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Originally Posted by rpjazzguitar
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01-18-2017 12:19 PM
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Originally Posted by MarkRhodes
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I learned a cool technique from Joe Satriani's Guitar Secrets book which he wrote in the 90s. Each day, he would spend 5 or 10 minutes learning every E on the fretboard, then go up a cycle of 4ths and find every A, then every D, then G, then C, F, Bb, Eb, Ab, Db etc. until you complete the cycle of 4ths and hit all 12 keys. If you do that for a month or two you will have memorized all notes on the fretboard. As you learn new lessons, you will reinforce that knowledge.
Definitely learn to sight read real music notation in both standard clefs too!
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PS: I have a great book for learning jazz chords and sight reading them, which is no longer in print. It is the George M. Smith guitar method which he wrote in the 40s or 50s. Smith was a leading guitarist for movies and later early TV. The book is so useful that I wore my copy out. I now only have pages 21-64 and I still refer to it often for practice. I will scan it in and post it online. Its no longer in print and most likely in the public domain.
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Originally Posted by ET Music
I used to really struggle with knowing the names of the notes on the neck as if the neck was rearranged every night.
One day I realized that the notes don’t move. And as obvious as this is, that realization many years ago got me to see that that F# on the 9th fret was still going to be there tomorrow and the next day, and the day after that. I look at the neck like a street map; there is more than one way to get to the same location, there are landmarks, there are neighborhoods, and notes, just like Starbucks, are in several places. The better you know the city and its neighborhoods, the easier it is to find an address.
+1 for "Rhythms Complete". Do each exercise in multiple positions
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Originally Posted by Jonzo
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What would be the point of learning to play Cs, if you already know how to plays Cs?
I know all of the open notes and 12th fret really well. There are more useful things for me to practice.
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Originally Posted by ET Music
For books published after 1977 (and that's forty years ago now), copyright lasts for 70 years after the death of the author. For anonymous works, I think it is 95 years after publication or 120 years after creation, whichever expires first.
A book published in 1923 will enter the public domain in 2019. (This according to a page on copyright at Cornell University.)
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Originally Posted by ET Music
Another exercise is to do that across the strings, starting on the low E, 3rd fret, G. Then play the root of the next note in the cycle (C) on the A string, then the next note (F) on the D string, and the next note in the cycle (Bb) on the G string, and then the next note in the cycle (Eb) on the B string, then back up to the low E for the next note in the cycle (Ab), and down across the strings again. Then, again, do 1-3-5 for each root, then 1-2-3-5. Go up the neck as far as is comfortable.
This isn't primarily to learn the names of the notes---though if you don't already know them, you soon will---but also how chords tend to move in jazz standards. (Not all chord progressions follow the cycle, but many do, and many which don't---or seem not to--are using subs to get chromatic movement but are still following the cycle, so it's good to have that ingrained sense of how chords tend to move in jazz standards.) Also, moving this way forces you to finger "the same thing" in different way on different string sets. You get used to it. You don't have to think about it. That is a very good thing.
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Originally Posted by ronjazz
"Baseball is a simple game. You hit the ball. You catch the ball. You throw the ball."
Now, it may be a simple game ... but doing it naturally without needing to slowdown and engage the brain ... that takes a LOT more time and determination. And most of us ain't ever getting "there" to play in "the Show", the US "major leagues".
An awful lot of music theory is like this ... it can be explained very simply and directly but mastering it seems damn difficult.
When I was in high school playing trombone I heard the strings of the orchestra talking about the difference between the pitch of a flat and its enharmonic sharp. Having come out of the well-tempered world of the pianoforte I was puzzled.
But in college I learned the difference in my ears ... Gb and F# are not the same in that world. The flat is just a bit lower than the sharp. Which is easier for a trombone with that slide. Some trumpeters didn't bother lipping most notes up or down unless it was a solo.
Some just did it ... period. I came to really appreciate the latter.
But a fretted instrument doesn't allow this, and as many hours as I've put in guitars over the years I still "hear" this constantly. Which is why I had to put the rosewood bridge that came with my archtop guitar for a TOM. That intonation problem drove my brain nuts.
My Tele ... I haven't brought myself to replacement of the "original" 2-string bridge setup mechanism. But ... even for blues ... that strains my ears some.
I do like that approach to learning the fretboard. I'm working with a friend to improve her playing and I think that will appeal to her brain ... thanks!
Stumbling fingers still need love ...
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Originally Posted by Lionelsax
Explaining it, Will said he'd mentally match the pitch to the fretboard and well, it was then obvious what the pitch was. Anybody could do it if they actually worked to learn the guitar.
But I've never been around another player, even pro classical guitarists of my acquaintance, who do anything but laugh at that last comment.
I'm certainly not "there"!
Stumbling fingers still need love ...
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Originally Posted by Jonzo
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Originally Posted by R Neil
Problem is the connection is not always there, clear in my head.
Here's an exercise that springs to mind for strengthening that connection. Fret a note. Concentrate in you mind on what the note will sound like, or sing it. Then play it. If correct, choose another note.
Repeat for 5 mins every day. Better still, repeat slowly for everything you EVER learn.
I should really do this!
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Originally Posted by christianm77
How else would you know what it is you want to hear sounds like before you play it, and then confirm that what you played was what you wanted to hear? How would you confirm what the others were doing harmonically, melodically, and rhythmically except by continuous audiation?
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Originally Posted by R Neil
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Originally Posted by pauln
Specifically with reference to the fretboard tho? That's not something I do enough of.
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Originally Posted by matt.guitarteacher
The open notes... Eddie Ate Dirt. Good Bye Eddie (E A D G B E)
Every single-syllable word is a natural note. Words with 2 syllables are flats or sharps.
At the 3rd fret, we have Gayle's Cool Friends Always Dress Great (G C F A# D G)
On the 5th fret, we have Aunt Dawn's Grey Cat Eats Ants (A D G C E A)
The 7th fret doesn't have a sentence but the 1st 4 strings spell BEAD. So, just remember BEAD F# B
The 8th fret says Carl Feels Awful Driving Green Cars (C F A# D# G C)
Finally, on the 10th fret, we learn that Dave Grew Crops For A Day (D G C F A D)Last edited by emoshurchak; 01-20-2017 at 03:49 PM.
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This might sound silly but one thing that really helped me learn the notes on the fretboard was the Android app Music Tutor Fret Master. I bought the full version which is pretty reasonably priced at around $2.
I would "play" on the app when I was waiting in line at the grocery or when I was taking the bus to work. After a couple weeks I noticed a lot of improvement.
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A good exercise is to use another tuning, open tuning, and play something you already play, you will think about notes not about positions, frets, etc.
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I learned the seven fingerings that Reg shared (kindly and patiently - sorry, but it's true and it matters).
I hate the stretches, and I don't use them for playing - but now that I'm practising them on a Tele neck, it's clear that I've learned the names (and I'm comfortable using my second finger for reference to find my way around).
Thank you, forum. Thank you, all kind and cooperative forum members.
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Hm. I picked up sight reading again. Singing along the notes while reading seems to make to become more engaged. Seems like a good thing to do.. Just a notion. Didn't think of it before:P
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Ran across this while looking for something else and thought of this thread.
EADGBE
ABCDEFG
B and E
That's about it....
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Originally Posted by MarkRhodes
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Originally Posted by MarkRhodes
I sat and watched in amazement yesterday while my friend (french horn) sketched out a complete arrangement for woodwind, brass and strings in a couple of minutes - in his head and onto paper.
My point is that his thinking is uncluttered, just like the thinking behind the tip in the video.
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It's a nice way to think but I doubt that it's enough to actually know them by heart like that. Good for reference but if still having to ponder even for a second, it's just not enough.
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