In the beginning of your guitar journey, you probably memorized shapes. This “geometric” approach is very helpful early on, but real command of the neck comes from knowing the relationships inside those shapes. We’ll do this by exploring the intersection between scale and chord forms, and how we pull chord tones from scales to create different sounds we can learn to recognize by ear as well as by formation.
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Dave takes the fundamentals along with the strumming and groove studied in the previous volumes and amps them up with a look at tonality. By committing chord and scale forms to memory you'll have a better understanding of how to extract the types of sounds you want from your rhythm playing.Begin the Course
Dave gives you a description of the course and what you need to know to get going.
Dave helps us understand string and note relationships across the neck as a way to understand the fretboard. Specifically, we are going to look at octaves from string to string.
Dave shows us an exercise using those octave shapes to really cement them into place for us, breaks it down, and then we practice it together.
Now we are going to look at scales. Why scales in a rhythm course? Because it will inform how the chords in a key relate to each other. So we will first learn how the scale degrees sound.
This exercise walks us through the scale degrees and helps us familiarize them with shapes on the neck.
The first step to understanding how chords work is learning about triads, or three note groups that form the basic building blocks of chords.
In this exercise, we use the triads we just explored in the previous lesson to outline melodic figures in a progression.
In this lesson we are going to explore the primary, or diatonic, notes in the major scale. These are the notes that we will use to build the diatonic chords to a key.
Now Dave will show us an exercise that will use the triads to build a scale of diatonic chords across and up the neck.
Dave is going to explore two note forms, stripping chords down even further so that we can become familiar with implying full chords and modifying intervals.
Let's learn an exercise that uses those two note forms to build another melody. This will help you understand how these two note shapes fit into chords. Then, like usual, we practice.
Dave is going to start breaking down two note forms into intervals, and specifically what makes intervals major or minor.
Now Dave with show you an exercise that uses two note chords that use voice leading and chromaticism to outline a descending melody, and we practice together.
Let's talk about seven chords, or dominant chords, which that use the flatted seven scale tone.
This Dominant 7th exercise uses scale tones and chords to explore the relationship between the scale and the dominant sound, and how it pushes to resolve.
Dave shows you a major 7th chord and shows you how it relates to the dominant, or flat 7th, sound. We then explore some shapes up and down the neck.
Now let's try an exercise that explores this major 7th tonality and how it can be used to lead the chord progression into interesting places outside of the key.
Let's explore the minor 7th sound, and learn the various shapes we can use access to this sound all over the neck.
Dave is going to show you an exercise that uses several minor 7th shapes. As usual, we then practice together.
Once we establish the 7th chord, we can add scale tones above the seven to create more chord colors. In this lesson, Dave explores nine and eleven chords and some of the main shapes.
This exercise explores nine and eleven chords, exploring how they can be used to create voice leading and how some tones are implied by context. Then we practice.
Common to Jazz, diminished chords are very dissonant but also have a very strong drive to resolve. Dave shows you various diminished shapes in this lesson.
This diminished exercise is fingerpicked, for a different kind of challenge. But using our fingers allows us to voice lead our chords in a more interesting way.
If we include all of the notes in the scale, not just the diatonic ones, this is referred to as a chromatic progression. In this lesson we explore using voice leading and chromaticism together.
This final exercise brings together all of the concepts we have discussed in this series and ties them together with chromaticism.
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