An arpeggio shape that is rarely found in exercices is 5 7 1 3 or descending 31 7 5 . Very melodic because the intervals between notes are not the same. 1 refers to the root of each chord of the scale.
Great lesson, Chase. Especially useful (for me) was the Dan Wilson descent of a major scale and Pasquale's thirds. As for chromaticism, I agree with the value of what you recommend but I would take issue with your dismissal of the 1-2-3-4 pattern for this reason: it is not meant to teach chromaticism but rather to synch the right and left hand. It's a great exercise (for beginners) because you don't have to think about WHAT you are playing but solely with the mechanics of it, and you have to play on all six strings. Anyone who can get the same pick attack / speed / fluidity and fingering accuracy across all six strings has a solid foundation in technique. (And then you mix up the pattern: 1-3-2-4 or 1-4-3-2. It's not meant to be used in a solo; it's meant to synch the hands and also as a warmup. )
Thanks Mark! Let me expand on some of my thoughts here, although it's tough to have a full discussion via RUclips comments lol. Please don't take this like I'm arguing with you, but rather with the idea of this exercise we're considering. I appreciate your thoughts on this. 1) If the purpose of the exercise is to sync the right and left hand, why 'sync' the hand on something that's not musical, or at least not in the way it's usually taught? I think students get much more out of syncing the hand WITH a pattern that also connects the ear to the purpose of the idea. 2) Like I show in this video, there is an easy way to do that exercise in a similar way that doesn't require much 'thinking'. However, most of the time this exercise is done in a mindless way ("You can do this while watching TV!") which ends up with the students not considering their mechanics, purpose, or even listening to what they're doing. 3) If it's not meant to be used, why do it? IF the purpose is to sync the hands, are there better, more musical ideas to use? I think there are. If the purpose is a warmup (I have separate thoughts on this idea...), is this really the only or best way to warmup? I can think of many, many things a student can do to warmup not only the physical aspect of playing but also the mental and aural aspects which I think are incredibly undervalued. Sounds like a big topic for discussion and disagreement I might need to do a video on!
@@ChaseMaddox You think 1234 is a bad exercise for teaching chromaticism but it is not meant to teach chromaticism. That is not the PURPOSE of the exercise. It is an exercise in synching the two hands. (If you don't need to synch them, great, but if they're out of synch, nothing more musical you play is going to sound good. It's like a sense of time----if you have a good one, you don't need to work on it, but until you develop it, your playing will be inconsistent. As for warmups, I learned one from Jimmy Bruno years ago. It's fine. I like your infinity warmup too. Both are good; neither is necessary, or the only way. I'm 65 now, so what I need for warming up is not what I needed when I was your age. You'll see that when you're my age. 😀
“Syncing” the hands on a musically meaningless exercise is a waste of precious practice time. Everyone feels like they have limited time to practice, especially my students who are 65+, so there is 0 situations where this exercise would ever be prioritized, even for the sake of a warm up.
Hi Chase, very inspiring topics that you're showing....thanx a lot 👌well explained...what I do to get more into 'musical-practice' is to apply all you're ideas directly to a given song/standard chord progression...to me it's very effective, because you learn a song at the same time....what do you think? Kind regards
I think you should almost always apply what you’re working on directly to a song. You can see if the idea actually works in the music and you remember it better too. Thanks for watching! 👍
On this topic, I studied with the Valente Brothers (studied directly with the founder of Brazilian jujutsu, Helio Gracie) and that is actually how their warmup exercises are designed. Every one of the 10-15 exercises at the beginning of class are specifically about training a skill/defense that would be used in an actual fight situation.
Doug Raney yes!!!
An arpeggio shape that is rarely found in exercices is 5 7 1 3 or descending 31 7 5 . Very melodic because the intervals between notes are not the same. 1 refers to the root of each chord of the scale.
Thank you Chase for your sincere dedication to the guitar community of the world...
I appreciate that!
Great lesson, Chase. Especially useful (for me) was the Dan Wilson descent of a major scale and Pasquale's thirds. As for chromaticism, I agree with the value of what you recommend but I would take issue with your dismissal of the 1-2-3-4 pattern for this reason: it is not meant to teach chromaticism but rather to synch the right and left hand. It's a great exercise (for beginners) because you don't have to think about WHAT you are playing but solely with the mechanics of it, and you have to play on all six strings. Anyone who can get the same pick attack / speed / fluidity and fingering accuracy across all six strings has a solid foundation in technique. (And then you mix up the pattern: 1-3-2-4 or 1-4-3-2. It's not meant to be used in a solo; it's meant to synch the hands and also as a warmup. )
Thanks Mark! Let me expand on some of my thoughts here, although it's tough to have a full discussion via RUclips comments lol. Please don't take this like I'm arguing with you, but rather with the idea of this exercise we're considering. I appreciate your thoughts on this.
1) If the purpose of the exercise is to sync the right and left hand, why 'sync' the hand on something that's not musical, or at least not in the way it's usually taught? I think students get much more out of syncing the hand WITH a pattern that also connects the ear to the purpose of the idea.
2) Like I show in this video, there is an easy way to do that exercise in a similar way that doesn't require much 'thinking'. However, most of the time this exercise is done in a mindless way ("You can do this while watching TV!") which ends up with the students not considering their mechanics, purpose, or even listening to what they're doing.
3) If it's not meant to be used, why do it? IF the purpose is to sync the hands, are there better, more musical ideas to use? I think there are. If the purpose is a warmup (I have separate thoughts on this idea...), is this really the only or best way to warmup? I can think of many, many things a student can do to warmup not only the physical aspect of playing but also the mental and aural aspects which I think are incredibly undervalued.
Sounds like a big topic for discussion and disagreement I might need to do a video on!
@@ChaseMaddox You think 1234 is a bad exercise for teaching chromaticism but it is not meant to teach chromaticism. That is not the PURPOSE of the exercise. It is an exercise in synching the two hands. (If you don't need to synch them, great, but if they're out of synch, nothing more musical you play is going to sound good. It's like a sense of time----if you have a good one, you don't need to work on it, but until you develop it, your playing will be inconsistent. As for warmups, I learned one from Jimmy Bruno years ago. It's fine. I like your infinity warmup too. Both are good; neither is necessary, or the only way. I'm 65 now, so what I need for warming up is not what I needed when I was your age. You'll see that when you're my age. 😀
“Syncing” the hands on a musically meaningless exercise is a waste of precious practice time. Everyone feels like they have limited time to practice, especially my students who are 65+, so there is 0 situations where this exercise would ever be prioritized, even for the sake of a warm up.
Great stuff!
Glad you enjoyed it
Love this lesson!
Thanks! 🙏
Again another intelligent pracise video. Thank you!
Thank you! 🙏
Awesome advice! Thank you so much!
Glad it was helpful!
Master Yoda, Comment we haven’t yet knowledge to. But this is a great great step. As are all your lessons.
playin scales in thirds with bop approach looks interesting, thanks Chase!
doing it rn
Awesome!
Fantastic video Chase with so much awesome content 👍🎸 thanks so much brother
Thanks again! 🤘
Bringing variety to the somewhat tedious department of practicing scales and arpeggios is a great approach. Thank you🙏
My pleasure!
You are Kindful. Good job.
Thank you!
yes! please do another video expanding on Pasquale's exercise!
Will do! 🤘
Really interesting, thank you
Thanks for watching!
Anotha one! 🔥🤘🔥
Yessir!
Thanks Chase . . . I'm off to the woodshed.
Best compliment I can get on these lesson videos! Thanks!
Keep it up ill get you a pint if your ever in the uk
This year I'm heading to Italy, but maybe soon after that!
Hi Chase, very inspiring topics that you're showing....thanx a lot 👌well explained...what I do to get more into 'musical-practice' is to apply all you're ideas directly to a given song/standard chord progression...to me it's very effective, because you learn a song at the same time....what do you think? Kind regards
I think you should almost always apply what you’re working on directly to a song. You can see if the idea actually works in the music and you remember it better too. Thanks for watching! 👍
@@ChaseMaddox that's exactly what I mentioned....thanx for your reply
Good lesson Chase - and love how the diatonic 7th chord exercise bugs you lol.
Haha it really does...thanks Az!
Love harmonic minor in 3rds😅
Lots of good material. I’ll start with the descending major scale one!
Good place to start!
I really really want a hollow body/semi like that. Sounds nice Very good lesson as well. Thank you!
Glad you like it!
I got myself the cheapest of this Ibanez AF series - AF55.
And it's still awesome.
well may be pickups not as cool as rest of it.
@Accou25 Nice! I bet it's cool. I know that exact model too. I would totally get that. Plus you can always change the pickups down the road
❤
If you wanted to get better at jujitsu, would you only do exercises that you can apply in a fight?
On this topic, I studied with the Valente Brothers (studied directly with the founder of Brazilian jujutsu, Helio Gracie) and that is actually how their warmup exercises are designed. Every one of the 10-15 exercises at the beginning of class are specifically about training a skill/defense that would be used in an actual fight situation.
that spider exercise really is nonsense. Teaching your fingers to do something they can already do and not learning anything useful