I believe your thinking is correct. It sounds like you have already thought this through, but I will try to quickly flesh out how I would analyze this on pen and paper.
Lets start by assuming you are correct in both your questions: 1. Phrygian#3 and Harmonic Minor are essentially the same thing. 2. Phrygian#3 is also a mode of harmonic minor.
To hash it out, lets take C Major as the 'Parent Scale': C D E F G A B C
Play C Major starting and resolving with the 3rd degree, and you have E Phrygian: E F G A B C D E
Play C Major starting and resolving on the 6th degree, and you have A Aeolian A B C D E F G A
NOW lets try and find the correlation we're looking for....
As you pointed out, raising the 7th in an Aeolian scale gives you harmonic minor. So lets raise the 7th of our A Aeolian. A B C D E F G# A
Now, lets see what happens when we raise the third of our E Phrygian: E F G# A B C D E
As you can see, both the Phrygian #3 and Harmonic minor contain the exact same notes. Further, Phrygian #3 also begins and ends on the 5th degree of your harmonic minor scale... In this sense, Phrygian with a raised 3rd is derived by playing the 5th mode of the harmonic minor. However, I have normally heard this referred to as 'phrygian dominant' or 'phrygian major'.
Anyway, it sounds like you have already thought this all through. This is just a version of how I would analyze scale relationships.
If anyone has any tips or suggestions on how to think about this I would love to hear it!
Sorry for the slow reply. Work has been KILLING me the past couple weeks barely giving me the time to fit in my daily practice...SO NOT COOL!!!
Anyway, I can totally agree with your approach of thinking in 'triads'. Triads are the salt on the steak if you will, and really get to the heart of the harmonic movement between chords. The options that become available are overwhelming when you start playing inversions, or even subbing an interval for a 'non-chord tone' interval. For example subbing your "1, 3, 5" C TRIAD (C-E-G), for a "b7, 5, 1" (Bb - G - C) in place of the same C chord...
In regard to your comment of the triad of a 7th chord....1, b3, b7 speaks stronger to a MINOR 7th chord (because of the b3). However, seeing as the progression is sort of a Bluesy thing, using the b3 is a totally acceptable approach. I would like to suggest though, that you try creating ambiguity between the 'b3' and the 'maj3' interval.
To do this, you could play your same sort of approach, but when you land on the b3 slide it up a semi-tone, and then continue your lick.
NOW what you have is the triad "1-b3-b7" AND the triad "1-3-b7" applicable to the same chord (A7 in this case). So why not try interchanging them?
Any thoughts? opinions? If you would like a video, I would be happy to.
PS!
Adam - Stoked to catch your vid on this stuff. What you are saying as a 'lead player' makes a TON of sense but will enjoy seeing it played out in real time.
Aether - Thanks for the kind words! I'm glad you have found a tune that gets your gears working, and that you are noticing benefits from working out triads. Triads are indeed smaller voicings, but I guess you could describe it as one of those 'less is so much more' approaches.
Glad that you liked the progression so much! I can't take credit for it though....I found it on youtube somewhere a while back and have just kept it around for studying. The movement inside of it really offers a lot when you look into it.
As for my 'fretboard technique', that is probably more of a bad habit on my end that I should try to keep myself aware of. I feel I do it too much, so I appreciate you pointing it out.
Great job working with the chord extensions though! I will play your chords also! I find experimenting with extensions really helps me to UNDERSTAND the chord progression and gets me looking deeper into how the chords relate to each other. Also, kudos on practicing some scales/melody APPLICATION in between the chords!
Speaking of your 'relative scales', I am curious to ask: how are you thinking about the chords when you go to play a melody line? To keep question focused, what kind of approache(s) would you take to playing over the first three chords (A7---C#7---F#min7)??
I understand if it's a little daunting to look at so many chords...maybe I was a bit overzealous with my post. But I just find the sequence very good to break into sections for studying...
If it's useful, and of interest to people here, maybe this would be a good thread to break down chord progressions and discuss chord relationships.
We could start by looking at the first three chords in my progression above....(A7---> C#7---> F#min7), or can toss mine aside to look at smaller 3 or 4 chord progressions that you may have struggled with in the past??
I am just not sure how comfortable everyone is with this topic. BUT, I know I LOVE to grapple with how to interpret chords, so I would be amped on having chord sequence discussions.
Haha thank you every one, and for putting him in his place Pebber! I am just far too nice and new here to call it, so took the path of least resistance...
Chords and rhythms are definitely an important/massive subject! Personally, I try to find time to analyze chord progressions...and find new ways to voice the chords within it to activate different 'leading' between them.
I don't know how you like to practice, but analyzing the chords and cadences inside of a chord progression is both fun and rewarding for me. I write out the chords, spell them out, and find ways to interpret their relationship to each other. I then try to voice the chords with different inversions, or try to play the whole progression using only triads...all the while trying to 'push' small melodic ideas through the chords..if that makes sense?
I have embedded a quick video of a sample chord progression that I have enjoyed experimenting with and studying...Im not sure if this is quite the topic that you're after, but maybe it will offer some insights to you as a 'musician' first, and 'guitarist' second. If I am totally off base, then I do apologize!!
I guess its about time another warm up gets posted in this thread! This is just a blip of me working on some alternate picking. A warm up exercise I have been enjoying for the past week or so. The metronome is at 60bpm and I am picking 6 notes for ever beat (6:1). It's the first time I feel decently solid at 60 bpm with this exercise! Gotta keep pushing it!! 70 is next!
Looks like you're really getting the idea down! I'd say keep working the thumb and finger movement/independence. Slow it right down if you need to and really, really digest it. The freedom from a 'stiff arm' is coming, but the journey is always getting it to the next level! I am constantly having to remind myself to relax my shoulder muscles on my picking arm when I practice... Keep it up, it looks like great progress!
Cool Thread Adam. I am happy for this topic because it will likely keep warm up/picking exercises fresh and exciting for everyone. I find it really interesting seeing all the ways people get their hands moving and 'listening' to the motor directions that the mind dictates.
Also love that frankensteinz warm up. And Ray, that chromatic pent exercise video was also very good! I will be trying that one out today. I would like to say thanks to you guys for posting so often and getting this thread going. I really do love the space that is created here.
Here is my warm up video brought over from another thread.
Here is a video of my favourite chromatic warm up right now. I am pretty new to left hand exercises, so this might be old news to all you guys. But, I do find that this one really puts me in a trance and I can do it for hours...
I was hoping to attach a screen shot of the pdf that this exercise is from so you could all see the map of it. I can't seem to figure out how to embed a picture yet though...d'oh
Thanks for the feedback Adam. It is appreciated. And as I noted on another thread, thanks for the tip on how to mutate the single string chromatic warm-up!
I really get stoked when I see how much my control has developed, in both my right and left hand, since I started with Pebber.
I can't say thank you enough, for this whole guitar practice/playing world that has been opened up to me.
Man, must be cool to see such progress! I am just 6 months in with Pebber, but my playing definitely feels way more fluid! Great control you've developed! Hopefully I will continue to see results. Thanks for the encouragement!
Thanks for the feedback! I was worried that my wrist bends too much as I get to the 5th and 6th string...I will always be trying to police myself I guess. Will upload a smaller video next time, but really thanks for skimming.
Which dava picks do you use? I am trying the red ones right now but wonder if they are too thick... Might look for a lighter gauge to try from them.
Yes, he starts from the ground up completely. I have never seen technique as refined as his, and he walks you through every step of the way. If you want to put in the hours, he's the one to do it with.
Hey Guys. I have been with the PB program for about 6 months now. Really, really love it. Thought I would post my first left hand video here - doing chromatic movement exercises. A little sloppy joe today, but any feedback will be appreciated.
Also, a general question...
I find that with so many notes in these exercises, my pick is slowly pushed out of place at times. This makes me slip up cause I have to readjust it on the fly. Any suggestions for preventing this? Is it as easy as getting a grippy pick? Or could I be attacking the strings too hard?
Thanks for the feedback deltadiscos. Definitely working on the sevens and above at a better speed. I can hear the scratchyness you mention. I think it's the pick angle. I will refine the angle as time goes on, but am definitely focused foremost on burning this wrist/thumb movement into my subconcious!! hehe
Tue Mar 01, 2016 12:48 pm
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