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Another Way To View The Fretboard

 
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Swain



Joined: 26 Oct 2005
Posts: 38
Location: N. Little Rock, AR.

PostPosted: Mon Aug 31, 2009 7:57 am    Post subject: Another Way To View The Fretboard Reply with quote

Code:
3rds. and Chord Construction

--------------------------------------------------------------------------------

One of the most useful ways I've found for organizing the fretboard, is using 3rds. to build Arpeggios starting from any note, at any point on the fretboard. And it's really not as overwhelming as I thought it would be.

I started using this type of organizational method quite a few years ago. And since I had to write this out for a couple of students recently, I thought I'd share it with you guys.



------------------|------------------|--------------------|-----------------|-
------------------|------------------|--------------------|------8----------|-
------------------|------------------|------7-------------|---8------8--12--|-
------------------|-----7------------|---8-------8---12---|-----------------|-
---7--------------|--8-------8--12---|--------------------|-----------------|-
-8--------8--12---|------------------|--------------------|-----------------|-
M3rds.

----7------------|------------------------------------------------------------
-8------8---12---|------------------------------------------------------------
-----------------|------------------------------------------------------------
-----------------|------------------------------------------------------------
-----------------|------------------------------------------------------------
-----------------|------------------------------------------------------------


----------------|---------------|---------------|-------------|---6---------|-
----------------|---------------|---------------|---7---------|-8----8--11--|-
----------------|---------------|---6-----------|-8-----8--11-|-------------|-
----------------|---6-----------|-8-----8--11---|-------------|-------------|-
----6-----------|-8-----8--11---|---------------|-------------|-------------|-
--8-----8--11---|---------------|---------------|-------------|-------------|-
m3rds.

-------------|-------------|------------|-----------|-------------------------
-------------|-------------|------------|-----------|-------------------------
-------------|-------------|------------|-----------|-------------------------
-------------|-------------|------------|--------5--|-------------------------
-------------|---------10--|-----7--10--|-----7-----|-------------------------
--8--12--15--|--8--12------|--8---------|--8--------|-------------------------
M3rd. with m3rd. on top = Major Triad

------------|-----------|-----------|--------3--|-----------------------------
------------|--------8--|-----5--8--|-----5-----|-----------------------------
--5--9--12--|--5--9-----|--5--------|--5--------|-----------------------------
------------|-----------|-----------|-----------|-----------------------------
------------|-----------|-----------|-----------|-----------------------------
------------|-----------|-----------|-----------|-----------------------------


-------------|-------------|------------|-----------|-------------------------
-------------|-------------|------------|-----------|-------------------------
-------------|-------------|------------|-----------|-------------------------
-------------|-------------|------------|--------5--|-------------------------
-------------|---------10--|-----6--10--|-----6-----|-------------------------
--8--11--15--|--8--11------|--8---------|--8--------|-------------------------
m3rd. with M3rd. on top = Minor Triad

------------|-----------|-----------|--------3--|-----------------------------
------------|--------8--|-----4--8--|-----4-----|-----------------------------
--5--8--12--|--5--8-----|--5--------|--5--------|-----------------------------
------------|-----------|-----------|-----------|-----------------------------
------------|-----------|-----------|-----------|-----------------------------
------------|-----------|-----------|-----------|-----------------------------


-----------------|------------------|-----------------|----------------|------
-----------------|------------------|-----------------|----------------|------
-----------------|------------------|-----------------|----------------|------
-----------------|------------------|-----------------|----------------|------
-----------------|-------------14---|---------10--14--|-----7--10--14--|------
--8--12--15--19--|--8--12--15-------|--8--12----------|--8-------------|------
M3rd. with m3rd with M3rd. on top = Major 7th. Chord

--------------|--------------|--------------|---------------------------------
--------------|--------------|--------------|---------------------------------
--------------|--------------|-----------4--|---------------------------------
-----------9--|--------5--9--|--------5-----|---------------------------------
----7--10-----|-----7--------|-----7--------|---------------------------------
-8------------|--8-----------|--8-----------|---------------------------------


In the above Example, I used "M3rd." for a Major 3rd., and "m3rd." for a Minor 3rd.

Anybody else use this concept?
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honeybaked



Joined: 27 Feb 2010
Posts: 2
Location: Alabama

PostPosted: Sat Feb 27, 2010 6:35 am    Post subject: Elaborated Reply with quote

I am approaching not to jest at your approach but to elaborate on the idea of chord building.

Using thirds in the manner you describe is perfectly right, normal yet simple. It is important to be able to think in those terms; displaying your roots on strings 6 through 3.

I mean to say that you want to know how to make Maj, min, dim, Aug chords using the 6th, 5th 4th or 3rd string as your root. To elaborate, you also need to be able to figure the fingerings and shapes for added chord tones like sus4ths, 6ths, 7ths, 9ths, 11ths, and 13ths.

Here is where things get tricky. It is necessary to know each chord in the scale, keeping the root on the same string. I.E. in G major
[3 2 0 x x x] G, [5 3 2 x x x] Am, [7 5 4 X X X Bm etc. You also want to find these same triad notes in the same position.

Now when you have figued up all of these triad shapes, try to figure all the chords of the scale in all 5 positions up the neck starting on the roots of each chord. Then add those extra tones (7ths 9ths etc) and figure in those new tones into the shapes.

Dont forget about inversions!!! Ex. C major = CEG
Inversions of C would be to rearrange the notes and how they are voiced
You could result in EGC, ECG, GEC, GCE, CGE etc. Now the task of finding these new shapes for all chords in the scale in the same positions for ease of playing by moving with economy. Then add some 7ths and 9ths and find those inversions.

A lot of the best shapes to work off of are the A, G, and C shaped bar chords both for Major and Minor. E shape is a given.

After all is learned, start playing the chords melodically and drop tones while adding others i.e. for C7 #9 try finding shapes for the notes E Bb and D#. We drop C and G and added E and Bb. Find the inversions and you will start to better understand the organization of the chord tones. Playing these melodically with scale patterns and riffs as your glue will prove to be a great approach to inside or safe playing. Well... i say safe but it is fun and necessary and full of depth for great playing. But in no way does this include outside ideas as a whole.

Hope this helps with 3rds etc.

I should start a new thread but will touch on a couple of more harmonic theory ideas...
Try to investigate chords built using 4ths or using a mixture of 4ths and 3rds. You can even add M7ths to spice things up
i.e. CFAD this could be analyzed as being a shell of a number of different chords and tonalities. Like Dm/C or an F6 chord.
i.e. F#BC#F# followed by ADEA= [x x 4 4 2 2] to [x x 7 7 5 5 ]
This progression again can be analyzed a number of different ways depending on melodic tonality or the bass note (perceived root or 3rd)

quartal and quintal harmonies are more flavorful and have neater applications and open the door to new melodic opporunities.

Yadda yadda blah blah blah Yadda yadda blah blah blah blah blah blah yada dydaydayady Yadda yadYadda Yadda yadda blah blah blah Yadda yadda blah blah blah blah blah bYadda yadda blah blah blah Yadda yadda blah blah blah blah blah bYadda yadda blah blah blah Yadda yadda blah blah blah blah blah blYadda yadda blah blah blah Yadda yadda blah blah blahblah blah blah blah blah blah yada

Good luck and hope this helps
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