What Are You Working On Right Now?

Sascha Franck said:
Why exactly? Do you know your 7th-chord voicings? And do you know the note names (and ideally their functions) within them?
Click to expand...
I do. That’s why it’s frustrating. I should be able to just go to it but I’m having a traffic jam between my brain and fingers. At least i can hear when i get it wrong.

I’m trying to get the chord name into my head so that my fingers just go there and it’s like I have to count every time.
 
Piing said:
Working on Morse's Tumeni Notes
View attachment 26850
Click to expand...
Good luck!

This is me trying to play Tumeni notes a few years decades ago…
IMG_9224.jpeg
 
HomespunEffects said:
I’m trying to get the chord name into my head so that my fingers just go there and it’s like I have to count every time.
Click to expand...

IMO the trick is to get the functions of the notes per string right. Combined with the voicing "rules" I already mentioned in another thread, the amount of options is shrinking quite a bit (in terms of organisation).

For example, the root could either become the 7th or the ninth. Maj7 is a halftone below, so 7 must be a wholetone. 9th is a wholetone above, so b9 must be a halftone, #9 3 halftones above.
Same goes for the 5th, which could either be altered by itself (b5, #5), so that's self explaining, or it could become 11th or 13th. 11th is a wholetone below, so #11 is a halftone below. 13 is a wholetone above, so b13 is a halftone above.

This is pretty much it for the "extensions" already, you would now only have to additionally cover sus2, sus4 and 6. The former replace the 3rd, the latter replaces the 5th in a plain triad context and the 7th in a 7th-chord context.

And that's pretty much it (with the exception of diminished and augmented chords, but even those could be fitted in if you know the rest already).
 
In case you've missed it, the TUMENI NOTES comes from this funny benefic video



Dorian Chiiwahwah Phallic and an incredible guitar cast are featured on this first release for THE EPIC GUITAR SOLO CHALLENGE with their anthem to promote more guitar practice to mums & girlfriends, bf 's etc - Don't You Tell Me Not To Play Guitar.

All profits go to The EJ Whitten foundation for prostate cancer.

This track is available on itunes and you can support by buying T-shirts or making donations at http://www.ejwhittenfoundation.com.au/ or go to http://www.epicguitarsolo.com/ for our contest.

We would like to thank all these amazing artists for their time and generosity. Our global cast in order of appearance includes

Tommy Emmanuel - Australia
Brett Garsed – John Farnham, Nelson, T. J. Helmerich -Australia
Joe Satriani – G3, Chickenfoot - USA
Steve Morse – Deep Purple, Dixie Dregs, The Flying Colors– USA
Hack Wanger – Guitar Gods & Masterpieces TV Show - Australia
Mattias Eklundh – Freak Kitchen – Sweden
Chris Cheney –The Living End - Australia
Dave Leslie – Baby Animals- -Australia
Isao – Spark 7 – Japan
Jack Thammerat Solo artist & 2009 Guitar idol winner - Thailand
Manjit Joseph – Heavens Down – India
Rabea Massaad – Dorje - UK
Benjamin Baret - Ne Obliviscaris - France
Adrian Hannan – The Song Store – song producer -Australia
Albare - Jazz Artist – Morocco ,Israel, France, Australia
Chen Lei – Tang Dynasty - China
Syu – Galneryus - Japan
Rob Chapman – Dorje, Chapman Guitars - UK
Mikio Fujioka – Kami Band - Japan
Shinichi Kobayashi, - Jigoku Quartet - Japan
Frank Gambale- Chick Corea - Australia
Irwin Thomas – Southern Sons, John Farnham - Australia
Geoff Achison –Soul Diggers – Australia
Peter Robinson – Electric Mary- Australia
Hedras Ramos - Solo Fusion/metal artist - Guatemala
Ola Englund The Haunted, Feared – Sweden
Eric Calderone - Erock - USA
Motorman Duo - Simon Hosford – Tommy Emmanuel -Australia
Motorman Duo - James Ryan – Men at work. – Australia
Paul Gilbert – Mr. Big, Racer X - USA
Andy James – Wearing Scars - UK
Alex Hutchings - Alex Hutchings Band - UK
Guthrie Govan – The Aristocrats, Asia, Steve Wilson Band - UK
 
Sascha Franck said:
IMO the trick is to get the functions of the notes per string right. Combined with the voicing "rules" I already mentioned in another thread, the amount of options is shrinking quite a bit (in terms of organisation).

For example, the root could either become the 7th or the ninth. Maj7 is a halftone below, so 7 must be a wholetone. 9th is a wholetone above, so b9 must be a halftone, #9 3 halftones above.
Same goes for the 5th, which could either be altered by itself (b5, #5), so that's self explaining, or it could become 11th or 13th. 11th is a wholetone below, so #11 is a halftone below. 13 is a wholetone above, so b13 is a halftone above.

This is pretty much it for the "extensions" already, you would now only have to additionally cover sus2, sus4 and 6. The former replace the 3rd, the latter replaces the 5th in a plain triad context and the 7th in a 7th-chord context.

And that's pretty much it (with the exception of diminished and augmented chords, but even those could be fitted in if you know the rest already).
Click to expand...
tl;dr :ROFLMAO:

No, seriously though. I got all that. It's just that I can't get them under my fingers for some reason. All the stuff that you typed up there is what goes through my head EVERY TIME I go to play a chord extension. It takes like 12 minutes to play four or five chords. I'm working on charting them out and avoiding looking up common chord fingerings.
 
HomespunEffects said:
It takes like 12 minutes to play four or five chords.
Click to expand...

Pretty normal for a start.
Whatever, there's a bunch of things that helped me getting more fluent.
- Practice drop 2 inversions on the top 4 strings for all 4 main 7th chord types (maj7, dom7, min7, min7/b5).
- When doing so, move your hand in the air from one position to the next, so you have to pre-form the shape in the air before "landing". This will be pretty tough at first.
- Do the same with each chord adding a 9th. Then adding a 13th. Then adding an 11th. Obviously only whenever applicable. Maj11 chords don't work well, min13 chords only work in some contexts and min7/b5 chords with any extension usually make your brain/ear twist their function.
- Do chord movements between two of these chords. Say, from Cmaj7 to G7 and back. Always move to the closest inversion of the next chord to keep voice movements at a minimum. All inversions.
- Do the same with option notes. Cmaj7/9 to G7/13. All inversions.

These will be pretty tough at first. But they will be very efficient.

In case you don't have a quick overview, here's those 4 chord types as drop 2 voicings on the DGBE strings (root note in solid circles):
Drop2DGHE.jpg
 
So last night for a bit and today for about an hour, I've been playing clean (with some delay. I cannot practice completely dry. I'll set the mix low, m'kay?)

Whew, it really shows your faults/things you still need to work on. Pinky strength. Gotta work that pinky some more.

Not that high gain doesn't also show your weaknesses. I've always said neither one alone is enough. High gain will bring out all your unwanted noises that go mostly unnoticed clean, and clean will highlight poor dynamics, & show your notes that you're missing, or almost missing, that compression masks.

Good stuff.

Now back to the Yellow Shred on the JP IIC+!! :rawk
 
That's basically my entire fascination with Di Meola these past few months. Minimal
to no gain---with volume rolled back on the guitar the majourity of the time, and no
delay. Hell, barely a smack of Reverb on Al's recorded tracks. :idk

It's enough to make your dick shrivel up. :grin
 
la szum said:
That's basically my entire fascination with Di Meola these past few months. Minimal
to no gain---with volume rolled back on the guitar the majourity of the time, and no
delay. Hell, barely a smack of Reverb on Al's recorded tracks. :idk

It's enough to make your dick shrivel up. :grin
Click to expand...
No that's what happens when you drink too much Robitussin....you shouldn't do that ...no bueno.
 
Has anyone here covered this song?

If so how did you approach it.
Any tips or advice would be appreciated.
 
You must log in or register to reply here.

Similar threads

TSJMajesty
"Musicality" & What Makes a Great Chord Progression?
3 4 5
Replies
81
Views
3K
Eagle
Eagle
Abe
Guitar Lessons, Tips, Techniques, Etc. Online on YouTube or elsewhere? Reading, charts, videos and whatnot.
Replies
11
Views
456
eupbin01
E
Abe
Abe's Current Jam Rig
Replies
0
Views
187
Abe
Abe
Abe
Introduction ~ Video & SoundCloud of old Live Jams 1996-2002ish
Replies
2
Views
245
FuzzyAce
FuzzyAce
Jarick
Music Theory & Learning the Fretboard
2
Replies
21
Views
2K
la szum
la szum
Back
Top