– Are you completely comfortable counting and playing quarter-note triplets?

– Are you able to play back and forth from eighth-notes to quarter-note triplets without stopping to count/rest?

– Can you add rest at will when you are using quarter-note triplets?

– Can you play eighth-notes for two bars without stopping?

– Can you play directly from eighth-notes to eighth-note triplets while maintaining accurate note values?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and
practice the exercises.

– Are you able to play the longer/slower rhythms with complete accuracy, ie, wholes and halves?

– Are you aware when you are playing a note on the downbeat and when you are instead using an upbeat tied over (anticipated)?

– Have you noticed an effect on your note choices when playing whole-notes or half-notes?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and
practice the exercises.

– Can you finger and play the new broken triad arpeggio once up and back accurately for G major and G minor?

– Can you play these major and minor arpeggio patterns four times “up and back” until the root falls back in beat one?

– Can you also play the same broken triad arpeggios with the accent pairs applied?

– Can you “feather” the entire pattern but “punch” the accents as well?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and
practice the exercises.

– Can you easily play through any triad position with three distinct levels of dynamics?

– Can you play all four of the accent pairs from each lesson at a time (major or minor) twice without stopping?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and
practice the exercises.

– Can you benchmark each of the two triad positions so far, both major and minor, with at least two distinct levels of dynamics?

– Can you punch each of the accent pairs two times or more in each triad position without stopping?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and
practice the exercises.

– Can you describe the three main methodologies from the lessons so far in the Modal Color course that can be used to help players experiment with modal sounds/color tones?

– Can you confidently highlight a color tone with a long tone and complete the phrase with any of the logical contours, from either of lessons 3, 4, or 5?

– Have you been able to experiment using any repetitive rhythmic figures that are broken by a color tone (ie, long tone)?

– Can you play a scalar line either ascending or descending that ends on a color tone?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

– Can you play a three-note solo and end your phrases on an upper structure note?

– Can you construct triadic phrases from the root of the chord but use a color tone/upper structure note as the destination?

If you answered “Yes” to the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

– Can you play rhythmically off the thumb with both the index finger and the middle/ring fingers?

– Have you been able to play a 4-bar crescendo/decrescendo over the one-chord of the exercise?

– Can you improvise dynamic gestures in any part of the exercise?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lesson material to help review and practice the exercises.

– Can you hold each chord grip and play with clear, sustained notes?

– Can you effectively alternate between your thumb and top fingers of your picking hand?

– Can you play the pattern once through with your thumb andthe three fingers of your picking hand (Index, Middle, Ring)?

– Are you able to play the upper voice notes clearly over the bass note when necessary.

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

– Can you play the full 12-bar progression using the simple strumming pattern without stopping?

– Can you play the progression more than once without stopping?

– Can you add the slides and play the progression (optional)?

– Were you able to use an alternate ending?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review andpractice the exercises.

– Can you sing the notes of each line?

– Have you been able to effectively use the shorter, punchier notes to help establish a solid groove?

– Can you also articulate longer notes for effect without killing the groove?

– Can you play each of these lines at various tempos?

– Are you able to play for 6 or 8 choruses and still keep your touch light and relaxed?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

– Have you been able to play the positions all in a row without stopping, ie, in time?

– Have you been able to play at several distinct metronome markings and still punch the accents?

– Do you now see the value in studying accents and dynamics?

– Are you able to play the fourth intervals accurately (B up to E, D up to G, etc)?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just meansthat you need more practice. But you now know which areas needmore work and you can return to any lessons to help review and practice the exercises.

– Can you articulate the eighth-note accent pattern(1,+3) with the five positions of G Major Pentatonic scale?

– Can you play the root position pentatonic accurately with triplet rhythm and accents (1-2-3, 1-2-3)?

– Can you “feather” the unaccented notes as well as “punching” the accents?

– Can you count or sing the accent patterns away from your instrument?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and
practice the exercises.

– Can you play all five positions slowly and identify the notenames as you play?

– Can you play the positions quietly, legato, and with no accents?

– Can you also play them loudly, flat, and legato?

– Are you playing with a relaxed grip and minimal fingerboard pressure?

– Can you articulate the (1,3) accent pattern through all five positions?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

– Has your position switching become more accurate?

– Are you playing “fat”, connected notes every time?

– Can you identify the keys of each pattern?

– Can you play all seven modal patterns from each of 12 notes through the cycle (84 patterns!) without stopping using a metronome?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

– Can you name each mode pattern that you play?

– Are you working to connect the notes?

– Have you played through all seven modal patterns from each of the six notes used so far?

– Is your pizzicato touch staying overall light and effective without overpowering the strings?

– Can you execute all demands of the permutations, accents, and touch and still keep the triad names in mind while playing?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

– Can you spell the G major scale?

– Can you say all diatonic triad names while playing slowly?

– Can you spell all triads easily?

– Can you punch the accents but also “feather” the very next note?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

– Can you spell the Bb major scale?

– Can you identify the triad names in the key of Bb Major?

– Can you play the triads while saying the names out loud?

– Can you play all four triad permutations without making a mistake while using a metronome?

– Can you punch out the accents?

– Has “benchmarking” your dynamics become a natural step in your practicing?

– Have you noticed any difference yet in your playing as a result of these studies in Dynamics/Accents?

– Have your Kinetic and Dynamic ranges begun to track together at this point?

– Can you “feather” the note directly after the accented note?

– Have you worked to develop a medium-light touch?

– Have you started to use the metronome to monitor and also to challenge yourself when playing these accent patterns?

– Are you “benchmarking” your dynamics before each practice session?

– Do you now understand Kinetic Range versus Dynamic Range?

– Are you counting the accent pattern before trying to play it?

– Do you still retain acceptable pizzicato technique while practicing the accent patterns?

– Can you play each pattern slowly while tapping your foot?

– Has your kinetic range gotten any wider since beginning these studies?

– Can you play and sing the root, third, and fifth of the chord in time with the accompaniment?

– Can you sing your bass lines away from your instrument? – Can you use various chromatic notes at will during your bass lines?

– Can you use chord tones beside the root and fifth to lead the measure?

– Can you use effective rhythmic “protection” using dead eighth-notes that blend with the drummer or accompaniment?

– Can you play your bass lines at several distinct tempos (from 120bpm – 150bpm)?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

– Can you sing the new lines with your instrument?
– Can you sing the lines away from your instrument?
– Have you been able to play walking lines continuously for at least 32-bars without stopping?
– Can you use effective dead notes to “protect” the groove?
– Can you play bass lines that have a one-octave range?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

– Can you play dorian modal bass lines for 32-bars without stopping, getting confused, or killing the time?

– Have you thoroughly played each of the examples, sung the notes, and been able to alternate playing them with your own variations?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

– Are you singing each line slowly as you learn it?

– Can you play each line with at least two of your own variations?

– Can you play walking bass lines for at least 16-bars without stopping?

– Can you sing the half-note roots and fifths from Lesson 3?

– Can you sing the half-note roots and fifths of each implied “minor two-five” progression (Dm7b5,G7b9) from Lesson 3?

– If you had difficulties with the notes, did you use the charts to help you get the notes right?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

Ask yourself the following questions before continuing in this course.

– Are you playing all of the rhythms used so far in the course successfully?

– Did you understand how to count quarter-note triplets by comparing them with half-notes?

– When you are having difficulty with the exercises have you tried counting the rhythms using a metronome?

– Can you articulate sixteenth-notes successfully yet?

– Are you varying the tempo using a metronome as an aid to learning as well as to challenge yourself?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

Ask yourself the following questions before continuing in this course.

– Are you completely successful playing Wholes, Halves and Quarter-notes now?

– Have you practiced the more difficult rhythms until you could play them successfully?

– Are the one-note solos continuing to be helpful to your understanding and success?

– Are you using space in your playing?

– Have you begun to understand the value of the rhythmic contrast methodology?

– Do you feel more confident playing the exercises now then when you started the Rhythm Studies course?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.

Ask yourself the following questions before continuing in this course.

– Can you play and count each rhythm separately?

– Are you using one-note solos to practice contrasting
these rhythms?

– Can you tap your foot while playing the exercise?

– Have you had success switching rhythms?

– Do you know when you are using tied rhythmic values
as opposed to playing on the downbeats?

If you answered “Yes” to all of the above questions, then you should feel good about these significant gains in your playing.

If you answered “No” to any of the above questions, it just means that you need more practice. But you now know which areas need more work and you can return to any lessons to help review and practice the exercises.