- First, always find the original version by the original artist
(You have to learn to respect the original artist especially when you are a composer yourself.)
- Then, find cover versions by great musicians
- Find vocal versions of the (bebop) song and know the lyrics. eg. Days of Wine and Roses
**Break out of fixed mental frames
- eg. Don't see a scale pattern as simply and STRICTLY E Phrygian/C Lydian/G Locrian etc, see it as a relation to the whole system of major scales.
**The 12 Key Grip
- The ability to play the major scales of all 12 keys within a single fretboard position, practiced in circle of 4ths.
- Involves learning to see scale patterns differently even though scale patterns are technically all the major modes.
(During class when we were going through the 12 key grip scale patterns, I exclaimed "Isn't this a Locrian ?", Sheryl's response was "It is Locrian, it is Aeolian, it is Dorian, etc" - furthers the point of relation and connectivity of concepts, and not forcing any concepts to be boxed in to a single definition/identity.)
- Involves practicing playing a scale with root of scale on 6th, 5th and 4th string, and with 1st, 2nd and 4th fingers playing the root respectively.
**Revision of 12 bar blues
- Be aware that there are 8 bar blues and 16 bar blues as well.
**Will be doing harmonic minor from all scale degrees for this semester
- But before that, have to make sure that major scale can be played from all scale degrees.
**Practice the 12 Key Grip from any fret on the fretboard and starting on any key.
**Learn first chorus of "G Blues" by Joe Pass and Herb Ellis
**When looking through the 12 Key Grip fretboard pattern positions, I can't help it but categorize them into members of the major modes again, i.e. Ionion, Dorian, Phrygian, Lydian etc especially when I am already familiar with scale patterns of the major modes. Have to thus work on programming my mind to see it as eg. root starting on 6th string played by 4th finger.
**I noticed that when going through the circle of 4ths, the fingering patterns for the scales always go in a consistent direction.
- It goes in an orderly, repetitive pattern from Dorian to Aeolian, to Phrygian, to Locrian, to Lydian, to Ionion, to Mixo, and then to Dorian again until all keys are played (Pardon the terms in major modes, but whilst relative to the major Ionion, the pattern goes from 2, to 6, to 3, to 7, to 4, to 1, to 5 and then repeat - with 2 referring to Dorian, 6 referring to Aeolian, 3 referring to Phrygian and so on).
- i.e. from root on 4th string played by 1st finger, to root on 6th string played by 4th finger, to root on 5th string played by 4th finger, to root on 6th string played by 2nd finger, to root on 5th string played by 2nd finger, to root on 6th string played by 1st finger, to root on 5th string played by 1st finger, and repeat.