Archive

Archive for June, 2012

Epiphany #4

June 26, 2012 Leave a comment

While it is certainly a useful and interesting exercise, constructing chords is like scaffolding.
You should be able to make a Cmaj9 chord on the spot, not because the 1st, 3rd, 5th, 7th, and 9th notes are arranged a particular way, but simply because it is a Cmaj9 chord. Your fingers are forming that shape on the fretboard because that shape is where Cmaj9 lives. He hangs out there, it is his personal place in the universe. You can visit him anytime, because he will always be there.

Try thinking about constructing chords and “seeing” chord shapes within scales, as a means to stop seeing them.

Advertisements

音出して

June 23, 2012 Leave a comment

「うまくなくてもいいし、間違ってもいいのよ。」

「まずは音だして」

「音出さなきゃ音楽始まらないのよ」

Harmony Explained: Progress Towards A Scientific Theory of Music

June 21, 2012 1 comment

The Major Scale, The Standard Chord Dictionary, and The Difference of Feeling Between The Major and Minor Triads Explained from the First Principles of Physics and Computation; The Theory of Helmholtz Shown To Be Incomplete and The Theory of Terhardt and Some Others Considered

http://arxiv.org/html/1202.4212v1

Tags:

Workout 0.21

June 21, 2012 Leave a comment

A workout modified specifically for learning note positions, as well as the four main Major and Minor triad shapes in multiple keys.
The same exercises are repeated for notes C, A, G, and E

Using http://nowdothis.com and pasting the following:

1) Play C note on each string
2) Play C notes on entire fretboard according to octave patterns
3) Play the four C Major triads by root note of string in ascending fashion
4) Play the four C Minor triads by root note of string in ascending fashion
1) Play A note on each string
2) Play A notes on entire fretboard according to octave patterns
3) Play the four A Major triads by root note of string in ascending fashion
4) Play the four A Minor triads by root note of string in ascending fashion
1) Play G note on each string
2) Play G notes on entire fretboard according to octave patterns
3) Play the four G Major triads by root note of string in ascending fashion
4) Play the four G Minor triads by root note of string in ascending fashion
1) Play E note on each string
2) Play E notes on entire fretboard according to octave patterns
3) Play the four E Major triads by root note of string in ascending fashion
4) Play the four E Minor triads by root note of string in ascending fashion

Major and Minor Triads

June 20, 2012 Leave a comment

Learning to produce any given chord in any given position effortlessly and fluidly is quite an undertaking, and I don’t think it should be something approached from a top-down perspective. If it were, I think it would be a rather painful endeavor, with grandiose expectations and unclear deadlines for success.

So, I’m going to begin in piece-meal fashion.

First, I will learn the four basic triads in every key. To go about this, I think it makes sense to start with the root note on each of the lower 4 strings (E, A, D, G). Four root note positions of a given key.
These four shapes are easily accessible across the neck and could be worked into a fretboard-note exercise quite well. It should be strongly noted that while the first two shapes (E & A strings) are exactly the same shape, the high two (D and G) change in consequence of the odd tuning between G and B strings. Learning the triads in this manner really allows you to visualize this shift.

From there, as the degree notes of each of the four triad shapes progress linearly (1, 3, 5) up the neck, the third can be easily flattened to produce minor triads. So by learning 3 shapes (same shape on E & A), we can effectively learn to readily produce four major and minor triads for any given key in four different positions.

After thoroughly digesting this, we can move on to incorporating 7th notes, and experiment with doubling our notes to produce different voicings.

Of course, it always helps to learn the same thing many different ways, so it would also be useful to learn triads within the basic CAGED shapes and how to alter them to create Min, Maj7, Min7, D7, Aug, Aug7, etc. from them.

Note to self

June 4, 2012 Leave a comment

Need to learn triads.
Start with major triads and learn how to shift the degrees to form minor, m7, min7, dim, aug, etc.

Must always relate the patterns to the fretboard mechanics to really understand and be able to really utilize it. Always think loosely in CAGED, like, see the patterns, but always be aware of where your tonics and octave patterns are as well.

The 3 major things to always be considering when doing anything on the guitar:
1) where your tonics are
2) what CAGED position you are in
3) how do octaves correlate to where you are

Arpeggiating entire scale patterns

June 4, 2012 Leave a comment

While doing workout 0.2, I’ve found myself focusing more on arpeggiating CAGED positions, first from root to root and then the entire position. That kind of evolved into trying to arpeggiate multiple positions, which is really very cool. It feels good to break out of CAGED and just concentrate on where my tonic notes are. I’ve been adding the 7th degree note because it sounds nicer and more adds more finger movement. Major 7th chords sound so nice. ^^

It’s become clear that I should add this to my workout:
–> Arpeggiating Major 7th notes along the entire neck in a given key.

I really like this, especially when I try to keep note of which degree notes I am playing. I’ve noticed a lot of useful patterns, especially octave patterns, by doing this. This is such a good exercise.