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That's fine but I tend to 'hear' it the same way as Beethoven did !
Down with this sort of thing.
I've been teaching this kid for 3 years. He's just turned 15. He's been playing for 4 years but knew no theory or how to more easily bend properly etc. So he wanted to go his GCSE early so needed 2 pieces of music for the performance and compilation. He came with a great piece he wrote himself but had to pick a song form a list for the performance piece. These songs have a number rating which denotes how hard they are. This one, Sultans of Swing was rated 9 along with Eruption and some dream theatre stuff so he picked this. It was the first piece he's ever played with his fingers, normally we do hybrid picking but used fingers to get a more Knopfler sound
There was 2 and a half weeks for him to learn the tune, the main structure is pretty simple but there's a lot of fills to remember as well as the solo's. However if you analyse it then literally every lick is built round an arpeggio of whatever chord it's sitting on. So he's not remember fret numbers, he's see'ing the chords all over the neck
I think this song is a fantastic example of how to see the neck, certainly how I see it and teach it anyway.
just because you do, doesn't mean you should.
and inversions it sort of comes natural ! Think of it this way do we need to visualise the alphabet to speak !
we just do it without over thinking it !
just because you do, doesn't mean you should.
Need to have a think about it.
Or maybe not, I'll probably forget how to play if I think about it too much
am working off shapes mostly now, but I have no idea if they are inversions or not as I just work out shapes. As for my comment 'how do you work them out?' This relates to how there is generally a 'trick' or 'shortcut' to find out how to change or find something on the guitar,eg,if you play the minor pentatonic you just go down 3 frets to find the major pentatonic or 'you'd find a first inversion by moving your index finger here or your ring finger here etc,etc. That is all I meant with my comment.
Nil Satis Nisi Optimum
I very rarely use those as well as the harmonic minor which is just sharpening the 7the note in a natural minor or 5th note of the major scale. Same with the melodic minor, never really played about with that and I find that one weird as it differs depending if you're ascending or descending. If you know your octave shapes then this one big major shape is not hard to learn as when you use your octave shapes, notes repeat as you move to another string in octaves. If you know your major scale across the whole fretboard in any key, you know your minors, and all the major modes.
That is how I look at the fretboard and I also use my ears, I will throw in passing notes, chromatics to taste, depending on what I am playing. I've had zero lessons, knowing keyboards really does help you play guitar,
First, I learned CAGED. I'm not sure I know it now as fingerings without revision, but the sound of those scales is in my head and I know where to go
Then I learned every note name on each string, through in-position reading studies. SUPER USEFUL.
Then I started practicing along one string, two, three, three notes per string etc.
Then worked on intervals.
Now I don't practice single note scales at all. I certainly don't use them as musical creative materials. Totally pointless. I do however practice key signatures in triads, and I work on voice leading those triads and knowing what the chord tones are in them. Also seeing triads as parts of other chords. It's all about chords, because they contain all sorts of useful, musical relationships. Learning how they relate to each other also, etc. Which triads to drop over a dom7 to create altered tones, or make it sound like a 9th or 13th etc.
When I play live, there is a bit of attention to chord data on unfamiliar tunes but mostly and increasingly by ear.
I will often practice learning simple melodies by ear, to get interval sounds better embedded. Nursery rhymes, carols, film themes etc. Then analyse what's going on.
Would echo thoughts about timbral options afforded by playing notes in different places. I typically want to minimise the number of strings involved. I'll shift position more than cross strings because if you're mostly on string 2&3, hitting an A on the top E can be jarring.(Maybe you want that)
And reading. Always doing reading practice because mine is not good enough.
So in summary, mostly I see the fretboard as triads, intervals and through those, sounds.
Jeff Kolman in GT mag this month.
He mentions it in relation to playing over the changes in say an F minor to a D minor chord and the notes within those.
Rather than thinking in terms of major scale patterns / modes - what are the key chord tones within those chords.
Whether that will actually make me stop using that damn Box 1 pentatonic blues scale pattern is another question.
Oh.. and as regards home amps - here he is using a Fender G-Dec...