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Thread: Patterns VS Note Visualization

  1. #1
    Mad Scientist forgottenking2's Avatar
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    Patterns VS Note Visualization

    Hmmm.... I must admit I'm kind of embarrased of asking this but (sixteenth notes snare drum fill here with timpani in 4ths) I have never relied on patterns (figuratively speaking 'cause no matter what you play you're always relying on them)but I always had kind of made up my own, the problem with this is that I got the fretboard nailed as long as it doesn't have a lot of accidentals but for instance if I try to play something in Gb or F# then I find myself really having to force my mind into the key (I don't know a better way to explain it) even though my fingers "know" the fingerings (there are only so many finger combinations you can use) my brain gets absolutely twisted and I have a hard time working on that tonallity and most times out of pure "and sincere" lazyness I end up transposing the song a half step up or down to a key that I'm familiar with... I didn't use to care much about that (and actually I don't think people has noticed it ) but it's getting kind of anoying... it's limiting... where if you use patterns you can always move it around, although that can limit you to box playing... so I was wondering where do I go from here? should I start getting into patterns for real or should I approach the problem with the system I'd been using... I guess my question would be "is going back to patterns taking a step back?" Any sugesstions and feedback will be greatly appreciated.

    Sincerely yours,

    Me
    "If God had wanted us to play the piano he would've given us 88 fingers"

  2. #2
    Chicks dig me Danster's Avatar
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    Hey fk2,
    Some relevant info along the lines of this topic were discussed not too long ago in this thread. I dunno if you saw it.
    Peace

  3. #3
    iBreatheMusic Modthor phantom's Avatar
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    hi forgottenking,
    i would say "going back to patterns" isn't really going a step back.
    it's more like an addition you make to what you know. and i think it will combine with the way you're doing it now.

    your knowledge so far won't instantly dissappear when getting into patterns

    just my humble opinion..
    Last edited by phantom; 12-08-2003 at 03:20 PM.

  4. #4
    Mad Scientist forgottenking2's Avatar
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    Hey Danf thanks! I hadn't realized it... I even had posted on it ... silly me, there's also an article by James... I'll check it out.
    Thanks.

    Regards,
    "If God had wanted us to play the piano he would've given us 88 fingers"

  5. #5
    Mad Scientist forgottenking2's Avatar
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    Thanks phantom, I'll try and use both, it may be good for me
    "If God had wanted us to play the piano he would've given us 88 fingers"

  6. #6
    Experimentalist Koala's Avatar
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    Hey FK! I know some people say to stay clear of patterns, and end up offering some "other" pattern system. But heck theres lot of stuff to learn in music, and patterns will only make you better s go for it.

  7. #7
    Mad Scientist forgottenking2's Avatar
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    Okie dokie then... it's gonna be a lot of work...
    "If God had wanted us to play the piano he would've given us 88 fingers"

  8. #8
    Resident Curmudgeon szulc's Avatar
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    How you are describing your playing indicates that you are already using patterns!

    The article Alternate View discusses this in depth.

    Patterns don't have to limit you to 'box' playing.

    You just need to know whole neck patterns for each type of scale you want to use.

    But it sounds to me like you are already on the right track since you are relating everything back to C major.

    Send me a PM after you read my article if you need further discussion.
    "Listen to the Spaces Between the sounds."
    Szulc's Site

  9. #9
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    I'm the one who started the thread in the link... But now I have a very good method.

    When I learn patterns, I don't learn root-E "boxes", but I learn octave shape patterns. Every note on the fretboard has 5 octave patterns, and you need to practice until you see them quickly across the fretboard. For example - Try to visualise ONLY the note F over the neck.

    Then you learn 5 patterns for every basic arpeggio, (maj7, m7, dom7, m7b5 and diminished). For example, you have 5 patterns for Dm7, covering the whole neck. When you learn them based on octave shapes, you actually have all m7 arpeggios.

    Then you go for scales. Why arpeggios first? Because they make a skeleton for scale patterns. For Dorian, Aeolian and Phrygian you need to know the m7 patterns, and just add 3 notes that make the scale.

    My basic practice method has 2 parts - one is modal and one is changing. First, record a vamp with only one chord, like dm7, and improvise from 1st position to 12th position. Start with chord tones, then expand into dorian, aeolian or phrygian. That way you learn to connect the patterns.
    Next, record a cycle of fifths progression, and improvise on the different keys WITHOUT CHANGING POSITION. That forces you not to rely on root-E boxes.

    That's it, I'm currently practicing heavily with my own method, and the results are awesome...

  10. #10
    Registered User Spin 2513's Avatar
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    But, can you play ," Autumn Leaves"

  11. #11
    Resident Curmudgeon szulc's Avatar
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    Bongo Can!
    "Listen to the Spaces Between the sounds."
    Szulc's Site

  12. #12
    Registered User Spin 2513's Avatar
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    Very nice , i would then consider him, a guitarist .

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