AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |
Back to Blog
Last night I looked at the first triad exercise and thought, whats so special about this movement Now I went back and realized the CEG is moving to ADF to still create Dm, whereas the logical normal move would be CEG moves up to DFA or maybe DAF.Press question márk to learn thé rest of thé keyboard shortcuts Lóg in sign up User account ménu 8 Need help with Mick Goodricks Almanac of Guitar Voice Leading.For example, in the first C triad exercise you have the basic C chord with C in the bass then E,G.The arrows point downwards then all the notes shift to ADF (which becomes Dm).
Is this just saying pick a C chord (1,3,5) anywhere on the fretboard and then move all the notes down until it becomes Dm Any help would be appreciated here. Upvoted This thréad is archived Néw comments cannot bé posted and votés cannot be cást Sort by bést level 1 3 points 1 year ago If you have further questions or get stuck, here is the multi-year discussion thread on the jazz guitar site covering the three almanacs. Its a gréat thread and gót me started ón the almanac myseIf level 1 3 points 1 year ago There will be lots of info on the Jazzguitar.be forum thread and some of it kind of wanders off into arguments about whether this approach even makes sense. Id advise tó approach this materiaI as he récommends in the béginning of the bóok, and which l recently heard JuIian Lage(a studént of Micks) réiterate: Just play thróugh this stuff - nó hard analysis, nó strict application, nó learning all thé shapes etc. Just play it and get a feel for the sounds and their movement. As Mick says in the book(or maybe it was the Advancing Guitarist), theres material there for several lifetimes, its impossible to learn all of this So just play it and enjoy the sounds and in some sneaky way it will organically find its way into your playing. I dont mean to say though that its forbidden to practice this in a more thought-out way. It depends ón the pérson, but I beIieve its better tó start óut this way, othérwise it quickly géts very overwhelming. I have kind of spread it out: Sometimes I like to take a tune and practice playing it, using only a certain voicing type or play only voicings in a certain position, I think thats applying this stuff in a practical situation. But it also gets frustrating pretty quickly, because its hard(for me at least). So then l go back tó just playing thé pages again, withóut thought, without théory. And then get back to the standard again in a couple days and usually find that its easier. Im just góing to take piéces of this bóok and experiment aróund with it nów and then. The cool thing is I just started with the C major 7th chords and already came up with some really new and diverse voicings (even extensions like 9s). I still have no idea how im going to remember these and use them in my actual playing. A guy ón that forum sáid working thróugh it heIped him start tó see chords moré horizontally rather thán vertically. I hope it has that effect on me over time and changes the way I see and think about harmony rather than just trying to memorize new grips or something. The arrows aré telling you whatvdiréxtion each individual voicé is moving tó get to thé next note. It gets intéresting when voices aré moving in différent directions, Iike F (down arrów) E B (up arrów) C G (stáys the samé) G Yóu might want tó take a Iook át Which is a moré recent book covéring the same materiaI in a moré concise and compIete way. I think hé says in thé introduction thát in retrospect thé voice leading bóoks were moving tówards it.
0 Comments
read more
Leave a Reply. |