This is an excellent lesson. Chris uses what the guitarist already knows to shine light on what he does not yet know, making new material familiar as soon as it is introduced.
Thank you for another excellent series of lessons that examines a standard from different styles and perspectives. This material is rich and challenging, and I find that I need more than one week to absorb each weekly lesson. Keep up the good work.
I knew about stacking thirds for major and minor triads as well as the role of major and minor triads in the harmonized scale, including the diminished seventh. However, after years of lessons and study, I had never encountered the simple rule for finding major and minor thirds on adjacent strings until this lesson. Thanks to Chris for illuminating that particular insight in this lesson, and shame on me for stumbling between fret and string while overlooking something that now seems so obvious. I especially appreciate the task assigned at the end of the lesson, which is to discover the triad sequence (rooted on the fifth string, I suppose) of the chord progression that forms the melody of the song. This exercise pulls together the details of the lesson well.
Would you suggest an exercise regime that focuses on transposing chord progressions as triads across keys and the fingerboard? I have some exercises for the top three strings using fingerings based on the A, D, and F shapes, but exercises that systematically cover all six strings have eluded me. The goal is to absorb this capability into muscle memory.
I was surprised to learn from the breakdown of these rhythm embellishments that the eighth notes all come from slurs. (When I listened to the introduction music for the lesson, I thought the eighth notes were coming from alternate picking with downstrokes and upstrokes.) This has been a rewarding lesson for me.
To be sure, there are some bass notes taught in this lesson that would, if we were following the rules of alternate picking, ordinarily be played with an upstroke based on where they're falling on the beat. But the important thing here is that we play as many notes as possible using rest strokes because volume-wise the bass runs need to be able to really jump out over a band. The approach would be different if you were flatpicking a melody or taking a solo.
This is an excellent lesson. Chris uses what the guitarist already knows to shine light on what he does not yet know, making new material familiar as soon as it is introduced.
Thank you for another excellent series of lessons that examines a standard from different styles and perspectives. This material is rich and challenging, and I find that I need more than one week to absorb each weekly lesson. Keep up the good work.
Chris:
Thank you for the study material. Getting these C major triad shapes under my fingers will take awhile.
I knew about stacking thirds for major and minor triads as well as the role of major and minor triads in the harmonized scale, including the diminished seventh. However, after years of lessons and study, I had never encountered the simple rule for finding major and minor thirds on adjacent strings until this lesson. Thanks to Chris for illuminating that particular insight in this lesson, and shame on me for stumbling between fret and string while overlooking something that now seems so obvious. I especially appreciate the task assigned at the end of the lesson, which is to discover the triad sequence (rooted on the fifth string, I suppose) of the chord progression that forms the melody of the song. This exercise pulls together the details of the lesson well.
Would you suggest an exercise regime that focuses on transposing chord progressions as triads across keys and the fingerboard? I have some exercises for the top three strings using fingerings based on the A, D, and F shapes, but exercises that systematically cover all six strings have eluded me. The goal is to absorb this capability into muscle memory.
I was surprised to learn from the breakdown of these rhythm embellishments that the eighth notes all come from slurs. (When I listened to the introduction music for the lesson, I thought the eighth notes were coming from alternate picking with downstrokes and upstrokes.) This has been a rewarding lesson for me.
Hey Jed,
To be sure, there are some bass notes taught in this lesson that would, if we were following the rules of alternate picking, ordinarily be played with an upstroke based on where they're falling on the beat. But the important thing here is that we play as many notes as possible using rest strokes because volume-wise the bass runs need to be able to really jump out over a band. The approach would be different if you were flatpicking a melody or taking a solo.
Cheers,
Chris