Members evlttwin Posted April 25, 2007 Members Posted April 25, 2007 Please feel free to add your own in here. Mine are really simple. Learning the acronyms make it much easier for me. When i was in college, i took a Psychology class that just focused on Memory. I remember the professor told us, make an acronym, and the weirder..the better. That way it burns an image in your head. By learning just a few of these simple acronyms, you have memorized roughly 60% of the fretboard, and you will only have to count up or down the fretboard a maximum of 2 Frets, and sometimes just 1! I have been using this and Fretboard Warrior, which is free at http://www.fretboardwarrior.com and have noticed HUGE improvements in my recall. Anyone else have some tips?
Members Virgman Posted April 25, 2007 Members Posted April 25, 2007 Learn 7th chord arps all over the neck.
Members evlttwin Posted April 25, 2007 Author Members Posted April 25, 2007 Learn 7th chord arps all over the neck. Got any pics or links? I Googled it, but there are alot of different 7th Chord arpeggios (Major, Minor, Diminshed, etc..)
Moderators Jed Posted April 25, 2007 Moderators Posted April 25, 2007 Figuring out how to memorize unrelated notes won't help you much when it comes to playing. Arpeggios are one of the best (read most musical) ways to learn the fretboard. Like Virgman said - learn the 7th chord arpeggios all over the fretboard for all types of chords (maj7, dom7, min7, min7b5, dim7, etc, etc). You might find it easier to start with triads, but either way you'll need to learn every chord in every key all over the fretboard. Don't bother with links or charts, just start mapping out the fretboard with some paper and a pencil. If you don't know how to spell the chords start learning some basic harmonic theory first. Have fun, see you in a few years . . . cheers,
Members evlttwin Posted April 25, 2007 Author Members Posted April 25, 2007 So basically just learn all of the 7th chords that exist, and the notes contained within them?
Moderators Jed Posted April 25, 2007 Moderators Posted April 25, 2007 So basically just learn all of the 7th chords that exist, and the notes contained within them? . . . . and every inversion of each chord on every string grouping in every octave. In the process you'll learn every note on the fretboard in terms of how it can function harmonically, completely internalize the spelling ef every chord, learn all of your keys, develop your ears and your hands. Like I said earlier, you may want to start with triads. It's an easier place to start and provides most of the same benefits in less time. Coverting a facility with triads to 7ths chords is not too difficult or time consuming. cheers,
Members evlttwin Posted April 25, 2007 Author Members Posted April 25, 2007 . . . . and every inversion of each chord on every string grouping in every octave. In the process you'll learn every note on the fretboard in terms of how it can function harmonically, completely internalize the spelling ef every chord, learn all of your keys, develop your ears and your hands. I would love to see a .pdf of these
Moderators Jed Posted April 25, 2007 Moderators Posted April 25, 2007 Here's the point: It's the act of working this out yourself and finding all the bugs and issues in the system as you've developed it that provides much of the value. To work off a system that someone else worked out won't provide the same value. Take a chart of the fretboard or draw one up in a spreadsheet program and work the stuff out yourself. You won't regret the effort. cheers,
Members blumonk Posted April 25, 2007 Members Posted April 25, 2007 Know every note you play. If you don't know it, don't play it. Be honest with yourself.
Members evlttwin Posted April 25, 2007 Author Members Posted April 25, 2007 Can someone get me started with maybe a chord chart for all of the 7th chords?
Members Knottyhed Posted April 25, 2007 Members Posted April 25, 2007 Can someone get me started with maybe a chord chart for all of the 7th chords? I think what they're suggesting is that by working it out yourself you get the value... you probably need some basic theory? You know scales right? Do you know how scales are harmonized into chords? Basically you skip intervals: C major scale D F A C major 7th chord = C E G B Now you have an arpeggio... so go to the fretboard and find different ways of playing that same arpeggio. Then repeat for all the other 12 keys. Here's a couple of examples: D|--------------9-- (B) A|---------10------(G) E|--8--12--------- (C, E) G|--------0--4-------(G, B) D|-----2------------ (E) A|--3----------------© E|------------------ Of course the notes don't have to be in order...
Members Virgman Posted April 25, 2007 Members Posted April 25, 2007 Can someone get me started with maybe a chord chart for all of the 7th chords? Here's a link to charts I made up. http://www.esnips.com/doc/5a348332-217d-4259-a5ce-a32edda0e82f/7th-Arp-1 and http://www.esnips.com/doc/41db80ad-42c9-4d3c-9676-6df885569d13/7th-Arp-2 Most of these are sweeps but not all. Learn them ascending and descending. Be aware of the root notes. This will take you awhile to learn so be patient. Practice them everyday. Use them in your playing.
Moderators Jed Posted April 25, 2007 Moderators Posted April 25, 2007 Trying to learn about arps as per someone else's approach is kind of like learning songs strictly from tabs. Many people that work with tabs have no idea what they are playing, they are just copying the finger positions that the tab outlines. The end result is they learn to make a series of sounds that more or less sound like a song. The problems are these: 1) If the tab is wrong they have no means to correct it 2) By not understanding the music that the tab describes they have no way to know that there might be an easier / better way to play / finger the same notes 3) Since they don't understand theory or know their fundamentals they have no reference from which to understand what's going on musically and no ability to correct the errors in the tabs. 4) For all the reasons above they cannot play the same line on a different set of strings or understand how those notes work relative to the harmony and hence don't have those lines available to use in their improv work. 5) All of this amounts to memorizing a series of finger movements that, in the long run, are not particularly valuable. An alternative to this "blind leading the deaf, dumb and mute" approach is to take a blank chart of the fretboard and start writing-in all of the notes of the C major scale all along the fretboard. If they don't know how to do this without using a chart, they can read a short article of the structure of the major scale. By doing this themselves they are forced to think their way through the intervalic relationships of adjacent notes and of various string sets. Then after reading a short article on harmonizing the major scale they are ready to start hunting for diatonic arpeggio patterns. At first those patterns will be single octaves with roots on the 6th and 5th strings and in lower registers but eventually they'll find the arps with roots on the 4th, 3rd and 2nd strings along the whole freeboard and the door will fly open to a vastly expanded view of the instrument and the fretboard. Further still they'll start to see arpeggio inversions and multi-octave arpeggios and how these arpeggios "fit" over the various fingering patterns, within various chord voicings and the fretboard will start to seem exquisitely logical. As they internalize more patterns they start to see all the various scale pattern approaches in terms of the fretboard and so will be able to move between various fingering methods with ease AND understanding. Since they worked this out by hand and by note name they'll start to see common tones between pairs of chords - which of course leads to chord substitution, chord functions and extended chords / tensions etc. Later they'll start to think in terms of scale degree functions relative to arpeggio chord tones and in short order harmony and chord progressions become a simple little puzzle for which they've got the cheat notes. Along the way their hands will grow accustom to playing these patterns. Dexterity, agility and left/right hand synchronization will improve by leaps and bounds and their ears will have memorized the sounds and intervals associated with those hand movements leading to a solid and deeply internalized integration of ears, hands and fretboard. The ultimate benefits of this type of approach are too many to mention, but it's safe to assume that every aspect of their playing with improve by several orders of magnitude. But all of this takes time, effort and discipline and few people really want to subject themselves to the process required to become a great musician. Things will seem to grow in complexity at the start, so complicated that many might be tempted to give up. But remember that "it's always darkest before the dawn" and those that stick with it will find themselves in a place where the fretboard and indeed all music becomes a very simple and logical means of expression. Most people just want to buy the hot new method book that will let you play like (insert favorite guitar god here). Walk past the snake oil sellers, walk past to "master the guitar in 15 minutes" infomercials and start a conversation directly with music itself. At first you'll have no idea how to speak the language but if you stick with it you'll have access to everything, all the little secrets that so many try to sell on the 'net. Why study with some third-rate knock-off when you can study with the thing itself? cheers and good journeys,
Members 1001gear Posted April 25, 2007 Members Posted April 25, 2007 I practice lying down, guitar on my chest, eyes closed. Forces you to hear.It's like singing. And how TF does your throat remember where all the notes are anyway?
Moderators Jed Posted April 25, 2007 Moderators Posted April 25, 2007 Oh good grief! LOL Yeah, it was a tad heavy I guess . . . . lol
Members evlttwin Posted April 25, 2007 Author Members Posted April 25, 2007 Here's a link to charts I made up. Thats exactly what I was looking for. Thanks Vman.
Members evlttwin Posted April 25, 2007 Author Members Posted April 25, 2007 All that stuff you wrote Thats quite a dissertation, and I like it! I like getting perspective and insight from people who have gone through what I am going through now.
Members angus_old Posted April 25, 2007 Members Posted April 25, 2007 http://www.looknohands.com/chordhouse/
Members evlttwin Posted April 25, 2007 Author Members Posted April 25, 2007 I have another question: Why 7th Chords? Why not regular chords?
Members Virgman Posted April 25, 2007 Members Posted April 25, 2007 7th chords are commonly used in jazz. You'll like the sound.
Moderators Jed Posted April 25, 2007 Moderators Posted April 25, 2007 Actually 7th chords are common in rock as well (at least Dom, Min & Dim 7th's are) - just avoid too many maj7th chords for Rock.
Moderators Jed Posted April 26, 2007 Moderators Posted April 26, 2007 OK here's your chart for the key of F major. But ya gotta promise to throw it away after you look at it a couple of times. Then create your own.
Members evlttwin Posted April 26, 2007 Author Members Posted April 26, 2007 OK here's your chart for the key of F major. But ya gotta promise to throw it away after you look at it a couple of times. Then create your own. cool thanks
Members Virgman Posted April 26, 2007 Members Posted April 26, 2007 Once you learn a few of the arpeggio patterns you will see how these patterns repeat across the fretboard. It's important to put them into play. Changing keys cements the ideas in my head. Be sure to note at least the root notes of each arp. If it's an Am7 arp you better know where the A is. Thusly you learn the fretboard. Also note which set of arps aligns itself with particular scale positions. It's handy to jump on an arp while there. For example in the key of C at the A-Aeolian root 6 position (5th fret) you have among others: Am7 at 5th fret 6 string (VI chord)Dm7 at 5th fret 5 string (ii chord)G7 at 5th fret 4 string (V7 chord)CM7 at 5th fret 3 string (I chord) Hey that's 6-2-5-1, very cool! Experiment with the sound of the various arps in key of C played over different chords in that key. Play a Em7 arp over CM7, etc. Now practice till your fingers fall off.
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