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#61
10-14-2012, 12:08 AM
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As long as you arent playing Justin Bieber covers, all is well.
Last edited by Davis Webb; 10-14-2012 at 12:16 AM. 
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#63
10-14-2012, 03:56 PM
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hah...its okay...I like to play Just Like a Prayer and I even attempted Overprotected by Britney....which sounded rather odd being sung by a 55 year old ex metalhead..
I think I needed to "yarl" a bit more, Nickleback anyone?
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#64
10-14-2012, 05:46 PM
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One of the things I find fascinating is the way chord shapes seem to be so much easier to remember and visualise than scale patterns. I'm sure all players can instantly picture and hear the simple cowboy chords, but to think through a scale on the guitar is much more of a complex and linear process. If it's possible to conjure up, say an E, A or D major shape, then instantly tweak it to a minor or a 7th chord without ever touching the guitar, then the visual cortex is already actively engaged. It's well worth getting to know all the chords in what's referred to as the CAGED system inside out, starting with some very simple mapping - locating the root, 3rd, 5th 7th etc within any chord shape, and where this lies relative to the tonic. Any root note on the low E or A string for instance has it's dominant 7th at the same fret 2 strings across. The 3rd (min or maj) in the chord will be on the same or next string. The 5th can be two frets up on the next string, and an octave above that it's on the same fret 5 strings across from the root. Take time, sit down, draw a few simple diagrams, think about it both with the guitar there and away from it. Learning the basic mapping of a chord this way opens the door to being able to hear more complex tones - 6ths, 9ths, 11th's, 13ths etc all based on their position in a chord shape, even the altered tones (flat or sharp 5ths and 9ths) can be understood from here. The root doesn't actually even need to be in the chord in many circumstances... an example is a C9th chord x7878x (or xx2333), where the notes in ascending order are the 3rd, dom7th, 9th, and 5th - the C note isn't voiced at all. And yet that same shape and position in a different context also functions as a Emin7b5, where you have the root, b5, 7, and 3rd. With this kind of knowledge it starts to get much easier to arpeggiate through a chord (or part of it) and link up the guide tones of the chord either chromatically or with part of a scale. Most ear training programs work on this kind of approach - applied to the guitar it would mean both hearing and seeing the sounds, positions and relationships mentally, so that when you do pick the guitar you know where to go straight away. It's very much like with language, where you can internally visualise how a word or phrase is written and hear how it sounds, all intantaneously. Indeed a lot of great musicians endorse practising mentally like this, without needing the instrument present.
Any good musician, in blues, jazz or whatever style understands which notes within a chord hold tension and really define the sound of the chord and where it's heading (often it'll be the 3rd or the 7th of the chord that really defines it) - and to play a measure that ends on the right note at the right time is the stuff that sends shivers up people's spines. Even if you can only do this in one or two positions on the fretboard in the beginning, understanding CAGED (ie. open C shape: A shape @ frets 3-5; G shape @ frets 5-8; E shape @ frets 8-10; D shape @ frets 10-13) will help locate and navigate that chord shape in several positions on the neck and map your way through the whole fretboard. Incidently, the CAGED system was coined in the 50's or 60's I think, and while it's a clever mnemonic it's certainly nothing new - any guitarist who ever learnt to find their way around around the instrument necessarily understood the relationship between scale patterns and chord shapes transposed up the fretboard. These visual patterns and shapes are unique to learning the guitar and can be quite baffling to other musicians who concieve of harmony differently, but they're not necessarily to our disadvantage. Thinking visually is a natural and primordial function of the brain, and getting the right maps wired in sooner rather than later can really make for progress. Last edited by andyi5; 10-14-2012 at 06:07 PM.
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#65
10-15-2012, 09:58 AM
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CAGED applies to scales too...worth a look...5 scale positions linked to the chord positions...
I learned the "Leavitt" method, so I still have seven scale positions kinda burned in my brain...but I think the CAGED positions are just as useful, and, as someone who uses arpeggios more than scales to map the fretboard--a heck of a lot more intuitive.
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