Guitar solo phrasing Video
Tom Hess kertoo fraseerauksen käytöstä soolokitarasoitossa. Video kannattaa katsoa! Löydät siitä varmasti uusia ideoita ja eväitä omaan soittoosi.
Check it out!
YouTube Contest Begins Now
http://www.youtube.com/v/pFtePrgcC0w&hl=en&fs=1"></param>
Guitar solo phrasing Video
In this video Tom Hess explains guitar solo phrasing in detail.
This video about guitar solo phrasing very helpful to your guitar playing. Check it out here:
YouTube Contest Begins Now!
http://www.youtube.com/v/pFtePrgcC0w&hl=en&fs=1"></param>
Mastering the Guitar Fretboard - Part 1
This article "Mastering the Guitar Fretboard - Part 1" is the first part of a series of articles covering this particular topic. Do you know your chords and inversions? Do you know your arpeggios and scales all over the guitar neck? Have you been analysing different fingerings and picking patterns to smoothly move to the next chord in a chord progression when using chords, arpeggios or scales? Do you master these techniques and can you instantly apply them to use in an improvising situation? Okay, don't worry, this is a huge task, patience and persistence is needed. So let's start!
This first concept presents triads and their inversions, 9th arpeggios and modal scales. Once the triads are represented, the 9th arpeggios are added using the triad shapes as a starting point. After adding the 9th arpeggios, the modal scales are added in a same way as the 9th arpeggios.
Why triads?
- They are easy to remember and quite easy to play
- Voice leading concepts might be easier to adapt using triads
- Using triads and their inversions is a good start when creating a mental map of the guitar fretboard
Why 9th arpeggios?
- The 9th arpeggios consist of five (5) notes. Only two notes have to be added to have a complete scale. It may be easier to see the function of the notes and to choose which modal expression to use
- Grouping of the notes per string could be easier
Triads are three (3) note chords and there are many ways to play them. One way to play these chords is using string patterns like 346, 235 and 124. It's good to study the triads also using the string patterns like 356, 245 and 134. The triads have a root position and two inversions. When using the string patterns mentioned above we have eighteen (9+9) different fingerings for a C major triad. That is six (3+3) fingerings for the string group 346, six (3+3) fingerings for the string group 235 and six (3+3) fingerings for the string group 124. Check the Example 1. at the end of this article.
The 9th arpeggios are "broken chords" that have five (5) notes in them. The notes are not played simultaneously, but one at a time (arpeggiated). Since we have five (5) different notes in 9th arpeggios, they can be started from any five (5) different pitches or notes. One way to nail the task of remembering these down is by using the triad shapes or fingerings as a basis for the 9th arpeggio fingerings. Starting from the lowest note of the triad and ending on the highest note of that particular triad is one way to go. When using for example, the string patterns 346, 235 and 124 for a triad, try to build your 9th arpeggio fingerings in ways that smoothly go together. There can be one to three notes per string. Try different combinations. When using alternate picking with 9th arpeggios, a two notes per string grouping could be efficient to the picking hand. Different sequences can spice up the playing. There are at least eighteen (9+9) fingerings of the 9th arpeggios for the triads described in the scenario above. Check the Example 2 at the end of this article.
The modal scales could be the modes of the major scales, the modes of the harmonic minor scales or the modes of the melodic minor scales. By adding two notes into the 9th arpeggio shapes or fingerings we can build up complete scales. Adding an augmented fourth (#4) and a major sixth (M6) for example, into a major 9th arpeggio gives us a Lydian scale. The Lydian scale is a major scale with an augmented fourth in it. We could have as an example, thirty six (12+12+12) different fingerings for the scales played over major triad. Try adding the missing two notes into your 9th arpeggios and complete your scales. Check the Example 3 at the end of this article.
You should do the hard work and write out and practice these triads, the 9th arpeggios, and scales by yourself! That's the only way to really start to learn them.
Now that we have the actual triad shapes and fingerings and the actual 9th arpeggios and scales to use over those particular triads (and in fact over any chords like 7th and 9th etc.), we can start to apply the concepts presented here over some chord progressions. You can use the smooth voice leading type transitions from one chord to the next chord and you don't have to jump all over the neck when doing this. Shortly, in the voice leading concept we move from one chord shape or fingering to the closest possible inversion of the next chord. Check the Example 4.
What you can do along with applying the concepts I present to you?
- Hone your technique
- Try different picking styles like directional, alternate picking or combinations of them when playing chords, arpeggios and scales
- Move your right hand wrist and experiment moving your right hand thumb
- Try different muting techniques like palm muting or thumb muting
- Maintain a good and relaxed posture when practicing
- Organize your practice time and practice schedule
The examples mentioned earlier in this article can be found below.
|
