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WillPlay4Food
Starting Member
USA
3 Posts |
 Posted - 07/13/2005 : 11:04:16
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Hi Mike! Nice forum you have here. :)
I was wondering, could you possibly post some info on this new CORE method you've devised? Heck, even knowing what C.O.R.E. stands for would be a start. :)
cya around!
Dave
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michaeldimin
Forum Admin
99 Posts |
Posted - 07/14/2005 : 15:17:45
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Here is a tease, it is the Intro to the book (which, BTW, I finished last night)
quote:
Introduction:
The CORE Method is a revolutionary new tool for learning the 4, 5 and 6 string electric bass. The CORE Method is both easy to learn and comprehensive. The CORE Method is modular. The CORE Method is comprised of two parts, the “core” and “modules”. Once you learn a few basic “tools”, the core of the method, you can then tailor your learning to suit your needs through each of the different modules. The CORE Method opens up the fretboard and your creativity. The Core Method makes every aspect of playing the bass easier. Techniques such as building bass lines, soloing, sight-reading, modes and arpeggios, speed and efficiency, playing in all keys, functional harmony and more stem from a central core that can be learned in a few hours. The CORE Method relies on the symmetrical nature of the bass’ fretboard, both vertically and horizontally. This revolutionary new system will make you a better, more creative musician. The CORE Method will change the way you thought of the bass and will open up new doors that other methods cannot. Finally, The CORE Method is a concept. It is not a series of exercises and etudes. Therefore it is not style specific. The CORE Method works for ALL styles of music, whatever your taste may be. Welcome.
If you want, I will have a draft copy available at our lesson on Saturday.
Mike |
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WillPlay4Food
Starting Member
USA
3 Posts |
Posted - 07/17/2005 : 08:20:21
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I wish I saw this message before we hooked up last night. I would've brought extra cash to pick up a copy.
What you gave me will be plenty for me to practice for some time though, that's for sure. I've only been awake an hour and I've run through Brown-Eyed Girl in 3 of the 5 forms you showed me last night. I had an almost impossible time getting to sleep last night with all these new ideas floating around in my head. |
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Joe Q.
New Member
USA
70 Posts |
 Posted - 08/12/2005 : 15:09:11
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Does the C.O.R.E. method have anything to do with dividing the fingerboard into sections? I read a post by WillPlay4Food at TB and he was describing a lesson he had with you.
He described moving up the fingerboard in a given range of notes. Is this what he was describing?
2nd finger on E-string "G": Play G A B C D E F G A B C
THEN
2nd finger on E-string "A": Play A B C D E F G A B C D
THEN
1st finger on E-string "B": Play B C D E F G A B C D E F
THEN
2nd finger on E-string "D": Play D E F G A B C D E F G
THEN
1st finger on E-string "E": Play E F G A B C D E F G A B
Do I have this right? If I don't, please point out my error. I notice that you start on the 2nd finger unless the first two notes of a "scale form" begins with a half-step.
I also tried this exercise by starting with my 1st finger on all of the diatonic pitches of C major on the E-string. In doing this I encountered some wide "scale form" shapes. Is this why you start the "scale forms" on the 2nd finger?
Thanks,
Joe
"Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn." ~Charlie Parker
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michaeldimin
Forum Admin
99 Posts |
Posted - 08/12/2005 : 18:11:23
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It's not really about breaking up the fingerboard. I am glad the WP4F doesn't explain it all that well - keeps me in biz 
The CORE method breaks the fingerboard into 5 geometric patterns, called Scale Forms. Each form plays every note in a given key in a given position. There are 5 Scale Forms, 1,2,3/4,5 and 6
Scale Form 1 starts on "ti"
Scale Form 2 starts on "re"
Scale Form 3/4 starts on "mi"
Scale Form 5 starts on "sol"
Scale Form 6 starts on "la"
Scale Forms 2 and 6 have a downward shift.
All the Scale forms connect to encompass the entire neck.
Depending on what key your in will dictate which Scale form to use.
So think about this. for each position on the neck there are 5 Scale Forms, therefor 5 keys. That means that in the "money position" (1st 5 frets) you can play in 13 different keys.
The notes that WP4F gave really belies the simplicity of the method. Keys don't matter - The bass is a totally symetrical instrument.
Mike
Mike |
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Joe Q.
New Member
USA
70 Posts |
Posted - 08/12/2005 : 22:13:50
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Mike,
Thanks for such a fast reply! Perhaps WP4F explained it better than I understood it. I think he focused on a key center in the TB thread for clarification.
It was cool to see the solfege in your response! When I was practicing and watching my son play in his room, I was "singing" solfege as I played through scale forms. I can see how this would make playing in other keys a snap. I don't do this often, but maybe I should. It makes my brain get tired fast.
Observation: Scale form 1 includes "Do" & Scale form 3/4 includes "Fa".
Question: Should Scale form 1 be "1/2" since it includes Ti/Do? I am basing this on Scale form 3/4 including Mi/Fa.
Joe
"Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn." ~Charlie Parker
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Joe Q.
New Member
USA
70 Posts |
Posted - 08/12/2005 : 22:38:11
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You said something in your last post that is giving me a little bit of conceptual difficulty.
quote:
So think about this. for each position on the neck there are 5 Scale Forms, therefor 5 keys. That means that in the "money position" (1st 5 frets) you can play in 13 different keys.
I guess I need to clarify what a "Scale Form" is. I was thinking that a scale form was a position on the fingerboard where a given set of notes is located. What I am hearing is this:
2nd finger on E-string note "G" (or Sol in the key of C) = Scale form 5.
4th finger on E-string note "A" (or La in the key of C) = Scale form 6
1st finger on A-string note "B" (or Ti in the key of C) = Scale form 1
2nd finger on A-string note "C" (or Do in the key of C) = Scale form 1 because this form is coupled with "Ti"
4th finger on A-string note "D" (or Re in the key of C) = Scale form 2; however, we don't have a high D (on the G-string available in this scale form).
Here we have 5 Scale Forms in 1 Position. However, Scale form 2 is incomplete.
Is this where I went wrong?
Perhaps I should have included the open E-string to get Scale Form 3/4. Then we would have 5 complete scale forms.
Am I starting to understand? If I am, which fret on the E-string would kick of the next position of notes in the Key of C? Would it be 1st finger on E-string note "A" (La in the key of C) = Scale form 6?
Joe
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michaeldimin
Forum Admin
99 Posts |
Posted - 08/13/2005 : 06:05:40
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Joe,
I thin you are trying to make it too complicated (way too complicated). It is really much simpler
Lets look at the key of C (4 string bass):
Scale Form 3/4 starts on the open E You play all th notes availabe to you in the key of C in open posiiton (open E to A on the G string). We start with SF 3/4 because it is the lowest on the bass.
Scale Form 5 is, as you said, 2nd position, running from the G (E string )to the C on the G string.
Scale Form 6 is played in 5th position, from A on the E string to D on the G string (there is a position shift in the middle)
Scale Form 1 is played in 7th position from B on the E string to F on the G string
Scale Form 2 is played in 10th position from D on the E string to G on the G string (there is a position shift in the middle)
we then start all over again.
This, I call, Relative Scale Forms. Everything related to 1 key. You can see that each Scale Form encompasses all the notes in a given key in a given position. If we combine all the scale forms we have all the notes in a given key everywhere on the fretboard.
The Scale Form names come from the Scale degree from which they start (all except 1, which starts with 7), but since Scale Form 1 is the first one (as it is really a major scale extended both up and down), I choose to call it Scale Form 1 as opposed to Scale Form 7/1.
Lets say you're in the key of D, our lowest Scale Form is 3/4 in 2nd position (starting on F#) (you cannot do scale form 2 in open position as there is a downward shift). Scale Form 5 is in 4th posisiton, Scale Form 6 is in 7th position and so on.
Once you learn the 5 Scale Forms and a way to get to the lowest note in any key, you know every note, in every key, anywhere on the fretboard.
Mike
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michaeldimin
Forum Admin
99 Posts |
Posted - 08/13/2005 : 06:09:48
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Parrallel Scale Forms take each of the 5 scale forms and apply them to a single position on the neck, again let's look at 2nd position.
Scale Form 1 is the key of G
Scale form 2 (based on the "re") is the key of E
Scale form 3/4 (based on the "mi") is the key of D
Scale form 5 (based on the "sol") is the key of C
Scale form 6 (based on the "la") is the key of A
This is the way we soloed on Blue Bossa (different key of course)
Mike |
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Joe Q.
New Member
USA
70 Posts |
Posted - 08/13/2005 : 14:09:12
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Mike,
Leave it to me to make something way to difficult.  Sorry about that.
I believe I see the difference between Relative & Parallel Scale Forms. I'm happy that you made this clarification for me. I will take some time to digest the info you gave me and come back with other questions I'm sure.
Thanks,
Joe
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leond
Starting Member
USA
1 Posts |
Posted - 08/20/2005 : 19:40:47
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Hi Mike,
This sounds like the scale forms you taught me when I took a lesson with you a while back. Other than the pentatonic scale forms, I've thrown all the others out the window and gone with these. Both on bass and guitar.
They are very intuitive either to play a relative scale up and down the neck or play different modes in a single locations.
LeonD |
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michaeldimin
Forum Admin
99 Posts |
Posted - 08/21/2005 : 06:25:39
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Leon,
The scale forms are just the beginning - the CORE of the method. The rest of the method is how to apply the Scale Forms to each and every musical setting |
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Joe Q.
New Member
USA
70 Posts |
Posted - 08/30/2005 : 23:58:57
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Mike,
How far does this scale form go in this position?
Scale form 3/4 ("Mi/Fa") in the key of C
Starting at the E string: 12th fret
E string notes: E, F, G
A string notes: A, B, C
D string notes: D, E, F
G string notes: G, A, ?
On the G string, do I stretch/extend for B?
Do I shift for B and C?
Or, do I only go up to A?
Just curious...
Thanks,
Joe
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michaeldimin
Forum Admin
99 Posts |
Posted - 08/31/2005 : 08:31:54
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quote:
Originally posted by Joe Q.
Mike,
How far does this scale form go in this position?
Scale form 3/4 ("Mi/Fa") in the key of C
Starting at the E string: 12th fret
E string notes: E, F, G
A string notes: A, B, C
D string notes: D, E, F
G string notes: G, A, ?
On the G string, do I stretch/extend for B?
Do I shift for B and C?
Or, do I only go up to A?
Just curious...
Thanks,
Joe
You end with the "A" - in this way Scale Form 3/4 is always played the same regardless of the key and/or position
Mike |
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Scott Zoltok
Starting Member
Canada
1 Posts |
Posted - 03/31/2006 : 23:58:50
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Hi Mike, came over from TB. Nice place. Anyways, I'm just kind of curious - what you are describing sounds similar to Pacman's scale method. Is this right, or wrong, or indifferent?
I really should drop you that line. Don't know if you remember, but I was the one who had trouble 'thinking outside the box'
Z |
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michaeldimin
Forum Admin
99 Posts |
Posted - 04/02/2006 : 08:55:59
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quote:
Originally posted by Scott Zoltok
Hi Mike, came over from TB. Nice place. Anyways, I'm just kind of curious - what you are describing sounds similar to Pacman's scale method. Is this right, or wrong, or indifferent?
I really should drop you that line. Don't know if you remember, but I was the one who had trouble 'thinking outside the box'
Z
The only thing that is similar is that you are not playing root to root in each key. There are some other very palpable differences:
1. My method is based on geometric forms. There is no need, for example , to have one form for E and one for F in the key of C. In my method they use the sme form. In fact, there are only 5 forms in my method.
2. pacman's idea does not really mention the geometry of the bass - it is still key specific. Since my method deals with geometric patterns and because the bass is symmetrical, Once you learn one key - you've learned them all (just from a different starting point)
3. The CORE of my method -which is similar, but more clever than pacman's is only the first chapter fo the book. The real key is learning how to apply them to the music - from sight reding to soloing ... and that is the beauty of the CORE Method
Pacman is on the right track - he's got the idea of extending the scale to get every note in a given position - he has yet to make the leap and apply it to all asects of playing - that's what my method does
Mike |
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Any way to get a preview of your new method?
