I'm going to take a chance, and write a blog article after a full bottle of Albarino, which is my favorite type of wine.
Me 'n my gal Debe went to one of three Spanish places I consider worthy. I love going out to dine, but have particularly pursued Spanish authentic. Follow me on twitter (tcoz_tweet) or facebook (google my name) if you want to know more.
I was at NGW (National Guitar Workshop) last week, you can read my article about it by looking to the links to the left (lazy html).
I'm moving forward from the NGW...and it's a lot to move forward from. But I've rebuilt my kit, and rebuilt my thinking of guitar playing. I'm a different player, thank you NGW. Shameless plug for her, Jane Getter is easily one of the best instructors evah.
Fanboi anyway, I clocked out of my tech project today (read Tcoz Tech Wire for a great pointer all you ECMA cats) and of course said, "eh, got some time, I should play guitar."
I worked it, metronome ticking, foot tapping. I was on, and happy, running pentatonic licks, adding fourths...etc, presto, ON the beat. Alternating thirds, fourths, string skipping patterns...like I said, the NGW is worth it.
I recorded it. I record everything now. It was ok, sharp, a little mechanical, but on...so ok.
I came home later after the meal and the wine. Debe was tired, she went right to bed, I went into the studio, loops waiting.
I started up the same loops (thank you Boss RS-20) I was so on over the tracks I laid out, I was amazed. Not at my "greatness", but sort of in the way you go "wow" when you see a really good photograph of yourself. There's nothing really different about you, you're just shinin' the light right.
I recorded it. It was, rough, but it swung swing on the first beat, which is very musical. I was surprised in fact...I tended to hold the first note of a run..just..a.little, andthenrun into the next beat. Hard to describe, sort of like water flowing when being dumped suddenly, it doesn't all move at once, but when it does, here it comes.
Anyway, it led me to some thoughts about visceral guitar playing. That is, the raw sensation of playing guitar. Perhaps I actually know enough about it after 25 years to say something.
- Don't practice in front of a mirror.
- It is GOOD to have a mirror and watch yourself play guitar.
- Practice with a metronome, always.
- Every now and then, turn off the metronome.
- You should stand, wear your strap, and MOVE.
- Always practice sitting down.
- Be humble.
- Nevermind all that.
Hope that makes sense. See you out there.
Friday, July 31, 2009
Wednesday, July 22, 2009
A blurb on attending The National Guitar Workshop
I've been slacking a little on my blogs lately; reason being, I've been drilling my guitar skills at the National Guitar Workshop in Purchase, NY.
If you haven't heard about it, visit their website. In brief, it's a music education program focusing heavily, as the name implies, on guitar oriented music. At the same time, as the name does not imply, it's also for bass players, drummers, classical guitar players, jazz players, and so on. I haven't seen any horn or keyboard players involved in the courses or workshops I've been exposed to, but that doesn't necessarily mean they're not here; I certainly haven't seen it all by a longshot.
As I'm writing this, I just came from a run (yes some musicians exercise, Steve Vai goes to the gym and Herman Li studies martial arts) following another full day, 9-5, of exposing myself to just about every aspect of the instrument I love and have been playing for years. I've been playing guitar longer than I've been a technologist, and if you read my tech blogs, you get an idea that it's more than say...a couple of years (or 10x that).
However, I never took it to the pro level. I've been in bands, studied some classical theory, can find my way around notation, and have a walk-around repertoire of classical, blues, jazz, and rock songs, and have even "played out" as recently as last week, but I've never taken it to the "next level", as it were. I get a lot of compliments on my playing, but I know that, put into a setting with bonafied pros, I'd have some gaping holes in my overall package.
A few months ago, I received a Facebook notification from the Steve Vai fan page; it said that he'd be appearing at the National Guitar Workshop summer session. Steve is one of my favorite guitar players, I even have his signature model Ibanez JEM. I also play a Les Paul, a Strat, a Kramer, as well as classical and acoustic guitars, so I wouldn't say I emulate Steve heavily, but I'm clearly influenced by his style, and of course the JEM is just a great, top-of-the-line guitar.
Anyway, I decided to pull the trigger, sign up for the program, and see what it was all about. I'd just finished a stint in a rock band and advanced lead class at New York City Guitar School, and have been studying my composition, theory and technique diligently, as well as just playing hard, so figured I'd be ready for a more advanced program.
I have to say, so far so good. If you're a player looking for a crash course and exposure to some top notch teachers working in the industry at the pro level, you should visit the site and consider taking a week or two out of your life to polish up your chops and performance.
Day 1: I walk into class in the morning, and sitting there is a woman I know I've seen somewhere before. She's wearing a Fender shirt, is sitting next to a Fender Strat and a Fender practice amp...who the heck is she, I know that face from somewhere. My suite mate (we get individual bedrooms but share a suite, remember it's at Purchase college), had done his homework and knew she was Jane Getter, who has played with any number of big names, such as warming up for Alan Holdsworth (wow), as well as being part of the Saturday Night Live band for a stretch. This was going to be my teacher all week; I sat down and waited to see what it's all about.
Jane is great. She's laid back but in control of the sessions, which is challenging to say the least; it's a full class of rock guitar students, all plugged into amplifiers, in a closed-door classroom, so now and then it's GUYS PLEASE STOP PLAYING. In addition to keeping the roof on, she finds time to dissect solos and techniques from guys like Trey Anastasio, Eric Johnson, Alan Holdsworth, Robben Ford, and so on. We learn a little of how they might think about their approaches to composition and lead structure and improvisation, then we settle in with a drummer and bass player for a while, trade fours on the leads, and call it a day. Jane's son actually plays the drums, lucky for her (if you play guitar, have two kids, make one play bass, the other drums).
On top of that, we had guest sessions with Steve Vai himself, and Herman Li. Both were well spoken, revealed a number of interesting points about playing and the industry, and showed us a few things from their magic bags of tricks.
At night, we go to the concerts, and/or perform. The faculty here is, without a doubt, a group of the finest players I've ever seen under one roof at the same time. Even the guy who administers and runs the program, who you'd think of as the "business guy", turned out to be a brilliant jazz player. Bar none, they can all teach, play, and communicate in a variety of ways to show you how to do so.
The students are great as well; it's a mixed bag of ability, age and experience, but from a networking perspective, it can't be beat. I've already got some contacts for players back in NYC, which I plan on taking advantage of right away, so look out for me in the clubs; I'll be the guy playing guitar.
I'll leave it at that for now; just figured I'd blurb a word about this amazing experience.
As always, thanks for visiting, and see you out there.
Fretboard Framework, the name, and all related articles, are the creations and property of Tim Consolazio.
Copyright 2009 By Tim Consolazio. All rights reserved.
If you haven't heard about it, visit their website. In brief, it's a music education program focusing heavily, as the name implies, on guitar oriented music. At the same time, as the name does not imply, it's also for bass players, drummers, classical guitar players, jazz players, and so on. I haven't seen any horn or keyboard players involved in the courses or workshops I've been exposed to, but that doesn't necessarily mean they're not here; I certainly haven't seen it all by a longshot.
As I'm writing this, I just came from a run (yes some musicians exercise, Steve Vai goes to the gym and Herman Li studies martial arts) following another full day, 9-5, of exposing myself to just about every aspect of the instrument I love and have been playing for years. I've been playing guitar longer than I've been a technologist, and if you read my tech blogs, you get an idea that it's more than say...a couple of years (or 10x that).
However, I never took it to the pro level. I've been in bands, studied some classical theory, can find my way around notation, and have a walk-around repertoire of classical, blues, jazz, and rock songs, and have even "played out" as recently as last week, but I've never taken it to the "next level", as it were. I get a lot of compliments on my playing, but I know that, put into a setting with bonafied pros, I'd have some gaping holes in my overall package.
A few months ago, I received a Facebook notification from the Steve Vai fan page; it said that he'd be appearing at the National Guitar Workshop summer session. Steve is one of my favorite guitar players, I even have his signature model Ibanez JEM. I also play a Les Paul, a Strat, a Kramer, as well as classical and acoustic guitars, so I wouldn't say I emulate Steve heavily, but I'm clearly influenced by his style, and of course the JEM is just a great, top-of-the-line guitar.
Anyway, I decided to pull the trigger, sign up for the program, and see what it was all about. I'd just finished a stint in a rock band and advanced lead class at New York City Guitar School, and have been studying my composition, theory and technique diligently, as well as just playing hard, so figured I'd be ready for a more advanced program.
I have to say, so far so good. If you're a player looking for a crash course and exposure to some top notch teachers working in the industry at the pro level, you should visit the site and consider taking a week or two out of your life to polish up your chops and performance.
Day 1: I walk into class in the morning, and sitting there is a woman I know I've seen somewhere before. She's wearing a Fender shirt, is sitting next to a Fender Strat and a Fender practice amp...who the heck is she, I know that face from somewhere. My suite mate (we get individual bedrooms but share a suite, remember it's at Purchase college), had done his homework and knew she was Jane Getter, who has played with any number of big names, such as warming up for Alan Holdsworth (wow), as well as being part of the Saturday Night Live band for a stretch. This was going to be my teacher all week; I sat down and waited to see what it's all about.
Jane is great. She's laid back but in control of the sessions, which is challenging to say the least; it's a full class of rock guitar students, all plugged into amplifiers, in a closed-door classroom, so now and then it's GUYS PLEASE STOP PLAYING. In addition to keeping the roof on, she finds time to dissect solos and techniques from guys like Trey Anastasio, Eric Johnson, Alan Holdsworth, Robben Ford, and so on. We learn a little of how they might think about their approaches to composition and lead structure and improvisation, then we settle in with a drummer and bass player for a while, trade fours on the leads, and call it a day. Jane's son actually plays the drums, lucky for her (if you play guitar, have two kids, make one play bass, the other drums).
On top of that, we had guest sessions with Steve Vai himself, and Herman Li. Both were well spoken, revealed a number of interesting points about playing and the industry, and showed us a few things from their magic bags of tricks.
At night, we go to the concerts, and/or perform. The faculty here is, without a doubt, a group of the finest players I've ever seen under one roof at the same time. Even the guy who administers and runs the program, who you'd think of as the "business guy", turned out to be a brilliant jazz player. Bar none, they can all teach, play, and communicate in a variety of ways to show you how to do so.
The students are great as well; it's a mixed bag of ability, age and experience, but from a networking perspective, it can't be beat. I've already got some contacts for players back in NYC, which I plan on taking advantage of right away, so look out for me in the clubs; I'll be the guy playing guitar.
I'll leave it at that for now; just figured I'd blurb a word about this amazing experience.
As always, thanks for visiting, and see you out there.
Fretboard Framework, the name, and all related articles, are the creations and property of Tim Consolazio.
Copyright 2009 By Tim Consolazio. All rights reserved.
Friday, July 17, 2009
Fretboard Framework: CAGED, DPMAI, and 34512 for Minor scale improvisation.
This is a follow up to my last article, "Fretboard Framework: CAGED, PMAID, and 45123 for Major scale improvisation." As promised, here's how my little Fretboard Framework applies to minor scales.
To recap quickly, the idea of this all is:
CAGED
PMAID
45123
Which, in major mode terms, means:
"The first Caged position, can be soloed over using the Phrygian mode pattern, and/or the fourth Pentatonic Pattern".
"The second Caged position, can be soloed over using the Mixolydian mode pattern, and/or the fifth Pentatonic Pattern".
"The third Caged position, can be soloed over using the Aeolian mode pattern, and/or the first Pentatonic Pattern".
"The fourth Caged position, can be soloed over using the Ionian mode pattern, and/or the second Pentatonic Pattern".
"The fifth Caged position, can be soloed over using the Dorian mode pattern, and/or the third Pentatonic Pattern".
Or more simply:
First Caged - Phrygian - 4th Penta (CP4)
Second Caged - Mixo - 5th Penta. (AM5)
Third Caged - Aeolian - 1st Penta. (GA1)
Fourth Caged - Ionian - 2nd Penta. (EI2)
Fifth Caged - Dorian - 3rd Penta. (DD3)
So, how does this apply to minor scale improvisation?
If you know your modes and pentatonic scales, you know that, structurally there is no difference in the patterns; it's just where the patterns are that changes. Note that there are some classical variations and such that alter these rules, but again, I'm trying to stick to the basic modes and patterns here.
Anyway, here's how the patterns shift: CAGED, PMAID, 45123, becomes:
CAGED
DPMAI
34512
That's it...really. The root positions (see last article where I say I wish CAGED was just called "root positions") stay the same (they have to; notes on the fretboard don't move unless you retune the instrument). But the mode and pentatonic patterns all get pushed to the right, bringing the last one to the first column.
So, whereas last time in the major article we saw this, assuming starting on C with the first root position, and using C-P-4:
0
P X - P
X R - P
P - P -
P - P X
P - X R
P X - P
We would alter this for minor improvisation to C-D-3, or spelled out, first root position, Dorian mode pattern, third pentatonic pattern.
We're using "C" as the root again. Remember that this shift in the Fretboard Framework gets you C minor (C D Eb F G Ab Bb C), not C major.
0
- X - X P
- R - X P
X P - P
X P - P
- P - R
- P - X P
There you have it; by just shifting the columns one over, you have transposed all your mode and pentatonic positions from major to minor. If you're ever in a situation where the change shifts from a major to a minor tonality on the same root, you won't have to jump to another part of the neck; you stay in the same position, and just use the different mode (pitch axis theory think). The effect is really pro; you're altering your mood by understanding your modes, which is exactly what they're for.
Let's do another one; last week we did the second root position off of C, using A-M-5. To get to minor, it would be A-P-4, or spelled out, second root position, Phrygian mode, fourth pentatonic pattern.
It would look like this:
3
P X - P
X P - P
P - R -
P - P X
R - X P
P X - P
Note that the first and second root positions, and all the patterns around them, major or minor, connect. Thinking this way, you open up the fretboard as one big pattern with preferred areas of fingering, helping you to break out of the boxes you may find yourself frequently defaulting to.
So again, for major:
CAGED
PMAID
45123
And for minor:
CAGED
DPMAI
34512
Blow it out to the rest of the patterns. As always, remember to watch your chord tones for targeting and lead ins, and always listen to, and communicate with, the band, especially if you're going to take it live.
Have fun, see you out there.
Fretboard Framework, the name, and all related articles, are the creations and property of Tim Consolazio.
Copyright 2009 By Tim Consolazio. All rights reserved.
To recap quickly, the idea of this all is:
CAGED
PMAID
45123
Which, in major mode terms, means:
"The first Caged position, can be soloed over using the Phrygian mode pattern, and/or the fourth Pentatonic Pattern".
"The second Caged position, can be soloed over using the Mixolydian mode pattern, and/or the fifth Pentatonic Pattern".
"The third Caged position, can be soloed over using the Aeolian mode pattern, and/or the first Pentatonic Pattern".
"The fourth Caged position, can be soloed over using the Ionian mode pattern, and/or the second Pentatonic Pattern".
"The fifth Caged position, can be soloed over using the Dorian mode pattern, and/or the third Pentatonic Pattern".
Or more simply:
First Caged - Phrygian - 4th Penta (CP4)
Second Caged - Mixo - 5th Penta. (AM5)
Third Caged - Aeolian - 1st Penta. (GA1)
Fourth Caged - Ionian - 2nd Penta. (EI2)
Fifth Caged - Dorian - 3rd Penta. (DD3)
So, how does this apply to minor scale improvisation?
If you know your modes and pentatonic scales, you know that, structurally there is no difference in the patterns; it's just where the patterns are that changes. Note that there are some classical variations and such that alter these rules, but again, I'm trying to stick to the basic modes and patterns here.
Anyway, here's how the patterns shift: CAGED, PMAID, 45123, becomes:
CAGED
DPMAI
34512
That's it...really. The root positions (see last article where I say I wish CAGED was just called "root positions") stay the same (they have to; notes on the fretboard don't move unless you retune the instrument). But the mode and pentatonic patterns all get pushed to the right, bringing the last one to the first column.
So, whereas last time in the major article we saw this, assuming starting on C with the first root position, and using C-P-4:
0
P X - P
X R - P
P - P -
P - P X
P - X R
P X - P
We would alter this for minor improvisation to C-D-3, or spelled out, first root position, Dorian mode pattern, third pentatonic pattern.
We're using "C" as the root again. Remember that this shift in the Fretboard Framework gets you C minor (C D Eb F G Ab Bb C), not C major.
0
- X - X P
- R - X P
X P - P
X P - P
- P - R
- P - X P
There you have it; by just shifting the columns one over, you have transposed all your mode and pentatonic positions from major to minor. If you're ever in a situation where the change shifts from a major to a minor tonality on the same root, you won't have to jump to another part of the neck; you stay in the same position, and just use the different mode (pitch axis theory think). The effect is really pro; you're altering your mood by understanding your modes, which is exactly what they're for.
Let's do another one; last week we did the second root position off of C, using A-M-5. To get to minor, it would be A-P-4, or spelled out, second root position, Phrygian mode, fourth pentatonic pattern.
It would look like this:
3
P X - P
X P - P
P - R -
P - P X
R - X P
P X - P
Note that the first and second root positions, and all the patterns around them, major or minor, connect. Thinking this way, you open up the fretboard as one big pattern with preferred areas of fingering, helping you to break out of the boxes you may find yourself frequently defaulting to.
So again, for major:
CAGED
PMAID
45123
And for minor:
CAGED
DPMAI
34512
Blow it out to the rest of the patterns. As always, remember to watch your chord tones for targeting and lead ins, and always listen to, and communicate with, the band, especially if you're going to take it live.
Have fun, see you out there.
Fretboard Framework, the name, and all related articles, are the creations and property of Tim Consolazio.
Copyright 2009 By Tim Consolazio. All rights reserved.
Tuesday, July 14, 2009
Fretboard Framework: CAGED, PMAID, and 45123 for Major scale improvisation.
I get asked this once in a while (and I'm sure it's a very common question for any guitar player that can move around the neck while soloing):
"How do you move around the neck like that?".
Modern guitar playing instruction seems to make a very clear delineation between "guitar playing", and "music theory". The two used to be considered intertwined; just read any old guitar instruction book and you'll see they start you off with standard notation. That doesn't seem to be true anymore. Many guitar players can play impressively but know little or nothing about theory.
I'm convinced that'll only get you so far. Incorporate theory, and as part of your practice, ignore patterns and try to think entirely in terms of notes, intervals, chord structure, etc. Force yourself to avoid patterns by playing notes in places or positions you usually don't play them in. Eventually, you'll start to see the neck as one big pattern with preferred areas based more on convenient fingering than prescribed boxes.
Anyway, first things first. I decided to develop a somewhat simplified system of pattern relationships that I use in my practice regimen, as well as my improvisational toolkit. I'm completely aware this isn't where the relationships end at all, and I have all kinds of variations and interstitial patterns as well, but this core concept has helped me organize my thoughts.
Note that this isn't a beginner concept; it assumes you know your CAGED patterns, your seven major mode patterns, and your five pentatonic patterns. If you don't, there are large holes in your knowledge you need to plug up; look 'em up and get 'em straight.
I sum up these Major mode/pentatonic relationships as "CAGED, PMAID, 45123".
In a nutshell, that means...
For Major scale improvisation:
"The first Caged position, can be soloed over using the Phrygian mode pattern, and/or the fourth Pentatonic Pattern".
"The second Caged position, can be soloed over using the Mixolydian mode pattern, and/or the fifth Pentatonic Pattern".
"The third Caged position, can be soloed over using the Aeolian mode pattern, and/or the first Pentatonic Pattern".
"The fourth Caged position, can be soloed over using the Ionian mode pattern, and/or the second Pentatonic Pattern".
"The fifth Caged position, can be soloed over using the Dorian mode pattern, and/or the third Pentatonic Pattern".
Or more simply:
First Caged - Phrygian - 4th Penta (CP4)
Second Caged - Mixo - 5th Penta. (AM5)
Third Caged - Aeolian - 1st Penta. (GA1)
Fourth Caged - Ionian - 2nd Penta. (EI2)
Fifth Caged - Dorian - 3rd Penta. (DD3)
I'll do the Minor scale relationship in another post; believe it or not you're already looking at it (you probably already knew that though if you know how basic modes are all built off a common major key). Here's a hint "minus one".
Some notes:
- There is no Lydian or Locrian mode here. I'm in no way implying these modes aren't important; Lydian is great mode for adding flavor to otherwise straight sounding major solos, and Locrian is essential for work over diminished chords and so on. The point of my little Fretboard Framework is to relate the two sets of commonly known positions and patterns (CAGED and the pentatonics) to the most commonly used modes. You should most definitely be familiar with Lydian and Locrian, and know when to use them.
- I'm assuming that the first pentatonic position is the standard "minor pentatonic" pattern everybody learns when they first start any kind of rock or blues soloing. I don't think there's any benefit to me redefining this standard by saying that what most people know as the 4th pattern is my new 1st one.
- Although CAGED starts with C, and I'm using C as an example, the patterns here apply anywhere on the neck from any root; in fact, I'd prefer that CAGED was just called "Root Positions", because a lot of beginners get stuck on the fact that "C is the first Position". It's not; it's just a position built off a root that, for introduction to CAGED positions, happens to be C.
Anyway, let's write it out and see if it works, we'll take the first relationship, C-P-4.
In the CAGED patterns, the first root position, assuming we want to play in C, is typically introduced as:
- C on the 5th string, third fret.
- C on the 2nd string, first fret.
This gets you an octave, from C to C. Those are your roots. It applies to any note (move it up two frets, you're now playing D to D, which in CAGED, is still called "the C position" or "the C form". That's confusing; just think of it in terms of root positions and you'll be fine).
Anyway, say you want to solo in C major from this position. According to what I'm telling you, that means using the Phrygian mode pattern in this position. NOTE that I'm not saying "use C Phrygian". I'm saying, "use the Phyrgian pattern in this position".
The Phrygian pattern looks like this (the Xs are the notes you play, the dashes are frets you skip, and the roots, which you should also play are indicated by the letter "R" for "root"):
Also note that in this position, the first column of Xs are open strings, indicated by fret position "0".
0
X X - X
X R - X
X - X -
X - X X
X - X R
X X - X
There you have it. The first root position, or "C" position/form in CAGED terminology, expands to the C Major scale for soloing, by knowing that the phrygian pattern is built all around it this way.
To incorporate the pentatonic position (which removes the fourth and seventh degrees from the major scale), we know that it's C-P-4, so we'd have to find the fourth pentatonic pattern from these C roots. It's indicated below (the "P" letters are the Pentatonic indicators, the Xs are the modal notes that you'd skip if you just wanted to play the pentatonic pattern, and the Rs are the roots, which are part of both the modal and the pentatonic patterns, so should always be played):
0
P X - P
X R - P
P - P -
P - P X
P - X R
P X - P
And again, there you have it; the entire C - P - 4 relationship in one little grid. From here, if you know your mode and pentatonic patterns, you can solo in C Major all over the neck from this starting point, or if nothing else, just move this logic up one octave (so change the 0 to a 12) to do some upper register screaming.
Let's set up another one: A-M-5. Second root position ("A" position/form in CAGED terminology), Mixolydian mode pattern, 5th pentatonic pattern.
This root pattern, assuming we want to play in C, is typically introduced as:
- C on the 5th string, third fret.
- C on the 3rd string, third fret.
We know that the "Mixolydian" shape, and the 5th pentatonic pattern, are both built around this root position somehow, here's what it looks like. Note that you start on the second fret.
If it wasn't clear before:
- The full modal shape is the Xs, the Ps, and the Rs.
- The pentatonic shape is the Ps and the roots. The Xs are omitted in the pentatonic shape (they are the fourth and seventh notes of the major scale you're working with, which are omitted in major pentatonic scales).
2
- P - P
- P - P X
P - X R
P X - P
X R - P
- P - P
Again, if you can find the root of the major scale you want to solo in on the 5th fret, and you know the Mixolydian pattern and/or the 5th pentatonic pattern, you're set up to play some interesting stuff.
Take this logic and run with it, try and write out the other three grids (the GED, or 3,4,5 root positions). Any questions, let me know.
As always, don't just blow all over patterns. Consider the chords you're playing over, use them to target your notes and lead-ins, and always pay attention to what the band is doing.
Have fun, see you out there.
Fretboard Framework, the name, and all related articles, are the creations and property of Tim Consolazio.
Copyright 2009 By Tim Consolazio. All rights reserved.
"How do you move around the neck like that?".
Modern guitar playing instruction seems to make a very clear delineation between "guitar playing", and "music theory". The two used to be considered intertwined; just read any old guitar instruction book and you'll see they start you off with standard notation. That doesn't seem to be true anymore. Many guitar players can play impressively but know little or nothing about theory.
I'm convinced that'll only get you so far. Incorporate theory, and as part of your practice, ignore patterns and try to think entirely in terms of notes, intervals, chord structure, etc. Force yourself to avoid patterns by playing notes in places or positions you usually don't play them in. Eventually, you'll start to see the neck as one big pattern with preferred areas based more on convenient fingering than prescribed boxes.
Anyway, first things first. I decided to develop a somewhat simplified system of pattern relationships that I use in my practice regimen, as well as my improvisational toolkit. I'm completely aware this isn't where the relationships end at all, and I have all kinds of variations and interstitial patterns as well, but this core concept has helped me organize my thoughts.
Note that this isn't a beginner concept; it assumes you know your CAGED patterns, your seven major mode patterns, and your five pentatonic patterns. If you don't, there are large holes in your knowledge you need to plug up; look 'em up and get 'em straight.
I sum up these Major mode/pentatonic relationships as "CAGED, PMAID, 45123".
In a nutshell, that means...
For Major scale improvisation:
"The first Caged position, can be soloed over using the Phrygian mode pattern, and/or the fourth Pentatonic Pattern".
"The second Caged position, can be soloed over using the Mixolydian mode pattern, and/or the fifth Pentatonic Pattern".
"The third Caged position, can be soloed over using the Aeolian mode pattern, and/or the first Pentatonic Pattern".
"The fourth Caged position, can be soloed over using the Ionian mode pattern, and/or the second Pentatonic Pattern".
"The fifth Caged position, can be soloed over using the Dorian mode pattern, and/or the third Pentatonic Pattern".
Or more simply:
First Caged - Phrygian - 4th Penta (CP4)
Second Caged - Mixo - 5th Penta. (AM5)
Third Caged - Aeolian - 1st Penta. (GA1)
Fourth Caged - Ionian - 2nd Penta. (EI2)
Fifth Caged - Dorian - 3rd Penta. (DD3)
I'll do the Minor scale relationship in another post; believe it or not you're already looking at it (you probably already knew that though if you know how basic modes are all built off a common major key). Here's a hint "minus one".
Some notes:
- There is no Lydian or Locrian mode here. I'm in no way implying these modes aren't important; Lydian is great mode for adding flavor to otherwise straight sounding major solos, and Locrian is essential for work over diminished chords and so on. The point of my little Fretboard Framework is to relate the two sets of commonly known positions and patterns (CAGED and the pentatonics) to the most commonly used modes. You should most definitely be familiar with Lydian and Locrian, and know when to use them.
- I'm assuming that the first pentatonic position is the standard "minor pentatonic" pattern everybody learns when they first start any kind of rock or blues soloing. I don't think there's any benefit to me redefining this standard by saying that what most people know as the 4th pattern is my new 1st one.
- Although CAGED starts with C, and I'm using C as an example, the patterns here apply anywhere on the neck from any root; in fact, I'd prefer that CAGED was just called "Root Positions", because a lot of beginners get stuck on the fact that "C is the first Position". It's not; it's just a position built off a root that, for introduction to CAGED positions, happens to be C.
Anyway, let's write it out and see if it works, we'll take the first relationship, C-P-4.
In the CAGED patterns, the first root position, assuming we want to play in C, is typically introduced as:
- C on the 5th string, third fret.
- C on the 2nd string, first fret.
This gets you an octave, from C to C. Those are your roots. It applies to any note (move it up two frets, you're now playing D to D, which in CAGED, is still called "the C position" or "the C form". That's confusing; just think of it in terms of root positions and you'll be fine).
Anyway, say you want to solo in C major from this position. According to what I'm telling you, that means using the Phrygian mode pattern in this position. NOTE that I'm not saying "use C Phrygian". I'm saying, "use the Phyrgian pattern in this position".
The Phrygian pattern looks like this (the Xs are the notes you play, the dashes are frets you skip, and the roots, which you should also play are indicated by the letter "R" for "root"):
Also note that in this position, the first column of Xs are open strings, indicated by fret position "0".
0
X X - X
X R - X
X - X -
X - X X
X - X R
X X - X
There you have it. The first root position, or "C" position/form in CAGED terminology, expands to the C Major scale for soloing, by knowing that the phrygian pattern is built all around it this way.
To incorporate the pentatonic position (which removes the fourth and seventh degrees from the major scale), we know that it's C-P-4, so we'd have to find the fourth pentatonic pattern from these C roots. It's indicated below (the "P" letters are the Pentatonic indicators, the Xs are the modal notes that you'd skip if you just wanted to play the pentatonic pattern, and the Rs are the roots, which are part of both the modal and the pentatonic patterns, so should always be played):
0
P X - P
X R - P
P - P -
P - P X
P - X R
P X - P
And again, there you have it; the entire C - P - 4 relationship in one little grid. From here, if you know your mode and pentatonic patterns, you can solo in C Major all over the neck from this starting point, or if nothing else, just move this logic up one octave (so change the 0 to a 12) to do some upper register screaming.
Let's set up another one: A-M-5. Second root position ("A" position/form in CAGED terminology), Mixolydian mode pattern, 5th pentatonic pattern.
This root pattern, assuming we want to play in C, is typically introduced as:
- C on the 5th string, third fret.
- C on the 3rd string, third fret.
We know that the "Mixolydian" shape, and the 5th pentatonic pattern, are both built around this root position somehow, here's what it looks like. Note that you start on the second fret.
If it wasn't clear before:
- The full modal shape is the Xs, the Ps, and the Rs.
- The pentatonic shape is the Ps and the roots. The Xs are omitted in the pentatonic shape (they are the fourth and seventh notes of the major scale you're working with, which are omitted in major pentatonic scales).
2
- P - P
- P - P X
P - X R
P X - P
X R - P
- P - P
Again, if you can find the root of the major scale you want to solo in on the 5th fret, and you know the Mixolydian pattern and/or the 5th pentatonic pattern, you're set up to play some interesting stuff.
Take this logic and run with it, try and write out the other three grids (the GED, or 3,4,5 root positions). Any questions, let me know.
As always, don't just blow all over patterns. Consider the chords you're playing over, use them to target your notes and lead-ins, and always pay attention to what the band is doing.
Have fun, see you out there.
Fretboard Framework, the name, and all related articles, are the creations and property of Tim Consolazio.
Copyright 2009 By Tim Consolazio. All rights reserved.
Monday, July 13, 2009
Harmonic Minor over Dominant Chords
You may have read my tech blogs before: turns out I actually enjoy blogging (though not every day, that's a lot of work). To that end, I've decided to extend my blog scope into music, which is something I spend as much time as possible with when I'm not working on my software thing.
With that said, welcome to Tcoz Music Notes first post: Harmonic Minor over Dominant Seven Chords.
I ran into this recently when practicing with a band I play lead in at the NYC Guitar School. We were doing the Santana song "Smooth". The score indicates A minor, or in terms of modes, A Aeolian.
I noticed right away that something was interesting; the core progression is Amin, Fmaj, E7. Fmaj is the VI chord, which is diatonically correct, and although the V in a minor progression is diatonically minor, it's not unusual at all to make it major, or even dominant, to get the stronger harmonic resolution back to the tonic minor chord, but...
...making that V chord change imposes some thought time on the part of the would-be improviser: E7 is E, G#, B, D. The third isn't diatonic to A minor/Aeolian (A minor has no sharps or flats).
Simply avoiding a G when playing the E7 is one thought, and just slushing over it with ascending/descending runs is another, and it might work in a pinch, but both are sorta cheapy. No good for Smooth though. The signature riffs hit that G# very visibly. You can't avoid it if you want to pull the song off right, even if you're not following note for note.
This took me back some years to my Yngwie days, when I studied the harmonic minor scale up and down the neck (I mean lets face it, love him or hate him, NOBODY played a Strat with the fury and technical prowess of Yngwie). Lots of guitar players seem to think that harmonic minor is only for "that" sound ("slaying the dragon", you know what I mean). I'd be lying if I said that has nothing to do with why I pursued it, but I was intrigued by it, so did some outside reading, and found that it was used to enable that stronger harmonic resolution by raising the seventh a half a step (a sharp seventh screams to be resolved up a half step).
So, the E7 in an A minor scale is used to create a stronger resolution to the "i" chord...the harmonic minor scale is used to create a stronger resolution to the root of the scale. Break it down, and there is indeed a simple relationship that can add a completely different sound to your improv...or clean up an issue you may have heard, but not fully understood.
The formula; raise the third of your dominant chord a half step. That's the harmonic minor key you can play in over that dominant 7 chord (and, depending on the chords, the entire progression).
Written out:
E7 = E, G#, B, D
A minor = A, B, C, D, E, F, G, A (close, but not 100pct).
A harmonic minor = A, B, C, D, E, F, G# A (money...the G# of E7, raised a half step, is A, and A harmonic minor includes all the notes of the E7).
It might seem intuitive to say, "so if you'd usually play in A minor, but they changed the V chord to a dominant, just use A harmonic minor, no need for this 'raise the third' logic".
True, on the surface. But, say you're in some sort of jazz progression, and one of those "random" chords gets kicked in for an extended vamp. You might default to the Mixolydian mode over it, and that's fine.
E7 = E, G#, B, D
E mixo = E, F#, G#, A, B, C#, D, E
Nothing wrong there at all, and you get that dominant/mixo sound, and also get a standard base for improvising all over the neck if you know all your mode patterns.
But try this (a little pseudo pitch axis theory I suppose); start your improv in E mixo, then when you hit the G# (which will sound great since it's an E7 chord tone, use it as a target note or some such when beginning a phrase), switch to A harmonic minor. You're still right on, but have taken the whole thing somewhere else, and everybody listening will know it. Bring it back around to the mixo when you know the E7 vamp is going to end, and then back into the song you go, following the melody properly and so on.
I did this recently when we performed Smooth; I didn't blow all over A harmonic minor, actually only doing a full ascending riff once, but suggested it during the solo at the end a couple of times, and with short trills during the transitions from verse to pre-chorus during the song (which accents that E7). After the set, which everybody seemed to enjoy, I got some positive comments (and no negative ones) about it, and one guy actually asked me what the theory was.
To this end, I've added something to my practice regimen; in addition to warming up with my standard pentatonic and mode patterns, I've added the harmonic alternatives so that I can quickly switch from a standard mode to a harmonic one.
So, E mixo, which is fine over a dominant 7th chord, can be converted to A harmonic minor in the same position by thinking this way:
- E mixo = E, F#, G#, A, B, C#, D, E
- Raise the third a half step; that indicates A harmonic minor.
- A harmonic minor = E, F, G#, A, B, C, D, E.
- The difference: drop the second and sixth notes of mixo a half step. Bam, A harmonic minor.
Take that logic, and blow it out to all your other patterns.
Give it a try; use wisely. Like anything else, it doesn't always work depending on the melody, what the bass player is doing, etc. Communicate your intention to the band, let them know you're going for it. If nothing else, it'll show you're thinking about what you're doing.
Have fun with that, see you out there.
Fretboard Framework, the name, and all related articles, are the creations and property of Tim Consolazio.
Copyright 2009 By Tim Consolazio. All rights reserved.
With that said, welcome to Tcoz Music Notes first post: Harmonic Minor over Dominant Seven Chords.
I ran into this recently when practicing with a band I play lead in at the NYC Guitar School. We were doing the Santana song "Smooth". The score indicates A minor, or in terms of modes, A Aeolian.
I noticed right away that something was interesting; the core progression is Amin, Fmaj, E7. Fmaj is the VI chord, which is diatonically correct, and although the V in a minor progression is diatonically minor, it's not unusual at all to make it major, or even dominant, to get the stronger harmonic resolution back to the tonic minor chord, but...
...making that V chord change imposes some thought time on the part of the would-be improviser: E7 is E, G#, B, D. The third isn't diatonic to A minor/Aeolian (A minor has no sharps or flats).
Simply avoiding a G when playing the E7 is one thought, and just slushing over it with ascending/descending runs is another, and it might work in a pinch, but both are sorta cheapy. No good for Smooth though. The signature riffs hit that G# very visibly. You can't avoid it if you want to pull the song off right, even if you're not following note for note.
This took me back some years to my Yngwie days, when I studied the harmonic minor scale up and down the neck (I mean lets face it, love him or hate him, NOBODY played a Strat with the fury and technical prowess of Yngwie). Lots of guitar players seem to think that harmonic minor is only for "that" sound ("slaying the dragon", you know what I mean). I'd be lying if I said that has nothing to do with why I pursued it, but I was intrigued by it, so did some outside reading, and found that it was used to enable that stronger harmonic resolution by raising the seventh a half a step (a sharp seventh screams to be resolved up a half step).
So, the E7 in an A minor scale is used to create a stronger resolution to the "i" chord...the harmonic minor scale is used to create a stronger resolution to the root of the scale. Break it down, and there is indeed a simple relationship that can add a completely different sound to your improv...or clean up an issue you may have heard, but not fully understood.
The formula; raise the third of your dominant chord a half step. That's the harmonic minor key you can play in over that dominant 7 chord (and, depending on the chords, the entire progression).
Written out:
E7 = E, G#, B, D
A minor = A, B, C, D, E, F, G, A (close, but not 100pct).
A harmonic minor = A, B, C, D, E, F, G# A (money...the G# of E7, raised a half step, is A, and A harmonic minor includes all the notes of the E7).
It might seem intuitive to say, "so if you'd usually play in A minor, but they changed the V chord to a dominant, just use A harmonic minor, no need for this 'raise the third' logic".
True, on the surface. But, say you're in some sort of jazz progression, and one of those "random" chords gets kicked in for an extended vamp. You might default to the Mixolydian mode over it, and that's fine.
E7 = E, G#, B, D
E mixo = E, F#, G#, A, B, C#, D, E
Nothing wrong there at all, and you get that dominant/mixo sound, and also get a standard base for improvising all over the neck if you know all your mode patterns.
But try this (a little pseudo pitch axis theory I suppose); start your improv in E mixo, then when you hit the G# (which will sound great since it's an E7 chord tone, use it as a target note or some such when beginning a phrase), switch to A harmonic minor. You're still right on, but have taken the whole thing somewhere else, and everybody listening will know it. Bring it back around to the mixo when you know the E7 vamp is going to end, and then back into the song you go, following the melody properly and so on.
I did this recently when we performed Smooth; I didn't blow all over A harmonic minor, actually only doing a full ascending riff once, but suggested it during the solo at the end a couple of times, and with short trills during the transitions from verse to pre-chorus during the song (which accents that E7). After the set, which everybody seemed to enjoy, I got some positive comments (and no negative ones) about it, and one guy actually asked me what the theory was.
To this end, I've added something to my practice regimen; in addition to warming up with my standard pentatonic and mode patterns, I've added the harmonic alternatives so that I can quickly switch from a standard mode to a harmonic one.
So, E mixo, which is fine over a dominant 7th chord, can be converted to A harmonic minor in the same position by thinking this way:
- E mixo = E, F#, G#, A, B, C#, D, E
- Raise the third a half step; that indicates A harmonic minor.
- A harmonic minor = E, F, G#, A, B, C, D, E.
- The difference: drop the second and sixth notes of mixo a half step. Bam, A harmonic minor.
Take that logic, and blow it out to all your other patterns.
Give it a try; use wisely. Like anything else, it doesn't always work depending on the melody, what the bass player is doing, etc. Communicate your intention to the band, let them know you're going for it. If nothing else, it'll show you're thinking about what you're doing.
Have fun with that, see you out there.
Fretboard Framework, the name, and all related articles, are the creations and property of Tim Consolazio.
Copyright 2009 By Tim Consolazio. All rights reserved.
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