What do you want to learn? Lesson Exchange

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 I’d bookmarked, wanted to bump this as I think it’s a cool idea!

@GTR any particular topic(s) you’re 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 “happy to share what I know on A or B, would love to dig in to X, Y, or Z…” etc.

Not really mechanics, but theory on harmony/chord + note choices over certain progressions would be awesome – something like if I’m trying to solo over a ii V I, what’s the theory behind which passing chords (and arpeggios) would be great to use :slight_smile:

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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 — 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 don’t 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. Alright…

Here’s a rather unusual exercise. 6/9 arpeggio quintuplet, played twice, followed by two four note inversions of the same harmony.


Everybody’s already done that one, too?
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I can’t :joy: but it sounds like a good fretboard visualisation exercise!

I guess there’s a little difference between ‘lesson’ and ‘betcha can’t play this’…

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I’m 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.

What’s 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… it’s 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 pentatonics’ 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 – that’s 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 – that’s D- pentatonic.

Someone post a video of Cycle 6 diatonic. If it needs help, I’ll help. Otherwise, I’ll 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 G∆, B-pentatonic. And for maj7#11, playing a minor pentatonic built off the seventh scale degree, so again, for G∆#11, F# minor pentatonic.

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