LESSON 1
|
Hi Lila,
This is a sample of how we would do the lesson webpage. I figured our major triad scales would be a good subject to use, so you have them documented here. I go over it in the video too so you can see all the shapes and hear the sounds. Don't forget to practice SLOWLY! Have fun, Z |
|
|
Here's an arrangement of the first verse of "Somewhere over the Rainbow" using the triad shapes in the key of C. You can use the fingerings from the above chord scales or try out any fingering that feels good!
|
|
LESSON 2Diminished Chords! We're talking about fully diminished 7th chords here. Four notes separated by minor 3rds. Because of this symmetry there are only 3 possible diminished 7th chords: C, Eb, F#, A C#, E, G, Bb, D, F, Ab, B. Once you figure out the two main shapes on the guitar, you can make all inversions of the chord by sliding up or down the neck by three frets. Diminished chords create tension in the music and are often used as Dominant (V7) chords! (C diminished = B7b9) A b9 is what we call a chord extension and is a color note added to a triad or 7th chord. A b9 is just a half step above the root. You can try substituting Diminished chords for dominant chords in your chord progressions, or adding them as a V chord to any chord you want to precede with more movement. Let your ears tell you if it's working!
|
|
Lesson 3
|
Hi Lila, Today we're talking about diminished seventh chords functioning as V chords. These examples are of the C# diminished 7th chord. You can think of this chord as four possible V chords: C7b9, Eb7b9, F#7b9, and A7b9. I wrote out a bunch of possible voicings for you to check out. These dominant 7th flat nine chords lead most naturally to minor chords, but they are used to cadence to major chords as well. Just think of them as V chords with a little "sauce." Have fun! z
|
|
LESSON 4Lila! It's CAGED time. You should be able to get it pretty clearly from the tab and the vid. It's 5 shapes of the major scale all based on open chord shapes: C shape, A shape, G shape, E shape, and D shape. All scales are movable to any key and I put the fingerings in there to help keep them smooth.
Warm up scale routine: Set your metronome to glacial (like 55 or 60) and go! Up and down each of the CAGED shapes at least two times. First, focus on technique. Light fluid touch with the left hand and no extra finger movement. EMPTY THE FINGERS! Once that starts to settle in you can move on to saying the names of the notes as you go. When the shapes get a little more comfortable, you can increase tempo or do like I do and play the slow tempo and then double it. Have fun! (15 minutes) |
|
Lesson 5
|
Lila - Here is a more targeted look at the C and A shapes in the CAGED system. Practice them as fast as possible. Just kidding - you know what to do. SLOW! Try to visualize the chord/arpeggio shapes and how the scales fit around them. Work on going from C shape to A shape and back again. Good luck! I'm working on "Just a Little While to Stay here" for next time. z
|
|
LESSON 6
|
Hi Lila! I hope you are beating the heat and that the bugs are leaving you alone. I worked out the first couple phrases in the Geoff Muldauer tune. It's your basic alternating bass in drop D with a couple of marginally tricky bluesy moves. You'll get it no problem!! Also I've uploaded a D drone track. You can use this to space out when the horses get riled up or something... it's also good for hearing how a scale relates back to the bass note. Try improvising melodies in your CAGED positions while the drone is going. It's fun. See you soon, z
|
|
LESSON 7
|
Hi Lila! Today we're working through the next phrase or two of the Muldauer tune, and the G shape of the CAGED system. While you're working on the tune, check out the cycle of V7 chords! Red flag!!! In this cycle the vi, ii, V7 chord progression is altered to contain all dominant chords. It's a move used commonly in the blues:) My video explains most of this, but I wanted to make sure you got it. I'm a little all over the place in this one, so when in doubt refer to the sheet music! (bet you never thought I'd say that!) I show you the G shape in the video too. You know what to do. Practice it wicked slow and add it to the mix. Have fun!!! z
|
| ||
lesson 8
|
Lila! That Muldauer is a cool guy. I figured out the 2nd page of that arrangement, and dug into YouTube to figure out how he ends the song. Hopefully you'll get all you need from this video, but if clarification is needed, we can work on it in lessons. The main thing with this tune is to keep that swing groove going and work to make smooth transitions. You can achieve this goal by practicing it really fast. If you don't get all the notes right, its no big deal! (kidding of course). You know what to do. Check out the cool augmented 7th (9) chord he uses at the end! See you tomorrow, z
|
|
lesson 9
|
Lila! Here's a much overdue lesson for you to check out. I've been working on "California Dreamin' " for you, but that damn song escapes me. It's pretty, but I can't get it to do what I want it to do. In the meantime, I made a simple arrangement of "Hey Jude." The idea here is to play just the melody and the bass notes. Keep the timing free and floaty, and get a feel for just playing bass and melody. It's what I wanted to do with that other tune... We've done this before with "Hobo" but this is a different kind of melody, and will be a good thing to practice. Good luck and have fun! z
|
| ||