Here's part 6 of my series on outline chord changes. In this lesson I cover the idea of using a cell against each chord. This is good ear training, fretboard knowledge practice and you can use it navigate 'difficult' changes. Let me know if you have any questions.
Quick question - in the first 4 bars we use a "major 2nd" in D7 following Am. In the second 4 bars going from F#m7(b5) we use a flat 9 or minor second in the B7 dominant. Is there a "rule" or guide as to picking the minor 2nd there, or is it just ear? Many thanks.
At this stage in the series I'm trying to keep things in key, hence the major 2nd on the D7 and b2/b9 on the F# and B7 chords. The b2/b9 (Eb) on the D7 would sound great and offers nice voice leading potential to the 5th of the Gmajor 7 (D). Being guided be your ears over time would be how to do it.
Great stuff, Andy. After spending some dedicated time on all these MTC lessons, I finally understand, after 6 years, what playing over chord changes means. And what's really an great is that you can do it with the chords themselves or especially, arpeggios in so many different ways. It's really an eye opener for me. Really ties everything together for me. Fantastic stuff. Between these and the HA vids, I feel like I've got a really solid music foundation in place for the first time since picking up the guitar 6 years ago. Well done. Thanks.
@@jazzguitarwithandy Yes. Now when I pick a song, I'll get the melody down, then just do the chords and then arpeggiate the chords. And then start putting together a chord/melody format. Great stuff. Well done and thanks.
Here's part 6 of my series on outline chord changes. In this lesson I cover the idea of using a cell against each chord. This is good ear training, fretboard knowledge practice and you can use it navigate 'difficult' changes. Let me know if you have any questions.
This series is without a doubt the best I've seen to get ones head around the changes.
You're GOOD Mr Andy !!
Thanks !
Thank you for your kind words. Hope the practice goes well.
Thanks!
Thank you - that's much appreciated
Great series--and great instructional design. Thanks!
Glad you liked it!
Formidable, gran leccion. Muchas gracias maestro,
You're very welcome :)
Excellent thanks. Obvious but "who knew" (if I thought I'd know, but often I don't think and find I'm "stuck" !!).
Cheers 🙏
Yes this a great next step
Cheers Matthew.
Great lesson, thanks Andy!
Cheers Mike 🎸
more of that!+++++
🙏
Quick question - in the first 4 bars we use a "major 2nd" in D7 following Am. In the second 4 bars going from F#m7(b5) we use a flat 9 or minor second in the B7 dominant. Is there a "rule" or guide as to picking the minor 2nd there, or is it just ear? Many thanks.
At this stage in the series I'm trying to keep things in key, hence the major 2nd on the D7 and b2/b9 on the F# and B7 chords. The b2/b9 (Eb) on the D7 would sound great and offers nice voice leading potential to the 5th of the Gmajor 7 (D). Being guided be your ears over time would be how to do it.
Makes sense thanks. The ear sure picks out “straight” in the key. Good one.
Great stuff, Andy. After spending some dedicated time on all these MTC lessons, I finally understand, after 6 years, what playing over chord changes means. And what's really an great is that you can do it with the chords themselves or especially, arpeggios in so many different ways. It's really an eye opener for me. Really ties everything together for me. Fantastic stuff. Between these and the HA vids, I feel like I've got a really solid music foundation in place for the first time since picking up the guitar 6 years ago. Well done. Thanks.
Cheers for the feedback Don. There's quite a bit packed in this series, but the great thing is you can work on it with any standard!
@@jazzguitarwithandy Yes. Now when I pick a song, I'll get the melody down, then just do the chords and then arpeggiate the chords. And then start putting together a chord/melody format. Great stuff. Well done and thanks.