Secrets of Guitar , {a CodeBreaker series}Jazz

Discussion in 'Education' started by MMJ2017, Dec 20, 2019.

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Are you interested in how the guitar works?

  1. Yes

    9 vote(s)
    69.2%
  2. No

    2 vote(s)
    15.4%
  3. Possibly

    2 vote(s)
    15.4%
  4. Whatchoo mean ( ain't no such thing as " how guitar works" foo.

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  1. MMJ2017

    MMJ2017 Audiosexual

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    [​IMG]
    From
    my time working in information systems satellite encryption , I took away an understanding which I would carry over to my true passion ( music .)
    In this thread I am going to demonstrate the application of music theory ( jazz ) applicable to the guitar.

    Let us begin with a universal visual chart
    ( In standard concert tuning.)
    Using this chart combined with my Samsung Galaxy Note 9 pen features, I will be able to demonstrate the music theory information on the guitar fretboard for you , where it takes me no time at all ( maximize information)
    I hope you enjoy this thread.

    [​IMG]

    We can see that the chart shows the natural notes as well as faded enharmonic sharps and flats .
    The position of the layout is what the visual view of looking at the fretboard while playing it .
    Here we can see the fret numbers located on the fretboard.
    [​IMG]
     
  2.  
  3. MMJ2017

    MMJ2017 Audiosexual

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    Starting with C major KEY.
    CDEFGABC.
    [​IMG]
    Note ( please forgive the messy writing I'm sure it will not get in the way of receiving the information component however I'll do my best )

    We have 2 main positions for the C major scale .
    Position 1 starts on the 2nd string
    Position 2 starts on the 1st string .

    Now let's look at the C major KEY
    CDEFGABC
    Diatonic chords

    1.CEGB..Cmaj7
    2.DFAC..Dmin7
    3.EGBD..Emin7
    4.FACE..Fmaj7
    5.GBDF..G7 dominant
    6.ACEG..Amin7
    7.BDFA.. Bmin7b5


    [​IMG]
    We are first going to look at our Diatonic
    Chords of the key in the set of middle 4 strings .
    Starting with C major7 CEGB above .
    From low to high string here are the fingers to fret with.
    First finger, ring finger, middle finger, pinky
     
    Last edited: Dec 20, 2019
  4. MMJ2017

    MMJ2017 Audiosexual

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  5. MMJ2017

    MMJ2017 Audiosexual

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    We have 3 Functions which the 7 Diatonic chords fit into.
    Tonic - Main character , relaxed , still, no motion .

    Subdominant- some motion , movement, tension

    Dominant - farthest from home, very tense. Villian.
    A lot of motion . The most movement.

    Let's see in the KEY of C major .

    The 7 Diatonic chords grouped by their function .

    Tonic.
    1.Cmajor7 CEGB
    3.Emin7 EGBD
    6.Amin7 ACEG

    [​IMG]
    The way it works is that our KEY of C major ,
    Means that is our center focus and everything else related to it in some way.
    So first we want to see the other chords in the key that are swappable with our tonic.
    We can get the most value out of understanding this
    By naming the 7 chords 1 - 7 .
    Many times you will see a Roman numeral for this label .
    In our chart about we have taken our inner 4 string diatonic chord Voicings , and displayed our 3
    Chords from the key that are tonic .
    I Cmajor7
    iii Eminor7
    vi Aminor7

    Although they have their own flavor , they represent the same thing. Tonic ( home relaxed , main character

    That's already 3 chords out of the seven that means 4 chords are left .
    Let's now take a look at our Subdominant chords.
    ii Dminor7
    IV Fmajor7

    As before these 2 chords are 2 flavors of the same function Subdominant.( Some motion movement)
    With C major as our center point focus
    The subdominant is creating motion and movement with a bit of tension .
    [​IMG]
    In the KEY of C major ( these 2 Diatonic chords can be swapped out for each other at any time
    ( That you need a Subdominant function.)

    Now we have covered 5 chords out of 7 total diatonic chords .

    The last 2 are Dominant function.
    The villian of the story ,lots of motion,
    Very tense ,dominant function is pulling towards a tonic.
    In the KEY of C major
    V7. G7 GBDF dominant
    vii% BDFA Bmin7b5 or B half diminished
    These are 2 flavors of the dominant function and can be swapped out for each other .

    [​IMG]
    Now we have seen how all 7 of our chords fit into 3 groups .
    Tonic
    Subdominant
    Dominant .
     
    Last edited: Dec 20, 2019
  6. retroboy

    retroboy Producer

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    All wrong I'm afraid.
    A guitar works by plucking the string making it vibrate and transferring the energy to the soundboard creating a "note". The pitch of the vibrating string can then be changed higher or lower depending on the length of the string.
     
  7. MMJ2017

    MMJ2017 Audiosexual

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    Oh shucks! No wonder why I couldn't get the sound to come out!
     
  8. MMJ2017

    MMJ2017 Audiosexual

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    Our 7 chords are grouped by 3 functions and any chord in the same function can be swapped out for each other . ( Flavors and varieties).

    Let's look at how these functions work.

    You begin with the Tonic and the main chord of the KEY , in this case Cmajor.

    Chord progressions are built from this blueprint.
    ( By function )

    Tonic/ Subdominant/
    Tonic/ Dominant /
    Tonic / Subdominant/ Dominant/

    These are the Lego peices from which a progression is built .

    They can be snapped together in different ways and also turned around .
    Subdominant/ Tonic
    Dominant/ Tonic
    Subdominant/ Dominant/ Tonic

    If we take a starting tonic , ( say C major )

    Cmajor 7 CEGB/ Cmaj7CEGB/

    This is level 1 , the plain chord .
    Level 2 is expanding so that we have the dominant creating tension then resolving to the tonic .

    G7 GBDF/ Cmaj7CEGB/

    Level 2 or V7 to I ( 5 chord to 1 chord)
    Is one the most powerful harmonic movements .
    You see we create a lot of motion with the dominant then we resolve it to the main character
    Making it more powerful once we land in the C major . ( Compared to C major by itself.)

    [​IMG]
    image sharing sites
     
  9. MMJ2017

    MMJ2017 Audiosexual

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    The Major 6 Is the most consonant 4 note major chord. If we look at Cmajor6 or C6 CEGA compared to Cmajor7 CEGB , we can see that our V7 dominant
    Chord which belongs to Cmajor has these notes .
    G7 dominant.
    GBDF
    1357
    The B note is important in G7 our 3rd
    The tritone B 3rd and F 7th create our tension that needs to be resolved . The way it resolves is the B slides up to C ( called leading tone )
    And F resolves to E the 3rd of C major .
    This means that Cmajor7 leaves a tension there when going from G7 to Cmajor 7
    However the 6th in Cmajor the note A
    Does not leave the tension there .
    G7 to C6 is more powerful
    This means we are going to use the Major6 as the tonic chord in the KEY
    ( Other more advanced reasons will be explained in depth later on.)
    So now on C6, Cmaj6, Cmajor6 CEGA
    Is going to be our 4 note chord.
    Next we are also going to modify our Dominant chord slightly as well.
    G7.GBDF
    ......1357
    The G note just carries over from G7 to Cmajor.
    We are going to modify G7 so instead of using G note we are going to use G# or Ab . ( b9th)
    The reason is that we get a more powerful tension then G# resolves to G ( remember leading tone )
    The half step is one the most powerful motions in music .
    ( Later a deeper explanation will be given about these changes)

    So now that we modify G7 to have G#
    GBDF G7
    G#BDF or BDFG# is called Bdiminished7


    Cmajor is C6 or Cmajor6 CEGA
    And G7 is Bdim7 BDFG#

    On the guitar these changes also open up more playing options because of the fingerings (

    Starting with our C6 ( Cmajor 6 CEGA
    We have chord voicing inversions

    We are going to begin with the highest set of 4 strings.
    We are going to look at the one chord C6 ( Cmaj6
    Our tonic .
    Across the fretboard in every inversion .
    ( Chord inversion is just changing the order of the notes so it's same identical chord .)

    [​IMG]
    And now because the next level of detail from having the tonic by itself is to add in the dominant function .
    We are going to look at our dominant chord Bdim7 BDFG# ( it's still a G7 or V7).
    Where it's always right next to a Cmaj6 voicing shown above so that we can see all the places to go V7 to I or Bdim7 to Cmaj6 ( G7 to Cmajor)

    [​IMG]
    picture share

    You see Bdiminished7 is a symmetrical chord
    Made of minor 3rds.
    It means on guitar the shape stays identical as you travel through your inversions.
    ( It means a lot of things they will be explained later )
     
    Last edited: Dec 20, 2019
  10. digitaldragon

    digitaldragon Audiosexual

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    And let's not forget:
    Pinch harmonics
    Tap harmonics
    Palm Mute
    Pick Slide
    Dropping the guitar
    ...
    :rofl:

    @MMJ2017 , I, for one, appreciate the effort you put into these posts. Just wanted to leave that here!
     
  11. MMJ2017

    MMJ2017 Audiosexual

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    Now we will look at the C major 6
    On the middle set of 4 strings .

    [​IMG]

    Cmaj6 on the bottom set of four strings

    [​IMG]

    Now we can see the entire fretboard covered in C6
    C major 6.

    Notice that C6 CEGA, is same notes as
    Aminor7 ACEG
    It's the same notes and all all these voicings covering the entire fretboard are the same for A minor 7.

    Let's now look at our 3rd chord in the KEY
    Emin7 ( aka G6)
    EGBD
    1357

    If we look at one of our Voicings for C6 ( Amin7)
    We can move it up or down to make it Eminor7.

    All we have to understand is that each maj6 / min7
    Voicing is a shape .

    Here we slide down the C6/ Amin7
    Shape to create a Emin7 / G6 shape.
    Emin7....Gmaj6
    EGBD....GBDE
    1357.....1356

    [​IMG]
    eight sided die

    [​IMG]
    young warrior name meaning

    Here we see that the same voicing shifted down.
    Is used to create the other chord .
    C6 / Amin7
    Shifts down to become Emin7 / G6
    Then down again to be Dmin7 / F6
     
    Last edited: Dec 20, 2019
  12. MMJ2017

    MMJ2017 Audiosexual

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    In the KEY of C major .
    We looked at our dominant function moving to our tonic function.
    While still staying in the KEY
    Each of the 7 chords gets a dominant function as it's level 2 .
    Remember level 1 is the tonic chord
    Level 2 is dominant to tonic .
    First let's see our Bdim7 ( G7) moving to Cmaj6

    [​IMG]
    The blue G7 ( Bdim7) moves down to C6 Cmajor resolving downward , we can see 2 different locations here in the image.
    [​IMG]
    how to get fair skin

    We can see a few examples here where for every voicing of C6 it expands to level 2.
    V7 to I or G7 to C6 ( Bdim7, to C6)
    This is going to work the same for every chord in the KEY ( they each have a tense dominant chord which resolves to them)

    In this next image we see a G7 ( Bdim7)
    Resolving to it's tonic Cmaj6.
    Then we shift the entire shape to
    Take the ii chord Dmin7
    And using tonicization , we make it's V7 chord A7
    Resolve to Dmin7
    [​IMG]
    upload photo for link

    Any chord in our key all 7 , can have it's dominant move to it.

    We have looked at this blueprint for chord progressions so far .
    Dominant to tonic.
    The next blueprint shape is
    Subdominant / tonic/

    Using the exact same chart above we take our
    4 chord Fmaj7 and we use F6 FACD also Dmin7DFAC

    F6 / to C6/

    Subdominant/ Tonic/

    Next we can use our 3rd shape
    Subdominant/ Dominant/ Tonic/

    Dmin7/ G7/ Cmaj6/

    Using the exact above chart we can play the
    Dmin7 shape then Bdim7 shape then Cmajor6 shape .

    Now we can expand again.
    Take our last shape Dmin7/ G7/ C6/
    Put a V7 before Dmin7 so
    A7/ Dmin7/ G7/ C6/
    But we turn it around like this .

    C6/ A7/ Dmin7/ G7/

    Practice this with the above chart

    Let's take this " turn around " and now see another example of the same thing .
    [​IMG]
    google pick a number between 1 and 10

    [​IMG]

    So we have a progression in every location where a voicing exists.
    For example we covered the guitar in C maj6
    In the top 4 strings middle 4 strings lower 4 strings.
    4 inversions per octave.
    Now level 2 is to expand each one of them Voicings to be Bdim7 ( G7) to Cmajor ( C6)
    Level 3 is each place we have a voicing for Cmaj6
    We can expand it to be a " Cadence"
    Dmin7/ G7/ C6/
    Level 4 is that each place we have a voicing for Cmaj6 we can create a full 4 chord progression.

    C6/ A7/ Dmin7/ G7/

    A " turn around" progression.

    It is the level 3 's cadence except we add in the Dmin7 dominant chord before it
    ( Remember our Dominant to tonic )
     
    Last edited: Dec 20, 2019
  13. MMJ2017

    MMJ2017 Audiosexual

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    So the first very large concept we have to understand is that each chord covers the whole instrument , each progression covers the whole Ibstrument, that any where you randomly place your hands you have every chord that exists and you have every Progression that exists. ( Same for piano)
    This is the secret .
    That when you see a form such as
    G7/ Cmajor/
    Or
    C6/ A7/ Dmin7/ G7/

    That is not telling you exact what to play .
    ( Because each chord is everywhere each progression is everywhere , any melodic contour can be made )

    It is telling you the underneath cement foundation of the music itself.
    That's what music theory teaches you .
    In this codebreakers edition thread , I will step by step guide you through decoding the guitar so that you can eventually play any melody on any chord or chord progression . You can control at all times high note going to low note to middle note or a Melody that goes down like staircase through progression or go very low then gradually up like staircase. An infinite number of melodies for any form.
    Because you have 4 inversions if a chord per octave you can create harmony ant time you have a Melody.
    If your playing with other players, no matter what they are doing you'll have a way to create limitless melodies riffs licks and ideas that flow out just like the effortless ability you have to speak .
    ( Only have to think about an idea and you can start speaking in a way that feels effortless no work no real concentration )
    Yes these things take lot of time and effort .
    But you can work hard to be musically fluent .
    If you follow this thread you will witness the way guitar works step by step.
     
    Last edited: Dec 20, 2019
  14. MMJ2017

    MMJ2017 Audiosexual

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    In the KEY of C major

    Dmin7/ G7/ C6/


    [​IMG]

    Dmin7 ( also Fmaj6
    In the top set of 4 strings covering
    Fretboard
    Notice same shapes as C6 just shifted .


    [​IMG]
    upload
    Dmin7 ( also F6

    Across fretboard in middle set 4 strings .
    ( Notice all same patterns as C6 just shifted location
    [​IMG]
    Now the Dmin7
    For bottom set of strings

    [​IMG]

    We can see between these 3 charts we actually have the whole fretboard covered.
    That within any area of the instrument you can play Dmin7 and it's the same shapes as the Cmaj6 just shifted another location ( this reuse of patterns will be important once we get to the advanced theory )

    We have our Dmin7 on the whole instrument
    Let's continue with our G7 ( in form of Bdim7 )
    So that we can make a ii V I
    ( That spans whole instrument )

    [​IMG]
    Middle set of G7 ( as Bdiminished7

    [​IMG]
    Bottom 4 set
    [​IMG]
    lewis carroll poetry style

    If we remember back to the C maj6 shapes

    [​IMG]
    cute unique j names
    [​IMG]
    [​IMG]
    image uploader

    Now with the above 9 images we have a full cadence in C major covering the Instrument.

    Dmin7/ G7/ Cmaj6/ Cmaj6

    Practice taking different patterns if each chord then transition to the next chord near where your at then jump around more then transition to the next chord near where you are at

    Try different rhythms out .
    Move around with it .
    When you play the shapes sometimes play the strings at once other times 1 at s time in that shape you are on .
    Let the sound of these shapes guide you to be creative explore ideas .
     
    Last edited: Dec 20, 2019
  15. korte1975

    korte1975 Guest

    (i play the guitar for 30 years im 44 but) looking at your diagrams ,i'm not too sure anymore
     
  16. MMJ2017

    MMJ2017 Audiosexual

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    I welcome you my fine friend .
    I appreciate you being here thank you .
     
  17. Polomo

    Polomo Audiosexual

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    And there he goes again :winker:

    I think you shouldn’t be here
    because you should write books and sell them :winker:
     
  18. MMJ2017

    MMJ2017 Audiosexual

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    Thanks so much lol
    Im grateful , and I hope there something there to inspire you .
     
  19. MMJ2017

    MMJ2017 Audiosexual

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  20. MMJ2017

    MMJ2017 Audiosexual

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    Let's now look at taking our Dmin7 chord in C major KEY and attaching the arpeggio to the chord voicing.

    Here we see 2 instances of Voicings in yellow
    ( Drop 2 )
    Next we attach the arpeggios to these voicings
    [​IMG]
    upload pictures
    [​IMG]

    We simply take 1 of our Voicings
    ( Remember 4 Voicings per octave )
    Once we have it,
    Then we fill in the arpeggio notes ( chord tones )
    With s connecting pattern .

    Let's see our next chord the G7 ( using Bdim7 here

    Our voicing in yellow, then attaching the arpeggios chord tones in orange .

    [​IMG]
    And now for our Cmaj6 tonic,
    We put on our Voicings then attach the arpeggio around it using chord tones

    [​IMG]

    Note , because of the limitations of the chart I can only show you a coupled spaced out Voicings otherwise it is too much visually.
    But what you do it for each of the 4 Voicings per octave you place in your chord tones from the arpeggio

    Now it takes time, but the reason we want to know how to play a chord or chord Progressions any place on the instrument, is that we need to be free to be in any location and play anything coming up next .
    If we just learned 1 or 2 ways to play something then you have to constantly reposition yourself depending on the song your playing .
    This is distracting you from expressing yourself .
    [​IMG]
    [​IMG]
    [​IMG]
     
    Last edited: Dec 21, 2019
  21. MMJ2017

    MMJ2017 Audiosexual

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    We have looked closely at the C major Cadence
    Dmin7/ G7/ C6/ C6/

    Now we have to look at the relative minor
    A minor Cadence

    Level 1 is Amin6 ACEF#
    Level 2 is E7/ to Amin6/
    Level 3 is Bmin7b5/ E7/ Amin6/

    So you see like the relative major
    We begin with our tonic/
    ( In this case Amin6 / ACEF#
    We use the min6 to differentiate from C6 CEGA
    So Amin7 ACEG is for major , Amin6 is tonic
    Minor
    Amin6 ACEF#
    Let's start with level 1 and see our Amin6 Voicings

    [​IMG]

    Next let's look at level 2.

    Adding the E7 dominant before the Amin6

    Level 1 is Amin6/
    Level2 is E7/ Amin6/ ( Dominant to tonic/
    [​IMG]
    i miss you logo
    Here is our E7 inversions in the top set of 4 strings.

    Next up is level 3 the Amin cadence .

    Bmin7b5/ E7/ Amin6/
    Subdominant/ Dominant/ Tonic/

    Here is Bmin7b5
    Across the top 4 set of strings.

    [​IMG]
    Now all you have to do it use these 3 graph above

    Make
    Bmin7b5/ E7/ Amin6/

    Using the different Voicings for each chord shown .

    Now in this chart we going to see 2 locations of the
    A minor Cadence ( level3)
    You are going to see that sometimes the chords share notes so use the above charts for reference
    ( This will give you the concept seeing them move together in 1 chart )
    [​IMG]
    [​IMG]

    free download gambar

    Between these 2 charts , we get to see the Amin cadence in 4 locations ( connected to the 4 Voicings
    Shown above further up for each of the chords .

    In summary,
    We looked at the relative minor A minor6.
    We expanded it to become E7/ Amin6/
    We expanded to a full minor cadence
    Bmin7b5/ E7/ Amin6/
    We seen charts showing each of the 3 chords across the top 4 set of strings , then we seen the above charts for attaching the cadence
    Bmin7b5/ E7/ Amin6/
    To each of the 4 Voicings
    Demonstrating that .level 1
    Is your minor chord Amin6
    Level 2 is adding the Dominant before it .
    E7/ Amin6/
    Level 3 is the full cadence
    Subdominant/ Dominant/ Tonic/

    Bmin7b5/ E7/ Amin6/
     
    Last edited: Dec 21, 2019
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