz was very expressive - that's a real finger-twister. As for the triplets, Bill was sneaky to start out so easy and then put the tricky bit in the last two lines. It is well worth working on the last little bit, but no need to always start from the beginning. The last lines are well worth doing slowly, because all he is doing is breaking up the major scale. All good improv practice.

**Kojo27** · 04-21-2012, 07:55 PM

Originally Posted by oldhead

Sounding good, KJ. The chorus is a bit much for me, but that's just personal preference.

Thanks, sir. I agree about the chorus being a bit heavy. I'm new to electric guitars, though, and to amps, effects, all that. My effects board has one chorus setting and I sometimes just take it - and with my hollow-body, it sounds much less wobbly. I'll figure it out!

Originally Posted by ten left thumbs

Kojo, I have no doubt you will catch up with us. The waltz was very expressive - that's a real finger-twister. As for the triplets, Bill was sneaky to start out so easy and then put the tricky bit in the last two lines. It is well worth working on the last little bit, but no need to always start from the beginning. The last lines are well worth doing slowly, because all he is doing is breaking up the major scale. All good improv practice.

You know, you're right. Leavitt was bad (good?) for doing that. I doubt he knew that people would be "recording their ways through" -- but it's a clever way to louse up a too-quickly prepared performance! I'll work on the last part till I get it -- I'm a tenacious reviewer of material... that's where the REAL learning happens anyway.

Thanks, TLT.

kj

**smokinguit** · 04-22-2012, 02:45 PM

Great job kojo,

Yes review is so key. I'm a little behind myself I'm on page 40. I'm currently reviewing pages 30-39. I do about 4 to 5 pages a day of review. I'm deliberately working my way through the book. You guys are motivating me to play because my goal is to catch up with everyone. I'll start posting recording once I set up my recording gear.

**Kojo27** · 04-22-2012, 03:36 PM

Originally Posted by smokinguit

Great job kojo,

Yes review is so key. I'm a little behind myself I'm on page 40. I'm currently reviewing pages 30-39. I do about 4 to 5 pages a day of review. I'm deliberately working my way through the book. You guys are motivating me to play because my goal is to catch up with everyone. I'll start posting recording once I set up my recording gear.

Thanks, kind sir.

I'm way behind, too - but I'm hoping things will go faster from here on.

Review is great to do... always continue to go back to the fundamentals and strengthen the old foundation.

Getting started with recording was my big hurdle, too. I bought M-Audio interfaces, Zoom recorders - tons of stuff. Know what I'm using? A 1998 PII laptop with Windows ME, Windows Sound Recorder, and a $4 mic I got at a flea market. It works - I copy to thumb drive, convert the .wma to .mp3 on this other PC (it doesn't record right), and upload it.

So don't let fear of lousy sound hold you back! My stuff sound like crap, with air conditioning in the background, dog barking, light bulbs humming. (Of course you *can* upload .wma format, I suppose. Get a box.com account and see whether it works. No converting needed that way.)

It's the recording and uploading that really motivate, IMO.

kj

**Clamps** · 10-06-2012, 05:27 PM

F major:
ps: who can hear my dog sniffing around?!

**Kojo27** · 10-06-2012, 09:36 PM

Originally Posted by Clamps

F major:
ps: who can hear my dog sniffing around?!

Good job, Clamperman.

**Clamps** · 10-10-2012, 12:42 PM

Ok, triplet exercise!

and of course, the famous 'waltz in F' from page 38!

**Kojo27** · 10-10-2012, 06:23 PM

Originally Posted by Clamps

Ok, triplet exercise!

and of course, the famous 'waltz in F' from page 38!

Good job! When I worked (briefly) with the original study group, this was about the 3rd piece I did, and my daughter said, "That's so pretty! Now that one I can stomach!"

Such a touching comment - but I guess they do get old to those made to listen repeatedly to botched versions unending. If I were a better sight-reader... ah, well. We improve, aye?

You're really moving on, Clamps. You'll be through by Thanksgiving!

kj

**frankmaurer** · 10-23-2012, 05:54 AM

I know I'm way behind but decided to go over the Leavitt book 1 again. I don't know if anyone still looks at this thread but I have some questions about the triplet study.
When practising Type 2 triplets do you start the triplet in bar 1 beat 2 with an upstroke or a down stroke? If using a down stroke then you either end up with an upstroke on the quater note in beat 3 or else you actullly use type 1 triplets.

Also I noticed a few people dont seem to use rest stroke with the triplets.