Natural major scales in fifth position
Foreword
In this book, I share my experience and knowledge. This is the second edition, supplemented with new themes on composition, melody, improvisation, and arrangement. In these two volumes, I tried to give a more detailed look at the topics I touched on in my first work, 'The Modern Guitar Premiere' in 2004. Most of the chapters are rewritten, others are complementary to music theory. In addition to theory, you will find many useful exercises, notes and tips here. Volume 1 covers the most important information for a contemporary musician from elementary music theory to blues. This methodology is based on a thorough and detailed one-sample analysis, rather than an attempt to cover and understand many examples. In the book, theory and practical material are progressively introduced, starting with simple examples and moving slowly farther into the wood, so the book can be used as a pedagogical work, teaching methodology. All subjects are checked by time and practical work with students. The material in the II volume is intended for more advanced musicians - from various musical figurations, the Bebop, etc. that is concerning progressive jazz theories for quartal harmony. The second volume is intended for more advanced musicians - starting with different musical figurations, Bebop and so on. i.e., touching on the progressive theory of jazz and quartal harmony.
Foreword
In this book, I share my experience and knowledge. This is the second edition, supplemented with new themes on composition, melody, improvisation, and arrangement. In these two volumes, I tried to give a more detailed look at the topics I touched on in my first work, 'The Modern Guitar Premiere' in 2004. Most of the chapters are rewritten, others are complementary to music theory. In addition to theory, you will find many useful exercises, notes and tips here. Volume 1 covers the most important information for a contemporary musician from elementary music theory to blues. This methodology is based on a thorough and detailed one-sample analysis, rather than an attempt to cover and understand many examples. In the book, theory and practical material are progressively introduced, starting with simple examples and moving slowly farther into the wood, so the book can be used as a pedagogical work, teaching methodology. All subjects are checked by time and practical work with students. The material in the II volume is intended for more advanced musicians - from various musical figurations, the Bebop, etc. that is concerning progressive jazz theories for quartal harmony. The second volume is intended for more advanced musicians - starting with different musical figurations, Bebop and so on. i.e., touching on the progressive theory of jazz and quartal harmony.
Preview the course
Full course
"Mastering Contemporary Guitar" (Music theory, exercises, remarks and advises), Vol I |
Natural major scales in fifth position. |
Feeling the scale with "four fingers into the string" |
Intervals |
Building of chords |
Triad |
Triad (continue) |
Laisvės pavėsy |
Enharmonic of triad with suspended fourth (1 4 5) and triad with suspended second (1 2 5) |
Open fifth (1 5) or “Power Chord” |
Triad with an added ninth |
Harmonic Minor Scale in fifth position |
The method for naming chords |
The four types of triads |
The four types of triads (continue) |
The four types of triads (continue 2) |
Double and triple roll, multiple syncopation |
Double and triple roll, multiple syncopation (continue) |
Cross-rhythm |
Cross-rhythm (continue) |
Cross-rhythm (continue 2) |
Cross-rhythm (continue 3) |
Harmonic Major Scale in the fifth position |
Harmonic Major Scale in the fifth position (continue) |
Harmonic Major Scale in the fifth position (continue 2) |
Four types of triads in open position |
Four types of triads in open position (continue) |
Triad inversions in open position |
Gėlių vaikai |
Seventh chord |
Seventh chord (continue) |
Five types of seventh chords in open position |
Dropping down the voices of the seventh chord — "Drop Voicings" |
Exercise for inversions of the seventh chord — “Shifting” |
Jazz Minor Scale in the fifth position |
Jazz Minor Scale in the fifth position (continue) |
The chord progressions |
The chord progressions (continue) |
Theme By John Mehegan |
The chord progressions (continue 2) |
Theme By John Mehegan "working sketch" |
Applying Axis 3 and Axis 7 chords in progressions |
Applying Axis 3 and Axis 7 chords in progressions (continue) |
Additional chord progressions |
Trigarsių poros ( Triad Pairs)_01 |
Trigarsių poros ( Triad Pairs)_02 |
Trigarsių poros (Triad Pairs)_03 |
Trigarsių poros (Triad Pairs)_04 |
Trigarsių poros (Triad Pairs)_05 |
Trigarsių poros (Triad Pairs)_06 |
Trigarsių poros (Triad Pairs)_07 |
Trigarsių poros (Triad Pairs)_08 |
Trigarsių poros (Triad Pairs)_09 |
Trigarsių poros (Triad Pairs)_10 |
Trigarsių poros (Triad Pairs)_11 |
Trigarsių poros (Triad Pairs)_12 |
Trigarsių poros (Triad Pairs)_13 |
Trigarsių poros (Triad Pairs)_14 |
Trigarsių poros (Triad Pairs)_15 |
Trigarsių poros (Triad Pairs)_16 |
Trigarsių poros (Triad Pairs)_17 |
Trigarsių poros (Triad Pairs)_18 |
Trigarsių poros (Triad Pairs)_19 |
Trigarsių poros (Triad Pairs)_20 |
Trigarsių poros (Triad Pairs)_21 |
Triad Pairs (Melodic exposition) |
Symmetry |
Bolero |
Chromatic scale (linear exposition) |
Chromatic scale (target, aiming) |
Chromatic scale (in series) |
Chromatic scale (by tritons) |
Pentatonic |
Major pentatonic scales |
Minor pentatonic scales |
Suspension, minor sixth chord, major sixth chord and the altered dominant seventh chord. |
Sus4, m+6, M+6 and altered dominant seventh chord (continue) |
Sus4, m+6, M+6 and altered dominant seventh chord (continue 2) |
Fools Rush In |
Applying inversion of chords and 7/3 Axis in the accompaniment |
No Moon At All (exercises) |
The Twelve-bar Blues |
The Twelve-bar Blues (exercises) |
32-bar Standard |
32-bar Standard (exercises) |
Blues Scales |
Blues scales in V position (using the target technique) |
Bliuzo gama (bIII, bV, bVII) ir (bIII, bVII), 12 tonacijų, V pozicijoje. Blues Scale (bIII, bV, bVII) and (bIII, bVII), in 12 keys, V position. |
C Blues |
Similar courses
Want to buy this course for somebody else? No problem. Just select the gift option during checkout.
About Soundslice
Soundslice is the ultimate learning and practice environment for music. New here? Learn how our store works.
Buy with confidence. If you’re not satisfied with your purchase, just contact us within 7 days for a hassle-free refund.