What practice are you doing/have you done today
Discussion
2fast748 said:
br d said:
I've just had a pair of Boss Waza Airs delivered so I'm looking forward to trying those at the weekend, supposed to be a bit of a revolution in the practicing stakes.
You may have just cost me a lot of money!It's an early version of some new technology but it looks to be a bit of a game changer.
2fast748 said:
br d said:
I've just had a pair of Boss Waza Airs delivered so I'm looking forward to trying those at the weekend, supposed to be a bit of a revolution in the practicing stakes.
You may have just cost me a lot of money!cherryowen said:
Mixed with combining minor and major pentatonic scales over chord changes (earlier Am / C / F / G)
So playing Am Pentatonic - C major Pent - F Major Pent - G Major Pent as the chords move?? dojo said:
cherryowen said:
Mixed with combining minor and major pentatonic scales over chord changes (earlier Am / C / F / G)
So playing Am Pentatonic - C major Pent - F Major Pent - G Major Pent as the chords move?? Playing the same sort of shapes for Am pent and C maj pent (both got the same notes, Am being the relative minor of C but emphasising different notes), but F & G pent was trying to mix up positions and shapes that connected seamlessly with Am pent. I s'pose I could just noodle away in A Dorian but after years and years of playing minor pent, this practice just opens up the fretboard a little more.
This weeks project is “Clarity” by Zedd. The slow piano/so-called-acoustic version: https://youtu.be/FPHhNuSdrYE
I’ve worked most of it out - just need to listen properly to the middle eight and ending phrases,
I’ve worked most of it out - just need to listen properly to the middle eight and ending phrases,
Simes205 said:
I Md’d ’We will rock’ you last year.
Some quite intricate parts in that!
Yes - some pretty tricky lines, going to be all consuming for next 3 weeks.Some quite intricate parts in that!
Some odd parts in score (like putting pieces in C# rather than Db!!)
cherryowen said:
dojo said:
cherryowen said:
Mixed with combining minor and major pentatonic scales over chord changes (earlier Am / C / F / G)
So playing Am Pentatonic - C major Pent - F Major Pent - G Major Pent as the chords move?? Playing the same sort of shapes for Am pent and C maj pent (both got the same notes, Am being the relative minor of C but emphasising different notes), but F & G pent was trying to mix up positions and shapes that connected seamlessly with Am pent. I s'pose I could just noodle away in A Dorian but after years and years of playing minor pent, this practice just opens up the fretboard a little more.
Say you're at Fret 5 - its: | Am (Em shape) | C (G Shape) | F (C shape) | G (D shape) |
Obviously you can do it 5 different positions - so much scope to do cool stuff with this.
br d said:
I've just had a pair of Boss Waza Airs delivered so I'm looking forward to trying those at the weekend, supposed to be a bit of a revolution in the practicing stakes.
Re this. Doesn't work! Just spent an hour with them, took me an age to work out how to stream from Spotify into the phones, there is literally nothing in the manual or on the website about how to do this for audio.
Finally got the connection by blind luck but the guitar sound is just a completely basic, entirely dynamically empty clean pluck.
A thousand different effects and amps but all give the exact same sound, crank the volume, gain and tone from 0 to a 100 and its exactly the same.
I'm obviously not doing it right but so far I'm a little disappointed for my 400 quid!
dojo said:
Yep thats great practise - esp if you force yourself to stay in position and use CAGED system.
Say you're at Fret 5 - its: | Am (Em shape) | C (G Shape) | F (C shape) | G (D shape) |
Obviously you can do it 5 different positions - so much scope to do cool stuff with this.
Steady on Say you're at Fret 5 - its: | Am (Em shape) | C (G Shape) | F (C shape) | G (D shape) |
Obviously you can do it 5 different positions - so much scope to do cool stuff with this.
I only recently got my head around the circle of fifths (bear in mind I've been playing guitar for 30 years, but most of which was spent playing stuff I wanted to play rather than "learning" stuff). I still struggle with the CAGED theory if I'm honest, in as much as I currently can't see it adding any value. I will persevere, though!
Anyway.
Earlier this evening, it was jazz progressions. I love jazz guitar, but soloing a-la Joe Pass is a pipe dream. But practicing some min7 / dom7 / maj 9 sort of stuff earlier I (by chance) came up with : D7 (root on the A string) / C half diminished / G. So you have a descending bass line of perfect 5th / 4th / root. It sounded very sweet, but it needs another chord to resolve back to the D7 to start the cycle again. Maybe a Gmaj7 acting as a secondary dominant?
cherryowen said:
Steady on
I only recently got my head around the circle of fifths (bear in mind I've been playing guitar for 30 years, but most of which was spent playing stuff I wanted to play rather than "learning" stuff). I still struggle with the CAGED theory if I'm honest, in as much as I currently can't see it adding any value. I will persevere, though!
Anyway.
Earlier this evening, it was jazz progressions. I love jazz guitar, but soloing a-la Joe Pass is a pipe dream. But practicing some min7 / dom7 / maj 9 sort of stuff earlier I (by chance) came up with : D7 (root on the A string) / C half diminished / G. So you have a descending bass line of perfect 5th / 4th / root. It sounded very sweet, but it needs another chord to resolve back to the D7 to start the cycle again. Maybe a Gmaj7 acting as a secondary dominant?
Ah CAGED for me is the clearest most logical way to 'unlock' fretboard... Defo worth sticking with IMO. I only recently got my head around the circle of fifths (bear in mind I've been playing guitar for 30 years, but most of which was spent playing stuff I wanted to play rather than "learning" stuff). I still struggle with the CAGED theory if I'm honest, in as much as I currently can't see it adding any value. I will persevere, though!
Anyway.
Earlier this evening, it was jazz progressions. I love jazz guitar, but soloing a-la Joe Pass is a pipe dream. But practicing some min7 / dom7 / maj 9 sort of stuff earlier I (by chance) came up with : D7 (root on the A string) / C half diminished / G. So you have a descending bass line of perfect 5th / 4th / root. It sounded very sweet, but it needs another chord to resolve back to the D7 to start the cycle again. Maybe a Gmaj7 acting as a secondary dominant?
You'd have a loads of options to get back... I'd be thinking A7 is my target... So maybe set up a Em7 as a ii before A7 and then tritone sub the A7 for Eb7... That would give you Em7 Eb7 leading to your D7 and keep descending from the G... Maybe go a step back more and put a F#m7b5 B7 in before that but sub the B7 for F7
| G6 | F#m7b5 F7 | Em7 Eb7 | D7 |...i mean that is really hammering the bass line descending idea but... Something to start with??
dojo said:
cherryowen said:
Steady on
I only recently got my head around the circle of fifths (bear in mind I've been playing guitar for 30 years, but most of which was spent playing stuff I wanted to play rather than "learning" stuff). I still struggle with the CAGED theory if I'm honest, in as much as I currently can't see it adding any value. I will persevere, though!
Anyway.
Earlier this evening, it was jazz progressions. I love jazz guitar, but soloing a-la Joe Pass is a pipe dream. But practicing some min7 / dom7 / maj 9 sort of stuff earlier I (by chance) came up with : D7 (root on the A string) / C half diminished / G. So you have a descending bass line of perfect 5th / 4th / root. It sounded very sweet, but it needs another chord to resolve back to the D7 to start the cycle again. Maybe a Gmaj7 acting as a secondary dominant?
Ah CAGED for me is the clearest most logical way to 'unlock' fretboard... Defo worth sticking with IMO. I only recently got my head around the circle of fifths (bear in mind I've been playing guitar for 30 years, but most of which was spent playing stuff I wanted to play rather than "learning" stuff). I still struggle with the CAGED theory if I'm honest, in as much as I currently can't see it adding any value. I will persevere, though!
Anyway.
Earlier this evening, it was jazz progressions. I love jazz guitar, but soloing a-la Joe Pass is a pipe dream. But practicing some min7 / dom7 / maj 9 sort of stuff earlier I (by chance) came up with : D7 (root on the A string) / C half diminished / G. So you have a descending bass line of perfect 5th / 4th / root. It sounded very sweet, but it needs another chord to resolve back to the D7 to start the cycle again. Maybe a Gmaj7 acting as a secondary dominant?
You'd have a loads of options to get back... I'd be thinking A7 is my target... So maybe set up a Em7 as a ii before A7 and then tritone sub the A7 for Eb7... That would give you Em7 Eb7 leading to your D7 and keep descending from the G... Maybe go a step back more and put a F#m7b5 B7 in before that but sub the B7 for F7
| G6 | F#m7b5 F7 | Em7 Eb7 | D7 |...i mean that is really hammering the bass line descending idea but... Something to start with??
Wow!
That's really sweet!
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