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Hi All
I got through volume 1 and am about 1/3 through volume 2 now. On page 29 Leavitt introduces a more in depth triad study in which we're meant to play what I think are all of the D Major, minor, diminished, & augmented triads in root, 1st, and 2nd inversion around the fret board. But I'm no sure what the point is. Are we meant to memorize where each D Major triad is? Memorize the fingerings so we can transpose them to other keys? Its a pretty overwhelming number of forms and I've barely internalized the forms in the previous 30 pages in C, G, and F. And those early forms were only explored across string sets, no UP the fret board as has now been introduced. I wonder if the point is more to make the student more familiar in a general way with the notes that compose the various triads and where they are on the fretboard?
Thanks for any advice
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02-26-2019 07:06 PM
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Originally Posted by EdBickertOnPCP
Playing the forms across the fretboard is indeed much easier. Can you easily play those around the circle of fifths for twelve keys? If not, work on that first.
Leavitt went pretty far with triads, though not as far as Van Eps, or Mr. Goodchord for that matter.
One thing that might help you bridge to playing up the fretboard is spelling your triads from all inversions R-3-5, 3-5-R, 5-R-3 starting at the lowest point on each string and travelling up.
Name the chord, tone, and note out loud as you do so. Like "A major, A, root", or "A minor, C, b3rd".
Don't overthink it, just do it - for one thing all that talking slows you down an let's you think a little bit. This will help you learn the fretboard.Last edited by Jazzstdnt; 02-26-2019 at 11:48 PM.
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Originally Posted by Jazzstdnt
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The big difference between the William Leavitt Modern Method Vol 1 and Vol 2 is that Vol 2 starts having you play all over the fretboard while Vol 1 pretty much sticks to 1st position.
All of the chords, scales, and arpeggios in Vol 2 are movable so you will also be learning lots of new notes up and down the fretboard.
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Oops, not quite right Steve. That's true of part one of Volume 1. Part two starts in position 2 and deals with movable forms from there. It stops at position 4 by the end of the book if I recall.
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Hey OP [not crazy about your handle BTW....Mr Bickert deserves respect]
Anyway grasshopper, keep on going....Vol 2 gets you playing 5 positions of major and melodic minor scales.
I've worked many students through these tomes during my teaching years....and if you can make it through
the 3 volumes....you'll be bored shitless.....but my my, you'll know a LOT of guitar.
Keep plugging away man.
Eyes on the prize.
But......learn songs and their changes....come to think of it Bill's books are full of harmonic wisdom too.
Dig deep buddy.
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Originally Posted by Moonray
PS- Ed is a hero of mine. Tons of respect.
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Originally Posted by Jazzstdnt
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Just for clarification,
While one can probably come pretty close to exclusive focus while working through Volume 1 (because it has a lot of etudes and short little pieces), it is NOT intended that one play through volumes 2 and 3 without working on other material. That's not what they do at Berklee.
In private instruction they have: reading in multiple styles, 6-8 tunes per semester, transcription and playing of a solo, and a semester end barrier exam which includes a full performance piece (levels 1-8). The technique tests in the 8 barrier exams are close to Leavitt's materials, but not quite 1-for-1.
Other instrumental classes abound of course. Improvisation, ensembles of different sizes and styles. And of course the requisite theory, harmony, ear training, arranging, composition etc., etc.
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Originally Posted by Jazzstdnt
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Bobby Stern who posts his lessons on this forum has great material for triads "Triadicisms" .. now Stern is a horn player so his approach is from a improvisation point of view..very melodic yet the harmonic movement is ever present .. I have worked with guitarist approach to triads Larry Carlton Ted Greene and other top players but I have found Sterns approach more to my liking. He uses 12 Keys in ALL his lessons and you begin to see and use the connections .. those long flowing tasty sax lines can be just several triads strung together and played in various configurations..
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Welcome to the forum! You're moniker is scarin' me -- Ed got high on life in Canada!
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Originally Posted by BigDaddyLoveHandles
That's what Frisell said in Austin in 2007 - SOCO. That he was high on LIFE!
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Originally Posted by Moonray
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