Monday, 11 May 2015

Sapphire Ng | Berklee Guitar Private Instruction - (Week 8) Spring 2015 [Class Materials & Concepts]

Guitar Private Instruction Lesson

Berklee College of Music
Spring 2015 Semester

Private Instruction Teacher: Sheryl Bailey

[Week 8]

Concepts covered in class:
-4 sets of resolving Dom7 Chord/Dim7 Arpeggio positions for practice, namely having the dim7 arpeggio starting on the 6th string of the guitar from the:
           -b9 of the dom7 chord [Recall: To play the dim7 arpeggio starting from note a 1/2 step above the root of the dom7 chord]
           -3rd of the dom7 chord
           -5th of the dom7 chord
           -b7th of the dom7 chord

[*In the handout given during the class, the example involves having the F7 chord resolving to a Bbmaj7 chord, note as well that you can alter the exercise to resolving to a minor chord instead of a major chord, ie. Bb-7 chord.]

[*For the Bbmaj7 or Bb-7 that you resolve into in the handout, there are suggested fingering patterns and 2 fingering pattern options for the dim7 arpeggio set starting on the 3rd and the 5th of the dom7 chord.]

[*Referring back to the 3 sets of resolving dom7 chord/ dim7 arpeggio found in "Black Orpheus" as part of the homework from previous week of Guitar Private Instruction class, now you can try categorizing the fingering patterns/positions to the 4 categories given in the handout and thus will help put this concept into perspective.]

[*This is yet another system to help you organize the fretboard.]


-Drop 3 chord voicings with F-7 demonstrated as an example. 
           -Similarly, this allows you to segment the guitar fretboard into 4, as you play the drop 3 chord in root position, 1st inversion, 2nd inversion and 3rd inversion.
           -For the same type of inversion or root position voicing on the 6th string, there is an equivalent, oftentimes similar-shaped voicing on the 5th string. The ideal would be to know how to play the voicings from both the 6th and 5th strings of the guitar. 


-Practice walking bassline comping using drop 3 chord voicings. 
           ~Connect the chord voicings in root position and inversions using 2 methods: 
                      -Scale tone, i.e. by "walking" on notes diatonic to the scale when approaching target notes.
                      -Chromatic, i.e. by playing approach notes a 1/2 step above or below a target note. 

           ~For practice, for example F-7 drop 3 chord voicings, you can play along the 6th string only, by systematically ascending and descending in the walking bassline comping in an octave. 

[i.e. Start off by playing the voicing with root "F" note on 1st fret, then on the upbeat "walk" on a scale tone which is the "G" note on the 3rd fret on the same string in this case, and then play the voicing with the "Ab" note on the 4th fret, and then "walk" on the "Bb" note on the 6th fret before reaching the target of the voicing with the "C" note on the 8th fret and so on, until you hit all inversions along the same string set then you can start to descend in the same systematic manner.]

           ~After practicing connecting all 4 voicings along the 6th string with the walking bassline, do the same with the voicings along the 5th string. And once comfortable, practice combining voicings on both the 6th and 5th string


-A fun session in class playing to "Black Orpheus" where my teacher and I solo together. 
           -A point to note is the need to outline chord changes with the solo/improvising lines especially when it is a duo context, and when both are soloing, there will be no one playing the chord progression. 


Class Handouts/Materials:

Dom7/Diminished Arpeggio



Drop 3 Chord Voicings (With Root on 6th & 5th String)



2 Ways to Connect Inversions to Practice Walking Basslines






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