stick e-lessons - presented by chris crain - stay salty! · lesson 11 – bass technique lh bass...

Stick eLessons This is a sampling of the complete 162 page text. This sample is only complete from the cover to the first set of exercises of Lesson 2. However, except for one audio and one video lecture (indicated on their respective pages), all other audio, video, and midi links go nowhere. Likewise, many bookmarks and page hyperlinks are disabled because their destination pages have been removed. You will need to download AUDIO005.mp3 (Sample Audio) and VIDEO08.mpg (Sample Video) from www.ChrisCrain.com and save them in the same folder as this ebook. Thank you for your interest. - Chris

SSttiicckk®

ee--LLeessssoonnss For the Chapman Stick Player

A multimedia learning experience presented by Chris Crain

SSttiicckk®

ee--LLeessssoonnss For the Chapman Stick Player A multimedia learning experience presented by Chris Crain. ©2007, 2009 Chris Crain / barefoot publishing 2nd Edition 205 Main Street, Suite 600, Jasper, Indiana 47546 USA www.ChrisCrain.com [email protected] All rights reserved. No part of this book, including accompanying audio, video, and MIDI files, may be reproduced in whole or in part, by any means, without written permission from the author, except for the owners personal use. Chapman Stick, The Stick, Stick, Grand Stick, Alto Stick, Stick Bass, NS/Stick, and Touchboard are Federally registered trademarks of Stick Enterprises, Inc. Other trademarks belonging to Stick Enterprises include: Baritone Melody, Deep Baritone Melody, and Matched Reciprocal. StaffTab is a trademark of Greg Howard and Emmett Chapman. QuickTime and the QuickTime logo are registered trademarks of Apple, Inc. Windows Media Player and the Windows Media logo are registered trademarks of Microsoft Corporation. Adobe, Adobe Reader, and the Adobe Reader logo are registered trademarks of Adobe Systems, Inc.

SSttiicckk®

ee--LLeessssoonnss

FFiillee DDeettaaiillss System requirements

570 MB free disk space for Stick e-Lessons files (files can be copied to and run from a CD) Adobe Reader 7.0 or later to view e-book (PDF) QuickTime® , Windows® Media Player, or similar required to play MP3, MPG, & MIDI

Text Number of files: 1

File name: StickeLessons.pdf Format: PDF, requires Adobe® Reader, version 7.0 or later File size: 14 MB Total pages: 162

Audio Number of files: 105

File name: AUDIO###.mp3 Format: MPEG-1, Layer 3 (MP3) Bit rate: 128 kbps Audio rate: 44.1 kHz/stereo File size: 384 KB (min.) to 10.5 MB (max.) Total runtime: 02:23:51

Video Number of files: 9

File name: VIDEO##.mpg Format: MPEG-1 (MPG) Resolution: 320 x 240 Video bit rate: 30 fps @ 512 kbps Audio bit rate: 128 kbps Audio rate: 44.1 kHz/stereo File size: 13.2 MB (min.) to 166.7 MB (max.) Total runtime: 01:16:21

MIDI Number of files: 57

File name: MIDI####.mid Assignment: General MIDI File size: 153 KB (total)

Previous View Stick e-Lessons - Contents

©2007 Chris Crain

CCoonntteennttss BBeeffoorree YYoouu SSttaarrtt

Introduction The Lessons Finger Symbols Fret Positions Keys & Pitch Stick Charts StaffTab™ Notation Fundamentals

LLeessssoonn 11 –– BBaassiiccss Changing Strings Tuning Up Truss Adjustment Playing Position Tapping 3 or 4 Finger Technique Notes On Deep Baritone Melody

LLeessssoonn 22 –– MMaajjoorr SSccaallee

LLeessssoonn 33 –– MMiinnoorr SSccaallee

LLeessssoonn 44 –– AArrppeeggggiiooss

LLeessssoonn 55 –– SSeevveenntthh CChhoorrddss Dominant 7th

Major 7th

Minor 7th

LLeessssoonn 66 –– MMoorree CChhoorrddss Suspended 4th Augmented 5th

Diminished LLeessssoonn 77 –– CCoommpplleexx CChhoorrddss

Ninth Eleventh Thirteenth

LLeessssoonn 88 –– CChhoorrdd IInnvveerrssiioonnss

LLeessssoonn 99 –– MMoorree SSccaalleess

Chromatic Scale Major Scale Natural Minor Scale Harmonic Minor Scale Half-Diminished Scale Whole-Tone Scale Dominant 7th Scale Minor Pentatonic Scale Major Pentatonic Scale Blues Scale

LLeessssoonn 1100 –– PPoollyycchhoorrddss LLeessssoonn 1111 –– BBaassss TTeecchhnniiqquuee

LH Bass Motors Walking Bass Bass Grooves 2-Handed Bass

LLeessssoonn 1122 –– TTeecchhnniiqquueess

Fretboard Navigation – Part 1 Fretboard Navigation – Part 2 Transition Fingering RH Double Notes Sliding String Bending Harmonics The Other Digit

LLeessssoonn 1133 –– TTrraannssccrriippttiioonn

Holding Hands CCoonncclluussiioonn

Resources Notes on Learning Index of Audio, MIDI, & Video Files

Contents Previous View Stick e-Lessons – Before You Start

©2007 Chris Crain

0-1

BBeeffoorree YYoouu SSttaarrtt

IInnttrroodduuccttiioonn SSttiicckk CChhaarrttss

SSttaaffffTTaabb™™ NNoottaattiioonn SSyysstteemm NNoottaattiioonn FFuunnddaammeennttaallss


©2007 Chris Crain

0-2

IInnttrroodduuccttiioonn Hello and thank you for choosing my e-Lesson program for the Chapman Stick®. As the Stick® playing community grows, the need for instructors increase around the world. Unfortunately, there seems to be a limited few who will offer their time to teach and that are within close proximity to the person wanting to learn. I will not argue that one-on-one personal lessons are the best way to learn. So, if you can find an instructor near you or attend a seminar – by all means do it. However, my goal is to provide a learning experience that comes close to the one-on-one relationship you get with personal lessons. Before I begin, let me tell you a little about myself. I have been playing and performing on The Stick since 1984. To date, I have released three CDs and written three books pertaining to the Chapman Stick. In addition, I wrote lesson-oriented articles for StickNews, from 2005 to 2007. So you understand, these lessons are focused around one particular concept… the bass side of the Stick is tuned the same for Classic, Matched Reciprocal™, Baritone™, and Deep Baritone™ Melody. I feel these tunings are among the most popular in use today and fortunately they all share the same bass-side tuning, which allowed me to consolidate and present exercises for all of them. My lessons will not apply well if your instrument is tuned to any other variation. If you are employing a nonstandard tuning, then I can only assume you already know how to play and the need for lessons obsolete. Obviously, this isn’t necessarily true, but if your instrument is in a nonstandard tuning, an Alto Stick®, Stick Bass®, or NS/Stick® – then many lessons will be confusing when trying to match notes with frets and strings. Also, it will make my task of answering your questions more difficult, if I am not familiar with your tuning. My lessons are designed to enable you to become a competent player, within a relatively short time. However, without a one-on-one relationship, you will need to be self-motivated and honest with yourself, before proceeding to successive lessons. My goals are to help you improve your navigation of the fretboard, improve your technical ability on the Stick, and become a better musician. The lessons are structured toward that end. I suspect you are musically inclined and that the Stick is not your first instrument. Likewise, I am sure you are familiar with many musical concepts and are eager to apply what you already know to the Stick. Therefore, the lessons are fast paced for an adult learner. However, I realize that there may be gaps between what I’m trying to convey and what you actually need help with. So, if you ever need help, please send me an email and I will do my best to answer your questions. With that said, I need to make one assumption and that is… You know the name of your Stick’s tuning. That’s it. With that, I can guide you. Before we begin, I hope you finish reading and familiarize yourself with the rest of this introductory material. I will not be teaching you how to read music, but you will need at least a basic understanding of music notation. All that will be explained here. The notation system I will use is called StaffTab™ and will be used for all exercises, song excerpts, and transcriptions. Again, thank you for choosing me as your instructor. Now, let me explain how the lessons work…


©2007 Chris Crain

0-3

TThhee LLeessssoonnss As you already know, this book is published as an Adobe® PDF file, making it an electronic book or e-book. As such, it contains embedded controls to start playback of all the corresponding

video, audio, and MIDI files. I used MP3 for all audio files, MPEG for all video, and standard MID for all MIDI. These formats are supported by most media players, including the most popular – QuickTime® and Windows Media® Player.

I expect you will print and catalog this e-book to simplify working with it. However, the original files should remain on your computer, so you can activate the related audio and video. If you like, you can copy all the audio files to an MP3 player or to a CD for playback on an MP3 compatible CD player. For reference, I have included an index of all the audio, video, and MIDI files at the end of the book, so you can play the tracks corresponding to the page you are on. Each primary lesson deals with an aspect of playing and a number of sub-parts, including exercises, are contained in each. The written material provided includes: reading material, diagrams, charts, pictures, exercises, StaffTab notation, and transcriptions. I expect the lessons to be tackled one at a time – from first to last. By skipping around, you will defeat my method for developing your hand interdependence and independence. Additionally, each lesson and exercise is a prerequisite to the next, with each getting progressively more difficult in terms of concepts and rhythms.

Excluding this section, you will see one or more icons on most pages of the lesson text and on the exercises. Clicking on these icons will start playback of the audio, video, or MIDI that corresponds to the lesson or exercise. The Eye is for video, the Ear is for audio, and the Music Notes are for MIDI.

Although self-explanatory, I used video to convey concepts that require a dynamic visual and audio for everything else. In the audio for the exercises, I preface each with a comment and then play the exercise as written. It is also on the exercises that you will find the MIDI links. These are provided, so that you have a way of slowing down or speeding up the music (if needed), without changing the pitch. The instrument used in the MIDIs is a piano, with the bass (LH) and melody (RH) completely separated to left and right channels. Navigating through this e-book is accomplished by using your Page-Up and Page-Down buttons, on your keyboard. You can also use the scroll bar in the Acrobat window. Additionally, at the top-left of each page there is a bar that contains the words Contents and Previous View. You can click on these to go to the related page. One more thing, you can click on the headings in the Contents page to jump to that lesson and you can click the sub-headings on each Lesson page to jump to that part. Also, don’t forget to take advantage of the book-marking feature of Adobe Reader. To conclude this section, I want to introduce you to some basic concepts used in the lessons, including reading StaffTab and notation fundamentals.


©2007 Chris Crain

0-4

FFiinnggeerr SSyymmbboollss The finger symbols, shown below, are used for both hands in the tablature and on diagrams. The 1st represents the index finger and the 4th represents the pinky. This system was developed by Emmett Chapman and is used in his book – Free Hands, Greg Howard’s – The Stick Book, Vol. 1, and my book – The Sticktionary.

4th

3rd 2nd1st

4th

3rd2nd1st

Root Notes Other Notes 1st 2nd 3rd 4th 1st 2nd 3rd 4th


©2007 Chris Crain

0-5

FFrreett PPoossiittiioonnss Some exercises are key-specific. Because of the various Stick tunings, I grouped the fret positions for the different melody side tunings together, on chord diagrams. You will need to be aware of this convention when working with chord diagrams. You can also refer to the Stick chart appropriate for your tuning. KKeeyyss aanndd PPiittcchh UP in pitch means to move downward physically on the fretboard. DOWN in pitch means to move upward physically on the fretboard. When I refer to practicing a scale in “all 12 keys”, that means the 12 notes in the chromatic scale. The 12 keys are shown in the table below:

1 2 3 4 5 6 7 8 9 10 11 12 C# D# F# G# A# C Db D Eb E F Gb G Ab A Bb B

SSttiicckk CChhaarrttss Get acquainted with your fretboard. The following pages are layouts of various Sticks. Find the appropriate chart and use it as a map when working out note-specific exercises or whenever you need a quick reference.

•• SSttiicckk:: CCllaassssiicc

•• SSttiicckk:: MMaattcchheedd RReecciipprrooccaall

•• SSttiicckk:: BBaarriittoonnee MMeellooddyy

•• SSttiicckk:: DDeeeepp BBaarriittoonnee MMeellooddyy

•• GGrraanndd SSttiicckk®®:: 66xx66 CCllaassssiicc

•• GGrraanndd SSttiicckk:: 77xx55 CCllaassssiicc

•• GGrraanndd SSttiicckk:: MMaattcchheedd RReecciipprrooccaall

•• GGrraanndd SSttiicckk:: CCllaassssiicc wwiitthh HHii--BBaassss 44tthh


©2007 Chris Crain

0-14

SSttaaffffTTaabb™™ Greg Howard and Emmett Chapman developed StaffTab for use in Greg’s instructional text – The Stick Book. Greg needed a way to indicate specific fingering, string number, fret position, and note duration for the exercises in his book. Using the grand staff and Emmett’s original geometric finger symbols, conventional music notation was augmented and StaffTab created. Unlike guitar tablature, StaffTab retains all musical information (pitch, rest, and duration) while providing finger, fret, and string information. I have found this notation system to be very effective and simple for a non-music reader to understand. I have used a slightly modified version of StaffTab, to accommodate more Stick tunings, for song transcriptions in my articles for StickNews and for the songs in my songbook New Standards. I do not expect you to read music and I will not teach you how. However, without a notation system, it becomes difficult and cumbersome to present written musical concepts. Therefore, exercises and song excerpts will be presented in this form. Since StaffTab is based on conventional music notation, there are aspects of standard notation that you need to understand. I will get to that after I explain StaffTab. Keep in mind, that you do not need to remember all of this at one time. Many of the exercises will be on the audio and you will be able to learn the rhythms by ear. By correlating the audio with the notation, you will soon learn to recognize the symbology of music notation. StaffTab is not complicated, but if you have never used it before, you will need to understand what it’s all about. The first thing to know is that the note-heads have different geometrical shapes. These shapes represent the fingers of either hand, as shown below (1st = index & 4th = pinky). You can also refer to the finger layout on page 4.

Finger Guide

1st 2nd 3rd 4th

Referring to the figure on the next page, I will outline the various elements of StaffTab. The grand staff is used to place all notation elements and is recognized by the two groups of five horizontal lines, called ledger lines. The notes on the upper staff are played with the right-hand, on the melody strings. The notes on the lower staff are played with the left-hand, on the bass strings. The numbers to the left of each staff represent the strings of a 10-string Stick. For a Grand Stick, string numbers 6-10 refer to the inside bass strings (7-11). Chord names, like the ‘Em7’ shown, are located above the fret numbers on the upper staff. To play a note, associate the note-head symbol with the appropriate finger. Determine the related fret position and string number. Finally, find the location on your instrument and play. If you can read music, you have the option of ignoring any or all StaffTab cues (finger, fret, & string) and play the music as written.


©2007 Chris Crain

0-15

TThhee BBaassiicc SSttaaffffTTaabb SSyysstteemm

Melody fret positions for Classic and Matched Reciprocal tunings are located above the melody notes & frets positions for Baritone and Deep Baritone tunings are located underneath.

The upper staff contains notation for the right-hand.

With stacked notes for the RH: fret numbers are separated with periods. The numbers relate left to right with the indicated strings top to bottom.

String numbers are located to the left of each staff. Each ledger line represents a string.

The short/dark horizontal bars show which strings to apply your fingers.

The lower staff contains notation for the left-hand.

MR:Classic:

D. Bari:Bari:

With stacked notes for the LH: fret numbers are separated with periods. The numbers relate left to right with the indicated strings top to bottom.

Bass fret positions for Classic, MR, Baritone, & Deep Baritone are identical and are located below the bass notes.


©2007 Chris Crain

0-16

NNoottaattiioonn FFuunnddaammeennttaallss The following is provided in case you are not familiar with the conventions of music notation. To explain the association of a note to its name, pitch, and location on the fretboard is unnecessary, since StaffTab makes those correlations for you. However, written music is more than just notes on a page. It includes other information, which is relevant to expressing the intent of a tune. Aside from pitch, rhythm is of primary importance in expressing a musical idea. As you know, the pulse in any song is referred to as the beat. The beat can be strong or light, fast or slow, and can even change within a piece. Each beat gets counted in a measure and the notes can be played on or off the beat. The quarter note is the basic unit of time and it receives one count. The quarter note can be divided into smaller units or multiplied into larger units, as shown below.

Whole Half Quarter 8th 16th 32nd

Therefore, a half-note gets two counts and an eighth-note receives only one-half count. This is called duration and it is the amount of time a note is held before proceeding to the next note or rest. Their equivalencies are as follows.

= = =

= =

When two or more eighth notes are next to each other, they are often connected with a beam. Sixteenth notes are connected with two beams and thirty-second notes connected with three.

8ths 16ths 32nds

The opposite of playing a note is to not play a note (silence). The duration of silence is indicated with a rest. Just like notes, there are different durations of silence.

HalfWhole Quarter 16th8th 32nd


©2007 Chris Crain

0-17

Sometimes the duration of a note needs to be a little longer than normal, but doesn’t warrant using a larger note value. In this case, we use a dot next to the note head. The dot increases the note’s duration by one-half.

=

==

= =

Another way to increase the duration of a note is to use a tie. A tie is an arc that extends from one note to another. Only the first note is played and the value of the succeeding notes tied to it, add to the total duration. The use of a tie occurs in two situations – when a dot is inappropriate and when a note extends from one measure to the next.

tietie Triplets are groups of three notes played within the space of two of their same duration.

= = =

The fermata is a symbol typically used at the end of a song or a section of a song. It can be located above the notes or below and it means to sustain the notes longer than the note’s indicated value (sometimes for an exaggerated amount of time).

On the following page, I have identified some of the key components you will encounter in music. The treble clef, bass clef, and key signature are irrelevant to using StaffTab. They are provided, however, to make the transcription complete and are helpful to those who can read music. The time signature provides two pieces of information. The top number indicates how many beats there are in a measure and the bottom number indicates which note value receives one beat. In 4/4 time, there are four beats per measure and a quarter note (1/4) gets one beat. 3/8 time would indicate that there are three beats per measure and an eighth note (1/8) receives one beat.


©2007 Chris Crain

0-18

Time signatureBar line Double bar lineKey signature

Treble clef

Bass clef

The bar line separates groups of notes into measures. The double bar line marks the end of a section. The notes within each measure are mathematically equivalent to the time signature, which makes it easier to keep your place when reading music. In the treble clef above, a half-note equals two quarter-notes. Therefore, two half-notes are equal to four quarter-notes. Since a quarter-note receives one beat, there are four beats contained in the two half-notes – marking the end of the measure. The whole-note in the bass clef gets four beats all by itself – again, marking the end of the measure. Dotted bars placed on the staff have a special meaning. They always appear in pairs, the first with the dots to the right and the second with the dots to the left. These symbols mean to repeat all the music that is between them. As you read through a piece of music, you will encounter the first of the pair. This means to keep an eye out for the second symbol. When you reach the second symbol, you must return to where the first symbol was and repeat the music to the second point again, before continuing. On occasion, there may be a notation that tells you to repeat more than once.

Another method for repeating sections of music uses the Coda. This device requires four elements located above the staff, at different points. These elements are shown below, in the order that they would be encountered. However, you do not react to these symbols in the same order. When first encountered, you ignore the symbol and the To Coda . The next element, D.S. al Coda, indicates that you return to a previous point in the music – where the symbol is located. From there, you continue to play the piece until you encounter the instruction – To Coda . From this point, you must jump ahead in the piece until you find the corresponding – Coda . From here, you continue with the rest of the piece.

CODA


©2007 Chris Crain

0-19

Last, but not least, I have included a table below, which shows a few more symbols that you should be aware of.

Sharp Flat Natural Slide Muted Note Beat Mark

G i h

Raise note pitch ½ step.

Lower note pitch ½ step.

Remove previous sharp/flat & return natural note pitch.

Irrelevant when reading StaffTab.

Slide specified finger on string, from one note to

the next.

A note played, but not heard due to a successive note being played on the same string.

This symbol appears in

improvisational sections, where no transcription was

made. Please take the time to study this material. When you are ready, you can begin your first lesson.

Contents Previous View Stick e-Lessons – Lesson 1

©2007 Chris Crain

1-1

LLeessssoonn 11 BBaassiiccss

CChhaannggiinngg SSttrriinnggss

Video

TTuunniinngg UUpp

Video

TTrruussss AAddjjuussttmmeenntt

Video

PPllaayyiinngg PPoossiittiioonn

Video

TTaappppiinngg

Video

33 oorr 44 FFiinnggeerr TTeecchhnniiqquuee

Audio

NNootteess OOnn UUssiinngg DDeeeepp BBaarriittoonnee MMeellooddyy

Audio

Contents Previous View Stick e-Lessons - Lesson 2

©2007 Chris Crain

2-1

LLeessssoonn 22 MMaajjoorr SSccaallee

LLeefftt--HHaanndd MMaajjoorr SSccaallee RRiigghhtt--HHaanndd MMaajjoorr SSccaallee

MMaajjoorr CChhoorrdd 1122 KKeeyyss -- MMaajjoorr SSccaalleess

EExxeerrcciisseess


©2007 Chris Crain

2-2

LLeefftt HHaanndd –– MMaajjoorr SSccaallee

The diagram on the left is the major scale pattern for the bass strings. This pattern can be applied anywhere along the fretboard and begin on any string. The diagram to the right is the complete scale pattern as it extends across the fretboard. Learn to recognize the complete pattern. Notice the geometry – the patterns on each of two strings.

The left-hand major scale pattern can be played on the melody side of the Stick. The left-hand pattern played on the melody side will have the same note names as the bass side, but have a different pitch direction. The same is true for playing the right-hand pattern on the bass side.

Audio


©2007 Chris Crain

2-3

LLeefftt HHaanndd –– MMaajjoorr SSccaallee PPrraaccttiiccee

Note

Play this ‘C’ major scale forward and backward, saying each note name as you play them. Saying the note names aloud will help you familiarize yourself with the fretboard. Practice this scale in all 12 keys, moving your hand position up one fret space for each new key. Use your Stick chart and the scale table on page 2-8 as a guide.

Note

Play the same pattern with the right hand on the melody strings. Now play the pattern simultaneously with both hands.

Audio


©2007 Chris Crain

2-4

RRiigghhtt HHaanndd –– MMaajjoorr SSccaallee

The diagram on the left is the major scale pattern for the melody strings. This pattern can be applied anywhere along the fretboard and begin on any string. The diagram to the right is the complete scale pattern as it extends across the fretboard. Learn to recognize the complete pattern. Notice the geometry – the patterns on each of two strings.

The right-hand major scale pattern can be played on the bass side of the Stick. The right-hand pattern played on the bass side will have the same note names as the melody side, but have a different pitch direction. The same is true for playing the left-hand pattern on the melody side.

Audio

Chris

Callout

Download sample audio file AUDIO005.MP3 from ChrisCrain.com to hear this lesson.


©2007 Chris Crain

2-5

RRiigghhtt HHaanndd –– MMaajjoorr SSccaallee PPrraaccttiiccee

Note

Play this ‘C’ major scale forward and backward, saying each note name as you play them. Saying the note names aloud will help you familiarize yourself with the fretboard. Practice this scale in all 12 keys, moving your hand position up one fret space for each new key.

Note

Play the same pattern with the left hand on the bass strings. Now play the pattern simultaneously with both hands.

Audio


©2007 Chris Crain

2-6

BBootthh HHaannddss –– MMaajjoorr SSccaallee PPrraaccttiiccee

Play the left and right hand ‘C’ major scale patterns forward and backward with both hands at the same time. The contrary motion of the fingers will help develop hand interdependence. The scales start at the center of the Stick and progress outwards. Another thing to note is that the fingers of each hand do not play the same note (except the first three). Practice this scale in all 12 keys.

Note

Try this right-hand pattern instead. It is the same scale, but its configuration is different. You will find this pattern within the complete pattern shown earlier. This is my preferred way to play the major scale.

Audio


©2007 Chris Crain

2-7

RRiigghhtt HHaanndd –– MMaajjoorr CChhoorrdd

Audio

This is the basic configuration of the RH root position major chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. A major triad consists of three tones – the root, 3rd, & 5th. Above is the notation for a ‘C’ major triad rooted on middle ‘C’. Play this chord shape anywhere on the fretboard. Try building the chord with the root note on different strings. LLeefftt HHaanndd –– MMaajjoorr CChhoorrdd

This is the basic configuration of the LH root position major chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. A major triad consists of three tones – the root, 3rd, & 5th. Above is the notation for a ‘C’ major triad rooted two octaves below middle ‘C’. Play this chord shape anywhere on the fretboard. Try building the chord with the root note on different strings.


©2007 Chris Crain

2-8

TThhee 1122 KKeeyyss –– MMaajjoorr SSccaallee 1 2 3 4 5 6 7 8 C Major Scale C D E F G A B C 1 2 3 4 5 6 7 8 C# Major Scale C# D# E# (F) F# G# A# B# (C) C# Db Major Scale Db Eb F Gb Ab Bb C Db 1 2 3 4 5 6 7 8 D Major Scale D E F# G A B C# D 1 2 3 4 5 6 7 8 Eb Major Scale Eb F G Ab Bb C D Eb 1 2 3 4 5 6 7 8 E Major Scale E F# G# A B C# D# E 1 2 3 4 5 6 7 8 F Major Scale F G A Bb C D E F 1 2 3 4 5 6 7 8 F# Major Scale F# G# A# B C# D# E# (F) F# Gb Major Scale Gb Ab Bb Cb (B) Db Eb F Gb 1 2 3 4 5 6 7 8 G Major Scale G A B C D E F# G 1 2 3 4 5 6 7 8 Ab Major Scale Ab Bb C Db Eb F G Ab 1 2 3 4 5 6 7 8 A Major Scale A B C# D E F# G# A 1 2 3 4 5 6 7 8 Bb Major Scale Bb C D Eb F G A Bb 1 2 3 4 5 6 7 8 B Major Scale B C# D# E F# G# A# B

Audio


©2007 Chris Crain

2-9

EExxeerrcciisseess We will take what you have learned so far and start to develop your coordination skills. Take your time with each exercise. Although the exercises are in StaffTab, try not to depend so much on the notation for the chord constructs. Instead, rely on your memory of the chord shapes. The chords you will be using are shown below. LLHH BBaassss SSiiddee MMaajjoorr CChhoorrddss

RRHH MMeellooddyy SSiiddee MMaajjoorr CChhoorrddss

LLHH BBaassss NNootteess

Audio

Chris

Sample


©2007 Chris Crain

3-1

LLeessssoonn 33 NNaattuurraall MMiinnoorr SSccaallee

LLeefftt--HHaanndd NNaattuurraall MMiinnoorr SSccaallee RRiigghhtt--HHaanndd NNaattuurraall MMiinnoorr SSccaallee

MMiinnoorr CChhoorrdd 1122 KKeeyyss –– NNaattuurraall MMiinnoorr SSccaalleess

EExxeerrcciisseess


©2007 Chris Crain

3-2

LLeefftt HHaanndd –– NNaattuurraall MMiinnoorr SSccaallee

The diagram on the left is the natural minor scale pattern for the bass strings. This pattern can be applied anywhere along the fretboard and begin on any string. The diagram to the right is the complete scale pattern as it extends across the fretboard. Learn to recognize the complete pattern. Notice the geometry.

The left-hand natural minor scale pattern can be played on the melody side of the Stick. The left-hand pattern played on the melody side will have the same note names as the bass side, but have a different pitch direction. The same is true for playing the right-hand pattern on the bass side.

Audio

Chris

Sample


©2007 Chris Crain

4-1

LLeessssoonn 44 AArrppeeggggiiooss An arpeggio is to play the notes of a chord in quick succession.

• Arpeggiated notes can be played from low to high. • They can be played from high to low.

• Arpeggios can be part of your melodies. • They can add melodic flair.

• You can play LH and RH arpeggios at the same time.

• LH arpeggios often function as the bass line or groove.

Audio

Chris

Sample


©2007 Chris Crain

5-1

LLeessssoonn 55 SSeevveenntthh ((77tthh)) CChhoorrddss

DDoommiinnaanntt 77tthh CChhoorrddss MMaajjoorr 77tthh CChhoorrddss MMiinnoorr 77tthh CChhoorrddss

EExxeerrcciisseess


©2007 Chris Crain

5-2

LLeefftt HHaanndd –– DDoommiinnaanntt 77tthh CChhoorrdd Rooted on bass string #1

Audio

These are the basic configurations for the LH root position dominant 7th chord. The first chord shape is limited to being played along the strings, unless you have a Grand Stick. In which case, this construct can be transposed across the strings – one string space. This shape is best used when rooting the chord on the first bass string, because it puts the other intervals into a higher register. Otherwise, the second construct is a better choice to use. The second chord shape can be played along the strings and transposed across the strings. With both chord shapes, the lowest note is the root note. This triad consists of three tones – the root, 3rd, & -7th. Play these chord shapes anywhere on the fretboard. Rooted on bass string #2

Chris

Sample


©2007 Chris Crain

6-1

LLeessssoonn 66 MMoorree CChhoorrddss

SSuussppeennddeedd 44tthh CChhoorrddss AAuuggmmeenntteedd 55tthh CChhoorrddss

DDiimmiinniisshheedd CChhoorrddss EExxeerrcciisseess


©2007 Chris Crain

6-2

LLeefftt HHaanndd –– SSuussppeennddeedd 44tthh CChhoorrdd

Audio

This is the basic configuration of the LH root position suspended 4th chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, 4th , & 5th. Play this chord shape anywhere on the fretboard. RRiigghhtt HHaanndd –– SSuussppeennddeedd 44tthh CChhoorrdd

This is the basic configuration of the RH root position suspended 4th chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, 4th , & 5th. Play this chord shape anywhere on the fretboard.

Chris

Sample


©2007 Chris Crain

6-3

LLeefftt HHaanndd –– AAuuggmmeenntteedd 55tthh CChhoorrdd

Audio

This is the basic configuration of the LH root position augmented 5th chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, 3rd, & +5th. Play this chord shape anywhere on the fretboard. RRiigghhtt HHaanndd –– AAuuggmmeenntteedd 55tthh CChhoorrdd

This is the basic configuration of the RH root position augmented 5th chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, 3rd, & +5th. Play this chord shape anywhere on the fretboard.

Chris

Sample


©2007 Chris Crain

6-4

LLeefftt HHaanndd –– DDiimmiinniisshheedd CChhoorrdd

Audio

This is the basic configuration of the LH root position diminished chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, -3rd, & -5th. Play this chord shape anywhere on the fretboard. RRiigghhtt HHaanndd –– DDiimmiinniisshheedd CChhoorrdd

This is the basic configuration of the RH root position diminished chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, -3rd, & -5th. Play this chord shape anywhere on the fretboard.

Chris

Sample

Chris

Sample


©2007 Chris Crain

7-1

LLeessssoonn 77 CCoommpplleexx CChhoorrddss

NNiinntthh ((99tthh)) CChhoorrddss EElleevveenntthh ((1111tthh)) CChhoorrddss

MMiinnoorr EElleevveenntthh ((1111tthh)) CChhoorrddss TThhiirrtteeeenntthh ((1133tthh)) CChhoorrddss

EExxeerrcciisseess


©2007 Chris Crain

7-2

LLeefftt HHaanndd –– NNiinntthh ((99tthh)) CChhoorrdd

Audio

This is the basic configuration of the LH root position 9th chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, 5th , & 9th. The third (3rd) interval is missing from this construct, therefore this chord can be used as a major 9th or minor 9th. Play this chord shape anywhere on the fretboard. RRiigghhtt HHaanndd –– NNiinntthh ((99tthh)) CChhoorrdd

This is the basic configuration of the RH root position 9th chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, 5th , & 9th. The third (3rd) interval is missing from this construct, therefore this chord can be used as a major 9th or minor 9th. Play this chord shape anywhere on the fretboard.

Chris

Sample


©2007 Chris Crain

7-3

LLeefftt HHaanndd –– EElleevveenntthh ((1111tthh)) CChhoorrdd

Audio

This is the basic configuration of the LH root position 11th chord. This chord shape can only be played along the strings on a 10-stringed Stick. If you have a Grand Stick, this shape can be transposed across the strings – one string space. The lowest note is the root note. This triad consists of three tones – the root, 3rd, & 11th. Unlike the 9th chord, this construct contains a major 3rd interval and cannot be used as a minor 11th chord. Play this chord shape anywhere on the fretboard. RRiigghhtt HHaanndd –– EElleevveenntthh ((1111tthh)) CChhoorrdd

This is the basic configuration of the RH root position 11th chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, 3rd, & 11th. Unlike the 9th chord, this construct contains a major 3rd interval and cannot be used as a minor 11th chord. Play this chord shape anywhere on the fretboard.

Chris

Sample


©2007 Chris Crain

7-4

LLeefftt HHaanndd –– MMiinnoorr EElleevveenntthh ((1111tthh)) CChhoorrdd

Audio

This is the basic configuration of the LH root position minor 11th chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, -3rd, & 11th. Play this chord shape anywhere on the fretboard. RRiigghhtt HHaanndd –– MMiinnoorr EElleevveenntthh ((1111tthh)) CChhoorrdd

This is the basic configuration of the RH root position minor 11th chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, -3rd, & 11th. Unlike the 9th chord, this construct contains a minor 3rd interval and cannot be used as a major 11th chord. Play this chord shape anywhere on the fretboard.

Chris

Sample


©2007 Chris Crain

7-5

LLeefftt HHaanndd –– TThhiirrtteeeenntthh ((1133tthh)) CChhoorrdd

Audio

This is the basic configuration of the LH root position 13th chord. This chord shape can be played along the strings or transposed across the strings. The lowest note is the root note. This triad consists of three tones – the root, -7th, & 13th. The third (3rd) interval is missing from this construct, therefore this chord can be used as a major 13th or minor 13th. Play this chord shape anywhere on the fretboard. RRiigghhtt HHaanndd –– TThhiirrtteeeenntthh ((1133tthh)) CChhoorrdd

This is the basic configuration of the RH root position 13th chord. This chord shape can only be played along the strings on a 10-stringed Stick. If you have a Grand Stick, this shape can be transposed across the strings – one string space. The lowest note is the root note. This triad consists of three tones – the root, -7th, & 13th. The third (3rd) interval is missing from this construct, therefore this chord can be used as a major 13th or minor 13th. Play this chord shape anywhere on the fretboard.

Chris

Sample

Chris

Sample


©2007 Chris Crain

8-1

LLeessssoonn 88 CChhoorrdd IInnvveerrssiioonnss

Audio

C Major chord shown in root position, first inversion, and second inversion.

A chord inversion is the concept of shifting the tonic note from its root position to a higher pitched position, relative to the other notes in the chord. When the upper notes of a chord are voiced or spaced in any way without altering the bass position, the chord is still in root position. Every chord is an inversion of another type of chord. The figure below shows the interval relationships of the chords C6 and Am7. Four tones are common to each chord, namely C-E-G-A. When the C is played in root position, the chord has the name C6. At the same time, it has the name Am7/C in first inversion.

C6 C D E F G A B C D E 1 2 3 4 5 6 -7 1 2 -3 4 5

Am7 This is Emmett’s arrangement of A Whiter Shade of Pale. The progression is in the key of G Major, which contains one accidental (a sharp ) on the seventh scale degree (F ).

G Major Scale G A B C D E F G Scale Degrees 1 2 3 4 5 6 7 8

A reduction of the chord progression is shown below, with the chords notated in their root positions.

G D Em G CMaj7 G Am C D7 D7 G D7 G CMaj7 Am7 D7

By Keith Reid & Gary Brooker ©1967 Essex Music


©2007 Chris Crain

8-2

Same progression showing only the bass notes from the above reduction. Notice the movement of the bass line.


Same progression, but with a descending bass line. This pattern of dissension repeats throughout.


Here, the chords are restructured to reflect the new bass line. Notice the bass line is moved an octave lower. Each bass note is a member of its respective chord and these chords are now inversions. Inversions are played at the following chords: D/F , G/D, G/B, C/G, D7/C, G/B, and D7/A.

G D/F# Em G/D CMaj7 G/B Am C/G D7 D7/C G/B D7/A G CMaj7 Am7 D7

Table of inversions used in the above example. Notice the last inversion, D7/A. You’ll see that the root is apparently nonexistent. Actually, the root appears as the tonic in the melody and not in the harmony.

D/F G/D G/B C/G D7/C D7/A A 5 B 3 D 5 C 1 A 5 C -7 D 1 G 1 G 1 E 3 D 1 F 3 F 3 D 5 B 3 G 5 C -7 A 5

The three diagrams below show a G Major triad, on the bass side of The Stick, in root position and two inversions. The first diagram has the root in the bass. The second diagram (G/B) is related to the first, but the 3rd interval is moved to the bottom. The third diagram (G/D) is related to the first, except that the 5th interval is moved to the bottom.

Major Chord Inversions – L.H. Bass Strings G G/B G/D

Chris

Sample


©2007 Chris Crain

8-3

Below are inversions on the melody strings. The fret numbering and chord names assume a ‘Classic’ tuned instrument, but the shapes apply to any tuning.

Major Chord Inversions – R.H. Melody Strings G G/B G/D

Inversions can be made of any chord, but the major and minor chords will be the most used. The concept of inversion applies to any chord you can play, on the Stick, with either hand. Below, are the minor chord inversions for both hands.

Minor Chord Inversions – L.H. Bass Strings Gm Gm/Bb Gm/D

Minor Chord Inversions – R.H. Melody Strings Gm Gm/Bb Gm/D

Chris

Sample

Chris

Sample


©2007 Chris Crain

9-1

LLeessssoonn 99 MMoorree SSccaalleess

CChhrroommaattiicc SSccaallee MMaajjoorr SSccaallee

NNaattuurraall MMiinnoorr SSccaallee HHaarrmmoonniicc MMiinnoorr SSccaallee HHaallff--DDiimmiinniisshheedd SSccaallee

WWhhoollee--TToonnee SSccaallee DDoommiinnaanntt 77tthh SSccaallee

MMiinnoorr PPeennttaattoonniicc SSccaallee MMaajjoorr PPeennttaattoonniicc SSccaallee

BBlluueess SSccaallee


©2007 Chris Crain

9-2

CChhrroommaattiicc SSccaallee

Intervals – 12 Tone Chromatic Scale 1 2 3 4 5 6 7 8 9 10 11 12 1

1 -2 2 -3 3 4 b5 (+4) 5 -6

(+5) 6 -7 (+6) 7 8

(oct.)

RH Scale Pattern LH Scale Pattern

Audio


©2007 Chris Crain

9-3

MMaajjoorr SSccaallee

Intervals – Major Scale 1 2 3 4 5 6 7 8 9 10 11 12 1 1 -2 2 -3 3 4 b5 5 -6 6 -7 7 8

RH Scale Pattern LH Scale Pattern

Audio

Chris

Sample


©2007 Chris Crain

10-1

LLeessssoonn 1100 PPoollyycchhoorrddss

Audio

The term polychord refers to superimposed triads, specifically the method used to build these complex chords. The idea is to harmonically combine two or more smaller chords to create the resulting complex chord. The first thing to do when making a chord is to determine the root note. Intervals are then selected to add to the root. In a polychord, one chord will be considered the dominant chord. It will contain the root and some intervals. The second chord will contain additional intervals related to the root in the first chord.

Let’s analyze and build our first polychord. A chromatic scale contains twelve (12) unique pitches and ends with the thirteenth pitch being an octave of the first.

Chromatic Scale Starting On – C 1 2 3 4 5 6 7 8 9 10 11 12 1 C C# D D# E F F# G G# A A# B C

In the table below, the logical numbering (used above) is replaced with interval numbering. Enharmonic names have been added where necessary, as shown in ( ).

Intervals – C Scale

1 -2 -9

2 9

-3 +9 3 4

11 b5

+11 5 -6 +5

6 13

-7 +6 7 8

C (Db) D (Eb) (D#) E F (Gb)

(F#) G (Ab) (G#) A (Bb)

(A#) B C

The chord we will make is a ‘C11’, which contains the intervals 1, 3, 5, -7, 9, & 11. The following table shows these elements in the shaded areas.

Intervals – C Scale 2 4 -7 1 -2

-9 9 -3 +9 3

11 b5

+11 5 -6 +5

6 13 +6

7 8

(Bb) C (Db) D (Eb) (D#) E F (Gb)

(F#) G (Ab) (G#) A

(A#) B C


©2007 Chris Crain

10-2

Since these intervals are not within the grasp of a single hand, we consider the use of two smaller chords. You could play the first three notes (C, D, & E) with one hand and the remaining notes with the other, but the F, G, Bb combination does not form a simple chord. Our objective with polychords is to determine the two simplest chords. In this case, the two chords are the C Major and Bb Major triads. The table below shows the intervals of the C11 chord neatly arranged with the two triads comprising it.

C Major Triad Bb Major Triad Notes C D E F G A Bb C D E F G A C11

Intervals 1 2 3 4 5 6 -7 8 9 10 11 12 13 PPoollyycchhoorrdd IInnvveerrssiioonnss The simplest way to make chord inversions, with polychords, is to switch the chords that each hand would normally play. With our C11 example, you could play the Bb Major in the left-hand (bass) and the C Major in the right-hand (melody). This would bring the ‘Bb’ into the bass and move the ‘C’ to a higher pitch, giving you an inversion named C11/Bb. CChhoorrdd SSttaacckkiinngg Remember, chord construction is accomplished by combining 3rds. The intervals can be major, minor, diminished, or augmented, but the concept of stacking 3rds remains the same. Chord stacking is the concept of playing a simple triad in the left-hand and adding a right-hand triad, that is rooted to one of the left-hand chord intervals. For this example, we’ll use a left-hand C Major chord. The right-hand chords can be any quality, but we will stick with five basic types: major, minor, diminished, augmented, and suspended-fourth triads. For the left-hand C Major triad, the intervals are the root (1st), major 3rd, and a perfect 5th. These notes are: C, E, & G. If you play the series of five right-hand basic chords and stack them on the root of the left-hand chord (C), you will have five different resulting chords. Do this again, rooting the right-hand chords on the 3rd (E) of the left-hand chord and again on the 5th (G). The final results are 15 different polychords.

Chris

Sample


©2007 Chris Crain

11-1

LLeessssoonn 1111 BBaassss TTeecchhnniiqquuee

LLHH BBaassss MMoottoorrss Exercises 11.1 – 3 Pages 2-4

Audio

WWaallkkiinngg BBaassss Exercises 11.4 – 7 Pages 5-13

Audio

BBaassss GGrroooovveess Exercises 11.8 & 9 Pages 14-19

Audio

22--HHaannddeedd BBaassss Exercise 11.10 Pages 20-24

Audio

Chris

Sample


©2007 Chris Crain

12-1

LLeessssoonn 1122 OOtthheerr TTeecchhnniiqquueess

FFrreettbbooaarrdd NNaavviiggaattiioonn PPaarrtt 11

Audio

Pages 2-8

FFrreettbbooaarrdd NNaavviiggaattiioonn PPaarrtt 22

Audio

Pages 9-11

TTrraannssiittiioonnaall FFiinnggeerriinngg

Audio

Pages 12

RRHH DDoouubbllee NNootteess Click on the Audio link in Exercise 12.1

Page 13

SSlliiddiinngg

Video SSttrriinngg BBeennddiinngg

Video

HHaarrmmoonniiccss

Video TThhee OOtthheerr DDiiggiitt

Video

Chris

Callout

Download sample video from ChrisCrain.com to view this lecture.

Chris

Sample

Contents Previous View Stick Lessons – Conclusion

©2007 Chris Crain

14-1

CCoonncclluussiioonn Congratulations! You have reached the end of my instruction. If you have successfully completed all the lessons and have a firm grasp on the concepts I have presented – then you should consider yourself an intermediate Stick player. The objective here is to get you better skilled at playing, but there are many things I didn’t discuss or expand on fully, which you might have found useful. To become expert takes time, but you should still be ready for advanced study. You will need to continue practicing and spend time experimenting and writing your own music. If the opportunity arises, go to a Stick Seminar. At a seminar, you can gain insight into what other players are learning and doing, in addition to what the instructors have to offer. Keep in mind, that the instructors are teaching a group and your money could be better spent on a day of individual instruction. Until now, Stick players had only separate written or video resources for instruction. My e-Lessons are the first of its kind for The Stick – combining video & audio for lectures and audio & MIDI for exercises, along with the text and written exercises – making it a true multimedia experience. If you have any suggestions for improving my lesson plan, please let me know. Some of the concepts, exercises, and song excerpts, used in these lessons, were extracted from my other books. On the next page, I’ve listed these resources along with other method books. Again, thank you for choosing me as your instructor. Good luck on your musical endeavors.


©2007 Chris Crain

14-2

RReessoouurrcceess The Sticktionary (Chris Crain) – This is an excellent reference and guide, if you are interested in increasing your chord vocabulary. In this text, I present hundreds of chords in root position, inversions, and alterations – all in a variety of voicings. Explanations for all chords are provided with additional text on music theory and chord construction. Big Book of Polychords (Chris Crain) – If you are interested in employing truly complex chords, this reference is a must. This book contains just about every possible polychord you can play on The Stick. The introductory chapters fully explain polychord concepts and methods of construction, some of which were presented here. New Standards (Chris Crain) – This songbook contains twelve original tunes from my first two CDs. It is the first and only (to date) book of its kind, to utilize StaffTab, for the Stick playing musician. Learning songs from this book will expose you to new harmonic and melodic ideas, as well as reinforce many of the concepts presented in these lessons. Free Hands (Emmett Chapman) – Emmett’s original guide to The Stick. This book is a must for your library. Emmett’s perspective will help reinforce many concepts presented in my lessons. The Stick Book, Vol. 1 (Greg Howard) – This is the first method book ever published for The Stick. I have never read it, but it has received much praise. If you are looking for a different perspective, from the Stick community’s leading instructor, this book should have a lot to offer the beginning student. Stickology (Steve Adelson) – This is another method book written for The Stick. I worked with Steve on my book (The Sticktionary) and he is a terrific musician. Stickology aims more toward seeding ideas and techniques for the reader to explore, rather than providing graded instruction and exercises. All in all, it is a great resource to add to your library – and it comes with a DVD!


©2007 Chris Crain

14-3

NNootteess OOnn LLeeaarrnniinngg In an article I once read on competence, four stages of learning were outlined. After understanding how people move through these stages, you will be more aware of your own areas for growth.

Unconscious Incompetence In this stage, people:

• are unaware of the existence or relevance of a skill area. • are unaware that they have a deficiency in the area concerned. • may deny the relevance of needing a new skill. • must become conscious of their incompetence before development or learning of the

new skill can begin. Conscious Incompetence

In this stage, people: • become aware of the existence and relevance of a skill. • are aware of their deficiency in this area, ideally because of an attempt to use the

skill. • realize that by improving their ability in this area, their effectiveness will improve. • have a measure of the extent of their deficiency in the relevant skill and of what is

required for competence. Conscious Competence

In this stage, people: • need to concentrate and think to perform the skill (the skill is not yet second nature

or automatic). • can perform the skill without assistance. • should be able to demonstrate the skill to someone else, but are unable to show

mastery of it. • should continue to practice the new skill and commit to becoming unconsciously

competent at it. Unconscious Competence

In this stage, people: • can perform certain skills while doing something else. • may now be able to teach others the skill, although after some time of being

unconsciously competent, people may have difficulty explaining exactly how they do it, because the skill has become largely instinctual.

This stage is the goal we seek in every new skill, task, and activity we desire to excel at.


©2007 Chris Crain

14-4

IInnddeexx ooff AAuuddiioo,, VViiddeeoo,, aanndd MMIIDDII FFiilleess Video01.mpg Lesson 1, page 1.1, Changing Strings Video02.mpg Lesson 1, page 1.1, Tuning Up Video03.mpg Lesson 1, page 1.1, Truss Adjustment Video04.mpg Lesson 1, page 1.1, Playing Position Video05.mpg Lesson 1, page 1.1, Tapping Audio001.mp3 Lesson 1, page 1.1, Three Or Four Finger Technique Audio002.mp3 Lesson 1, page 1.1, Notes On Using Deep Baritione Melody Audio003.mp3 Lesson 2, page 2.2, LH Major Scale Audio004.mp3 Lesson 2, page 2.3, LH Major Scale Audio005.mp3 Lesson 2, page 2.4, RH Major Scale Audio006.mp3 Lesson 2, page 2.5, RH Major Scale Audio007.mp3 Lesson 2, page 2.6, Both Hands Major Scale Audio008.mp3 Lesson 2, page 2.7, Major Chord Audio009.mp3 Lesson 2, page 2.8, Major Scale Table Audio010.mp3 Lesson 2, page 2.9, Major Scale/Chord Exercises Audio011.mp3 MIDI0201 Exercise 2.1 Audio012.mp3 MIDI0202 Exercise 2.2 Audio013.mp3 MIDI0203 Exercise 2.3 Audio014.mp3 MIDI0204 Exercise 2.4 Audio015.mp3 MIDI0205 Exercise 2.5 Audio016.mp3 MIDI0206 Exercise 2.6 Audio017.mp3 MIDI0207 Exercise 2.7 Audio018.mp3 MIDI0208 Exercise 2.8 Audio019.mp3 MIDI0209 Exercise 2.9 Audio020.mp3 MIDI0210 Exercise 2.10 Audio021.mp3 MIDI0211 Exercise 2.11 Audio022.mp3 MIDI0212 Exercise 2.12 Audio023.mp3 MIDI0213 Exercise 2.13 Audio024.mp3 MIDI0214 Exercise 2.14 Audio025.mp3 MIDI0215 Exercise 2.15 Audio026.mp3 MIDI0216 Exercise 2.16 Audio027.mp3 Lesson 3, page 3.2, LH Minor Scale Audio028.mp3 Lesson 3, page 3.3, LH Minor Scale Audio029.mp3 Lesson 3, page 3.4, RH Minor Scale Audio030.mp3 Lesson 3, page 3.5, RH Minor Scale Audio031.mp3 Lesson 3, page 3.6, Both Hands Minor Scale Audio032.mp3 Lesson 3, page 3.7, Minor Chord Audio033.mp3 Lesson 3, page 3.8, Minor Scale Table Audio034.mp3 Lesson 3, page 3.9, Minor Scale/Chord Exercises Audio035.mp3 MIDI0301 Exercise 3.1 Audio036.mp3 MIDI0302 Exercise 3.2 Audio037.mp3 MIDI0303 Exercise 3.3


©2007 Chris Crain

14-5

Audio038.mp3 MIDI0304 Exercise 3.4 Audio039.mp3 MIDI0305 Exercise 3.5 Audio040.mp3 MIDI0306 Exercise 3.6 Audio041.mp3 MIDI0307 Exercise 3.7 Audio042.mp3 Lesson 4, page 4.1, Arpeggios Audio043.mp3 MIDI0401 Exercise 4.1 Audio044.mp3 MIDI0402 Exercise 4.2 Audio045.mp3 MIDI0403 Exercise 4.3 Audio046.mp3 MIDI0404 Exercise 4.4 Audio047.mp3 Lesson 5, page 5.2, Dominant 7th Chord Audio048.mp3 Lesson 5, page 5.4, Major 7th Chord Audio049.mp3 Lesson 5, page 5.6, Minor 7th Chord Audio050.mp3 MIDI0501 Exercise 5.1 Audio051.mp3 MIDI0502 Exercise 5.2 Audio052.mp3 MIDI0503 Exercise 5.3 Audio053.mp3 MIDI0504 Exercise 5.4 Audio054.mp3 Lesson 6, page 6.2, Suspended 4th Chord Audio055.mp3 Lesson 6, page 6.3, Augmented 5th Chord Audio056.mp3 Lesson 6, page 6.4, Diminished Chord Audio057.mp3 MIDI0601 Exercise 6.1 Audio058.mp3 MIDI0602 Exercise 6.2 Audio059.mp3 MIDI0603 Exercise 6.3 Audio060.mp3 Lesson 7, page 7.2, Ninth Chord Audio061.mp3 Lesson 7, page 7.3, Eleventh Chord Audio062.mp3 Lesson 7, page 7.4, Minor 11th Chord Audio063.mp3 Lesson 7, page 7.5, Thirteenth Chord Audio064.mp3 MIDI0701 Exercise 7.1 Audio065.mp3 MIDI0702 Exercise 7.2 Audio066.mp3 MIDI0703 Exercise 7.3 Audio067.mp3 MIDI0704 Exercise 7.4 Audio068.mp3 MIDI0705 Exercise 7.5 Audio069.mp3 Lesson 8, page 8.1, Chord Inversions Audio070.mp3 MIDI0801 Exercise 8.1 Audio071.mp3 MIDI0802 Exercise 8.2 Audio072.mp3 MIDI0803 Exercise 8.3 Audio073.mp3 Lesson 9, page 9.2, Chromatic Scale Audio074.mp3 Lesson 9, page 9.3, Major Scale Audio075.mp3 Lesson 9, page 9.4, Natural Minor Scale Audio076.mp3 Lesson 9, page 9.5, Harmonic Minor Scale Audio077.mp3 Lesson 9, page 9.6, Half-Diminished Scale Audio078.mp3 Lesson 9, page 9.7, Whole-Tone Scale


©2007 Chris Crain

14-6

Audio079.mp3 Lesson 9, page 9.8, Dominant 7th Scale Audio080.mp3 Lesson 9, page 9.9, Minor Pentatonic Scale Audio081.mp3 Lesson 9, page 9.10, Major Pentatonic Scale Audio082.mp3 Lesson 9, page 9.11, Blues Scale Audio083.mp3 Lesson 10, page 10.3, Polychords Audio084.mp3 MIDI1001 Exercise 10.1 Audio085.mp3 MIDI1002 Exercise 10.2 Audio086.mp3 MIDI1003 Exercise 10.3 Audio087.mp3 Lesson 11, page 11.1, LH Bass Motors Audio088.mp3 Lesson 11, page 11.1, Walking Bass Audio089.mp3 Lesson 11, page 11.1, Bass Grooves Audio090.mp3 Lesson 11, page 11.1, Two-Handed Bass Audio091.mp3 MIDI1101 Exercise 11.1 Audio092.mp3 MIDI1102 Exercise 11.2 Audio093.mp3 MIDI1103 Exercise 11.3 Audio094.mp3 MIDI1104 Exercise 11.4 Audio095.mp3 MIDI1105 Exercise 11.5 Audio096.mp3 MIDI1106 Exercise 11.6 Audio097.mp3 MIDI1107 Exercise 11.7 Audio098.mp3 MIDI1108 Exercise 11.8 Audio099.mp3 MIDI1109 Exercise 11.9 Audio100.mp3 MIDI1110 Exercise 11.10 Audio101.mp3 Lesson 12, page 12.1, Fretboard Navigation Part I Audio102.mp3 Lesson 12, page 12.1, Fretboard Navigation Part II Audio103.mp3 Lesson 12, page 12.1, Transitional Fingering Audio104.mp3 MIDI1201 Exercise 12.1 Video06.mpg Lesson 12, page 12.1, Sliding Video07.mpg Lesson 12, page 12.1, String Bending Video08.mpg Lesson 12, page 12.1, Harmonics Video09.mpg Lesson 12, page 12.1, The Other Digit Audio105.mp3 MIDI1300 Lesson 13, page 13.2, Holding Hands

stick e-lessons - presented by chris crain - stay salty! · lesson 11 – bass technique lh bass...

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