Randy Vincent's Cellular Approach (and other books)

[Doublea A]

Here is the introduction to this study group

Introduction to Randy Vincent Study Group - Video Dailymotion

[Richard Luther]

Thanks for taking the time to organize and shoot this vid. Great work


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[Doublea A]

Here are exercises 1-1 through 1-5.

Please post your exercises.

Please comment.

Randy Vincent Cellular Approach Study Group Exercises 1-5 - Video Dailymotion

Exercises 6 through 16 are on their way !!

[MGranada]

Great job there, Doublea A.
Thank you for sharing.
Cheers
Miguel

[MGranada]

Hi
Just did a backing track for page 3 of Cellular Approach, Exercises 1-6 1-7 1-8 (1-8 1-8).

Each exercise is repeated 3 times.

1-6. C to C
1-7. G to G
1-8. D to D
1-8. A to A
1-8. E to E

To finish on the same note we started, open strings must be used.

Dropbox - 1 - RANDY VINCENT PAG 3 1-6 1-7 1-8 1-8 1-8.mp3

Dropbox - 1 - RANDY VINCENT PAG 3 1-6 1-7 1-8 1-8 1-8.pdf

[Doublea A]

Here are exercises 6-11

Randy Vincent Exercises 6 - 11 - Video Dailymotion

Enjoy the process

[MGranada]

Exercises 1-9, 1-10, 1-11, 1-11 repeated 3 times each.

Dropbox - 2 - RANDY VINCENT PAG 4 1-9 1-10 1-11 1-11.mp3

Dropbox - 2 - RANDY VINCENT PAG 4 1-9 1-10 1-11 1-11.pdf

Cheers

[seaguitar]

Here are exercises 1-1 through 1-5.

Please post your exercises.

Please comment.

Randy Vincent Cellular Approach Study Group Exercises 1-5 - Video Dailymotion

Exercises 6 through 16 are on their way !!

Thanks for organizing getting this off the ground. It's great to hear what some of these sound like finally before diving in! Great job! Is there a reason you decide not to play it as written with the triplets on the 2nd exercise?

[Doublea A]

Thanks for organizing getting this off the ground. It's great to hear what some of these sound like finally before diving in! Great job! Is there a reason you decide not to play it as written with the triplets on the 2nd exercise?

The melody line is symmetrical so I preferred to play the Rhythm symmetrically as well.


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[Doublea A]

Anyone wanting my iRealpro playlist for exercises 1 through 16 should message me your email address and I can send it to you. Please note you will to have the iRealpro app on your iPad/iPhone/iPod in order to use it.


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[Rob Fletcher]

Here are exercises 1-1 through 1-5.

Please post your exercises.

Please comment.

Randy Vincent Cellular Approach Study Group Exercises 1-5 - Video Dailymotion

Exercises 6 through 16 are on their way !!

Thank you! Just back from camping, now prepping for a Chet Baker songbook gig Sunday, will start on this on Monday, really appreciated.

[Rob Fletcher]

Anyone have any idea what Joe Pass solo the examples are from?

Or what jazz standard he's referring to later in the chapter where he constructs a solo?

[Doublea A]

Anyone have any idea what Joe Pass solo the examples are from?

Or what jazz standard he's referring to later in the chapter where he constructs a solo?

I am not sure which solo he is specifically talking about but I do know that I hear this type of thing in Joe Pass' playing. I am going to take a close look at Joe Pass' Omnibook and try to pull out some examples.

In the meantime, I am going to reach out to Randy Vincent himself and at the very least make him aware of this this study group. I know that I belong to a Frank Vignola Study group and Frank himself has contributed to the group. I also belong to a Robert Conti Study group and although he has not personally contributed he is aware of the group and apparently checks in on our progress from time to time.

[dingusmingus]

Hi all,
I've been working through this book for a few months now. I'm around page 19, exercise 1-66. In that part of the book, Vincent reviews a lot of the previous material. I started to play around with the different permutations of cells. This probably sounds hyper mathematical and not very useful, but for me it's a way of playing with the material to internalize it.

Lots of the cells, or pairs of cells, start and end on the 3rd of the chord. (I just realized this leaves out the root-to-root cells. Oh well!) I thought of them in four sets
A - 3rd to Root & Root to 3rd
B - 3rd to 5th & 5th to 3rd
C - 3rd to 3rd, arpeggio
D - 3rd to 3rd, scale
Taking each of these in any order without repetition, I believe you'd have 24 permutations. For example, the six permutations starting with A are
ABCD
ABDC
ACBD
ACDB
ADBC
ADCB

I wrote those out, just to get a feel for it, though I can't read fast enough to really read this at much of a tempo. I'm pretty sure this is the type of thing that is only useful to the person who made it, but anyway, here it is:

[Doublea A]

Hi all,
I've been working through this book for a few months now. I'm around page 19, exercise 1-66. In that part of the book, Vincent reviews a lot of the previous material. I started to play around with the different permutations of cells. This probably sounds hyper mathematical and not very useful, but for me it's a way of playing with the material to internalize it.

Lots of the cells, or pairs of cells, start and end on the 3rd of the chord. (I just realized this leaves out the root-to-root cells. Oh well!) I thought of them in four sets
A - 3rd to Root & Root to 3rd
B - 3rd to 5th & 5th to 3rd
C - 3rd to 3rd, arpeggio
D - 3rd to 3rd, scale
Taking each of these in any order without repetition, I believe you'd have 24 permutations. For example, the six permutations starting with A are
ABCD
ABDC
ACBD
ACDB
ADBC
ADCB

I wrote those out, just to get a feel for it, though I can't read fast enough to really read this at much of a tempo. I'm pretty sure this is the type of thing that is only useful to the person who made it, but anyway, here it is:

I clicked the "like" button only because there isn't a "LOVE" button.
I love it !!
Thanks for the contribution

[edh]

could someone explain to me what the 3 to 3 is.

I understand the rest of the notations such r to 3, 3 to r etc.

Granted I don't have any of Randy's material, so if you don't care to explain it I could understand.

Thanks

[Doublea A]

could someone explain to me what the 3 to 3 is.

I understand the rest of the notations such r to 3, 3 to r etc.

Granted I don't have any of Randy's material, so if you don't care to explain it I could understand.

Thanks

If you look at the third bar of dingusmingus' exercise, the chord is Ab7 the "melody" begins on a C which is the third of Ab7. The following chord is Db7 and it begins on an F, once again the third of the chord. Thus you have 3 to 3.

More interestingly is the fact that we are led to to the F via the Gb. Instead of an abrupt jump from one chord tone to another you are led to the first chord tone of Db from a chord tone belonging to Ab7.

I hope that helps

[edh]

@Doublea A, thanks it does explain it. I don't have Randy's material to I can't reference that Dingus thing you mention. But you explained clearly.

Thanks DA

[Doublea A]

Hi Guys,

Here are Randy Vincent's licks for G7alt to C. These are coming from pages 23 - 26 of his book Line Games.

105 - 114

115 - 122

Let me know what you think

[Doublea A]

Hi all,
I've been working through this book for a few months now. I'm around page 19, exercise 1-66. In that part of the book, Vincent reviews a lot of the previous material. I started to play around with the different permutations of cells. This probably sounds hyper mathematical and not very useful, but for me it's a way of playing with the material to internalize it.

Lots of the cells, or pairs of cells, start and end on the 3rd of the chord. (I just realized this leaves out the root-to-root cells. Oh well!) I thought of them in four sets
A - 3rd to Root & Root to 3rd
B - 3rd to 5th & 5th to 3rd
C - 3rd to 3rd, arpeggio
D - 3rd to 3rd, scale
Taking each of these in any order without repetition, I believe you'd have 24 permutations. For example, the six permutations starting with A are
ABCD
ABDC
ACBD
ACDB
ADBC
ADCB

I wrote those out, just to get a feel for it, though I can't read fast enough to really read this at much of a tempo. I'm pretty sure this is the type of thing that is only useful to the person who made it, but anyway, here it is:

Would it be possible to attach a downloadable version, perhaps as a PDF ? Or if that doesn't work send it via email to interested members, namely me.

[Doublea A]

I am working on exercises 17 -30 for the month of June

[dingusmingus]

Would it be possible to attach a downloadable version, perhaps as a PDF ? Or if that doesn't work send it via email to interested members, namely me.

Sure. I'll try to do that tonight, when I'm home.

By the way, I'm still using the book. I'm in the second half of chapter one, where you turn the sequences into ii-Vs. To be honest, I'm still not sure where this will all lead. I'm hoping I will eventually internalize these patterns and they'll show up in my playing, creating very harmonically specific lines. That may take some practice dedicated to using them in the context of tunes. (That probably sounds obvious!)

At a minimum, they are nice technique exercises.

edit: ok, I've added the pdf to the original post above.

[Rob Fletcher]

I am working on exercises 17 -30 for the month of June

Any chance you could make mp3s of them or any of the exercises? I don't have a lot of time to work on right now, but lots of time to listen and sing along to internalize.

[Doublea A]

Any chance you could make mp3s of them or any of the exercises? I don't have a lot of time to work on right now, but lots of time to listen and sing along to internalize.

Sure. Which exercises do you want ?

I will work on it later today.


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[matt.guitarteacher]

I have this book. Have a look at it occasionally. Looking at it today, I'm struck by what occurred to me the first few times I looked at it as well: it presents some real technical challenges in articulating the shifts smoothly.

I find that when I play through initially, without a lot of thought, there's a lot of extraneous thumb movement and hand movement generally. What I initially arrived at this morning as being probably the most efficient movement for exercise 1, for example, is to shift on the pick-up of the new position.

So, I'm starting with thumb behind second finger at the beginning , and then, shifting my thumb on the and-of-3 (on the would-be stretch) to be exactly behind the 1st finger, with the first finger then sliding "into position" on beat 3.

What a horrible mess to describe in text. I may do short a video of me doing this , to see if I can get Christian or someone to look at it and offer thoughts/help. I think the technical aspect of this is a big part. Musically and otherwise they're pretty straightforward.

Oh, incidentally, I found the easiest way to work on this shift, the way I'm talking about, is to start on the pick up to beat 3, with index finger directly behind the thumb, and slidingthe index finger into beat 3. Somehow harder for me to get in the groove starting at the beginning of the pattern.

TL;DR: Are you all shifting your thumb on the and-of-3 or somewhere else? I would think that really SWINGING the slide would be about 90% of getting this.