Quote:
Originally Posted by s0cks
Because the melody is single notes right (well I guess you can add harmony like the 3rd, or 6th)? So while I'm playing over a G chord for example, chances are my melody will venture out of the root, 3rd, or 5th. So I'm guessing here, that you see the triads all connected together, and in other words, you're seeing the scale notes available in that hand position. So is that really any different to seeing the intervals across all 6 strings like so (assuming in the below case, your root is on the 6th/1st strings like G @ 3rd fret):
Code:
E| b7| 7 | R | b2| 2 |
B| 4 | b5| 5 | b6| 6 |
G| b2| 2 | b3| 3 | 4 |
D| b6| 6 | b7| 7 | R |
A| b3| 3 | 4 | b5| 5 |
E| b7| 7 | R | b2| 2 |
|
No, essentially, it's not different. It's just a different perspective. What you show here shows the relationship of all the notes to the root. I'm looking at it as a small space where the chords are closely overlapping. I'm finding melodies in them, sometimes playing these triads "fingerstyle" for example, but shifting the "pattern" to follow the root. If the melody "ventures out" of one chord, it's just "venturing in" to a new chord which is what we do in fingerstyle anyway as far as I can tell. Again for the most part, this made all of this more accessible for me. Not different, essentially, just easier.
I don't know, but if you play a chord/melody fingerstyle solo type piece, don't the majority of the melody notes come from these higher strings? When I look at tabs, that's what I see.