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Diatonic 7ths Across the Neck (Guitar Lesson)


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Matt Brown

Diatonic 7ths Across the Neck

Matt Brown explains how to play the diatonic seventh chords of the major scale. Similar to lesson 32, this lesson takes a horizontal approach to the fretboard.

Taught by Matt Brown in Rock Guitar with Matt Brown seriesLength: 10:46Difficulty: 1.5 of 5

Lesson Objectives

-Review the music theory information pertaining to the construction of diatonic seventh chords.

-Play through the diatonic seventh chords of all 12 major keys in a horizontal fashion. Working through this process will drastically increase your overall knowledge of the fretboard and your ability to use arpeggios within solos and melodies.

Diatonic Seventh Chords

A diatonic seventh chord can be built from each note within the major scale by stacking diatonic third intervals on top of one another. Remember that a chord is "diatonic" when it does not contain any chromatic notes that are outside of a specific scale. For example, a Em7 chord is diatonic to the key of C major, since all of its chord tones are found within the C major scale. Compare the spelling of an Em7 chord and the C major scale below.

Em7 - E, G, B, D
C Major - C, D, E, F, G, A, B, C

The diatonic seventh chords for the key of C major are listed below. Notice how a "7" is added after each Roman numeral. The abbreviation "maj" must be added to indicate a major seventh chord. An uppercase Roman numeral written with a "7" is understood to be dominant in quality. A lowercase Roman numeral written with a "7" indicates a minor seventh chord.

Imaj7 - Cmaj7 (C, E, G, B)
ii7 - Dm7 (D, F, A, C)
iii7 - Em7 (E, G, B, D)
IVmaj7 - Fmaj7 (F, A, C, E)
V7 - G7 (G, B, D, F)
vi7 - Am7 (A, C, E, G)
vii half dim7* - B half dim 7 (B, D, F, A)

Note: In the jazz genre, half diminished seventh chords are typically written as MI7(b5) (minor seven flat five) chords.

Benefits of Practicing Diatonic Seventh Arpeggios

Practicing the exercise presented in this lesson develops the following skills:

-It forces you to think outside of box patterns. Many beginning and intermediate guitarists lack the ability to shift between various positions during the course of a solo.

-It increases your overall knowledge of how the notes relate to one another from a horizontal perspective.

-The exercise forces you to think quickly, which is extremely important to improvisation.

-Arpeggios are used in countless rock licks. Practicing the lesson exercise will help you internalize the sound and emotional quality of each arpeggio.

-The exercise also develops the physical mechanics necessary to playing arpeggio based licks.

Horizontal Arpeggio Practice Guidelines

Note:
Tablature and standard notation to the arpeggio exercises presented in this lesson can be found under the "Supplemental Content" tab.

Matt provides a breakdown of how to practice the lesson exercises in Scenes 2-5. All diatonic arpeggios are demonstrated within the framework of C major.

-All technical exercises must be practiced musically as though you are performing a beautiful song or piece.

-The notes in each arpeggio must be played in a legato fashion. However, the notes should not continue to ring over top of one another. Make sure that all finger rolls are performed properly. Do not allow notes to ring together when they are played on adjacent strings at the same fret.

Note: Please visit lesson from Dennis Hodges' Phase 2 Metal series for detailed instruction pertaining to finger rolls.

-These exercises are NOT designed to improve the speed of your playing. Focus on playing cleanly, accurately, and musically.

-Practice playing diatonic seventh chords on the groups of strings listed below.

Group 1: third, second, and first strings.
Group 2: fourth, third, and second strings.
Group 3: fifth, fourth, and third strings.
Group 4: sixth, fifth, and fourth strings.

-Always play the root note on the lowest string in each set of three. Play the third of the chord on the string that is in the middle of each set of three strings. Both the fifth and seventh of the chord should be played on the highest string within each string set.

-Begin with the lowest diatonic seventh chord available. Keep in mind that the first note of the lowest available arpeggio pattern usually is not an open string. In most cases, the lowest possible arpeggio pattern begins on the next available note in the scale.

-Continue to ascend through the diatonic seventh arpeggio patterns on the same set of strings until you reach the upper octave of the arpeggio that you started with. Then, descend back down until you reach the starting arpeggio.

-When ascending, play the chord tones in the following order: root, third, fifth, seventh.

-When descending through the scale pattern, the notes of each diatonic seventh chord are played in reverse order. In other words, the seventh of the chord is played first, followed by the fifth, third, and the root. It can be quite difficult to think of the notes in each arpeggio in backwards order. Consequently, you may need to spend extra time playing through the descending portion of the arpeggio exercise.

-You may find it helpful to say each note name aloud as you play it. Practicing in such a manner combines multiple brain functions, which allows you to learn new material in the most efficient manner possible.

Additional Practice

Apply the exercise presented in this lesson to the remaining 11 major keys. Do not avoid the keys that are difficult for you! Progress cannot be made without challenging yourself and taking risks. Most guitarists have problems playing in keys that feature multiple flats in the key signature. Multiple sharps can be problematic as well. However, these keys (E, B, F#, C#) tend to be used more frequently in guitar-based compositions. Remain patient and practice these keys at very slow tempos. With a few weeks of practice, these keys will become just as easy to navigate as the keys that feature very few accidentals in the key signature.

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Rock Guitar with Matt Brown

Found in our Beginner Lesson Sets

Chuck Berry among others pioneered the style of rock and roll in the 1950's. Today, rock and roll remains the most popular genre of music. Over the years the genre has progressed & spawned many sub-genres: soft rock, classic rock, punk rock, and more. Dive into this Phase 2 set of lessons to become a master of rock.



Lesson 1

Proper Practicing

Learn how to get the most out of your time when practicing.

Length: 29:00 Difficulty: 2.0 Members Only
Lesson 2

Introduction to Lead

Matt Brown discusses some of the fundamentals to playing lead.

Length: 15:41 Difficulty: 1.5 Members Only
Lesson 3

Figuring Out Notes

Matt shows you the basics of figuring out any note on the guitar.

Length: 7:00 Difficulty: 2.0 Members Only
Lesson 4

Scales

Learn the basic minor, natural, and major scales. Quite a few techniques & ideas start with scales - they're an essential building block.

Length: 34:15 Difficulty: 3.0 Members Only
Lesson 5

Major Scales

In this lesson, Matt takes you through the major scales & helps you to understand how they can be used.

Length: 20:25 Difficulty: 3.0 Members Only
Lesson 6

Natural Minor Scales

Matt teaches the most common natural minor scale patterns.

Length: 13:24 Difficulty: 3.0 Members Only
Lesson 7

Bending

Learn & master the most popular types of bends.

Length: 27:48 Difficulty: 2.5 Members Only
Lesson 8

Sweep Picking & Rakes

Learn sweep picking and string rakes.

Length: 18:36 Difficulty: 3.0 Members Only
Lesson 9

Solo Techniques

Learn various techniques to use when improvising / soloing.

Length: 12:51 Difficulty: 3.0 Members Only
Lesson 10

Tuning Down

Matt explains the most effective way to tune your guitar down.

Length: 7:18 Difficulty: 2.0 Members Only
Lesson 11

Barre Chords

Learn how to establish finger independence and a few tips and tricks with barre chords.

Length: 37:18 Difficulty: 2.5 Members Only
Lesson 12

Rock Licks

In this lesson, Matt Brown introduces a rock lick and shows how several famous players have modified it.

Length: 19:30 Difficulty: 2.0 Members Only
Lesson 13

Rock Sequences

In this lesson Matt teaches some crucial rock sequences. He also explains how these sequences can be integrated in to your playing.

Length: 34:52 Difficulty: 2.0 Members Only
Lesson 14

String Skipping

Matt Brown focuses on string skipping technique. He provides several exercises designed to improve this aspect of your playing.

Length: 33:09 Difficulty: 2.0 Members Only
Lesson 15

Intervals

Lesson 15 in Matt's rock series is all about intervals.

Length: 34:47 Difficulty: 2.0 Members Only
Lesson 16

Rock Lead Guitar

Matt Brown demonstrates lead guitar techniques using Aerosmith's "Sweet Emotion" as an example.

Length: 29:24 Difficulty: 2.5 Members Only
Lesson 17

Solo Using Diatonic Scales

Matt Brown explains which scales can be used when playing a solo over a diatonic progression in a major key. As an example, he teaches the solo section to Candlebox's song "Far Behind."

Length: 33:02 Difficulty: 2.5 Members Only
Lesson 18

Diatonic Natural Minor

This lesson covers the natural minor scale and diatonic natural minor progressions. Matt uses the solo section to "Stairway to Heaven" as an example.

Length: 24:55 Difficulty: 2.5 Members Only
Lesson 19

Right Hand Technique

In lesson 19 Matt provides instruction on developing right hand skills including string skipping.

Length: 26:38 Difficulty: 2.0 Members Only
Lesson 20

Non-Diatonic Progressions

In lesson 20, Matt discusses chord progressions that don't follow a diatonic tonality.

Length: 29:07 Difficulty: 2.0 Members Only
Lesson 21

Harmonic Minor

Matt begins to discuss and demonstrate the harmonic minor scale.

Length: 29:46 Difficulty: 2.0 Members Only
Lesson 22

Improvising Over Harmonic Minor

In lesson 22, Matt continues his discussion of the harmonic minor tonality.

Length: 14:36 Difficulty: 2.5 Members Only
Lesson 23

Sweet Child O' Mine

In lesson 23, Matt takes a look at the solo section for the song "Sweet Child O' Mine."

Length: 19:43 Difficulty: 2.5 Members Only
Lesson 24

Today

Matt will be taking a look at the solo section from the live version of the Smashing Pumpkins song "Today".

Length: 7:29 Difficulty: 2.5 Members Only
Lesson 25

Back In Black Solo

Matt Brown reviews and discusses the solo section to AC/DC's hit "Back In Black".

Length: 9:34 Difficulty: 2.5 Members Only
Lesson 26

Brother

In lesson 26, Matt covers the solo section from the Alice in Chains song "Brother".

Length: 9:42 Difficulty: 2.5 Members Only
Lesson 27

Matt's Rock Manifesto

Matt Brown discusses lead guitarists, what makes a good solo, and tips for your own lead playing.

Length: 41:06 Difficulty: 0.5 Members Only
Lesson 28

Legato Playing Exercises

Matt Brown teaches a number of exercises aimed at improving your legato playing technique.

Length: 37:16 Difficulty: 1.5 Members Only
Lesson 29

Right Hand Exercises

Matt Brown demonstrates a few exercises to build skill and speed in your right hand.

Length: 15:06 Difficulty: 1.5 Members Only
Lesson 30

String Skipping Etude

Matt Brown teaches Heitor Villa-Lobos' 1st Etude as a lesson in string skipping.

Length: 38:47 Difficulty: 3.0 Members Only
Lesson 31

Three Octave Scales

Matt Brown demonstrates how to play three octave versions of the minor pentatonic and the major scales in all 12 keys.

Length: 16:56 Difficulty: 2.0 Members Only
Lesson 32

Diatonic Intervals

Matt Brown demonstrates how to play all seven of the diatonic intervals within the framework of a horizontal major scale.

Length: 23:01 Difficulty: 1.5 Members Only
Lesson 33

Diatonic 7th Arpeggios

Matt Brown discuss diatonic arpeggios as a theory lesson as well as demonstrating the technique.

Length: 9:55 Difficulty: 1.5 Members Only
Lesson 34

Diatonic 7ths Across the Neck

Matt Brown explains how to play the diatonic seventh chords of the major scale. Similar to lesson 32, this lesson takes a horizontal approach to the fretboard.

Length: 10:46 Difficulty: 1.5 Members Only
Lesson 35

Solo Ideas #1

Matt Brown teaches a progression and accompanying solo to demonstrate ideas for creating your own.

Length: 21:34 Difficulty: 2.0 Members Only
Lesson 36

Solo Ideas #2

Matt Brown takes a look at another chord progression and solo.

Length: 17:29 Difficulty: 2.0 Members Only
Lesson 37

Legato Playing Ideas

In lesson 37 of the Rock Series, Matt Brown demonstrates and talks about legato playing ideas.

Length: 21:24 Difficulty: 2.5 Members Only
Lesson 38

Rhythm Concepts

Matt Brown switches gears in lesson 38 to start talking about rhythm concepts for rock playing.

Length: 27:44 Difficulty: 1.5 Members Only
Lesson 39

Compositional Techniques

Matt Brown discusses some often used techniques to build effective rock compositions.

Length: 17:27 Difficulty: 1.5 Members Only
Lesson 40

Creative Chord Voicings

Matt Brown shows off some ways to add some creativity and originality to your rock chord voicings.

Length: 11:59 Difficulty: 1.5 FREE
Lesson 41

Lead Approach

Matt Brown takes another look at his approach to soloing. He demonstrates ideas you can use in your own playing.

Length: 12:10 Difficulty: 2.0 Members Only
Lesson 42

Lead Approach #2

Matt Brown adds practice to his lead approach by giving you another chord progression to solo over.

Length: 7:14 Difficulty: 2.0 Members Only
Lesson 43

Lead Approach #3

Matt Brown has another chord progression and solo exercise to go over in this lesson on lead approach.

Length: 10:25 Difficulty: 2.0 Members Only
Lesson 44

String Skipping Revisited

Matt Brown takes another look at string skipping. He breaks down some key areas of Matteo Carcassi's Allegro as an exercise.

Length: 16:29 Difficulty: 2.5 Members Only

About Matt Brown View Full Biography Matt Brown began playing the guitar at the age of 11. "It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily."

Matt's musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. I began learning scales, chords, and basic songs like any other guitarist. After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. I wanted to keep going with my lessons, but I obviously couldn't play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months. These months proved to have a huge impact on Brown's approach to the instrument.

Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. "I've never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music."

Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University's Community Music School. Matt's recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.

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