Hello,
I am referring to the video "BL04.(014-1) 4-Note Chords in Blues" He shows how he plays a Dmaj7 on the tenth fret at around 3:13. am most used to the E shape on the tenth fret. This seems like such an odd shape though, and I don't see the 7th (C#) anywhere that he is fretting. Could someone help to explain?
thank you!
He's jumping ahead a little bit to demonstrate the same G chords (using the same notes) in 2 positions.
All those voicings are G (not D) at the 5 fret and 10th fret: dom7, maj7, min7, etc.
x x 5 7 6 7, x x 5 7 7 7, x x 5 7 6 6
x 10 12 10 12 x, x 10 12 11 12 x, x 10 12 10 11 x
Another way to look at this is by root of the chord fingering. The four note chord Tomo is teaching has the root on the fouth string or root 4. The chords you are asking about has the root on the fitfh sting or root 5. In this example for root on the fifth string, it's a G chord because G is the root on the 5th string. He demonstates some root 5 G chords: G7, Gmaj7, Gmin7,Gmin7b5, and Gdim.
hope that it is ok for me to join you guys here. i have just finished the theory section's Roman Numerical, and, if not mistaken, i think that i saw him going through some chord progressions in an area around C at 3rd fret on the A-string in a vertical way using, for example, D-string as well. how Tomo did it was compact and seemed convenient.
it makes me realize that it can be done like that too instead of, as i initially understood, only sticking to the A-string chords throughout the progression. i have tried 1-6-2-5 progression using A-string chords only, and it sounds rather off.
what are the pros and cons or are there any rules of thumb in terms of usage choices for 6- or 5- or 4-string say 7th chords? note that i have no one to do the bass line for me. can or should we mix them together or better to stick to one given string throughout as i initially understood?
thank you guys very much.
There is no "rule" that I'm aware of, at least at my current level of playing.
How you voice chords will depend on the context of your playing (melody on top? bottom? Roots handled by bass player? comping behind a soloist? playing modally? trying to stretch your technique and understanding with self-imposed limitations, etc).
The "side by side" method (i.e. along one string, up and down along the length of the neck) helps you visualize where the voices of the chords are moving and their intervals. As you've probably noticed, the technique can result in a lot of hand movement and can make it hard to execute changes very fast. But this limitation (or any limitation) can sometimes help you do something creative.
So don't overthink it, sometimes you want to get to a different part of the neck to add a high (or low) melody or riff. So there is no "rule". Sound, playability and ability to execute all contribute to your choices. The great thing is, Tomo demonstrates very good examples, which are perfect places to start from.
The answer, again, to all "should I" questions is: yes, learn it all, ESPECIALLY the triads for the chords... and, later, eventually, everything else, which includes, but is not limited to: all the inversions, both side-by-side and up-and-down, the 7th chords, and other extensions. Accept that it will take time and embrace the time spent on that path. It is all in the lesson videos, so just work through each one.
Take each one, break it into bite-size chunks and Don't Expect Too Fast. Tomo shows you in the most accessible genres, Blues, Jazz, Funk, neo-Soul and Pop, so you can progress in the music you prefer to start with.... but again, since there is time enough for all, learn at least something from each style, eventually.
Try to make achievable goals and celebrate each milestone. The universe of music is huge. The trick is not to be intimidated and narrow your scope from "learn everything all at once" to "learn this one new thing for now" and see where it leads.
It seems like you're hearing something in your 1-6-2-5 practice, so explore it. Ask yourself the "who what when where why" it sounds "off" to you. Can you solve it? Do later videos give you some more ideas to fix it? Just keep taking another step.
I probably don't stress this enough, and it is hard for me to practice what I preach (and I don't mean to preach, although I never seem to be able to stop typing) - but listen to actual music. Find songs that use the 1625. How do they solve the problem that you're hearing? Tomo has quite a few jams in his demonstration videos. But, it's ok to check out other songs, too. Youtube is your friend here.
thank you, Brad.
Once again, your inputs have helped me to be clearer with what i had seemd to be confused of.
As a beginner, most of what i have learned here from the lessons and forum are very fascinating and fun to explore. More and more, i cannot help but think that this little object with 6 strings is 'endless' and our senses, brain, and coordination are themselves a super creation. And 'what if?' is a very important question to ask ourselves that often times helps us to break through the whatever limitations that we have at a given time.
I used to think that triad is a thing for beginners to learn and leave it behind. Oh man, how wrong I was! Triad is a real unforgiving killer that, to me, one should spend at least a year on and that must be understood inside out and outside in.
Thank you once again.