This is an incredibly simple but often overlooked concept. As guitar players we can quite quickly and easily learn to see intervals and scale degrees within our large structures and shapes when ‘ascending’ in pitch from the root. For some reason though it’s way harder (and not really practiced) to see intervallic functions and scale degrees DESCENDING in pitch from higher root notes. Diligently working on this was an absolute game changer for my fretboard knowledge and general fluency moving around the neck! Hope this helps some of you guys and girls, thanks for watching 🐝🎸
Please create a course about Tom Quayle's licks in starndard tuning and how to creat those lines and how to improvise with them in standard tuning sir. I and many people will buy it.
Great way to start applying this stuff is just using the blues as a guinea pig! Can go from the simple version to a jazz blues as you get it going. Very fun and rewarding!
Yea thats it! Another reasons this is so incredibly powerful, you can start outlining changes and begin the baby steps of making music with it very quickly, and all over the fretboard. I vividly remember when it all started clicking into place, seeing the 3rds and 7ths moving between one another in a blues, it was a very cool empowering moment!
I have been doing the visualization course and using Solo for maybe three weeks now, every day, for 10-15 minutes in the middle of the practise session. I love it, and it has helped tremendously. I feel that its priming me to take on the next steps for improvisation. I did not internalize much from caged or running scales, but now I am really building a mind map of the intervals.
Nice! I think that is really what moves the needle, short, focussed bursts at the hard stuff. Glad to hear you feel it's helping out! Thanks for watching, using solo/ufvc! Good luck with the journey.
Yep, it's amazing how it trips us up switching the viewpoint. It is however, tremendously powerful way to improve fretboard knowledge and fluency! :) thanks for watching.
@@silverappegio hey, I’m afraid they are separate purchases as we have no way to link them on the platforms they’re hosted on (apple for the Solo app and teachable for the course). I’ve extended the discount code so it should still work for you now if you want to grab it with the 50 dollars off, if that helps :) thanks for the interest!
Music teacher here. I find the term intervallic functiom a confusing term in context of intervallic value, similar the confusion in US numeric naming of beat values and 1/8th = 1/2 a beat. The naming of something using the same term to describe the another with the same unit name. I do realise you also call it a scale degree/value which is what I'd emphasise rather than the emphasis placed on intervallic function which seems prevalent here. I'm a nobody in the scheme of things but I am a professional and very experienced educator who understands confusing terminolgy. Until you demonstrated, I thought you meant to descend by a 3rd interval from C i.e. to Ab. This is a descending intervallic 3rd, but in your language is to descend by an intervallic function of a b6^..? The descending intervallic function to a 3^ (scale degree symbol) is actually the intervallic value of a descending b6. So i would present the same excellent concept as visualising descending to the same scale degree and identifying the shape as a descending b6 interval. The rule of 9 for inversions. Ascending P4 interval is a descending P5 interval to descend to the same scale degree - can't do the caret above the number. E.g. C or 1^ up to F or 4^ is a P4 interval. C or 1^ down to F or 4^ is a P5 interval. Up to 4^ = 9-4 to descend to same degree 4^ i.e. down by a P5 interval. That way I'm not confusing the nomenclature of interval value and scale degree. Again what I've written is also confusing but the way you've described it, will have people confuse descending intervals and descending to the same scale degree which has an inverted intervallic value based on subtraction by 9 and swapping the m/M if the interval. It's a great concept and how I like to visualise the fretboard too just the wording and language you're using "intervallic function" in place of just scale degree is confusing without the demonstration. But again alrhought I'm a formally trained educator with a teaching degree, I'm also a nobody with my opinion. I hope that it does help though.
Hi Johnny, thanks for the detailed comment, certainly appreciate the time and thought put into it. I have thought long and hard about this over the years, and whilst I have wrestled with the term in the past, I’m now pretty comfortable with it for my teaching and approach to the instrument. The term ‘interval’ on its own, is certainly not correct, for the good reasons you outline. But the term ‘scale degree’, whilst commonplace, is also not entirely correct for what we’re doing here. It doesn’t fully describe the scope of what’s going on and is also potentially confusing given the visual cataloguing (and also audiation) we’re trying to nurture with the 2-point system. The 2-point system presupposes there are some inherent flaws and weaknesses with the more traditional methods of organising the fretboard, and I suppose this extends somewhat to the supporting musical terminology. You write, “So i would present the same excellent concept as visualising descending to the same scale degree and identifying the shape as a descending b6 interval.” Whilst that’s not incorrect, I would say the above is also rather confusing, and antithetical to the 2-point method. It would be making the visual and aural cataloguing process more elaborate and complicated for the sake of maintaining a traditional musical lexicon. I only want to be visually and aurally identifying the shape as a descending b6 if that is indeed the function and sound being outlined in context, i.e which note my eyeballs and ear holes are anchored to as root. In this specific example, it wouldn’t be the b6, it would still be the 3, and I would argue that to catalogue as a b6 would be incorrect. Function and context is what is important here, and we’re trying to utilise those in the most efficient way to visually and aurally map the neck. When teaching formally and in my material with more scope than a RUclips video, I do make a clear distinction and elaborate on the differences. That by visualising the fretboard from localised 2-point shapes, we’re not talking about a traditional interval description of pitch distance. Instead we’re talking about how the second note, relates to the first, irrespective of its octave. And so descending A 3rd is not the same as descending TO the 3. Note that nowhere in the video do I use the term “3rd”, but purposefully just say “the 3”. I was intentionally keeping this video on the shorter side, as I do think the demonstration does the clariyfing, but perhaps it was a bit too truncated, I certainly take that point. I can also totally understand a music teacher working in a traditional or institutional framework bristling at the language choices, like I say, I’m perhaps still only 95% happy with it myself, but I see and experience the benefits of it far outweighing the potential drawbacks or temporary confusion. Thank you again for taking the time to watch/comment/nerd out, and I do appreciate the feedback! Best wishes, Beebs
@@maxidionisi4006 this one expired, but weird coincidence, I’ve got a new video scheduled in about an hour with a new code, check back and thanks for the interest 🙏🏻
Solo 1.0 for Android is a separate product, and sold as is. A one-time purchase App does not justify an entitlement to new future features for free. The sad reality is Android just does not sell anywhere near enough to justify prioritising the long term development of new features. We only figured this out after receiving many, many comments like yours asking for the original Android version of solo. We pivoted away from iOS, worked hard, spending time and money to develop and release it, only for it to sell a small fraction of what iOS sells. We are however totally committed to supporting the current feature set on future Android operating systems for the life of the product. Hopefully this changes in the future, but for now we are back to prioritising iOS development.
@@DavidBeebee I'm not insinuating that it should be free to people who should have bought 1.0, and recognize it comes with additional dev costs. I'm capable and willing to buy 2.0. I recognize that I'm only speaking for myself and there might not be a product market fit to justify the development of an Android version of 2.0. However, I feel rather insulted at the tone of the first part of your comment. I apologise if I'm mistaking your intent.
@@terminal9500 @DavidBeebee I completely agree and I think it's definitely not about an "entitlement" to a free update. I would like to buy the Fretboard Visualization Course but from everything I've seen, having Solo 2.0 is a prerequisite to doing some of the exercises in the course. The basic exercise shown in this video is only possible with a workaround which isn't ideal. You need to chose a standard which then loops around instead of having the benefit of "true randomness". I guess I'm completely oblivious to app development but it doesn't difficult to add a "random mode" in the chord changes section. it wouldn't be the same overhaul as the iOS version but a parallel change. Also a different idea: how about letting users import their own standards like in iRealPro and share them on forums. Edit: Or adding more than just one "basic chord" to the changes section (Ex 38) doesn't seem to much "entitlement" to ask for
Likewise, I felt rather insulted by the shortness of your original two word comment. I apologise for reading into it frustrations from other Android discourse, that is certainly not your fault. Thank you for clarifying and giving fleshed out feedback on your thoughts about it, much appreciated.
Hi Arnautvan, thanks for the feedback and interest in the course, yep it is intended to be used with the 2.0 version on iOS. The broad ideas to practice and the actual educational material is still useful and platform agnostic, but you're right in that the earlier exercises do require Solo 2.0 on iOS to follow along and systematically get the most out of it.
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
This is an incredibly simple but often overlooked concept. As guitar players we can quite quickly and easily learn to see intervals and scale degrees within our large structures and shapes when ‘ascending’ in pitch from the root. For some reason though it’s way harder (and not really practiced) to see intervallic functions and scale degrees DESCENDING in pitch from higher root notes. Diligently working on this was an absolute game changer for my fretboard knowledge and general fluency moving around the neck! Hope this helps some of you guys and girls, thanks for watching 🐝🎸
Thanks 🎉
You're welcome 😊
Please create a course about Tom Quayle's licks in starndard tuning and how to creat those lines and how to improvise with them in standard tuning sir. I and many people will buy it.
Great way to start applying this stuff is just using the blues as a guinea pig! Can go from the simple version to a jazz blues as you get it going. Very fun and rewarding!
Yea thats it! Another reasons this is so incredibly powerful, you can start outlining changes and begin the baby steps of making music with it very quickly, and all over the fretboard. I vividly remember when it all started clicking into place, seeing the 3rds and 7ths moving between one another in a blues, it was a very cool empowering moment!
Could you make a video on how to eliminate tension in both hands, and how much force to use in the right hand too?
I’ll try to do a video on tension yea, thanks for the idea
I have been doing the visualization course and using Solo for maybe three weeks now, every day, for 10-15 minutes in the middle of the practise session. I love it, and it has helped tremendously. I feel that its priming me to take on the next steps for improvisation. I did not internalize much from caged or running scales, but now I am really building a mind map of the intervals.
Nice! I think that is really what moves the needle, short, focussed bursts at the hard stuff. Glad to hear you feel it's helping out! Thanks for watching, using solo/ufvc! Good luck with the journey.
You're right. I know ascending inside and out, but go completely blind in this direction! Great tip.
Yep, it's amazing how it trips us up switching the viewpoint. It is however, tremendously powerful way to improve fretboard knowledge and fluency! :) thanks for watching.
Thanks, great way to get the mind thinking
Most welcome, it's a great workout. Thanks for watching!
Will buying the course includes the Solo App ? or we need to purchase separately :)
@@silverappegio hey, I’m afraid they are separate purchases as we have no way to link them on the platforms they’re hosted on (apple for the Solo app and teachable for the course). I’ve extended the discount code so it should still work for you now if you want to grab it with the 50 dollars off, if that helps :) thanks for the interest!
Music teacher here. I find the term intervallic functiom a confusing term in context of intervallic value, similar the confusion in US numeric naming of beat values and 1/8th = 1/2 a beat. The naming of something using the same term to describe the another with the same unit name.
I do realise you also call it a scale degree/value which is what I'd emphasise rather than the emphasis placed on intervallic function which seems prevalent here. I'm a nobody in the scheme of things but I am a professional and very experienced educator who understands confusing terminolgy.
Until you demonstrated, I thought you meant to descend by a 3rd interval from C i.e. to Ab. This is a descending intervallic 3rd, but in your language is to descend by an intervallic function of a b6^..?
The descending intervallic function to a 3^ (scale degree symbol) is actually the intervallic value of a descending b6.
So i would present the same excellent concept as visualising descending to the same scale degree and identifying the shape as a descending b6 interval.
The rule of 9 for inversions. Ascending P4 interval is a descending P5 interval to descend to the same scale degree - can't do the caret above the number.
E.g. C or 1^ up to F or 4^ is a P4 interval.
C or 1^ down to F or 4^ is a P5 interval.
Up to 4^ = 9-4 to descend to same degree 4^ i.e. down by a P5 interval.
That way I'm not confusing the nomenclature of interval value and scale degree. Again what I've written is also confusing but the way you've described it, will have people confuse descending intervals and descending to the same scale degree which has an inverted intervallic value based on subtraction by 9 and swapping the m/M if the interval.
It's a great concept and how I like to visualise the fretboard too just the wording and language you're using "intervallic function" in place of just scale degree is confusing without the demonstration.
But again alrhought I'm a formally trained educator with a teaching degree, I'm also a nobody with my opinion. I hope that it does help though.
Hi Johnny, thanks for the detailed comment, certainly appreciate the time and thought put into it.
I have thought long and hard about this over the years, and whilst I have wrestled with the term in the past, I’m now pretty comfortable with it for my teaching and approach to the instrument.
The term ‘interval’ on its own, is certainly not correct, for the good reasons you outline. But the term ‘scale degree’, whilst commonplace, is also not entirely correct for what we’re doing here. It doesn’t fully describe the scope of what’s going on and is also potentially confusing given the visual cataloguing (and also audiation) we’re trying to nurture with the 2-point system.
The 2-point system presupposes there are some inherent flaws and weaknesses with the more traditional methods of organising the fretboard, and I suppose this extends somewhat to the supporting musical terminology.
You write,
“So i would present the same excellent concept as visualising descending to the same scale degree and identifying the shape as a descending b6 interval.”
Whilst that’s not incorrect, I would say the above is also rather confusing, and antithetical to the 2-point method. It would be making the visual and aural cataloguing process more elaborate and complicated for the sake of maintaining a traditional musical lexicon.
I only want to be visually and aurally identifying the shape as a descending b6 if that is indeed the function and sound being outlined in context, i.e which note my eyeballs and ear holes are anchored to as root. In this specific example, it wouldn’t be the b6, it would still be the 3, and I would argue that to catalogue as a b6 would be incorrect. Function and context is what is important here, and we’re trying to utilise those in the most efficient way to visually and aurally map the neck.
When teaching formally and in my material with more scope than a RUclips video, I do make a clear distinction and elaborate on the differences. That by visualising the fretboard from localised 2-point shapes, we’re not talking about a traditional interval description of pitch distance. Instead we’re talking about how the second note, relates to the first, irrespective of its octave. And so descending A 3rd is not the same as descending TO the 3. Note that nowhere in the video do I use the term “3rd”, but purposefully just say “the 3”. I was intentionally keeping this video on the shorter side, as I do think the demonstration does the clariyfing, but perhaps it was a bit too truncated, I certainly take that point.
I can also totally understand a music teacher working in a traditional or institutional framework bristling at the language choices, like I say, I’m perhaps still only 95% happy with it myself, but I see and experience the benefits of it far outweighing the potential drawbacks or temporary confusion.
Thank you again for taking the time to watch/comment/nerd out, and I do appreciate the feedback!
Best wishes,
Beebs
Hi, the promo code is valid?
@@maxidionisi4006 this one expired, but weird coincidence, I’ve got a new video scheduled in about an hour with a new code, check back and thanks for the interest 🙏🏻
New code BBNAN is live and valid now :) thanks again
Android when?
Solo 1.0 for Android is a separate product, and sold as is. A one-time purchase App does not justify an entitlement to new future features for free.
The sad reality is Android just does not sell anywhere near enough to justify prioritising the long term development of new features. We only figured this out after receiving many, many comments like yours asking for the original Android version of solo. We pivoted away from iOS, worked hard, spending time and money to develop and release it, only for it to sell a small fraction of what iOS sells.
We are however totally committed to supporting the current feature set on future Android operating systems for the life of the product.
Hopefully this changes in the future, but for now we are back to prioritising iOS development.
@@DavidBeebee I'm not insinuating that it should be free to people who should have bought 1.0, and recognize it comes with additional dev costs. I'm capable and willing to buy 2.0. I recognize that I'm only speaking for myself and there might not be a product market fit to justify the development of an Android version of 2.0.
However, I feel rather insulted at the tone of the first part of your comment. I apologise if I'm mistaking your intent.
@@terminal9500 @DavidBeebee
I completely agree and I think it's definitely not about an "entitlement" to a free update. I would like to buy the Fretboard Visualization Course but from everything I've seen, having Solo 2.0 is a prerequisite to doing some of the exercises in the course.
The basic exercise shown in this video is only possible with a workaround which isn't ideal. You need to chose a standard which then loops around instead of having the benefit of "true randomness".
I guess I'm completely oblivious to app development but it doesn't difficult to add a "random mode" in the chord changes section. it wouldn't be the same overhaul as the iOS version but a parallel change. Also a different idea: how about letting users import their own standards like in iRealPro and share them on forums.
Edit: Or adding more than just one "basic chord" to the changes section (Ex 38) doesn't seem to much "entitlement" to ask for
Likewise, I felt rather insulted by the shortness of your original two word comment. I apologise for reading into it frustrations from other Android discourse, that is certainly not your fault. Thank you for clarifying and giving fleshed out feedback on your thoughts about it, much appreciated.
Hi Arnautvan, thanks for the feedback and interest in the course, yep it is intended to be used with the 2.0 version on iOS. The broad ideas to practice and the actual educational material is still useful and platform agnostic, but you're right in that the earlier exercises do require Solo 2.0 on iOS to follow along and systematically get the most out of it.