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  1. #51

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    Quote Originally Posted by freud View Post
    Thank You very much Christian for Your advices.
    Anybody have something else to add? Any interesting expierence with this method? Any Influence?
    It's in no way rocket science, you just have to spend a few hundred hours working on it

    1) Get used to running triads all over the neck... This is easier than scales, there are simply less notes
    2) Run the basic triads of the tune - 1 3 5 of the chords on the guitar. Get it so you can link them particularly in semitones - so rather than going 1-3-5 etc on every chord, link the Ab in an Fm triad into the G in a Cm triad, and so on. Also, be aware of common tones - for instance the C is common to both Fm and Cm
    3) Now, only when you are comfortable with this, do the same for related triads - on 3-5-7, 5-7-9, 7-9-11 and so on - so for Fm that would be Ab, Cm and Eb respectively, which would give you a composite Fm7, Fm9 (no 3) and Fm11 (no 3) sound.
    The voice leading possibilities are particularly fun for dominants.
    4) Transcribe A LOT
    5) have fun
    6) There's a lot more possibilities, but that will keep you busy.


    The Jazz Guitar Chord Dictionary
  3. #52

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    Quote Originally Posted by freud View Post
    Yes,of course. I meant G7 dominant.
    I use both Abm6 and Abm7 in the same time. One fingering. Standard + this one note extra. And Im chooseing better in current context.
    How do You deal with chords from Garrisons book?
    I find a lot of shapes. But there are some shortcomings. Do You thing this Garrisons system is good for learning chords? Its challenge for me.
    The chords in the book are guide tones on the third and fourth strings. Fewell then expands the guide tones into three note voicings by adding a chord tone or tension note on the second string. The system is good if you want to learn voice leading with guide tones.

  4. #53

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    Following this thread.
    "Your biggest discoveries come by playing" - Robert Conti

  5. #54

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    Hey. How's playing Fewell's triads? Does anyone develop this approach? Any insights?
    I am currently working on voicings built on the basis of extensions from triads. This gives you a lot of extra options when playing chords. With one m7 chord you can make 3-4 cool extensions and play interesting colors.
    Is Fewell's second book additional material for playing chords? Has anyone worked with this material?

  6. #55

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    Fewell's second book goes much deeper into this topic and more on the basis of more complex harmony. Currently working on the chapter(s) about altered dominants and the application of melodic minor to play over them.
    A long journey starts with the first step...and although I have long forgotten about my destination I'm still enjoying the journey.