Re: 3rds. and Chord Construction

This will allow you to build any Chord (or Arpeggio) from any point along the Fretboard. Just a quick and easy way to visualize the different possibilities on the guitar.


The most common Harmony is built on "Stacking" these 3rds. This is called Tertian Harmony.


Stacking a M3rd. with a m3rd. on top, will yield a Major Triad (Major Chord).

EX: G Chord

Notes in a G Chord = G B D

A Chord = A C# E

C Chord = C E G

Notice how all of these Major Chords are built from Notes that are a M3rd. followed by a m3rd.?

G to B is a M3rd.
B to D is a m3rd.

Does this help?

I would think the first step, would be to learn the first 3 lines in my first Example. Learn how to make the Major and Minor 3rds. on each String, and also on adjacent Strings.
Once you can easily "see" a Major or a Minor 3rd. on the Fretboard, you'll find this all a LOT easier to grasp.

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: 3rds. and Chord Construction

Me likey.

Rock On & Keep the FAITH
             It is
Blues From the Bottoms

Re: 3rds. and Chord Construction

Glad you're digging it, BigJeff!

    Not sure if I've posted this before, but check this one out. It's something you can put into use almost immediately!

    wink

    TRIAD PAIRS

Just the Diatonic Triads in a Key. This will open the door, for a Non-Diatonic Triad to help "Hear" the Altered Notes.

EX: Key Of G

G + Am

G B D + A C E

Works great over Maj. or Dom. Chords, as it contains no 7th. But, it has the R, 3, 5, 2/9, 4/11, 6/13.

I particularly like using the 4 as a nice Tension.

Or,

G + D

G B D + D F# A

R 3 5 M7 2/9

Both of those work well over Pop and Traditional Tunes. Great for Bluegrass and Country Tunes also. And I really like them over older Swing type Tunes.

Bluesy? Well, now we're talkin'!

How about:

G + Dm

G B D F A

Using the Non-Diatonic Dm Triad, you get an F. A b7.

So, R 3 5 b7 9

G9

Ahhhh!

How about something a little more "Modern"?

2 Major Triads, a Whole Step apart, will work great!

G + A

G B D + A C# E

R 3 5 2/9 #4/#11 13

G13#11(no7)

Again, no "7". So, works great over Major, or Dominant Chords/Keys.

(As you can see, I really like the ambiguity of no 7 to pin things down. Save that Tone for later. Tension Baby! LOL)

2 Minor Triads, a Whole Step Apart? Let's see;

Gm + Am

G Bb D + A C E

R b3 5 + 2/9 4/11 6/13

Gm13(no7) or, Gm6/9add11

Lots of possibilities.

One thing about the 2 Triads a Whloe Step apart, is that they are very easy to visualize. And, it allows for some nice Symmetrical type fingerings. A great way to start employing "Altered" Tones. Once you get a few Lines and Phrases under your fingers, you might just start preferring some of those "Altered" Tones.

Anyway, LOTS to work with! Polychords, Altered Tones, etc.

In fact, this is a favorite Chord Voicing of mine:

Low to High: E/3 A/X D/0 G/2 B/3 E/2

WADDAYATHINK?

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: 3rds. and Chord Construction

ZampraZ wrote:

Damn this gives me a migrane x2...

Could you break it down to a retard level? I really don't understand the purpose causing lack of motivation, nor do I understand it...


ZampraZ,

    Did that newer Post help? If not, and you actually want to do this stuff, I'll be glad to work through it with you. Just let me know.

    One thing that might help, is to just play through the posted TABS, and to listen to them as you do so. Just by working through and maybe memorizing a few of them, and then using them as a warm up type of Exercise, would help you to assimilate the ideas through hearing them as opposed to reading them.
    It's actually a pretty "Logical" thing sound-wise. And by not having to read them, you may be able to listen to them a little more fully.

    But, it's there if you want it. Either way, cool. If you do want to work on it just let me know . But first, try to get a few of the Tabs memorized, so you can play and listen to them, as opposed to reading through them.

    HTH!

    cool

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: 3rds. and Chord Construction

Budda wrote:

Glad you're digging it, BigJeff!

    Not sure if I've posted this before, but check this one out. It's something you can put into use almost immediately!

    wink

    TRIAD PAIRS

Just the Diatonic Triads in a Key. This will open the door, for a Non-Diatonic Triad to help "Hear" the Altered Notes.

EX: Key Of G

G + Am

G B D + A C E

Works great over Maj. or Dom. Chords, as it contains no 7th. But, it has the R, 3, 5, 2/9, 4/11, 6/13.

I particularly like using the 4 as a nice Tension.

Or,

G + D

G B D + D F# A

R 3 5 M7 2/9

Both of those work well over Pop and Traditional Tunes. Great for Bluegrass and Country Tunes also. And I really like them over older Swing type Tunes.

Bluesy? Well, now we're talkin'!

How about:

G + Dm

G B D F A

Using the Non-Diatonic Dm Triad, you get an F. A b7.

So, R 3 5 b7 9

G9

Ahhhh!

How about something a little more "Modern"?

2 Major Triads, a Whole Step apart, will work great!

G + A

G B D + A C# E

R 3 5 2/9 #4/#11 13

G13#11(no7)

Again, no "7". So, works great over Major, or Dominant Chords/Keys.

(As you can see, I really like the ambiguity of no 7 to pin things down. Save that Tone for later. Tension Baby! LOL)

2 Minor Triads, a Whole Step Apart? Let's see;

Gm + Am

G Bb D + A C E

R b3 5 + 2/9 4/11 6/13

Gm13(no7) or, Gm6/9add11

Lots of possibilities.

One thing about the 2 Triads a Whloe Step apart, is that they are very easy to visualize. And, it allows for some nice Symmetrical type fingerings. A great way to start employing "Altered" Tones. Once you get a few Lines and Phrases under your fingers, you might just start preferring some of those "Altered" Tones.

Anyway, LOTS to work with! Polychords, Altered Tones, etc.

In fact, this is a favorite Chord Voicing of mine:

Low to High: E/3 A/X D/0 G/2 B/3 E/2

WADDAYATHINK?

Hi, REALLY COOL THING!

THANKS A LOT !!!!

Re: 3rds. and Chord Construction

No problem, Mang........;)

    If anybody comes up with any cool Licks or Lines, please share them! I think it'd be cool to see what everybody is working on.

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: 3rds. and Chord Construction

Man, tough crowd! tongue

   Okay, here's something for the Pentatonic Crowd:

-|---------------------5-8-|---------------------5-8-|------|-|---------------
-|-----------------5-8-----|-----------------6-8-----|----6-|-|---------------
-|-------------5-7---------|-------------5-7---------|------|-|---------------
-|---------5-7-------------|---------5-7-------------|------|-|---------------
-|-----5-7-----------------|-----5-8-----------------|-8----|-|---------------
-|-5-8---------------------|-5-8---------------------|------|-|---------------
   C/Am                     F/Dm                      Difference of 1 Note    

-|---------------------5-7-|------7-|-|---------------------------------------
-|-----------------5-8-----|--------|-|---------------------------------------
-|-------------4-7---------|---4----|-|---------------------------------------
-|---------5-7-------------|--------|-|---------------------------------------
-|-----5-7-----------------|--------|-|---------------------------------------
-|-5-7---------------------|-7------|-|---------------------------------------
   G/Em                     Difference of 1 Note                              

-|--------------------------5-8-|-------------------------5-7-8-|-|-----------
-|--------------------5-6-8-----|---------------------5-8-------|-|-----------
-|---------------5-7------------|---------------4-5-7-----------|-|-----------
-|-----------5-7----------------|-----------5-7-----------------|-|-----------
-|-----5-7-8--------------------|-------5-7---------------------|-|-----------
-|-5-8--------------------------|-5-7-8-------------------------|-|-----------
   C/Am + F/Dm                    C/Am + G/Em                                 

-|-----------------------------5-7-8-|-|--------------------------------------
-|-----------------------5-6-8-------|-|--------------------------------------
-|-----------------4-5-7-------------|-|--------------------------------------
-|-------------5-7-------------------|-|--------------------------------------
-|-------5-7-8-----------------------|-|--------------------------------------
-|-5-7-8-----------------------------|-|--------------------------------------
   C/Am + F/Dm + G/Em = C Ionian/A Aeolian
See how similar C and F Major Pent. are to each other? Also, C and G Maj Pent.? Just 1 Note difference between them:

C = C D E G A
F = F G A C D

C = C D E G A
G = G A B D E

Now, F and G have 2 Notes difference:

F = F G A C D
G = G A B D E


Also, notice how all 3 Major Pents. spell C Ionian?
How all 3 Minor Pents. spell A Aeolian?

So, just playing C Ionian OR A Aeolian will yield all of the applicable Notes. But, by taking the time to differentiate between the 6 Pentatonics you will get something much more "Logical" and probably a lot more Musical. 

For one example:

The F Note (In C) is a type of Tension. So is the B Note (In C).

The F yields a kind of "Suspense" to the proceedings. Like taking a deep breath and holding it. Try having a Friend play a C Chord, and you play the F Note over it. Hear that? Now, slide the F down to E and it'll probaly feel like letting that breath out. Ahhhhh! 

The B (In C) also has a "Tension" to it. Similar but different to the Tension of the F Note. In this setting, the B Note can kind of "Lead" you back to Home Base (C). 

So, just hitting that F Note when the F Chord appears and the B Note when the G Chord appears, will go a long way. And using the full Pent. Scales over each Chord will reinforce these effects. But, by just "Altering" 1 Note per Chord is all it takes. Well, 1 Note and your perspective that is. Not too hard once you do it a little. 

    I find that by learning to visualize multiple "Forms" in one Position, I can greatly expand my options.

    Anybody else do this?

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: 3rds. and Chord Construction

Budda wrote:

Man, tough crowd! tongue

   Okay, here's something for the Pentatonic Crowd:

-|---------------------5-8-|---------------------5-8-|------|-|---------------
-|-----------------5-8-----|-----------------6-8-----|----6-|-|---------------
-|-------------5-7---------|-------------5-7---------|------|-|---------------
-|---------5-7-------------|---------5-7-------------|------|-|---------------
-|-----5-7-----------------|-----5-8-----------------|-8----|-|---------------
-|-5-8---------------------|-5-8---------------------|------|-|---------------
   C/Am                     F/Dm                      Difference of 1 Note    

-|---------------------5-7-|------7-|-|---------------------------------------
-|-----------------5-8-----|--------|-|---------------------------------------
-|-------------4-7---------|---4----|-|---------------------------------------
-|---------5-7-------------|--------|-|---------------------------------------
-|-----5-7-----------------|--------|-|---------------------------------------
-|-5-7---------------------|-7------|-|---------------------------------------
   G/Em                     Difference of 1 Note                              

-|--------------------------5-8-|-------------------------5-7-8-|-|-----------
-|--------------------5-6-8-----|---------------------5-8-------|-|-----------
-|---------------5-7------------|---------------4-5-7-----------|-|-----------
-|-----------5-7----------------|-----------5-7-----------------|-|-----------
-|-----5-7-8--------------------|-------5-7---------------------|-|-----------
-|-5-8--------------------------|-5-7-8-------------------------|-|-----------
   C/Am + F/Dm                    C/Am + G/Em                                 

-|-----------------------------5-7-8-|-|--------------------------------------
-|-----------------------5-6-8-------|-|--------------------------------------
-|-----------------4-5-7-------------|-|--------------------------------------
-|-------------5-7-------------------|-|--------------------------------------
-|-------5-7-8-----------------------|-|--------------------------------------
-|-5-7-8-----------------------------|-|--------------------------------------
   C/Am + F/Dm + G/Em = C Ionian/A Aeolian
See how similar C and F Major Pent. are to each other? Also, C and G Maj Pent.? Just 1 Note difference between them:

C = C D E G A
F = F G A C D

C = C D E G A
G = G A B D E

Now, F and G have 2 Notes difference:

F = F G A C D
G = G A B D E


Also, notice how all 3 Major Pents. spell C Ionian?
How all 3 Minor Pents. spell A Aeolian?

So, just playing C Ionian OR A Aeolian will yield all of the applicable Notes. But, by taking the time to differentiate between the 6 Pentatonics you will get something much more "Logical" and probably a lot more Musical. 

For one example:

The F Note (In C) is a type of Tension. So is the B Note (In C).

The F yields a kind of "Suspense" to the proceedings. Like taking a deep breath and holding it. Try having a Friend play a C Chord, and you play the F Note over it. Hear that? Now, slide the F down to E and it'll probaly feel like letting that breath out. Ahhhhh! 

The B (In C) also has a "Tension" to it. Similar but different to the Tension of the F Note. In this setting, the B Note can kind of "Lead" you back to Home Base (C). 

So, just hitting that F Note when the F Chord appears and the B Note when the G Chord appears, will go a long way. And using the full Pent. Scales over each Chord will reinforce these effects. But, by just "Altering" 1 Note per Chord is all it takes. Well, 1 Note and your perspective that is. Not too hard once you do it a little. 

    I find that by learning to visualize multiple "Forms" in one Position, I can greatly expand my options.

    Anybody else do this?

I love this stuff.  You're ahead of me (poor old bassman wink ) on some of this, but being somewhat musically inclined, I do some of the same stuff playing bass...when there's room.  The 4th to the third does suspend.  In addition playing the minor third on a descending run creates tension.  I play that maj7th at times to finish a tune (Bb, B, C) to clearly signal the end.  I MIGHT just pick up my SG again...I MIGHT.  tongue  Although it scares my guitar player when I do.  lol

I bees gwinter print this shtuff out.  Yep I'm sho is.

MuchGuitar
FDOL

Rock On & Keep the FAITH
             It is
Blues From the Bottoms

Re: 3rds. and Chord Construction

BTW...Forms & figures is the fastest way (for me) to learn your neck even before you know what you're doing theory wise.

Jeff

Rock On & Keep the FAITH
             It is
Blues From the Bottoms

28 (edited by Rocket 2009-09-06 13:03:15)

Re: 3rds. and Chord Construction

Great stuff, I kneed skoolink two!  ROCKS!  Or, in my case of attempts to grasp too fisted, nuts!!! lol

Rock On & Fascinatingly Keep the Faith,
Rocket

"He still doesn't charge for mistakes! wink"
http://jbonamassa.com/tour-dates/
"Everybody wants ta get inta the act!"
“Now, this isn’t your ordinary party crowd, here.  I mean, there are professionals in here.”

Re: 3rds. and Chord Construction

Glad you guys are digging it!

    Is there something more specific you want to discuss? Let'e do it. cool

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: 3rds. and Chord Construction

Since there are already Posts that talk about technical and theory ideas, and while they are a lot of fun, I thought something a little more "Down To Earth" would be a nice change of pace.

Also, maybe some of the other Forumites around here would be more apt to join in on this discussion.

So anyway, here's an Exercise/Practice Routine I use. It's also one I teach my Students. And the ones who actually work with it, all seem to report great results.
I know it has hepled me immensely, over the years. And I hope some here will benefit from it.

Here you go:

Tune your guitar first. We don't want Habits or any other Distractions to interfere with our Exercise.

Put your guitar in another room. Don't even think about touching it.

Now, listen to a Tune or Progression you want to play over.

Close your eyes, and just hum along. Soak the Tune in. Maybe even turn off all the lights. Immerse yourself.

Keep listening. Eventually, you'll probably start "hearing" some Melodic thoughts in your head. Try to hum them.

When you can stop the recording and hum the new Melodic Idea, THEN go get your guitar. BUT DON'T PLAY IT! Don't just start noodling on familiar things. Start humming your new Melodic Idea. If you can't remember it, put the guitar back in the other room, and start again.
Whenever you can finally hum the part, repeatedly,THEN go get your guitar again.
REMEMBER, DON'T NOODLE! Don't even Strum it! ONLY try to pick out, note-by-note, what you are humming.

Make this a main part of your practice routine.

Repeat this process for a few days. At least 1/2 hour a day. You'll eventually get better at the whole process. And this Process is what we're working towards, here.

You will find that by playing what you Hum/Sing, your ideas will be more Melodic and Natural feeling and sounding. Because one of your first, and most natural Instruments is your mind. And another is your Voice.

Later, after you have some complete Melodies, you can "embellish" them with those 3 Notes Per String, Sweep Picked, Tapped, Chopped, Topped, And Smothered Blazing Licks Of Doom! LOL

After all, that's what all those Shred Licks are for. To EMBELLISH the Melody. Not to replace it.

Rock On, Rock Soldier!

P.S.
After you have some complete Melodies, you will probably find that they already contain the "proper" Sclaes, Chord Tones, etc. That's the beauty of going "Au Natural".


So, there it is. Let me know if you try this, and what your Thoughts are on the whole Process.
Also, if you have something that involves a related Topic, please feel free to share it here!

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: 3rds. and Chord Construction

Here's a cool Tool for getting your Timing together. It also makes Scales and Arpeggios a LOT MORE FUN to practice! cool

    Here you go:

    http://www.jamstudio.com/Studio/index.htm

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: 3rds. and Chord Construction

One day I sat down to the piano and played a melody for my Guitarplayer.  We had never played the tune before.  He asked "How the heck do you do that?"

"If you can hum it you can play it.  If you can see it you can draw it."  said I in my most pompous and aristocratic voice.

MuchZen
MuchSpice&Onions
BJJ FDOL

Rock On & Keep the FAITH
             It is
Blues From the Bottoms

Re: 3rds. and Chord Construction

That's cool.

    I remember the first time I picked something out by ear. It was like I had found the Golden Ticket!

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: 3rds. and Chord Construction

Playing By Ear


    People often wonder how somebody can "Just hear a song, and then play it".  And  they will say things like, "I can't do that", or "I think I'm Tone-Deaf".

    I too used to think the same things. A few family members and friends I had, were "Born" with these Mystical Abilities. Yet I, had no clue what was going on.



    But, over time I actually learned how to do these very things. And the best part of it, was that it wasn't as difficult as I thought it would be. In fact, I kind of stumbled into it.



    When I started  playing guitar, I couldn't even tell if I was out of tune. And I certainly couldn't pick out songs by ear. Even the simplest of Melodies were out of my reach. Now, on a good day, I can learn the basics of almost any Tune in a 1/2 hour or so.
   
    And the good news is: Because I had to learn how to do this, I can explain it to others. All of the people who were "Born with it", could never explain it to me. They just do it. They don't really know the difficulties encountered by the rest of us. My lack of Talent now pays dividends to my Students, in the fact that I can tell people how to learn these skills.



And no, you are probably not Tone-Deaf! People who are Tone-Deaf, usually have a speaking voice that is monotone, and kinda loud. If you speak with a "normal" voice, you are not Tone-Deaf. So, you can erase that worry.



    The first step is learning how to use a good, accurate Electronic Tuner to help you. And get a Chromatic Tuner. Those "Guitar/Bass" tuners are okay. But, a Chromatic Tuner will be MUCH more help. Get one.



    Now, here's some general Guidelines for getting started with acquiring those "Big Ears":



1. Try tuning your fat E string, with an electronic tuner. Then, try tuning the rest of the strings, by ear. When you're done, check your work with the electronic tuner. If you don't know how to do this, go to your local music store, and bug the guys in the guitar department, until they show you how. Or, take a private lesson with an instructor. Learning to match the open strings to the 5th. fret notes, is an essential skill. This is the best thing you can do, to kick-start your ear.

2. Pick up any telephone. The dial tone is usually an A note. Hum it. Get to the point, where you can hum that A note, all the time. Whenever you walk past a phone, hum the note. Then pick up the phone, and see if you were correct. If not, try humming the dial tone A, while listening to it. Then, keep practicing.


3. Also, play any scale you know. You should hum those notes, as you play them.

At first, you play a note, then hum it. After awhile, you can play the scale note, and hum it at the same time. Eventually, you should work towards humming the note, then playing it.



4. Try picking out simple melodies, like nursery rhymes. When you get one picked out, find another and do it again. Forever. You should be learning something by ear, at all times. Even if it's just a riff. phrase, or T.V. Theme song.







5. Work on Chord Construction. Learn how to make the four most important triads, starting from any root note.

These 4 triads are:

Major

Minor

Augmented

Diminished




Practice building these 4 triads on a different root, each day. Hum all of the triads' notes, as you play them. Do this for at least 15 minutes, each day. Also, try playing the first note of the triad, and humming the next note, from memory. Then, check to see if you hit the right note. If not, play that note and hum it, over and over. Then, try the exercise, again.

Eventually, you will start to hear and "feel" the notes. Humming them, will help immensely.

Happy Hunting!

cool

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: 3rds. and Chord Construction

Here's something I picked up , from listening to a Scott Henderson Interview. It's a way to break free of Scale "Shapes", and old, tired Licks. It really helps to break you out of a rut. It can also allow you to see the Neck in a whole new way.

SINGLE STRING SOLOING TECHNIQUE 

Try recording a simple chord progression to practice over. Record about 5 minutes of it. 

Start on any single string, and play 1 note over every chord in the progression. Start at the nut, or lowest pitch of the string, that has a chord tone. Work your way to the top of the fretboard, and then work your way back down. 

EX. Over this progression Em7 Am7 D7 GM7 

I'll "play" this all on the skinny E string. 

Chord tones: 

Em7 = E G B D 

Am7 = A C E G 

D7 = D F# A C 

GM7 = G B D F# 

Single String Chord Tone Exercise 
Playing chord tones over the changes, 1 note per chord. 

Working up a single string, and then back down. 

---0---|-3---|-5----|-7----|-10---|-12---|-14---|-15---|-19---|-20---|-17---- 
-------|-----|------|------|------|------|------|------|------|------|------- 
-------|-----|------|------|------|------|------|------|------|------|------- 
-------|-----|------|------|------|------|------|------|------|------|------- 
-------|-----|------|------|------|------|------|------|------|------|------- 
-------|-----|------|------|------|------|------|------|------|------|------- 
   Em7 Am7  D7   GM7   Em7   Am7   D7    GM7  Em7  Am7   D7 

-|-15----|-12---|-8----|-5-----|-3----|-0----|---------------------------------- 
-|-------|------|------|-------|------|------|---------------------------------- 
-|-------|------|------|-------|------|------|---------------------------------- 
-|-------|------|------|-------|------|------|---------------------------------- 
-|-------|------|------|-------|------|------|---------------------------------- 
-|-------|------|------|-------|------|------|---------------------------------- 
   GM7   Em7   Am7     D7   GM7   Em7 etc.


Next step: Repeat this on each string, over the same chord changes. 


Then: 2 chord tones per measure/chord. Then 3, then 4. 

Once you can comfortably play 4 note per measure/chord, move to 2 chords per measure, and start over. 

Still, stay on 1 string, at a time. Once you feel really comfortable on single strings, over MANY chord progressions, then move to 2 string playing. And repeat.


See, I often find myself "noodling" through chord changes. Playing scalar runs, etc. 

But, you need to form melodic "lines", and get to a point. So, chord-tones are a great way to develop a melodic direction. 

Call and response type playing. Finishing a phrase on a scale tone that's not a chord-tone will usually sound un-resolved. Finishing on a chord-tone, usually sounds like a resolution. 

By eliminating all non-chord-tones, you start to "hear" and "see", the choice "target" notes. (Please excuse my over use of quotation marks!). 

This is much more challenging, for me. So, I've incorporated these types of exercises into my practice sessions. Sometimes, it actually comes out in my playing, without my trying. Those are nice moments. Eventually, I'd love to be able to naturally do this. 

Still working on it, though!
Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner

Re: 3rds. and Chord Construction

Just thought I'd throw one more thing out there. Here's a couple of Lines like I often try to incorporate into my own playing. They are inspired by my affinity for Carl Verheyen's playing and approach:

-|--------------------6-----|-|-------------10---------|-|--------------------
-|----------3-6-3-------8v--|-|----------------11b-8v--|-|--------------------
-|----------------5/7-------|-|-------10/12------------|-|--------------------
-|------3-5-----------------|-|------------------------|-|--------------------
-|--------------------------|-|--8/10------------------|-|--------------------
-|--3-6---------------------|-|------------------------|-|--------------------
   Gm Pentatonic                                                              

    Wider Intervals are a hallmark of CV's playing. Hope you guys enjoy them.

Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist  Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30  or  Custom 4 X 6v6 Head  or  Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats. 
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner