Beginner questions

  1. Fliss
    Fliss
    I'm an ffcp newbie looking for some help please! I knew when I ordered the book that there was a risk it might be a bit more advanced and theory-based than I can cope with, but am giving it a go, so please pardon my ignorance and help me to learn.

    I started working with the book a fortnight ago and would like to check my assumptions and see if I can understand this a bit better. I've been playing mandolin for quite a while, but haven't much grounding in theory or scales or the circle of fifths, and wanted to use the book to push myself to improve my skills and perhaps learn how to improvise and mix chords and melody (in celtic and folk style music though, not jazz!)

    The ffcp positions are played like scales, I assume, each note in sequence? What I've been doing is allocating half an hour each day, in which time I play each one this way in each of the patterns in this way in each of the four positions suggested. Is this a good approach?

    My next questions are if this is the right approach, how long should I continue before starting to try the next exercise? Should I start the next exercise and continue the basic scale exercises too? And is there anything else I should be doing with the exercises?

    I had a chat about this with my guitar teacher today and he suggested playing chords and then going from the fhord to part of the scale exercise, working through chord progreesions in this way to start getting used to going between chords and melody. I'm a bit wary though, from my brief sneaky peeks at what comes further on in the book, that looks like it's quite a few chapters further on!

    Any advice will be welcome

    Fliss
  2. swampstomper
    swampstomper
    Fliss, don't worry, it's a long journey... I prefer to work on the Super FFcP exercise (or part of it) each day. This has the scale as home position, but also has a moving 3rds, moving 4ths, contrary motion, approach tones, *and* Imaj7 / I6 = vi / ii7 / V7 chord progression arpreggios. The key with FFcp is to *go slowly* and *repeat as necessary* concentrating on (1) good tone -- both right (picking) and left (clean fretting) hands, (2) smooth motion, everything should sound equal [not so easy in 2nd FFcP! or in any if your pinky is weak]. I think of it as going to the weight room for an athlete. Sure, getting out on the field or track is more fun, but it's the preparation of the muscles (and here, mind) in the "weight room" that gives you the "strength" (physically and mentally) to perform on the "field", i.e. with the songs and tunes you really want to learn.
  3. Fliss
    Fliss
    Thanks Swampstomper. I'm sticking with it, with the basic FFcP positions, and as you say trying to get clarity of tone and evenness. One of the other things I'm also trying to do is get some volume, as I'm very aware that I tend to play very quietly. Where are the Super FFcP exercises you refer to? I had a look through the book and can't spot them!

    Fliss
  4. swampstomper
    swampstomper
    I don't have the book, since I got into FFcP several years before the books, with Ted's Mel Bay columns (see the archives here). Then this article has the link to Super FFcP.

    You may want to defer that one till you get to all the constituent parts. The Super FFcP has several exercises in one.

    Again, I can't stress enough, don't get discouraged, you are building mental and physical strength a little bit every day. And don't beat yourself up if you don't do too much each day, set a minimum time (say 10 minutes) and be satisfied with that -- of course if you get motivated some days, do more! (unless your fingers or wrist hurt!!).

    Volume comes with good pick attack but also a good strong fretting hand in the right place between the frets. Are you sure the string is vibrating the same with open and fretted notes? If not the problem may be in your fretting technique. This also requires good strength -- Grisman says "squeezing golf balls" but I prefer to get my strength via FFcP.
  5. Tony Avitua
    Tony Avitua
    Hi everyone! I just joined the group because I am curious to learn what FFcP is. I just bought a mandolin a couple weeks ago, so I am new to mandolins. However, I am not totally new to music theory, since I have been a guitar beginner for years! From the little information I have seen about FFcP, it sounds similar to the CAGED system for guitar. Am I on the right track? I see references to a book in the comments here and would like to know of any beginner FFcP books. Thanks for the help!
  6. AZStu
    AZStu
    Hello Tony. I'm a guitar player of sorts also.

    FFcP is about scale patterns rather than chord patterns like the CAGED system. In it's most basic form, FFcP is simply playing 4 scale patterns with each left hand finger starting a different scale pattern.

    Of course chords are simply scale fragments anyway, but that might make my brain hurt if I tried to correlate 'em better.
  7. MandoSquirrel
    MandoSquirrel
    Hi, Tony. The post right above yours has the links to Ted's JazzMando site with the answers to your questions.
  8. Tony Avitua
    Tony Avitua
    Thanks for your help! Time to read, study and practice!
  9. JonZ
    JonZ
    I have been spouting off all over this website about the benefits of using "spaced repetition" to learn FFcP. Memory experiments have proven that the best way to memorize material is not to practice it every day, but to practice it everytime you are about to forget it. This allows you to maximize the amount of material that you can absorb, by not wasting times practicing an item when it is not the optimal time to do so.

    Ted is a big believer in the daily Super FFcP Warmup, but I found that after a while it was counterproductive; I was so used to playing the execises in sequence, with every variation following a run through the major scale, that I was not able to just dive into a sequence in the middle of a song.

    Check out Adventures in Super-Efficient Mandolin Practice for more information. I even have some FFcP materials that I can email you if you want to try this method.
  10. chasgrav
    chasgrav
    I'm another new JazzMando student. I've played folk, bluegrass, blues and old-time music for years, but never got serious about theory or chord substitutions before. So far, I'm liking Ted's method a whole lot. It's a good balance of theory, exercise and musical content. If I can keep myself motivated, I can see getting very far with this.

    Also worth mentioning: I use Band-In-A-Box, which is a wonderful tool for any musician. I have my computer soundcard connected to a good amplifier and speakers, and the sound from BIAB is outstanding!

    I think that using BIAB backup tracks will add to the fun of using Ted's materials, and be much more engaging than a metronome or click-track. I recommend BIAB highly to anyone who hasn't used it.
  11. AZStu
    AZStu
    Hey Chas

    I like BiaBox too. usually I just play along to songs and chord progressions. I'm curious as to how you integrate BiaB with the FFcP exercises.

    Thanks

    Stu
  12. chasgrav
    chasgrav
    Well, FFcP is all about using scale and arpeggio patterns up the neck. The way we build the skills is to play the patterns about fifteen million times, moving through different chords by moving up and down the neck. With BIAB, you can create backing tracks with convincing drums, bass and even improvised solos on a variety of instruments (RealTracks) to play along with. It sure beats spending Saturday night with your metronome!
  13. AZStu
    AZStu
    Thanks Chas,

    I think I got it. For example, program that famous progression:

    C C C C C C C C C Am7 Dm7 G7 C C and play over it? (That's the first half of 3rd FFcP in C without the repeats.) I'll give it a try.

    Plus, once programmed, you can easily change key with two clicks.
  14. chasgrav
    chasgrav
    ....and tempo....and time signature....and instrumentation.... You got it!
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