#136
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Week 10...you know what to do...try to do two keys this week.
Next week we get a lot more...say...artistic about things. |
#137
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Week 11.
Ok, so by now you know eventually you need to keep cycling through all of the keys and we're not going to spend our last three weeks just repeating that. This week, we're going to see what stuck. Pick a song, you can use pretty much anything, just let it be in 4/4. You're going to arpeggiate through the changes...play quarter notes, Root third fifth root, the second root should be an octave above where you began. If there's more than one bar of the chord of the moment, switch to a new starting point for the next bar. When the chord changes, you change. To see if anyone is still around, I'll post a video of the first song someone suggests to show the process... |
#138
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Disregard this suggestion if the majority of players here prefer something else, but Roger Waters’ acoustic guitar portion of Pink Floyd’s song Mother is very simple in terms of chords and strumming pattern.
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#139
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Doesnt have to be simple in regards to anything, but Mother it is. I'll post tomorrow.
Thanks for suggesting a good song |
#140
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Sorry, been busy...might still try to do a vid if I can get some quiet time...
but speaking of quiet...sure is quiet around HERE... |
#141
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Quote:
Looking forward to it! |
#142
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Ok, for the last two weeks of our 90 days, I'm going to give you something to start with and to keep thinking about during the next 90 days.
Inversions. Many moons ago, I had a conversation here with someone about the biggest "lightbulb" moment...and truly, this was it for me. So far we've looked at the triads as three consecutive notes--root, third, ad fifth. But a triad is those three notes in ANY combination. So a G major chord (triad) is GBD...but also GDB...and DGB...and DBG...and BGD...and BDG... see where this is going? This week, go as far as you can with your major triads. Where is every possible combination of the notes of each? There's a way to map this out, but for now I want you just to sit with the guitar and find all the possibilities. |
#143
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I'm late to the game on this post. I only saw it recently. Any chance you'll put this in a PDF and make it available to download once it's all done? |
#144
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Quote:
https://docs.google.com/document/d/1...it?usp=sharing |
#145
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Quote:
I wrote out string diagrams for a couple of weeks, and tried to learn all the notes on all six strings. After a while, realized I should stick to the natural notes, and use those to find sharps or flats if needed. After a while longer, realized my fretboard knowledge was most restricted around the 7th fret, on the middle strings, so began to focus there. Discovered the names spell the word "BEAD" then goes to F# on the B string. Also discovered one string up and two frets over gives the name on many notes. And discovered some repeating patterns elsewhere. So while I don't claim mastery, I can fairly quickly recognize note names at any fret position on each string, and continue to review daily. Plus I find when writing music I want to remember, I'm using note names rather than fret positions. I suppose if you stick with anything for several months, you learn something, and I did enjoy drawing the string diagrams from scratch and labeling them. I don't imagine I'll ever be enthralled with theory or scales, but the door has been opened, and at least I can begin to recognize the notes.
__________________
Martin OM-18 Authentic 1933 VTS (2016) |
#146
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I just discovered this 90 day event to learn the guitar neck. A great read and lots of good work. I'm going to revisit the posts and get on board, albeit a bit late.
When I roll over in the night and start thinking of all the things that need to be done, etc., and want to get back to sleep I imagine the fretboard and start naming the notes at various positions. I sometimes bring in a visual of a piece I've been working on. Then drift away......... |
#147
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Jeff -
This thread was really helpful. Any last thoughts for us going forward? |
#148
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Hi All. Just waking up this "old" thread to say Thank You to Jeff Matz for doing a great job (and a lot of work) on this set of lessons. Like others, I fell off the wagon on this, but through the magic of the internet, I can get back to it this fall. This is stuff that every guitarist should work on if they want to keep it interesting (insert your own Dos Equis joke here).
Thanks again Jeff!!
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Matt LEFTY Martin Custom Shop 000-28 Taylor 312ce 12-fret Crafter TA 080/AM |