Here I Give 2 idea to understand and to know better the shape of Whole Tone scale. I believe the one of the best way to know the shape is by learn the Sequence. So, here they are....
Selasa, 26 April 2011
Whole Tone Scale
From the name, I believe we all know that the meaning of this scale is scale that has Major second interval to the next note, so the formula is:
1 2 3 4# 5# 6# 1(Octave)
For A Whole Tone scale, the notes are: A B C# D# E# G A
E# has enharmonic name, F :) . Here below I give the notes ...
A Whole Tone Scale
C Whole Tone Scale
E Whole Tone Scale
For the example, we will learn A whole Tone Scale. There are few shape in guitar that we may apply according to our style. Let see....
In Figure .01 we see a nice shape in guitar fretboard. It ease us on remembering the shape. Many guitar book recommend this shape. But, of course, still we have option, like figure .02 below.
For A Whole Tone scale, the notes are: A B C# D# E# G A
E# has enharmonic name, F :) . Here below I give the notes ...
A Whole Tone Scale
C Whole Tone Scale
E Whole Tone Scale
For the example, we will learn A whole Tone Scale. There are few shape in guitar that we may apply according to our style. Let see....
In Figure .01 we see a nice shape in guitar fretboard. It ease us on remembering the shape. Many guitar book recommend this shape. But, of course, still we have option, like figure .02 below.
On figure .02, I believe this shape suitable for guitarist who use economic picking. You also may reduce the last not the first string to create an up stroke picking. The good of this shape also is that you will feel a wider range in. The last note is G, Major second below the A Third octave.
Figure .03 also suitable for economic pickers :) , Just be careful with the 1 not only in D String.
For the lick, please go to this page>>
Figure .03 also suitable for economic pickers :) , Just be careful with the 1 not only in D String.
For the lick, please go to this page>>
PENTATONICS SCALE, FORMULA & MY PERSONAL APPROACH
Pentatonic scale are five note scale. There are many different pentatonic scale scales and we will start with the major pentatonic scale.
The Formula for Major Pentatonic is 1 2 3 5 6, in C it will be C D E G A note. the notes are below.
The Formula for Major Pentatonic is 1 2 3 5 6, in C it will be C D E G A note. the notes are below.
Since I use G Major pentatonic, I also give the G major Pentatonic, the notes are G A B D and E.
In C Major Pentatonic, the name also A minor Pentatonic, came from the relative minor name. In G Major Pentatonic, the relative would be E Minor Pentatonic. Now we know that by knowing the Major Pentatonic, we automatically learn also Minor Pentatonic.
Below I Give the common shape of Pentatonic.
I believe many of us know that shape but sometimes the way we play pentatonic looks and sound similar to other, because we play according to the shape above. Here I give other perspective to the Pentatatonic Approach.
The idea is to learn the shape horizontally, not vertically. So we I show the shape in 2 strings. Here they are.
The sequence in string 6 (E) and 5(A)
The sequence in string 5(A) and 4(D)
The sequence in string 4(D) and 3(G)
The sequence in string 3(D) and 2(B)
The sequence in string 2(B) and 1(E)
I hope by learning that sequence above, we will have "another road" to express our pentatonic scale.
Below I Give the common shape of Pentatonic.
I believe many of us know that shape but sometimes the way we play pentatonic looks and sound similar to other, because we play according to the shape above. Here I give other perspective to the Pentatatonic Approach.
The idea is to learn the shape horizontally, not vertically. So we I show the shape in 2 strings. Here they are.
The sequence in string 6 (E) and 5(A)
The sequence in string 5(A) and 4(D)
The sequence in string 4(D) and 3(G)
The sequence in string 3(D) and 2(B)
The sequence in string 2(B) and 1(E)
I hope by learning that sequence above, we will have "another road" to express our pentatonic scale.
Clean Sound lick 02
Clean sound is in the house. In this lick, I add Pentatonic and chromatic scale to give a color....
This is the Video
And also don't forget the tab
This is the Video
And also don't forget the tab
Senin, 25 April 2011
Major seventh Chord
As we know, a Major Seventh Chord formula is 1 3 5 7, so in D major Seventh we use D F# A and C# note. So, Chord that consist of these 4 notes must be D Major Seventh, don't have to strict on 1 3 5 7, but maybe 3 5 1 7 or 7 3 1 5 etc. It Still D Major Seventh.
Below I give the Formula of major Seventh and the Interval also.
Let see all DM7 shape that I usually use.
If you se, on Chart 01, these could be the best shape on DM7 (in my opinion) because the pitch are high, that create a clear tone.
On Chart 02, i simply move notes on E ist string to E on the 6th string, since the notes are the same. The nice idea of this is that DM7 also has different name..... F#m6 or D/C# or Cm/D
Chart 03 is very nice for rhythm chord. The notes are not as clear as the notes on Chart 01.
Below i give you table for every Major seventh Chord with the interval.
Below I give the Formula of major Seventh and the Interval also.
Let see all DM7 shape that I usually use.
If you se, on Chart 01, these could be the best shape on DM7 (in my opinion) because the pitch are high, that create a clear tone.
On Chart 02, i simply move notes on E ist string to E on the 6th string, since the notes are the same. The nice idea of this is that DM7 also has different name..... F#m6 or D/C# or Cm/D
Chart 03 is very nice for rhythm chord. The notes are not as clear as the notes on Chart 01.
Below i give you table for every Major seventh Chord with the interval.
| Chord | Root | Major Third | Perfect Fifth | Major Seventh |
|---|---|---|---|---|
| Cmaj7 | C | E | G | B |
| C♯maj7 | C♯ | E♯ (F) | G♯ | B♯ (C) |
| D♭maj7 | D♭ | F | A♭ | C |
| Dmaj7 | D | F♯ | A | C♯ |
| D♯maj7 | D♯ | F (G) | A♯ | C (D) |
| E♭maj7 | E♭ | G | B♭ | D |
| Emaj7 | E | G♯ | B | D♯ |
| Fmaj7 | F | A | C | E |
| F♯maj7 | F♯ | A♯ | C♯ | E♯ (F) |
| G♭maj7 | G♭ | B♭ | D♭ | F |
| Gmaj7 | G | B | D | F♯ |
| G♯maj7 | G♯ | B♯ (C) | D♯ | F (G) |
| A♭maj7 | A♭ | C | E♭ | G |
| Amaj7 | A | C♯ | E | G♯ |
| A♯maj7 | A♯ | C (D) | E♯ (F) | G (A) |
| B♭maj7 | B♭ | D | F | A |
| Bmaj7 | B | D♯ | F♯ | A♯ |
Sabtu, 23 April 2011
Major Chord Triad
Triad for Major chord formula is 1 - 3 - 5 (Interval M3 - m3) , So in C major, the notes are C E and G. Thats the only notes that we need to create a C major. So, in every position, this is the picture.
The shapes above usually use in Electric guitar, eventhouugh sometimes used in acoustic one. The Red dot means Root not.
Later we'll talk about Major seven (M7) chord and other major Chord.
The shapes above usually use in Electric guitar, eventhouugh sometimes used in acoustic one. The Red dot means Root not.
Later we'll talk about Major seven (M7) chord and other major Chord.
Jumat, 22 April 2011
idea for streching and warm up
This idea actually fit for you whose have much time for practicing. So by doing this kind of streching, you aim more than just streching but also sharping your scale knowledge.
Arpeggio using Sweep picking and legato
An easy lick i think, but a nice lick to end your composition.. like a cadenza.
Rabu, 20 April 2011
GLOSSARY
Aeolian The sixth mode of the major, also known as the natural minor scale.
Alteration (A K A altered note) The b9, #9, #11, b5, #5, b13 of a chord.
Altered mode The seventh mode of the melodic minor scale.
“Avoid” note A note from the scale of a chord that sounds dissonant when hold against the chord. The term usually refers to the 4th of a major chord and the 11th of a dominant chord.
Bag (A K A bag of tricks) A jazz musician’s repertoire of licks, patterns, and so on often used in proprietary form as in “Jackie’s bag”.
Ballad Slow tune
Bebop The revolutionary style of jazz that evolved in the early 1940’s
Bird Charlie Parker
Blowing choruses The Choruses of a tune that are improvised.
Break Breaks typically occur at the beginning of a solo. The soloist plays alone as the rest of the band lays out, usually for 2, 4, or 8 bars. One of the greatest is Lee Morgan’s break at the beginning of his solo on John Coltrane’s “Locomotion” on Coltrane’s album Blue Train
Bridge The “B” section of a tune, usually on a A ABA or ABA tune. Sometimes called the “channel”
Cadenza An improvised rubato ending of indeterminate length, played by the soloist while the rhytm sections lays out.
Changes The chords to a tune.
Channel see bridge
Chart Arrangement, lead sheet
Chops Technique
Chorus Once through a tune
Circle of fourths (A K A cycle of fourths) A circular arrangement of all 12 notes of the Chromatic scale. When viewed counterclockwise, each note is a 4th higher than the preceding note. When viewed clockwise, each note is a 4th lower than the preceding note. See also cycle of fifths.
Clave (pronounced “clah-vay”) A two-bar rhythmic pattern that almost all Afro-Cuban music is based upon.
Common tones Notes that are found in the chords and/or scales of two or more consecutive chords.
Cycle of fifths (A K A circle of fifths) A circular arrangement of all 12 notes of the chromatic scale. Ehen viewed counterclockwise, each note is a 5th lower than the preceding note. When viewed clockwise, each note is 5th higher than the preceding note. See also cycle of fourths.
Deceptive Cadence A V chord resolving someplace other than down a 5th.
Diatonic Chords within a particular key. CA, D-7, Esus b9, FA#4, G7 and Gsus are diatonic to the key of C.
Diminished scale A scale alternating half steps and whole steps (or vice versa)
Diz Dizzy Gillespie
Dorian Mode The second mode of the major scale; also the chord derived from that mode.
Double diminished chord Two diminished 7th chords played at the same time by a pianist, an eight-note chord including all the notes of a diminished scale.
Double time Change the tempo to one that’s twice as fast, the changes also moving twice as fast.
Double time feeling Change the tempo to one that is twice as fast, but with the changes still moving at the speed of the original tempo.
Eights (or “trade eights”) Two or more players, each in turn trading eight-bar improvisations, usually for one or more choruses after the regular solos.
Ending The last part of a tunem often specially arranged
Enharmonic Two differently spelled notes that are the same, such as Cb and B, D# and Eb, or F# and Gb.
Extenisons The 9th, 11th and 13th (also known as the 6th) of a chord.
Fake book A book of standards and jazz originals, usually consisting of just the melody and chord symbols, so-called because improvising used to be called “faking”.
Finger memory The internalized muscular memory of what a chord, lick phrase, pattern, and so on, feels like (a term used mainly by pianists, but applicable to all instruments)
Form see song form
Fours (or “trade fours”) Two or more players, each in turn trading four-bar improvisations, usually for one or more choruses after the regular solos
Free (or “play free”) Improvise, usually without chord changes or a pre-set form.
From the top Take the tune from the beginning
Funky Earthy, Soulful, Visceral, Unintellectual
Gig A musical job, be it at a club, party, festival or record date.
Great American Song Book, The : The compositions of George Gershwin, Cole Porter, Irving bErlin, Duke Ellington, Billy Strayhorn, Jimmy Van Heusen, Jimmy McHugh, Hoagy Carmichael, and so on.
Groove The “lock” between members of a rhythm section playing well together.
Half-Diminished (1) A minor 7th chord with a flat 5th; (2) the chord built off the sixth mode of the melodic minor scale; (3) the chord built off the the seventh mode of the major scale.
Head (1) The composed melody and changes of a tune; (2) a tune composed by a jazz musician based on the changes to a standard; (3) the first time through the melody of a tune, befre the solos begin.
Interlude A section of a tune, usually played between the head and the solos, or between soloist.
Interval The space between two notes.
In the pocket When the music is rhytmically in a groove
Intro An Introductory section before a tune is played. Often improvised.
Ionian Mode The first mode of the major scale
Jam session (also “to jam”) informal gathering of jazz musicians playing together.
Kicks Specific rhythmic hits played by the rhytmic section.
Latin jazz A fusion of jazz abd Afro-Cuban music.
Lay back Relax; play on the back side of the beat.
Lay out Don’t Play
Lead Sheet A Sheet of music usually containing just the melody and the chord symbols of a tune.
Left-hand-voicings Rootless voicing for the left hand originally developed by pianists Red Garland, Bill Evans, and Wynton Kelly.
Lick An improvised phrase that has entered the everyday languange of jazz, oftenused descriptively, as in “a Joe Henderson lick”.
Locrian mode The seventh mode of the major scale.
Lydian augmented mode The third mode of the melodic minor scale; also the chord derived from that mode.
Lydian mode The fourth mode of the major sclae; also the chord derived from that mode.
Minor Major mode The first mode of the melodic minor sclae; also the chord derived from that mode.
Minor II-V-I a II-V-I progression in a minor key, as in Do, G7alt, C-A
Mode A seventh-note scale created by strating on any of the seventh notes of a major or melodic minor scale.
Natural Minor Scale See Aolian
Original A tune written by a member of the band,often part of a bandstand announcement, as in “we’d like to play an original tune by....”
Out Chorus (or) “Out head” The last time through the melody of a tune.
Outside Playing notes in the changes (and assuming that they sound good, unlike “wrong notes”)
Parallelism Chords or chord voicings moving in parallel motion.
Parent Scale The scale from which a mode is derived.
Pedal (or) pedal point A note, usuall in the bass, which remains the same, over whicha chord, or series of chord, is played.
Phrygian Mode The third mode of the major scale; also the chord derived from that mode.
Polychord Two or more chords played at the same time
“Rhythm” Changes Chord changes based on George Gershwin’s tune “I’ve Got Rhythm”
Rif Repeated horn figure, often played behind a solo.
“Right on it” No intro; start playing right on the head.
Rubato Playing out of tempo
Sequence A phrase, or motif, repeated at a different pitch. The repeated phrase doesn’t necessarily have to have the excat same interval structure, but generally has the same shape as the original motif.
“shed” see woodshed
Shout chorus A specially arranged chorus, usually played between the last solo and the out chorus
Sit in, sitting in When a musician who is not a member of the regular band joins the band to play.
Slash chord (1) A triad played over a note in the bass other that the root; (2) a 7th chord played over a note in the bass not in the chord; (3) a triad played on top of another triad. See also polychord.
Solo, Soloing Improvised on the tune
Solos Improvisedsection of a tune
Song form The organization of letter names given to different sections of a tune (usually in eight-bsr segments), as in “AABA” “ABC” and so forth
Standard A tune popular with jazz musician, usually but not always, composed by a non-jazz songwritter (George Gershwin, Cole Porter, and so on). Many of Duke Ellington and Billy Strayhorn’s songs are also considered standards.
Stop-time Usually occuring during a solo, the rhytm section plays only on the first beat of every two, or four bars. Ocasionally a stop-time figure will have two or more kicks. One of the Greatest stop-time solos is by Sonny Rollins on Vincent Youmans “I Know That You Know” on the Dizzy Gillespie-Sonny Stitt- Sonny Rollins album Sonny Side Up.
Straight ahead Play with a swing feeling
Straight 8ths Play with a rhytmically even feeling, without swinging in the traditional sense. Most Latin music is played this way.
Stroll A Solo selection, where on the soloist’s cue, the pianist, or the entire rhythm section, lays out for a while. See lay out.
Substitute chord A chord that substitutes for the original chord.
Sus Chord A dominant 7th chord in which the 4th does not act like an “avoid” note.
Sus b9 chord A sus chord derived from either the phrygian mode of the major scale or the second mode of the melodic minor scale.
Swing era Jazz of the 1930’s
Tag An improvised section at the end of the out chorus, often repeated indefinitely.
Take it Out A signal from the band leader to play the out head
Tonic Minor chord A minor chord not functioning as a ii chord but as a “minor I”
Top The beginning of a tune
Train wreck when everything goes off track; someone forgets to take a repeat, or skips the bridge, or turns te time around, and so on.
Trane John Coltrane
Tritone The interval composed of three whole steps, most significantly occuring between the 3rd and 7th of a dominiant 7th chord
Tritone substitutions A V Chord substituting for another V chord a tritone away, or for the II-V progression a tritone away.
Turnaround A chord progression ocurring (1) at the end of a repeated section of a tune, leading back to the repeat; (2) at the end of the tune, leading back to the top.
Up Fast tempo
Vamp (1) A Rhythm section ostinato figure; (2) a short, repeated chord sequence.
“vamp til cue” Keep repeating a vamp until the cue to go on.
Verse A specially composed introduction to a ballad, often played or sung robato. The verse to Billy strayhorn’s “Lush Life” is a prime example
Voicing An arrangment of the notes of a chord , usually for piano or guitar, often in other than root position.
Whole-tone-scale A scale made up entirely of whole steps
Woodsheed (also ‘shed) To shut onself up, away from the world, and practise long and hard, as in “going into the woodshed”
“You’ll hear it” What themusician who called the tune sometimes says to another musician who’s not sure of the changes.
Alteration (A K A altered note) The b9, #9, #11, b5, #5, b13 of a chord.
Altered mode The seventh mode of the melodic minor scale.
“Avoid” note A note from the scale of a chord that sounds dissonant when hold against the chord. The term usually refers to the 4th of a major chord and the 11th of a dominant chord.
Bag (A K A bag of tricks) A jazz musician’s repertoire of licks, patterns, and so on often used in proprietary form as in “Jackie’s bag”.
Ballad Slow tune
Bebop The revolutionary style of jazz that evolved in the early 1940’s
Bird Charlie Parker
Blowing choruses The Choruses of a tune that are improvised.
Break Breaks typically occur at the beginning of a solo. The soloist plays alone as the rest of the band lays out, usually for 2, 4, or 8 bars. One of the greatest is Lee Morgan’s break at the beginning of his solo on John Coltrane’s “Locomotion” on Coltrane’s album Blue Train
Bridge The “B” section of a tune, usually on a A ABA or ABA tune. Sometimes called the “channel”
Cadenza An improvised rubato ending of indeterminate length, played by the soloist while the rhytm sections lays out.
Changes The chords to a tune.
Channel see bridge
Chart Arrangement, lead sheet
Chops Technique
Chorus Once through a tune
Circle of fourths (A K A cycle of fourths) A circular arrangement of all 12 notes of the Chromatic scale. When viewed counterclockwise, each note is a 4th higher than the preceding note. When viewed clockwise, each note is a 4th lower than the preceding note. See also cycle of fifths.
Clave (pronounced “clah-vay”) A two-bar rhythmic pattern that almost all Afro-Cuban music is based upon.
Common tones Notes that are found in the chords and/or scales of two or more consecutive chords.
Cycle of fifths (A K A circle of fifths) A circular arrangement of all 12 notes of the chromatic scale. Ehen viewed counterclockwise, each note is a 5th lower than the preceding note. When viewed clockwise, each note is 5th higher than the preceding note. See also cycle of fourths.
Deceptive Cadence A V chord resolving someplace other than down a 5th.
Diatonic Chords within a particular key. CA, D-7, Esus b9, FA#4, G7 and Gsus are diatonic to the key of C.
Diminished scale A scale alternating half steps and whole steps (or vice versa)
Diz Dizzy Gillespie
Dorian Mode The second mode of the major scale; also the chord derived from that mode.
Double diminished chord Two diminished 7th chords played at the same time by a pianist, an eight-note chord including all the notes of a diminished scale.
Double time Change the tempo to one that’s twice as fast, the changes also moving twice as fast.
Double time feeling Change the tempo to one that is twice as fast, but with the changes still moving at the speed of the original tempo.
Eights (or “trade eights”) Two or more players, each in turn trading eight-bar improvisations, usually for one or more choruses after the regular solos.
Ending The last part of a tunem often specially arranged
Enharmonic Two differently spelled notes that are the same, such as Cb and B, D# and Eb, or F# and Gb.
Extenisons The 9th, 11th and 13th (also known as the 6th) of a chord.
Fake book A book of standards and jazz originals, usually consisting of just the melody and chord symbols, so-called because improvising used to be called “faking”.
Finger memory The internalized muscular memory of what a chord, lick phrase, pattern, and so on, feels like (a term used mainly by pianists, but applicable to all instruments)
Form see song form
Fours (or “trade fours”) Two or more players, each in turn trading four-bar improvisations, usually for one or more choruses after the regular solos
Free (or “play free”) Improvise, usually without chord changes or a pre-set form.
From the top Take the tune from the beginning
Funky Earthy, Soulful, Visceral, Unintellectual
Gig A musical job, be it at a club, party, festival or record date.
Great American Song Book, The : The compositions of George Gershwin, Cole Porter, Irving bErlin, Duke Ellington, Billy Strayhorn, Jimmy Van Heusen, Jimmy McHugh, Hoagy Carmichael, and so on.
Groove The “lock” between members of a rhythm section playing well together.
Half-Diminished (1) A minor 7th chord with a flat 5th; (2) the chord built off the sixth mode of the melodic minor scale; (3) the chord built off the the seventh mode of the major scale.
Head (1) The composed melody and changes of a tune; (2) a tune composed by a jazz musician based on the changes to a standard; (3) the first time through the melody of a tune, befre the solos begin.
Interlude A section of a tune, usually played between the head and the solos, or between soloist.
Interval The space between two notes.
In the pocket When the music is rhytmically in a groove
Intro An Introductory section before a tune is played. Often improvised.
Ionian Mode The first mode of the major scale
Jam session (also “to jam”) informal gathering of jazz musicians playing together.
Kicks Specific rhythmic hits played by the rhytmic section.
Latin jazz A fusion of jazz abd Afro-Cuban music.
Lay back Relax; play on the back side of the beat.
Lay out Don’t Play
Lead Sheet A Sheet of music usually containing just the melody and the chord symbols of a tune.
Left-hand-voicings Rootless voicing for the left hand originally developed by pianists Red Garland, Bill Evans, and Wynton Kelly.
Lick An improvised phrase that has entered the everyday languange of jazz, oftenused descriptively, as in “a Joe Henderson lick”.
Locrian mode The seventh mode of the major scale.
Lydian augmented mode The third mode of the melodic minor scale; also the chord derived from that mode.
Lydian mode The fourth mode of the major sclae; also the chord derived from that mode.
Minor Major mode The first mode of the melodic minor sclae; also the chord derived from that mode.
Minor II-V-I a II-V-I progression in a minor key, as in Do, G7alt, C-A
Mode A seventh-note scale created by strating on any of the seventh notes of a major or melodic minor scale.
Natural Minor Scale See Aolian
Original A tune written by a member of the band,often part of a bandstand announcement, as in “we’d like to play an original tune by....”
Out Chorus (or) “Out head” The last time through the melody of a tune.
Outside Playing notes in the changes (and assuming that they sound good, unlike “wrong notes”)
Parallelism Chords or chord voicings moving in parallel motion.
Parent Scale The scale from which a mode is derived.
Pedal (or) pedal point A note, usuall in the bass, which remains the same, over whicha chord, or series of chord, is played.
Phrygian Mode The third mode of the major scale; also the chord derived from that mode.
Polychord Two or more chords played at the same time
“Rhythm” Changes Chord changes based on George Gershwin’s tune “I’ve Got Rhythm”
Rif Repeated horn figure, often played behind a solo.
“Right on it” No intro; start playing right on the head.
Rubato Playing out of tempo
Sequence A phrase, or motif, repeated at a different pitch. The repeated phrase doesn’t necessarily have to have the excat same interval structure, but generally has the same shape as the original motif.
“shed” see woodshed
Shout chorus A specially arranged chorus, usually played between the last solo and the out chorus
Sit in, sitting in When a musician who is not a member of the regular band joins the band to play.
Slash chord (1) A triad played over a note in the bass other that the root; (2) a 7th chord played over a note in the bass not in the chord; (3) a triad played on top of another triad. See also polychord.
Solo, Soloing Improvised on the tune
Solos Improvisedsection of a tune
Song form The organization of letter names given to different sections of a tune (usually in eight-bsr segments), as in “AABA” “ABC” and so forth
Standard A tune popular with jazz musician, usually but not always, composed by a non-jazz songwritter (George Gershwin, Cole Porter, and so on). Many of Duke Ellington and Billy Strayhorn’s songs are also considered standards.
Stop-time Usually occuring during a solo, the rhytm section plays only on the first beat of every two, or four bars. Ocasionally a stop-time figure will have two or more kicks. One of the Greatest stop-time solos is by Sonny Rollins on Vincent Youmans “I Know That You Know” on the Dizzy Gillespie-Sonny Stitt- Sonny Rollins album Sonny Side Up.
Straight ahead Play with a swing feeling
Straight 8ths Play with a rhytmically even feeling, without swinging in the traditional sense. Most Latin music is played this way.
Stroll A Solo selection, where on the soloist’s cue, the pianist, or the entire rhythm section, lays out for a while. See lay out.
Substitute chord A chord that substitutes for the original chord.
Sus Chord A dominant 7th chord in which the 4th does not act like an “avoid” note.
Sus b9 chord A sus chord derived from either the phrygian mode of the major scale or the second mode of the melodic minor scale.
Swing era Jazz of the 1930’s
Tag An improvised section at the end of the out chorus, often repeated indefinitely.
Take it Out A signal from the band leader to play the out head
Tonic Minor chord A minor chord not functioning as a ii chord but as a “minor I”
Top The beginning of a tune
Train wreck when everything goes off track; someone forgets to take a repeat, or skips the bridge, or turns te time around, and so on.
Trane John Coltrane
Tritone The interval composed of three whole steps, most significantly occuring between the 3rd and 7th of a dominiant 7th chord
Tritone substitutions A V Chord substituting for another V chord a tritone away, or for the II-V progression a tritone away.
Turnaround A chord progression ocurring (1) at the end of a repeated section of a tune, leading back to the repeat; (2) at the end of the tune, leading back to the top.
Up Fast tempo
Vamp (1) A Rhythm section ostinato figure; (2) a short, repeated chord sequence.
“vamp til cue” Keep repeating a vamp until the cue to go on.
Verse A specially composed introduction to a ballad, often played or sung robato. The verse to Billy strayhorn’s “Lush Life” is a prime example
Voicing An arrangment of the notes of a chord , usually for piano or guitar, often in other than root position.
Whole-tone-scale A scale made up entirely of whole steps
Woodsheed (also ‘shed) To shut onself up, away from the world, and practise long and hard, as in “going into the woodshed”
“You’ll hear it” What themusician who called the tune sometimes says to another musician who’s not sure of the changes.
Minggu, 17 April 2011
Building to Scale
The notes of a chord can also be determined by assigning a numeric formula, indicating the tones from the major scal. For example, based on the C Major Scale, 1-b3-5 would mean play the root (C), a flatted third (Eb), and the fifth (G) - a minor chord.
The Chart below is a construction summary of teh chord types (based on the key of C only):
C major Scale = C-D-E-F-G-A-B-C (1-2-3-4-5-6-7-1)
Notes : Since guitar has only six strings, certain notes must sometimes be left out. And sometimes certain other notes are "doubled" (played twice). In feneral, the fifth and the root are the first two pitches omitted when necessary.
The Chart below is a construction summary of teh chord types (based on the key of C only):
C major Scale = C-D-E-F-G-A-B-C (1-2-3-4-5-6-7-1)
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Notes : Since guitar has only six strings, certain notes must sometimes be left out. And sometimes certain other notes are "doubled" (played twice). In feneral, the fifth and the root are the first two pitches omitted when necessary.
Jumat, 08 April 2011
Finger streching using Bass before practice
This is my daily warm up before I grab my guitar. Few months ago, i found a 70% discount Washburn 4 strings bass. Nice black bantam series. And the rest is history.... at least for me.
Sorry, I make the tab on Guitar Pro...since I'm not a bassist :D
So.... Enjoy the lesson.
..
Warm up I - One note perstring | GuitarPro Version>>
Warm up 2 - Two Note Perstring | GuitarPro Version>>
Warm Up 3 - 3 Notes perstring | GuitarPro Version>>
Warm Up 4 - G Ionian sequence | GuitarPro Version>>
A Dorian Sequence | GuitarPro Version>>
Warm Up 5 - C Major harmony Arpeggio | GuitarPro Version>>
Kamis, 07 April 2011
Don Mock Style
I stole this lick from Don mock, one of the best guitar teacher in the world i think.... Very interesting & catchy guitar lick. Its ii V I progression, but in my opinion, this lick also work great on the I only....
So, this is the lick
Guitar Pro Version>>
So, this is the lick
Guitar Pro Version>>
Selasa, 05 April 2011
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