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Archive for May, 2012

Epiphany #1: Ignoring the obvious

May 20, 2012 Leave a comment

I spend too much time working on movable shapes. I had the impression that the fretboard should be learned as a whole, focusing on being able to recall the entire position according to CAGED theory as it appears relative to any key. Each lateral chunk should be shifting horizontally and the positions are the same in sequence. I was assuming that the lateral chunks were singular entities, as opposed to seeking out other shapes within them.

I need to start digesting smaller chunks according to degrees in the scale, on fewer strings and that cover more horizontal fretboard real estate. I should be able to locate these shapes faster by just finding the tonic, as opposed to having to mentally calculate the position using CAGED. Doing this would narrow the focus to smaller, more discrete patterns.

It’s also a nice little mental relief. Always thinking in CAGED was starting to get kind of boring. It will be nice to be able to shift around using smaller objects.

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Bananas

May 19, 2012 Leave a comment

Key of A (major? pent?)

E|—————————————
B|———–5—————————
G|——–2—–4–4h6–6h9p6—–6–
D|—–6————————-9——
A|–4———————————–
E|————————————–

E|–4h5p4———————————–
B|———5—–5–7———————–
G|————6——–6p4—–4/6–9–6–
D|—————————7—————
A|——————————————
E|——————————————

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Arpeggios can move!

May 14, 2012 Leave a comment

A painstakingly obvious breakthrough while exploring this whole arpeggio phenomenon: arpeggios walk.

All this time I was assuming that they were something new and foreign to me. I was over-complicating things, and only looking at them linearly as to how they are calculated from a scale’s root.

I was worried that there might not be any transposability or identifiable shifting mechanism on the fretboard.
I also feared that their free use in improvisation was contingent upon an understanding of yet unclear theoretical concepts and how they apply to a fretboard. (arguably true)

Everything becomes more familiar and less intimidating when considering these two simple facts:

  1. An arpeggio is nothing more than the notes of a chord played independently of each other.
  2. Chords are easily transposable.

Therefore:
Arpeggios must also be easily transposable.

Nice little jazzy chord progression and arpeggio

May 13, 2012 Leave a comment

Fm9 – Bb13 – Bb7#5 – Eb6/9 – Cm9 – Cm11

Diatonic to Eb Major

E|—-X—-8—-X—-X—-10—X—-
B|—-8—-8—-7—-6—-8—–6—-
G|—-8—-7—-7—-5—-8—–8—-
D|—-6—-6—-6—-5—-8—–8—-
A|—-8—-X—-X—-6—-X—–X—
E|—-X—-6—-6—-X—-8—–8—-

Mix in Major 7th arpeggio with lead:

E|———————–6–10–11–10–6———————–
B|——————–8———————-8——————–
G|————-7–8—————————–8–7————-
D|———-8——————————————8———-
A|–6–10————————————————10–6—
E|—————————————————————–

String-skipping Major 7th arpeggio:

E|——————————6——6—10—-
B|———————–8———8————–
G|—————7———-7———————
D|——-8———–8—————————-
A|—6——10————————————
E|————————————————-

Eb Major scale pattern:

E|————————————————————8—10—11—
B|———————————————-8—9—11—————–
G|——————————–7—8—10——————————
D|——————6—8—10——————————————-
A|—6—8—10——————————————————–
E|———————————————————————

Eb Major scale pattern with skipping (ascending):

E|————————————————————————
B|————————————————————————
G|—————————————————7——–8—7—10—8—
D|——————–6——–8—6—10—8——-10———————
A|—6—10—8——-10————————————————
E|————————————————————————

Number of tonic notes in each CAGED position 2

May 12, 2012 Leave a comment

Previously, I noted the amount of tonic notes in each of the CAGED scale positions.

I stated that:
2 tonic positions: C, E, D
3 tonic positions: A, G

To expand on this, the above arrangement applies when you are playing in minor.
When played in major, however, everything moves up a step, and you are left with:
2 tonic positions: C, A, D
3 tonic positions: G, E

I still need to examine the correlation between relative major and minor patterns in more detail, but it is pretty neat knowing that everything just shifts one step.

Another new gameplan

May 12, 2012 Leave a comment

Okay, this time I will see this through to completion before moving on to another project (maybe)

これだ:
Relative Major and Minor scale positions
Transposing key signatures via CAGED system
Navigating by octaves
Major and Minor chords
Major and Minor arpeggios
Wank in Eb Major using jazz chords and arpeggios

To do: buy new metronome

Arpeggios maybe

May 11, 2012 Leave a comment

I think what my playing needs most is a means to break out of running through scale patterns.

So I’m going to change directions again and learn more about arpeggios.
I’ll probably switch back from pentatonic minor to major.
There is this neat little video that I would like to incorporate into a vamp session:
http://goo.gl/kHO9V

I watched about 1 hour of circle of 5ths youtube videos, it’s such a beautiful concept.

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