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I have a quick question about the chord studies. I have been attempting to memorize the different chords included in the chord studies by running them through the circle of fifths in the three zones. I now have the dominant 7s and minor 7s and their respective extension chords memorized and can run through them fairly quickly. However after memorizing so many of the shapes, though I am being attentive to how the notes are changing (third flatted for minor, flat 7 raised for major 7s, etc.), I find that it is confusing to keep them all straight in my mind and not confusing them or forgetting the shapes for each string number, especially when the same “shape” visually is used for two or more chords (though the relationship of the notes involved is different).
So, my question is, what is the best method to memorize all of the different chords and extensions beyond what I am doing? Do I just need to slow down and master one type at a time until it is second nature and count on this taking a lot longer? I would appreciate your advice.
You answered your own question at the end! The key is to do one set of chords at a time and then try to apply them to a musical context. I usually have my private students learn the dom 7th chords and then have them play blues in all 12 keys in at least 2 zones. Then I have them incorporate min7 chords as in jazz blues and so on. I gradually introduce standards containing only the chord types they are learning.
Trying to do all at the same time often creates confusion. Undeniably, it just takes time to master.
When play the chords on first four strings you are out of the way of the bass player,but are you in the way of the melody or a piano comping in that range.
That’s why we need to listen and understand the rhythmic aspect of “comping” so we can interact w/ the soloist. Also, no one is going to stick exclusively to voicings on strings 1234…
As far as piano and guitar comping at the same time….that only works with very experienced players. Usually guitarists have to resort to what I like to call “minimalist comping” when playing with a keyboardist. If interested check out my video on YouTube on this:
Minimalist Comping for GuitarHi! I just joined the Gold tier and finished the Chord Studies 1 video.
Question: How proficient do we need to be with the minor 7, major and dominant chord voicings (no extensions)? At one point in the video Richie comments that we rarely use those ‘plain’ voicings and instead opt for the versions with extensions.
In light of the above, how quickly should I be able to play through the plain voicings moving through the descending circle of 5ths? It seems like we should focus more time/energy on getting the versions with the extensions under our fingers than perfecting the ‘plain’ voicings.
Thoughts?
The chords without the extensions are mainly a means to understand and derive the chords with extensions. Without their knowledge you won’t know,for example, where the imaginary root is when it is exchanged for a 9th. That said, once you understand them, yes, it is better to focus your time on the voicings with extensions.
Quote by Richie: “I usually have my private students learn the dom 7th chords and then have them play blues in all 12 keys in at least 2 zones. Then I have them incorporate min7 chords as in jazz blues and so on.”
Hi Richie!Am working through the chords and extensions..what is a ii-v-i in this context and how would one practice by playing blues in all 12 keys and min7 chords as you’ve mentioned? I can’t follow which chords are being played in the final ii-v-i demonstration at the end of the Chord Studies 1 video….
Hi Tamara, I think you might be getting ahead of yourself! Notice that I said in the quote you mention, “I usually have my private students learn…etc.” That’s because I don’t teach the specifics in the video, only in our “one on one” lessons.
If you are a new Platinum member, I recommend you simply learn the dominants for now and be able to play them through the cycle of 5ths as shown in the video. I will explain and show you the detailed procedure for everything else in our lessons.
As a matter of fact, the theory and chord studies before you begin the course are just there for reference and not an official part of the Bebop Guitar Improv Series, and you’ll notice that none of that information is in the books either. That’s because this is meant to be a linear improvisation course. A comprehensive chord study would require its own course (which I am working on and teaching only privately for now). Having said that, I recommend not to spend too much time for now on this aspect and try to focus primarily on Module 1 so you can schedule and take advantage of the “one on one” lessons. 🙂
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