Barry,
On p. 3 "Etude for Developing Turnarounds", I'm trying to figure out what you're doing in the Rhythm Changes, that is, are you taking the 8 variations through the 5 areas? I mean you take the 2 bars of changes and do one of the variations and then start over using another variation. I'm a little confused what's happening on the page. It's not the "5 packets" of 8 variations you did at Berklee is it?
Steve which PDF is this, can I have the title?
The pdf is the one going with "Major II-V-I Full Score".
p. 1 drop 2 voicings. Then the 8 variations p.2. Then the longer etude over Rhythm Changes
I'm just using the Dom7 ideas found on the first page to show how to generate ideas on turnarounds. With this method you can gain mastery of the neck by having 8 available options each time you land on the 3rd of a dominant chord.
Barry
Sorry to revive this thread. Barry I’m not quite I understand how you arrived at these. Should I just be memorizing them or should I be understanding them.
For ex let’s take bar 37 and 38. One section.
Bar 37 looks like 29 from previous page but now you’re using Eb and not E? From there it gets even more confusing, bar 38 I don’t see anything from previous page that explains how you got there.
I apologize for my ignorance. Just not sure if I am supposed to know how you developed these ideas or just memorize. Since the bottom of that same page says to continue the ideas down the neck, but I have zero clue how to start
Thanks!
Ah I can sort of see how you make the G dom phrases from the ones of the previous page. Same notes/intervals. Same with the F dominant.
But the minor language is different each time
That's correct. The dominant language is the most important and difficult part which is why the focus is on that. The minor lines are created with the intent of getting to the third of the dominant chord. Keep playing through them, the minor stuff will begin to come naturally to you. Thanks as always for your helpful questions Blake.
hey barry one quick one - so once youve worked out the 8 in one position, how to do tie them to the chords in that position. I try to play the chord as I am playing the line a bit to reinforce it but wasnt sure if you had another suggestion. more importantly, theres 8 lines but only a couple voicings in that area that work, so how do you keep them straight
Any chord can be played in any position on the neck. Check out the lesson "5 position study", it's a great lesson on how to master the guitar neck in terms of voicings. Here is the link: https://barrygreenevideolessons.vhx.tv/videos/five-position-study-essential
That will help a lot. -barry
Sorry. I may not have phrased my question correctly. Very familiar with that lesson and slowly parsing through it.
I’m saying when you are in first position, let’s call this 5th string C root. There are perhaps a few usable ways to play the ii V and I chords +/- their extensions. But this lesson has 8 dominant phrases in that position 1 area. So how do you make “chord scale/phrase” relationship for each of those 8 phrases. Or do you just tie all 8 phrases to that one dominant shape in that position ?