What do you want to learn?
Who wants to do a free short lesson exchange over Zoom?
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Hey just looking back through old posts Iâd bookmarked, wanted to bump this as I think itâs a cool idea!
@GTR any particular topic(s) youâre either looking to try sharing a lesson on, or would be interested in learning from others? Might be helpful to match up w/ others who may be interested with some additional detail like âhappy to share what I know on A or B, would love to dig in to X, Y, or ZâŚâ etc.
Not really mechanics, but theory on harmony/chord + note choices over certain progressions would be awesome â something like if Iâm trying to solo over a ii V I, whatâs the theory behind which passing chords (and arpeggios) would be great to use 
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I have very good chord knowledge from the chord exercises I developed. I can teach you some of the formulas to learn how to make these exercises. There are chromatic cycles and scale-based cycles.
For example, 6/9, cycle 4.
Or simpler, Triads, diatonic Cycle 6 â intervallic change pattern = raise the 5th by a scale degree.
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I would like to make a couple of videos on theory and theory+practice. But I donât speak english (
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Can anyone play for me Diatonic Cycle 6, Triads? If not, why not?
So everybody can play triads cycle 6. OK. And 6/9 cycle four. AlrightâŚ
Hereâs a rather unusual exercise. 6/9 arpeggio quintuplet, played twice, followed by two four note inversions of the same harmony.
Everybodyâs already done that one, too?
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I canât 
but it sounds like a good fretboard visualisation exercise!
I guess thereâs a little difference between âlessonâ and âbetcha canât play thisââŚ
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Iâm hearing 6/9 cycle 4 is too difficult. OK!
Can you play triads cycle 6, diatonic? Play it as slowly as you like, but in time.
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Thanks @GTR, this lesson makes the exercise very clear!
I think it could be interesting to apply these kinds of principles to actual musical chord progressions (dunno, Jazz standards or similar) - trying to find minimalistic ways to move from each arpeggio to the next while remaining in the same area of the fretboard!
Play this first, upload a video of it, and I will go over cycle 6/9 cycle 4 again. 6/9 cycle 4 is very valuable.
Whatâs so great about 6/9 cycle 4?
6/9 chords are the same notes as the major pentatonic. G 6/9 is G major pentatonic. Whose heard of that scale? Anybody? (Hint⌠itâs the same notes as E minor pentatonic!)
Is it just a new name for the pentatonic scale? Yeah. Also use this chord/scale in any Jazz tune where the root is in the melody and it calls for a major or maj 7.
But cycle 4⌠Why? Fourth is a very common harmonic movement.
They are related. All Along the Watchtower, The Great Gig in The Sky (improv singing)⌠What do they have in common? The natural 9th in pentatonic context. That 9th is borrowed from the pentatonic a fifth away, and cycle 5 is cycle 4 backwards.
Often, they have the same key in common. In A minor, three of the standard minor pentatonicsâ notes are available, those of A- pentatonic, D- pentatonic, and E minor pentatonic. D- pentatonic is a fourth away from A- pentatonic which is a fourth away from E- pentatonic.
The intervallic change pattern for 6/9 cycle 4, chromatic is simple: Raise the third a minor second. For C 6/9, raise E to F â thatâs F 6/9. Likewise, the minor pentatonic way of thinking about it is to raise the fifth a minor second. A min pentatonic, raise the E to F â thatâs D- pentatonic.
Someone post a video of Cycle 6 diatonic. If it needs help, Iâll help. Otherwise, Iâll go over 6/9 Cycle 4 chromatic.
Pentatonics have more chord-scale substitutions. I already mentioned how Jimi Hendrix and Pink Floyd added the 9 onto the minor pentatonic, blending two pentatonic scales a fourth apart. But there are more.
For maj7, playing a minor pentatonic built off the minor third works. So for Gâ, B-pentatonic. And for maj7#11, playing a minor pentatonic built off the seventh scale degree, so again, for Gâ#11, F# minor pentatonic.
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