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Fun with fundamentals! Thanks for the post. I bet you also pencil in chords on your notation pieces. You can look at a scalar passage and read it like a whole note.
I was doing similar fundamental stuff yesterday, poking around at it, not hardcore. My playing consists of mostly of no page rather than notation or charts, functioning as bass, plus soloing. So my similar fundamental workout is triads harmonizing the scale working my range into the pedals up to solid high notes Eb or G (no practise squeals). My latest pattern,instead of returning to the scale degree or root, go to the next scale degree.
Like 1 3 5 3, 2 4 6 4, 3 5 7 5, etc.... removing the pause on root 1 3 5 3 1___
Joe H

Funny how quickly rusted
UHGGgg Double Bass

How about a tuba equivalent to a bass guitar box pattern, professor??

Any pointers??

I was beginning to write them out similar to what you were doing above just starting with the most common cords and progressions.

Thanks,

I probably should have brought this up in jazz class but...

Go Go fundamentals! Diatonic thirds are good as well, and running through the modes, various arpeggios, etc. I've heard lots of debate on how much fundamentals one really "needs" to be doing on a regular basis, especially with limited practice time. I guess it also depends on how productive your practice sessions are. A lot of the better method books have a lot of exercises/etudes that combine multiple rudiments, almost like the "case-based" system that medical schools are turning to, as opposed to information in a vacuum. Not really sure which way makes it stick better.

Sadly, I don't think you're going to find any box patterns on wind instruments. Really need a fretboard to make that work.

I wish I had your level of motivation. More than 10 minutes of straight scale work and my mind shuts down, and I'm into that "nonproductive practice" zone. If my head isn't in it, it doesn't stick.

tbonesullivan wrote: Sadly, I don't think you're going to find any box patterns on wind instruments. Really need a fretboard to make that work.

I will bet that after all that, nothing "lays better" on anything.

I usually aply one key a day for varios exercises.
So today was in F, tomorrow is in F#/Gb.
Not for all exercises, just ones that are rather lengthy.

Gee, thanks for ruining this for us.

Just exactly how are we supposed to execute this exercise WITHOUT evoking the vision of Jullie Andrews floating above our heads?

Julie back in the day??

Yeah, I'd hit that.

bloke wrote:If you think about it, it's little more than an extended version of the "Do-Re-Mi" song.

So, I gotta ask.

Yeah, it nears being OT, but you brought up scales, so..........

Did Mary Poppins do movable do or fixed do?

In the movie she sings it in Bb, which clearly implies movable do.

But the claim is that it was written in C, and she took it down a step because she had a cold, which could support fixed do. I can see it either way.

Well, do you mean the character herself, or Julie Andrews? Either way, not really enough evidence to support either way. Singing it in C still leaves the possibility of either system, with or without chromatic syllables.

Like many young children, I was taught movable do in elementary school, and we were shown how to locate "do" in the given key signature. Then I forgot it all.

Another mind bender that always gets me is when doing diatonic runs of thirds, is it a series of thirds a single scale step apart, or is it a series of scale steps a third apart.