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Seeing Music on the Left-Handed Guitar: A visual approach to playing music PDF

108 Pages·2020·15.624 MB·English
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SSEEEEIINNGG MMUUSSIICC OONN TTHHEE LLEEFFTT--HHAANNDDEEDD GGUUIITTAARR A Visual Approach to Playing Music Andy Schneider Hear this book! free Download your audio examples of these exercises at: seeingmusicbooks .com SEEING MUSIC METHOD BOOKS 2ND EDITION © 2020 ANDY SCHNEIDER WWW.SEEINGMUSICBOOKS.COM SEEING MUSIC METHOD BOOKS Introduction In my years teaching guitar and talking with other professional string players, I’ve noticed that we all have developed an ability to “see” the music we play on the fretboard of the instrument. We see the music we play as a simple relationship of shapes and relative positions. Look at these two shapes: Just as you recognize the shapes above, stringed instrumentalists see music on the fretboard of their instrument. This is an inherently special gift we who play stringed instruments have been given. No other kind of instrument makes it so easy for the musician to have a visual roadmap of the music, making things like improvisation or transposing a song to another key so easy. Our fi ngers follow these maps to get to the music. This book will show you how to see music as simple shapes and use these shapes to more quickly and profi ciently play and create music. This book is for two kinds of students: 1. The beginner seeking understanding of the “hows” and “whys” of guitar music. Welcome. 2. Those who have learned something about the guitar, maybe some chords, maybe even have a good bit of playing experience, but lack knowledge of the way music is built. They have a grip on how to play some music, but don’t understand why they’re playing these things. Why chords use particular notes. Why some chords in a song are major or minor. Without this knowledge of the “whys”, it’s diffi cult, if not impossible, for them to develop as a player. For them, the guitar becomes a giant, frustrating exercise in memorization. It shouldn’t be. In this book, you’ll see that there really is very little music theory to be memorized. You did a lot more memorizing in your fi rst year of math class than you will here. There are literally thousands of chord voicings available to a guitarist, yet they can be boiled down to a few simple ideas that anyone can grasp. You’ll see the simple relationship between chords and scales and you’ll learn how to play any chord, even one you’ve never seen before. No knowledge of sheet music is necessary here. While reading music is great and certainly encouraged, we won’t use it. We’ll be covering how music is constructed and ‘looks’ on the neck of the guitar. While we won’t get into any particular musical style or specifi c techniques, the information here is common to all Western music: Rock, Folk, Country, Pop, Classical, Jazz. Turn the page, you’re about to “see” music! CONTENTS FRETBOARD DIAGRAMS AND DESCRIPTIONS 9 STRING NAMES AND NUMBERS 9 HOW TO READ FRETBOARD DIAGRAMS 9 A NOTE ABOUT FRETBOARD DIAGRAMS 11 KNOW YOUR FRETBOARD (PART I) 13 THE FIRST 3 FRETS 13 MEMORIZING THESE EASILY 14 MAJOR SCALES, TRIADS AND CHORDS 15 SCALES 15 TRIADS 18 CHORDS 18 KNOW YOUR FRETBOARD (PART II) 21 THE 5TH FRET 21 MASTERING THE B STRING 22 ALL ABOUT SHARPS AND FLATS 23 INTERVALS 25 WHAT EXACTLY IS AN INTERVAL? 25 INTERVALS CAN TAKE OTHER SHAPES 26 MORE MAJOR SCALES AND CHORDS 27 MORE RELATED SCALES AND CHORDS 27 BARRE CHORDS 30 KNOW YOUR FRETBOARD (PART III) 35 HIGHER FRETS 35 ANOTHER C MAJOR SCALE 36 C MAJOR SCALE, ONE OCTAVE HIGHER 36 A NOTE ABOUT SCALES 36 PUTTING THESE TWO SCALES TOGETHER 37 THE SAME SCALE WITH A NEW LOCATION 37 KNOW YOUR FRETBOARD (PART IV) 39 THE 12TH FRET AND BEYOND 39 ALL NOTE NAMES REPEAT 40 MINOR SCALES, TRIADS AND CHORDS 43 MINOR SCALES 43 MINOR TRIADS AND CHORDS 44 MINOR INTERVALS 45 ABOUT MAJOR AND MINOR TRIADS 49 CHORD PROGRESSIONS 51 DEFINING CHORD PROGRESSIONS 51 SPELLING TRIADS IN A GIVEN KEY 52 VISUALIZING CHORD MOVEMENT 53 7TH CHORDS 59 WHAT IS A 7TH CHORD? 59 MAJOR 7TH CHORDS 59 DOMINANT 7TH CHORDS 60 MINOR 7TH CHORDS 63 MINOR 7 BARRE CHORDS 65 TRANSPOSING CHORD PROGRESSIONS 67 MOVE ROOTS THEN MOVE CHORDS 67 TRANSPOSING  ALTERNATE METHOD 69 TRANSPOSING ACROSS THE B STRING 71 HOW CHORDS CHANGE APPEARANCE 72 EXTENDED CHORDS 75 KEEP IT GOING 75 9TH CHORDS 76 VARIATIONS ON 9TH CHORDS 77 CHORD NAMES AND SYMBOLS 78 BASIC IMPROVISING 81 TOOLS FOR IMPROVISING 81 MAJOR PENTATONIC SCALES 81 MINOR PENTATONIC SCALES 83 BLUES SCALE 84 12 BAR BLUES 84 CREATING YOUR OWN CHORDS 87 MODERN CHORD VOICINGS 87 SUSPENDED CHORDS 90 CHORD CREATION GUIDELINES 90 CREATING YOUR OWN PROGRESSIONS 93 A COMMON CHORD MOVEMENT 93 SECONDARY DOMINANTS 94 MILESTONES 97 CHORD REFERENCE 99 BLANK FRETBOARD DIAGRAMS 104 SSEEEEIINNGG MMUUSSIICC OONN TTHHEE LLEEFFTT--HHAANNDDEEDD GGUUIITTAARR FRETBOARD DIAGRAMS AND DESCRIPTIONS STRING NAMES String 123456 Note EBGDAE AND NUMBERS The guitar is tuned, low to high, E, A, D, Nut G, B and E. If you’re experienced you can tune by ear, but the easiest way to tune Frets is to buy an electronic guitar tuner. Many are available inexpensively. Alternatively, there are lots of great guitar tuners available for phones and tablets. Many of these apps are free, so if you have a smart device, check its app store. FIG.1 - STRING NAMES AND NUMBERS The strings of the guitar are numbered from the highest pitch to the lowest. The highest and lightest string is the fi rst string and the lowest and heaviest string is the sixth string. HOW TO READ FRETBOARD DIAGRAMS The diagrams in this book are kind of like pictures of what you’ll see when you look at your guitar. Strings 0 s t e r F FIG.2 - FRET NOTATION FIG.3 - FRETBOARD Hold your guitar upright in front of you and look at fretboard. The strings run up and down, the frets run horizontally. That is the view used in fretboard diagrams. Fretboard Diagrams and Descriptions 9 Figure 4 indicates the musician should play 0 open E, the 6th string. An open circle indicates an open string, one that is played without fretting with the right hand. 0 FIG.4 - OPEN 6TH STRING This fi gure indicates open A, the 5th string. FIG.5 - OPEN 5TH STRING Figure 6 depicts the note found at the black dot on the 5th String at the 3rd fret. It’s the 3rd fret because it’s three frets higher up the neck than the “0” in the upper right corner of the diagram. The zero indicates that the diagram begins at the nut or “zeroth” fret. In this book, “higher” always describes the pitch, not the direction on the neck. For example, for two notes found on the same string, the “higher” note is the one closer to the body of the guitar. The “lower” note would be closer to the headstock. 0 2 FIG.6 - FRET NOTATION FIG.7 - RIGHT-HAND FINGERING The “2” next to the black dot indicates the musician will use the 2nd fi nger of the fretting hand as in Figure 7. 10 Seeing Music on the Left-Handed Guitar: A Seeing Music Method Book

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