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Start with the b7 (Bb on the 4th string ). Go up a M7 to a 6 on the 2nd string (the note A). You can resolve it by either going up a half step to the Bb or going down a M2 to the G.
These involve wider intervals . That’s why I mentioned that the total distance covered would be an octave if resolving to the B-flat .
I guess my question is are they still considered neighbor tones or passing tones when going up wider intervals ? You mentioned that a unprepared approach involves a leap of greater then the third. Which this example does ( leaping a M7, resolving a half step up for a major second down )
EDIT
`you also omit b7-6-5 (ASC) and 3-4-5 (DESC) .So maybe you’re trying to steer clear at this point of wider intervals that require excessive stretches across the fretboard ?
I’m trying to practice 3 to 4 hours a day, but this material forms only one aspect of my overall progress and practice time. Mostly, I’m trying to learn tunes and build a repertoire . Right now, I’m up to 2 1/2 hours a day. This course is not excessive for me because I see it with one limited goal in mind. I guess I see this course very simply, as a very valuable and elegant way to play changes by specifically targeting chord tones via the concept of single note lines. . It’s as simple and as meaningful as that. For that, I am grateful . It keeps me focused .
When I am more comfortable with the material and more able to get around the fingerboard without thinking, I will try to incorporate harmonizing the lines by stuff I already know and have worked on – double stops, octaves, intervals ( especially tenths and 6ths), Guide tones, closed and spread triads. Conventional drop two and drop three Grips.
My overall goal is to play the guitar pianistically, in this course will help me develop the top voice, i.e. the Melody.
This is a big weakness in my playing, and this course has really helped improve it already. Concomitant to this overall goal of targeting chord tones in a melodic way, the reason one is able to play more freely and expressively is that this course Can help link to the fretboard horizontally and vertically. I think that is a critical technical issue that helps with the music making in a substantial way.
As for rhythm, I will eventually get to the rhythm templates, but my overall focus is to think of the situation simply: mostly, we play eighth notes, quarter notes, triplets, and doubletime . The art of it is to seamlessly integrate these four rhythmic concepts and syncopate them, using silence and Rests. Which Debussy always said forms the music anyway (” Music is the silence between the notes”) 🙂
That’s a tall order, even if it is seemingly simple at first sight: how to integrate quarter notes, 8th notes, triplets and double time.
Anyway, sorry for the length of this post, I just want to report on how I view and use the course. Positively of course .
Ear training is a daunting subject for me because I never sang in my life. As my teacher said, “sing what you play and play what you sing’.
It’s gotten better, but there are so many confusing elements to it in terms of formal instruction. I’m not talking about this course, but in general. Especially if one is not a singer. What would be a really cool would be a video demonstrating the various different forms of Solfege– movable do vs. fixed do, etc.
At this point, I’m just looking to match pitch with the guitar. I really don’t understand Solfege. Apparently there is a European version, and American version, I don’t know.
Jimmy is not teaching anything different than what Richie has presented in his truncated (only on 1 stringset) intro —or what my teacher taught me —it’s the exact same thing —drop 2s on 3 stringsets and drop 3s on 2 stringsets. Thus, at the end, 20 different ways to play each type of 6th 0r 7th chord (6, m6, M7, m7, mM7, 7, half dim, dim).
nObody is reinventing the wheel here. It’s fundamental stuff. The point is, when you know how chords are built, when you figure out the inversions after accounting for the drop 2s and drop 3s, you can figure everything out for yourself without a massive chord book or diagrams.
Actually the 13b793 is doable with a barre for two outer notes and stretching 4 frets to get two inner notes. (strings 5321, like a drop 3 stringset). A nice rootless dominant with two extensions. Very usable. Thanks, I’m stealing it. 🙂
Wow I’m trying to finger those two voicings 935b7 and 13b793 and it looks to be nearly impossible unless I am missing something. Ok the 1st voicing seems to work on strings 6321 and 5321 for the 2nd voicing using a barre. Hard to do, wow.
One final suggestion if I may, for your new course: what would be very useful is to have a section on how to understand functional harmony and the myriad of chord substitutions, as used in a basic standard. Such that one can unravel the layers of the onion and figure out what’s going on, bridging the gap between the “vanilla changes” and the actual changes. So that we can figure out why Cole Porter through in a D7b9 in a tune that is in the key of F.
That would seriously help a lot of people.
Richie, that is a fair explanation. Of course I understand your plight . What I like about this course is that you seem to bridge the gap between “tab denizens” and real musicians. Looking forward to your new course whenever you develop it.
Playing chords scales up-and-down is not the same thing as understanding functional harmony. When someone presents you a proper reinterpretation of the 1625 turnaround (I6-Idim-IV6-V6-Vdim-I6), someone who understands functional harmony automatically knows how that can be applied to tunes, hundreds of tunes, thousands of tunes.
rIchie, I would welcome any course on harmony and guitar, but please don’t call it “chord melody “. The tab denizens of jazz guitar are the only ones who know this term. No one else in the band has ever heard of this. Of course, if you are going to design of course, you will have to overcome the dichotomy of guitarists who don’t think like musicians and would only think of themselves as guitarists, which is apparently in an exclusive category separate and apart from musicians.
When Johnny Smith was writing his method book, he solicited advice from my teacher. He was told that sales would plummet if he decided to introduce the grand staff, Because, sadly, most guitarists can’t even read the treble clef, let alone the bass clef .
Ken,
Since you are always asking about this on the jazz guitar forum It’s pretty clear you need to understand and study functional harmony 101. Otherwise, you ask about ‘minimizing finger movement’ when you should ask what does it mean to be the tonic, dominant, and subdominant. If you actually understand that, the Barry Harris material on major and minor sixth diminished harmony you always criticize would make more sense.
Here’s the quickest short formal I can imagine: whatever fingering one is using under Richie’s system, for a particular chord, The next chord would require the fingering number to be incremented by one. And so on.
Thus, if one is using fingering number one to start the G scale/arpeggio on the sixth string, one would use fingering system to to start the A scale-arpeggio.
Obviously the goal is to make it second nature, so ingrained that you don’t have to think about it. But in order to do that, you have to think about it in the practice room
James.
I have all of them open to me. So I do a bit here and there/. I’m not saying that’s the ideal way you should do it, and it’s probably not ideal for me either. But I’m pretty comfortable with how I’m working on things in general. This is but one part of it Best, Navdeep
Rob,
It’s not meant to be played in that sequence, and you can play whatever scale or arpeggio you’d like. It would be better if it was presented in diatonic sequence
Chord degree. Fingerings.
I 1. 2. 3. 4. 5. 6. 7
ii 2. 3. 4. 5. 6. 7. 1
iii. 3. 4. 5. 6. 7. 1. 2
IV. 4 5. 6. 7. 1. 2. 3
V. 5. 6 7. 1. 2. 3. 4
vi. 6. 7 1 2. 3. 4. 5
vii. 7. 1. 2. 3. 4. 5. 6It’s not presented anywhere in module one as far as I know, but can be easily derived from Richie’s basic premises. I believe this is what he means when he said to integrate vertically and horizontally the fingerboard into one big fingerboard. All it means is, if you’re using one particular fingering for the I chord, The remaining fingerings for the diatonic chords will symmetrically follow. The sequences easier to see when the chords are lined up in correct order. You can play them in any sequence, all it is is an overall fingering system derived from Richie’s fundamental principles.
As he says when he plays the F scale and triads in all seven positions, the other diatonic chord fingerings can be easily derived.
The symmetry of the fingerings is wonderful . It’s just a framework to get from one chord to any other Diatonic chord.
Maybe he presents it somewhere else later on in the course when he starts talking about Dorian scales and so forth.
