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  1. #51
    I'm already in learning of "intervals" . I'm understand thank you for all of your suggestions and advise

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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    Quote Originally Posted by pow
    Hi,

    I would like to have construction of Dom7sus4, Dom7#4, Dom7b5, Maj7#5, Maj7b5 and m7#5

    but i want to have an example of tabs with as your example you give me for m7 arpeggios, only if you want. I don't want make mistake on my learning.
    Sure I have a couple and will send in a sec. Learning scales, chords, and arpeggios with visual aids like these diagrams is very helpful at first. It really speeds ones learning. Once you learn them you won't need the diagrams anymore - IF - you practice them frequently. Otherwise, you'll backslide and will likely need diagrams again. So, it's good to have them.

    A few notes:

    1. For 7th chord arpeggios Dom7#4 and Dom7b5 are the same thing so you should scratch the Dom7#4 from your list
    2. You should learn some basic music theory, how to harmonize scales, and how to build chords from the root up while fully understanding the interval for each chord tone - and the resulting chord names.
    3. Armed with that knowledge you should be able to mark up some diagrams like these on your own. I just used MS Excel and a pencil.


    Cheers.

  4. #53

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    Dom7sus4

    Am7 positions ?-img_0846-jpg

  5. #54

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    Dom7#5

    Am7 positions ?-img_0847-jpg

  6. #55

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    Quote Originally Posted by pow
    I'm already in learning of "intervals" . I'm understand thank you for all of your suggestions and advise
    I’m quite serious BTW, not trying to be a dick. You will retain information better if you work it out yourself.

    When I was starting I would spend hours on long car journeys writing out positions for the modes and so on, when I couldn’t actually pick up a guitar. I think it was good for me.

    You don’t learn by being a passive learner. Teachers aren’t there to spoonfeed you info. They should be there to teach you how to teach yourself. Which is great for the student, but a terrible business model.

    Here’s a video I did a while back:

  7. #56

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    But from the OP I’d say you are coming at it kind of backwards. I honestly find myself at a loss with this kind of question...

    I remember playing my first Zeppelin riffs when I was starting and I didn’t know anything about arpeggios. Someone taught me riffs by showing me.... I was crap, but I was just playing music with a band. And I got better FAST.

    Information just comes through garbled up and it has no context. Not your fault. I mean you don’t yet know what positions are yet and yet you are asking about altered dominants. It’s like trying to do calculus when you can’t count to ten. And even you get that stuff together quickly you are missing out on what’s important about being a musician - playing music.

    i got around to all that stuff later, but for a beginner this stuff is just inappropriate. Focus on the basics first and play music.

  8. #57
    I play lot of music and now I want to really understand what i'm doing that's it.
    I know triades, chords but not all of us, arpeggios I was confused by learn in box (in all 6 strings) or just root to root. I don't have to justificate myself.
    I'm learning in same time since few days.
    If I've posted question about Am7, only cause was mentionned in my book , We are all different, thank you for your point of vue.I'm not here to fight or criticate. God bless you.

  9. #58
    Thank you so much for your anser and advise, i understand sound and sure Dom7#5 AND Dom7b5 it's the same cause their is just position , i've a writting too fast I learn basic theory in same time. It's a good website i'll be back if i have other questions ! thank you for your help

  10. #59
    Thank you for you great job ! Thank you for your advise too. I'll watching your video tommorow .

  11. #60
    Thank you to bring me to ordre and remind me the most important thing, PLAY
    Thank you so much Christianm77

  12. #61

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    Quote Originally Posted by pow
    Thank you so much for your anser and advise, i understand sound and sure Dom7#5 AND Dom7b5 it's the same cause their is just position , i've a writting too fast I learn basic theory in same time. It's a good website i'll be back if i have other questions ! thank you for your help
    Dom7#4 and Dom7b5 are the same.

  13. #62

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    @pow

    I wish I was a player who could just play what I thought sounded right and actually have it sound right. I need to understand at an intellectual level for my fingers to relax and play. Sounds like you do too.

    My theory Kung fu is way stronger than my ear and groove. But I can’t fight who I am.

    That said, my thirty year theory quest has made me realize that theory is like the three blind men describing an elephant. Is it functional harmony, counterpoint, or relative movement? Scales or chords? -7b5 or -6? Is it a chord or a triad with a walking bass note?

    For me, the only way to sort through the noise is to be inclusive. Each book is one blind man describing what he touched. Eventually you build up a picture from the points of overlap that starts to make sense to you. Few of them are “wrong” per se. Just seen from a perspective.

    Hope your that helps.


    Sent from my iPhone using Tapatalk Pro

  14. #63
    Thank you for share your experience. have a good day

  15. #64

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    Quote Originally Posted by GTRMan
    Dom7#4 and Dom7b5 are the same.
    Not really, but from the point of view of guitar grips they may as well be.

  16. #65

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    Quote Originally Posted by rlrhett
    My theory Kung fu is way stronger than my ear and groove. But I can’t fight who I am.
    Maybe this helps (it is something i do anyway).
    practice simple stuff to perfection.
    i have this pretty straightforward bluesprogression that i play along. It's in a minor. The longer i practice it. The better i get at improvising on it. I don't really need to think and can just play what i want to play. And the fun part is; it keeps getting better!

  17. #66
    Great video.
    I already do this
    so thanks for this confirmation of type of learning

  18. #67

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    Quote Originally Posted by christianm77
    Not really, but from the point of view of guitar grips they may as well be.

    These are 4 note arpeggio fingerings

  19. #68

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    -----------------------------------------------------------------------------------------
    -----------------------------------------------------------------------------------------
    -----------------------------------------------------------------------------------------
    --------------4------------------3--------------4--------------3------------------
    -------2--5--------------2--5-----------2--6----------2--6----------------------
    ----3-----------------3---------------3-------------3------------------------------



    -----------------------------------------------------------------------------------------
    -----------------------------------------------------------------------------------------
    -----------------------------------------------------------------------------------------
    -----------4-------------3--------------4------------3--------------4------------3----
    ----2--4----------2--4-----------1--5--------1--5----------1--4---------1--4-------
    -3--------------3--------------3------------3-------------3-------------3--------------


    -----------------------------------------------------------------------------------------
    -----------------------------------------------------------------------------------------
    -----------------------------------------------------------------------------------------
    ----------2--------------4-------------3---------1--3-----------------------------------
    ----1--4----------3--5----------3--5---------1------------------------------------------
    -3--------------3-------------3-------------3---------------------------------------------

  20. #69
    And
    what the name of these G arpeggios you show ?
    Thank you , to named it for more clarity

  21. #70

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    Gma7 ..... 1 3 5 7
    G7 ......... 1 3 5 b7
    Gma7+ ... 1 3 #5 7
    G7+ ....... 1 3 #5 b7
    Gma7b5 ... 1 3 b5 7
    G7b5 ........ 1 3 b5 b7
    GmMa7 ..... 1 b3 5 7
    Gm7 ......... 1 b3 5 b7
    GoMa7 ...... 1 b3 b5 7
    Gm7b5 ...... 1 b3 b5 b7
    Go7 ........... 1 b3 b5 bb7
    Gma7sus .... 1 4 5 7
    G7sus ........ 1 4 5 b7
    Gm7#5 ...... 1 b3 #5 b7

    I presented it this way because it is easy to notice what stays the same and what changes.

  22. #71
    Thank you, one precision the "+" it's for "dominante" or no ?

  23. #72
    and the "O" ? (i'm novice)

  24. #73
    thank you it's the "trick" i search for my learning

  25. #74

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    Quote Originally Posted by pow
    and the "O" ? (i'm novice)
    You can replace that symbol with "Dim"
    Last edited by GTRMan; 09-21-2020 at 07:32 PM.

  26. #75

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    + is a symbol for augmented

    o is
    a symbol for diminished.
    The typewriter "o" should be smaller and higher up.



  27. #76

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  28. #77
    In fact it's the only things i can learn i found video on youtube by Ben Eller which explain that.
    If you know major and minor scale, construction, pattern you can be able to learn all mode , because thy have little different thing in their construction.

  29. #78
    Thank you for your answer, it's the first time i see that type of notation. In major case i see Aug for augmented, Dim for diminished.

  30. #79

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    Quote Originally Posted by pow
    Thank you for your answer, it's the first time i see that type of notation. In major case i see Aug for augmented, Dim for diminished.
    You will find a wide range of chord symbol variations to represent the same
    structure. Also due to contextual considerations the same chord shape/grip
    will be used to represent multiple chords.

    Ex. X D Ab C F X

    Dm7b5 // Fm6 // Bb9 // E7#5b9 // G7susb9***// Abma13b5(no 7th)***

    *** = possible but less common

    Such is the state of the chord symbol universe.

  31. #80
    I don't really understand the end of your text, does it mean all chords you've noted are the same one ?

  32. #81

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    Quote Originally Posted by pow
    I don't really understand the end of your text, does it mean all chords you've noted are the same one ?
    Bako is very good at chord construction..to answer you..yes those chords all have the same notes in them and can be named any of those chords
    but it all depends on how they are used in a progression (context) this will decided their function.

    Yes this can be (and is) confusing..not only to those new to music/guitar..but to advanced and pro players as well.

    Don't try to understand it for now..as you learn more about music/guitar..and harmony in particular this will become clear

  33. #82

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    Ex. X D Ab C F X

    this chord, the D root note steers it towards Dm7b5 (X 1 b5 b7 b3 X) as the most obvious answer.

    This chord like many others can function as many other things.
    I list possibilities.

    One way to explore this topic is to play the same chord over different bass notes. On guitar this works best for chords whose bass note is not too low.


  34. #83
    I have learn something about harmonisation
    if you want to realise a perfet effect in your song with tapping : using for example G#BE (1st guitar) BEG#(2nd guitar) and EG#B (3rd guitar)
    that's what i know about harmonisation this is the same note but not in same order or not on the same octave or string , right ?

  35. #84

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    Quote Originally Posted by pow
    I have learn something about harmonisation
    if you want to realise a perfet effect in your song with tapping : using for example G#BE (1st guitar) BEG#(2nd guitar) and EG#B (3rd guitar)
    that's what i know about harmonisation this is the same note but not in same order or not on the same octave or string , right ?
    those are the inversions of the E major chord...and they will sound good on three guitars if played that way

    My reference to harmony-in my post above-is the harmonization of the major scale (Diatonic Harmony)

    CMaj Dmin Emin FMaj GMaj Amin Bdim

    these chords use only the notes of the CMajor scale
    C D E F G A B

    If this is not clear..do some reading on Diatonic Harmony Its not that difficult and will help to understand chord construction and function ALOT

  36. #85
    Thank you i found a good website with good definition : Harmonisation is to created chords with notes of a scale with the thrids . It gives us Triades if you choose only 3notes whereas if you choose 4notes it's Tetrades.