The Jazz Guitar Chord Dictionary
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  1. #26

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    Yes the shapes are the same regardless of key.

    Berklee has a history of teaching 1,2 and 3 octave arpeggios - for all inversions too! That’s a lot of work. I’m not saying “don’t do it” but it takes time.

    At a minimum I think it’s valuable to know 1 and 2 octave forms in root position very well. I also think it’s valuable to know where all the tones are in a particular position across all six strings.

    From there one should also be able to get a lot of use out of superimpositions and substitutions.

    lots of opinions about this I’m sure...

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Nice grids GTRMan...

    while these chord grids may seem basic to advanced players..they are essential building blocks in the study of chord construction-arpeggios and rudimentary single note lines

    being able to "see" the note patterns like this on every "three string set" is a good stepping stone to extended chords the 9 11 and 13th tones..

    it also opens up the fretboard by learning these patterns in all positions and keys

    it also is a great tool to begin seeing.."chord connections" Ami7 / CMA6 (inversion) /FMA9 (no root) and so on

  4. #28
    Thank you for all your answers, and to tell me more about Berklee , and to your advise to learn octave by octave and no all the box .

  5. #29
    Many thanks,
    in fact i have to try same scale for example in all position as possible right?
    When I learn G Dorian scale , i need to know intervals on single string and on 3 string and all along the fretboard. But this "mental gymnastic" is efficiant about what time ? If I name note in the same time I play , when my brain recorded this in point is fluidity and instantaneous?
    (if i pratice that type of exercices all day of course)

  6. #30

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    "Fret board mapping" or "fret board memorization" advice can be confusing.

    One thing to beware of - the faster you play something the less capable you will be at thinking about or reciting individual notes. Those techniques are useful, but practically speaking have to be performed at a fairly slow speed.

  7. #31
    Ok , i'll pratice slowly, my goal is memorize notes to be free to jam and play.
    But if i memorize i'll be able to play fast without wrong note , right?
    Thank you for your great advise

  8. #32

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    Quote Originally Posted by pow
    Hi, I have a new book from John Petrucci who advises to practice arpeggios:

    What's the name of the book?

    .

  9. #33

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    Quote Originally Posted by pow
    Ok , i'll pratice slowly, my goal is memorize notes to be free to jam and play.
    But if i memorize i'll be able to play fast without wrong note , right?
    Thank you for your great advise
    I suggest you print out some blank chord grids like GTR used in his posts...and "chart" the notes of the arpeggios...and do this every day in your practice schedule..

    name the notes as you locate them on the grid..pay attention to the fret numbers and what string the notes are on..

    this is a very good reinforcement of learning note names and locations on the fretboard

    these arpeggios when learned well and you are confident with them will be played with as much speed as you can control.

    this kind of study with constant daily practice will begin to show results in a month or so....

    many players actually develop "sweep patterns" with this kind of exercise..do some research on youTube -- Ami7 arpeggio studies and techniques

    hope this helps

  10. #34

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    Quote Originally Posted by pow
    Ok , i'll pratice slowly, my goal is memorize notes to be free to jam and play.
    But if i memorize i'll be able to play fast without wrong note , right?
    Thank you for your great advise
    I am only saying practice slow when trying to memorize note locations on the fret board, especially if stating them out loud. I'm not saying always practice slow.

  11. #35
    HI the name of the book is
    Guitar world present John Petrucci's wild Stringdom warner bros publications by Askold Buk

  12. #36
    Ok i'll do that.
    Thank you so much

  13. #37
    Can you give me advise for learn different arpeggios and "when" (how many different arpeggios , frequency of learning and when i change to other arpeggios etc)
    cause i have a time restrictions
    Thank you if you have a "model" , in this moment i learn Am7 in different positions

  14. #38

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    Yeah. There are a few ways.

    Berklee guitar does something pretty close to "major tonality chords first, minor tonality second":

    Group 1 arpeggios: Maj7, Dom7, Mi7, Mi7b5, Dim7, Dom7sus4, Dom7#5

    Group 2 arpeggios: Mi(Maj7), Maj7#5, Maj7b5, Min7#5, Dom7b5, Dim(Maj7)


    Or you could break these into 3 groups to make it more manageable, and prioritize the learning order according to frequency of use. One example is below but you can group them in any configuration that works best for you.

    Group 1 arpeggios: Maj7, Dom7, Mi7, Mi7b5, Dim7

    Grpup 2 arpeggios: Dom7sus4, Dom7#5, Dom7b5

    Group 3 arpeggios: Mi(Maj7), Maj7#5, Maj7b5, Min7#5, Dim(Maj7)


    One more:

    Group 1 arpeggios: Maj7, Dom7, Mi7, Mi7b5, Dim7

    Grpup 2 arpeggios: Dom7sus4, Dom7#5, Dom7b5

    Group 3 arpeggios: Mi(Maj7), Maj7#5

    Group 4 arpeggios: Maj7b5, Min7#5, Dim(Maj7)


    You get the idea.
    Last edited by GTRMan; 09-19-2020 at 09:54 AM.

  15. #39

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    Quote Originally Posted by GTRMan
    What about the 9th position?
    For that one, consult the Kama Sutra for best results

  16. #40
    Yeah i understand idea, but i have another question why you write (MAJ7) after Minor and Diminished ?

  17. #41

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    Quote Originally Posted by pow
    Yeah i understand idea, but i have another question why you write (MAJ7) after Minor and Diminished ?
    CmiMaj7 is C Eb G B

    CDimMaj7 is C Eb Gb B

  18. #42
    can you give me construction of all of arpeggio or website which contained this formule, please , I foud on site jazz guitar licks but there is error about their example...
    many thanks for your kindness

  19. #43

  20. #44

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    i dont know a website, that one looks pretty good. i did see the error that you mentioned however.

    which arpeggios do you need help spelling out?

  21. #45
    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.

  22. #46

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    Take your dominant, major and minor shapes and alter it accordingly by identifying the constituent intervals and moving up and down by semitones.

    Will teach you more than any other method. Also you should be able to derive every possible 7 note scale from the major using this method.

    Tabs are for mugs.

  23. #47
    Hi,
    I would mean "tablature" ("tabs" in abreviation).
    So thank you for your advise

  24. #48
    I would like to have dominant shape in example , as I've mentionned in top of this conversation I'm Novice in guitar.

  25. #49

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    Quote Originally Posted by pow
    I would like to have dominant shape in example , as I've mentionned in top of this conversation I'm Novice in guitar.
    Well in that case, you need to learn the basics of guitar. Once you have learn a smattering of the basic chord shapes, you can begin to think about more complex chords.

    for jazz, I think learning Freddie green or shell voicings and learning to comp through simple gypsy jazz style standards is a good foundation. There are resources on this very website.

    Learn where the 1 3, 6/7 and 5th (if included) is in each shape and map out the similarities and differences.

    I did this work early on. You shouldn’t need chord books.

  26. #50

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    Quote Originally Posted by pow
    I don't want make mistake on my learning.
    You won’t learn if you don’t make mistakes.