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    Guitar - Ben Monder - Practice Sheet PDF

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    juan
    This document provides guidance on practicing 7th chords and their inversions through different scales, arpeggiating them in different orders, and experimenting with replacing chord tones. It includes a chart of all possible 7th chords and their substitutions, and recommends practicing consistent intervallic chord structures through scales with voice leading. Warm-up exercises are suggested playing scales slowly with a metronome before improvising.

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    Guitar - Ben Monder - Practice Sheet PDF

    Uploaded by

    juan
    400 views3 pages
    This document provides guidance on practicing 7th chords and their inversions through different scales, arpeggiating them in different orders, and experimenting with replacing chord tones. It includes a chart of all possible 7th chords and their substitutions, and recommends practicing consistent intervallic chord structures through scales with voice leading. Warm-up exercises are suggested playing scales slowly with a metronome before improvising.

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    Guitar - Ben Monder - Practice Sheet.pdf

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    This document provides guidance on practicing 7th chords and their inversions through different scales, arpeggiating them in different orders, and experimenting with replacing chord tones. It includes a chart of all possible 7th chords and their substitutions, and recommends practicing consistent intervallic chord structures through scales with voice leading. Warm-up exercises are suggested playing scales slowly with a metronome before improvising.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    400 views3 pages

    Guitar - Ben Monder - Practice Sheet PDF

    Uploaded by

    juan
    This document provides guidance on practicing 7th chords and their inversions through different scales, arpeggiating them in different orders, and experimenting with replacing chord tones. It includes a chart of all possible 7th chords and their substitutions, and recommends practicing consistent intervallic chord structures through scales with voice leading. Warm-up exercises are suggested playing scales slowly with a metronome before improvising.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    Some key takeaways are to practice triads and 7th chords in different inversions and positions across the fretboard, experiment with arpeggiating and replacing chord tones, and write out charts for the different types of 7th chords.

    Some techniques for practicing 7th chords include taking the voicings up and down scales, practicing voice leading through different cycles, learning different uses for each 7th chord as a superimposition over a bass note, and replacing different chord tones with other scale degrees.

    Some ways to create chords from consistent intervallic structures include building chords on intervals like a 4th, 2nd, and 5th starting on different scale degrees, and taking the structures through various scales while practicing voice leading between them.

    Be able to move a triad through the major, harmonic minor and

    melodic minor scales. Play triads in root position, 1st and 2nd
    inversion, and in close and open position on as many string
    groups as apply. Experiment with arpeggiating it in different
    note orders as well as playing the notes simultaneously.

    C Major 7
    CEGB

    EGBC

    GBCE

    BCEG

    CGBE

    EBCG

    GCEB

    BEGC

    CBEG

    ECGB

    GEBC

    BGCE

    CGEB

    EBGC

    GCBE

    BECG

    CEBG

    EGCB

    GBEC

    BCGE

    CBGE

    ECBG

    GECB

    BGEC

    Take all these voicings up and down through the major scale,
    then practice voice leading them through different cycles
    (5th, 3rd, etc).
    Write this chart out for all 7th chords:
    Maj7-5
    Maj7#5
    Min 7
    MinMaj7
    Min7-5
    Dom7
    Dom7#5

    Dom7-5
    Then, experiment with replacing different chord tones with
    other scale degrees, eg. the 2nd for the 3rd (CDGB, DGBC,
    etc.)
    Limit yourself to one voicing type at a time, and work your way
    through a tune playing a different inversion on every beat.
    Cover all possible string groups that apply to each voicing.
    Make sure to go to the nearest available voicing when the
    harmony changes
    Learn as many uses for each 7th chord (as a superimposition
    over a bass note) as you can.
    Take each chord and make a list:

    CMaj 7 = Dsus13 = Eb13b9#5 = FMaj9#11 = AbMaj7#9#5 =


    Amin9
    CMaj7b5 = D13 = FMaj7#11b9 = F#11 = Ab7#9#5 = Amin13 =
    Bsusb9
    CMaj7#5 = D13b5 = FminMaj7#11 = F#9/11 = AminMaj9 =
    BPhryg Natural 6
    C7 = Db dim Maj7 = Dsus9b6 = Eb13b9 = FMaj9sus4 =
    F#7b9b5 = AbMaj9#5 = A7#9b9
    C7b5 = D+9 = Eb13#9b9 = F#7b5 = Ab+9 = A13#9b9
    C7#5 = D+9b5(can also be thought of as ) = F#9b5 = Ab+9
    C7sus4 = DbMaj6b5 = Dmin11b6 = Eb6/9 = F#Maj7b5b9 =
    AbMaj13 = APhryg(min7b9b6) = BMaj7b5#5b9(!?)

    Cmin7 = Db Maj13b5 = DPhryg(min11b9b6) = Eb6 =


    EminMaj7b5b6 = Fsus9 = AbMaj9 = A7b5#9b9 = BMaj7#5b9
    Cmin7b5 = D7b9#5 = Ebmin6 = EMaj9b5#5 = F7sus4b9 = Ab9 =
    BMaj7b9
    CminMaj7 = Dsus13b9 = EminMaj7#5 = F9#11 = AbMaj7#9 =
    A9

    Create chords out of consistent intervallic structures. For


    example, a four note chord built on the intervals 4th, 2nd, 5th,
    starting on F in the F mixolydian mode would be F Bb C G. Move
    that structure up to the next scale degree and the chord is G C D
    A, then A D Eb Bb, etc.
    Use this idea to come up with a variety of structures built on 3 to
    6 notes and take them through various scales.
    Then practice voice leading between structures, and over
    moving harmony. Don't forget to apply melodic and harmonic
    minor, as well as other 7 note scales.

    As a warm up, play a scale with the metronome on 20 (or


    lower, even 10) and play one note per click. Do this through
    every position of the scale, trying to be as accurate as
    possible. Try to be even and legato (even though you are
    attacking every note). Then put the metronome on 5 or 10 and
    have that be the first beat of an 8 or 4 bar cycle. Improvise
    over a tune this way and see how accurate you can be.

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