In addition to learning about Chord Extensions, you'll probably also want to start learning about Chord Substitutions. Chord Extensions are additional notes you can add to a chord to give it some new flavor, while Chord Substitutions are completely different chords you can switch in for some of the chords you typically use. Generally, Chord Substitutions will involve chords which use chromatic notes, or in other words, they use notes that don't fall within the key you're playing in, but because of their relationship to the chords being replaced, they still sound good. One common example of a Chord Substitution is the Secondary Dominant.
There's far too much information to provide an adequate posting on a forum, but I highly recommend that you perform a google search on Chord Extensions and Chord Substitutions. You should find adequate resources.
and get your head done right in...Originally Posted by JAYJO
Try the book Ted Greene Modern Chord Progressions.
boredom is good, it means your ears are ready to hear something new
play what you know differently :
just use downstrokes
start the phrase with sharp upstrokes
play different chunks of strings
play a totally different style from what you usually do
(soft ballads if you'se a rocker and vice versa, reggae ,funk, calypso, anything..)
use the shapes you know in different places, up and down or across the fretboard - that will force you to move fingers to make it sound right
it works for me - when you want to stop, don't, play some more and stop thinking about it and you'll relax
My advice is forget CAGED etc and think of the neck in a linear fashion play triads over 1 or 2 strings that are not adjacent if you are feeling brave to get a grasp of what the neck is all about and you soon get rid of that pattern based restriction . This method is used by Holdsworth and it's safe to say his chord voicings are anything but traditional .
barney, the trick with Modern Chord Progressions is to approach it in a martial-arts way.and get your head done right in...
play the chord progression again and again and again till you can hear it in your head then play something else and watch bemusedly as your fingers simply insert the progression tastefully in a way you'd like to hear without asking you first.
(sometimes the progression is inserted in totally different keys - untransposed, but sounds utterly right, sometimes it's fragments, your ears and fingers have sorted it out without the brain getting in the way)
I used to be a big critic of muscle memory because I felt it systematised music and robbed the performer of being in the present - it's all about memory, but really all the book does is hard-wire the brain to put sounds with a group of chords. The trick is not to look at the chord names Ted gives them or try and intellectualise it at all.
From what I've heard of your playing, there's an emotional vitality I think is only found in players who react in the music - I feel the spirit this book was written with, it is intended to be a book of exercise and listening - 0% thinking, just observation.
Bruce Lee once said he'd fear a fighter who'd practised one kick a thousand times, than a fighter who'd practised a thousand kicks once. It's that kind of thing
+1 excellent advice
A good technique i learned from this book.(Modern chord progressions Ted Greene)
String Transference. Enables to play Longer chord scales.
To find the same chord voicing on the next higher group of strings,move all the notes in the chord over to the next higher group of strings, retain the same shape Unless any note has landed on the 2nd string, in which case you move the note Up 1 fret.Now move the whole chord down 5 frets or Up 7 if you want to hear the same chord an octave higher. re read if you have to.
The beginning of the book also explains playing diatonically skipping strings etc . Personally ive hardly scratched the surface with this book i just take from it what i can and let Frankus deal with the rest. Though having read Frankus previous post i will be having a go at some of the progressions further on in the book.
mmm.....you got me thinking a bit ...ill get the book out again later......ill maybe not look at completing it this time.it was years ago i had a look and i think i was overwhelmed by it...barney, the trick with Modern Chord Progressions is to approach it in a martial-arts way.
play the chord progression again and again and again till you can hear it in your head then play something else and watch bemusedly as your fingers simply insert the progression tastefully in a way you'd like to hear without asking you first.
(sometimes the progression is inserted in totally different keys - untransposed, but sounds utterly right, sometimes it's fragments, your ears and fingers have sorted it out without the brain getting in the way)
I used to be a big critic of muscle memory because I felt it systematised music and robbed the performer of being in the present - it's all about memory, but really all the book does is hard-wire the brain to put sounds with a group of chords. The trick is not to look at the chord names Ted gives them or try and intellectualise it at all.
From what I've heard of your playing, there's an emotional vitality I think is only found in players who react in the music - I feel the spirit this book was written with, it is intended to be a book of exercise and listening - 0% thinking, just observation.
Bruce Lee once said he'd fear a fighter who'd practised one kick a thousand times, than a fighter who'd practised a thousand kicks once. It's that kind of thing
+1 excellent advice
Just stick to what you know.
No matter how many chords you learn, you'll never write as many good tunes as Johnny Cash.
My name's Pauline and I'm a trollaholic.
Light the touch paper.......Im with Paulie on this one, sit down with some of your fave artists cd's/mp3's and try and work out the chords whilst playing along, most artists use the same keys and chords over and over again but each song sounds different (status Quo doesnt apply here...only kidding!!) Keep it simple but play with conviction & feeling.
I sincerely respect those guitarists that study at great length but rarely does their music capture peoples hearts in the same way.
Chord Chemistry gets me like that ... pages of literally hundreds of chords next to each other, names, fingerings, hammer-ons or pull-offs and all for right handers!!mmm.....you got me thinking a bit ...ill get the book out again later......ill maybe not look at completing it this time.it was years ago i had a look and i think i was overwhelmed by it...
I liked it because some of the progressions were already familiar - one of the first ten was straight out of the vocal harmonies on the play out for "harvest for the world".
I've raved about that book and Lix didn't get on with it at all ... so I'm hanging back on recommending it, all I now say is how I found it useful to approach it. I don't want to waste anyone's time or enthusiasm
Posting Permissions
Reply With Quote