-
Originally Posted by redbeard
For working the fretboard, a good exercice is to play solos on one string.
After on two strings, B and e , e and G,...
I do again this exercice, I think it helps to open the mind.
-
12-11-2009 12:06 PM
-
Originally Posted by redbeard
and
http://www.chrisgrey.com/blockchords.htmLast edited by randalljazz; 12-11-2009 at 03:25 PM. Reason: and
-
Thanks Randalljazz.....I was going to try and explain what Drop 2 chords are but its a lot easier to show than explain. I an glad you found those links for Redbeard!!
Essentially you are taking the inversions of a chord, dropping the second note from top and putting it as the frist note of the inversion. This makes the inversions "guitar friendly" so you can finger the chords. Unlike a piano, we have more than one middle C...so using Drop 2 voicings are useful.
You probably already are using some Drop 2 voicings...the Am7 "Cowboy" chord is a Drop 2 voicing...
Most of the Drop 2 voicings are really useful when you start playing Chord Melody style and need to have a melody note on the top string.
-
Thanks Randalljazz and bass2man for the links and info. Ive only been on this forum for a few days and I've been amazed at the amount of info I've acquired. This is a great site!!!
-
I am a newbie and what worked for me was remembering the notes on the 3rd, 5th, 7th and ninth frets. The others you can fill in, remembering B&C and E&F are half step apart(Next to each other)
-
Try learning the scale degrees. Numbers make more sense to me intuitively than letters and pound signs. From your chord knowledge you probably already know all of the 1-3-5 combinations. So if you memorize every location of a particular 1, then the 3 and 5 start to fit together. I made a tool to help me learn this stuff and I decided to make a website about it. You can see what I mean and download everything for free here
-
Dunno if it's already been said, but in addition to simply learning the note names for each string/fret on the guitar, I've found I'm much more comfortable playing and using different voicings since really hammering home which pitches are repeated on the guitar (e.g. find every middle C on your guitar, then every F in the octave above middle C on your guitar, and so on). Listen to the difference in timbre, compare different voicings you use - are any of the notes the same pitch in each voicing?, play a C major descending scale while moving up the neck, and so on.
As a rock/blues guitarist coming to jazz, I've found that rock/blues guitarists too easily think "up the neck = up in pitch" when it isn't necessarily so. I'm still getting to grips with being fluid in using this, but found it really connected me to my instrument and opened things up a lot for me. The guitar suddenly "made sense" more like a piano does once I thought about it this way and tired it out.
I don't know who advocates this method particularly, it's just something I came across myself through contemplating the structure of the guitar. It's probably well espoused, tho.
Henriksen Bud 6 w/ gig bag
Today, 03:29 PM in For Sale