DOCSLIB.ORG

PB Guitar Daily Practice Plan/Routine Version Date: 6-30-15

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PB Guitar Daily Practice Plan/Routine Version Date: 6-30-15 MODULE 1: Right Hand Exercises MODULE 3: SCALE PRACTICE: Picking Exercises on each string Diatonic Scale Selection/Mapping/Memorization Picking Exercises on ADJACENT strings Diatonic Linear stringmap scale patterns on 1/2/3/4/5/6 Strings Picking Exercises on NON-adjacent strings Diatonic 7 note and Pentatonic Scales – 5/7/12/14 Positions Jazz & Hybrid Picking (P234) Exercises Diatonic Scaletone Form System – 2/3/4/5 string groups Classical P-I-M-A patterns Diatonic Scale Sequences – intervallic/numeric/melodic Classical Giuliani 120 patterns Diatonic Scale Patterns - linear/reverse angling patterns Directional Picking Patterns & Exercises Diatonic Scale Extended double positions/sequences/patterns Harmonic Node Patterns & Exercises Diatonic Chord Family arpeggios – 5/7/12/14 positions Harmonic Node Tapping Patterns & Exercises Diatonic Chord Family arpeggios – Scaletone form system Diatonic Arpeggio Sequences – intervallic/numeric/creative Altered Scale Selection/Mapping/Memorization MODULE 2: LEFT HAND exercises: Altered Linear stringmap scale patterns on 1/2/3/4/5/6 Strings Classical/Chromatic Form on all strings Altered 7/8/9 note and Pentatonic Scales – 5/7/12/14 Positions Spider Exercises – Touch/Legato/Picked Altered Scaletone Form System – 2/3/4/5 String Groups Trill Exercises – Horizontal/Linear/Creative Altered Scale Sequences – intervallic/numeric/melodic Trill Exercises – Two Handed/Creative Altered Scale Patterns - linear/reverse angling patterns Ladder Exercises – 2-Finger/3-Finger/4-Finger Altered Scale Extended double positions/sequences/patterns X-Pattern Exercises/Permutations Altered Chord Family arpeggios – 5/7/12/14 positions Chromatic Scale exercises (ALL) Altered Chord Family arpeggios – Scaletone form system Chromatic 2-Finger permutation/movement Altered Arpeggio Sequences – intervallic/numeric/creative Chromatic 3-Finger permutation/movement Chromatic 4-Finger permutation/movement MODULE 5: Arpeggios/Pattern Practice: Wholetone Scales/Sequences Chord Family #1 – 3-4-5-6-7 note Arpeggios/Sequences Diminished (mi3rd) Scales/Sequences Chord Family #2 – 3-4-5-6-7 note Arpeggios/Sequences Diminished 8-note Scales/Sequences Chord Family #3 – 3-4-5-6-7 note Arpeggios/Sequences Dominant 8-note Scales/Sequences Chord Family #4 – 3-4-5-6-7 note Arpeggios/Sequences Symmetric Scale Patterns across the strings Chord Family #5 – 3-4-5-6-7 note Arpeggios/Sequences Symmetric Scale patterns linear angling Chord Family #6 – 3-4-5-6-7 note Arpeggios/Sequences Symmetric Scale patterns reverse angling Chord Family #7 – 3-4-5-6-7 note Arpeggios/Sequences Pivot exercises/String Skipping patterns Chord Family #8 – 3-4-5-6-7 note Arpeggios/Sequences Pentatonic Ladder exercises Chord Family #9 – 3-4-5-6-7 note Arpeggios/Sequences Pentatonic Positions/Extended/2x patterns Chord Progression Arpeggio Practice Patterns Pentatonic Directional patterns Open string/Capo pentatonic patterns MODULE 6: EAR TRAINING/SIGHTREADING Sing Scales in one position in all intervals while playing MODULE 4: CHORDING Exercises: Sing all intervals in one position chromatically up & down Chords/Stringmaps/Memorization Technique Sing scale positions while only fingering the notes Chord Scales – Major/Minor/Modal Sing scales & arpeggios while playing chord progressions Chord Scales – Altered minor scale forms Solfeggio Practice – Diatonic/Chromatic Chord Scales – Diminished/Exotic Dictation Practice – Rhythmic/Melodic/Harmonic Chord Scales – Symmetric/Synthetic Sightreading Practuce – Rhythms/Rhythmic Analysis Chord Scales - Non Tertiary Sightreading Practice - Single Note/Intervallic/Chordal Chord Scales – Altered Non Tertiary Chord Progressions/Standard/Symmetric MODULE 7: TUNES & REPERTOIRE Jazz Standard 12 Pos Chord Memorization Basic Repertoire – SONGS – Rock/Blues/Jazz/Classical Chord Melody Pieces Basic Repertoire – LICKS – Rock/Blues/Jazz/Classical Two Handed Chords Study Jazz Fake Book Tunes – Rhythm/Melody/Solos Open string Chords/Chord Harmonics Study/Create/Learn Chord Melody Arrangements Percussive Chord Strumming Transcribe Songs/Transcribe Solos/Licks/Bass Lines Polychordal Techniques Write Tunes/Create Arrangements/Create Charts Copyright © 2015 · Pebber Brown · (909) 445-9000 · www.pbguitarstudio.com · [email protected].
Recommended publications
  • PICKING HAND GRIMOIRIUM by Byron Santo Is a Very Useful Working Tool for the Guitarist to Develop New Melodic Ideas and Compositional Insights and Directions

    PICKING HAND GRIMOIRIUM by Byron Santo Is a Very Useful Working Tool for the Guitarist to Develop New Melodic Ideas and Compositional Insights and Directions

    c For 4, 5, 6 & 7–String Instruments Forward " I believe that THE PICKING HAND GRIMOIRIUM by Byron Santo is a very useful working tool for the guitarist to develop new melodic ideas and compositional insights and directions. It is an important conceptual contribution which respects the users intelligence and creativity and allows one the freedom to remain oneself musically while exploring unheard of possibilities for the guitar." ----NEY MELLO Preface The Picking Hand Grimoirium provides in one volume, the necessary exercises for the development of the picking hand for string instrumentalist of 4, 5, 6 or 7 string instruments. The exercises focus on the “micro” movements of the picking hand through permutations of strings and notes-per-strings. The musician can isolate, and then develop one specific picking hand movement with the exerecises. By using this method, it insures complete picking hand development before adding the fretting hand. Since the exercises are “micro” picking hand movements only, detailed attention can be placed on technique, tempo, rhythm, dynamics and consistent string attack for optimum picking hand development. The exercises can and should be applied to ALL picking techniques that the musician chooses in their form of expression such as free strokes, rest strokes, alternate picking, economy picking, hybrid picking, finger picking, tremolos, slapping, double thumping, plucking, etc. As the musician progresses through the various exercises, new picking patterns will be encountered that could aid the musician in composing new and unique ideas. The permutations in the Picking Hand Grimoirium were created by computer program developed by the author. This insures that ALL permutations of strings and notes-per-strings are included.
  • Jack Pearson

    Jack Pearson

    $6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301
  • Harmonic Resources in 1980S Hard Rock and Heavy Metal Music

    Harmonic Resources in 1980S Hard Rock and Heavy Metal Music

    HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ......................................................................................
  • Compound AABA Form and Style Distinction in Heavy Metal *

    Compound AABA Form and Style Distinction in Heavy Metal *

    Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay .
  • Secondary Dominant Chords.Mus

    Secondary Dominant Chords.Mus

    Secondary Dominants Chromaticism - defined by the use of pitches outside of a diatonic key * nonessential chromaticism describes the use of chromatic non-chord tones * essential chromaticism describes the use of chromatic chord tones creating altered chords Secondary Function Chords - also referred to as applied chords * most common chromatically altered chords * function to tonicize (make sound like tonic) a chord other than tonic * applied to a chord other than tonic and typically function like a dominant or leading-tone chord - secondary function chords can also be used in 2nd inversion as passing and neighbor chords - since only major or minor triads can function as tonic, only major or minor triads may be tonicized - Secondary function chords are labeled with two Roman numerals separated by a slash (/) * the first Roman numeral labels the function of the chord (i.e. V, V7, viiº, or viiº7) * the second Roman numeral labels the chord it is applied to - the tonicized chord * secondary function labels are read as V of __, or viiº of __, etc. Secondary Dominant Chords - most common type of secondardy function chords * always spelled as a major triad or Mm7 chord * used to tonicize a chord whose root is a 5th below (or 4th above) * can create stronger harmonic progressions or emphasize chords other than tonic Spelling Secondary Dominant Chords - there are three steps in spelling a secondary dominant chord * find the root of the chord to be tonicized * determine the pitch a P5 above (or P4 below) * using that pitch as the root, spell a
  • Robert Walser Published Titles My Music by Susan D

    Robert Walser Published Titles My Music by Susan D

    Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y.
  • Secondary Dominants (Applied Dominants)

    Secondary Dominants (Applied Dominants)

    Dr. Barbara Murphy University of Tennessee School of Music SECONDARY DOMINANTS (APPLIED DOMINANTS) DEFINITION: A secondary dominant is an altered chord having a dominant or leading tone relationship to a chord in the key other than the tonic. An altered chord is a chord containing at least one tone that is foreign to the key. Using secondary dominants results in the tonicization of the chord of resolution. Tonicization is the process of emphasizing a chord by making it seem like the tonic for a relatively short period of time. Usually this is accomplished by embellishing the chord with a chord that has a dominant or leading tone relationship to it (a secondary dominant). ANALYSIS: Secondary dominants are analyzed as 'x/y' where: x is one of : V, V7, viio, viio/ 7, viio7 y is a major or minor triad in the key. y can be one of: Major key: ii, iii, IV, V, vi minor key: iv, V, VI y can not be a diminished or augmented triad since diminished and augmented triads do not act as tonic triads. RESOLUTION: 1. Normal resolution: x/y resolves normally to y. 2. Irregular resolution: x/y may resolve to a chord that is a substitution (primary or secondary) for y. 3. Deceptive resolution: x/y may resolve to the chord whose root is a third below the root of the y chord. PART-WRITING: The part-writing of a secondary dominant is essentially the same as for the diatonic dominant or leading tone chords: For V and V7: 1. root resolves down a fifth to the root of the next chord (normal resolution).
  • Altered and Enharmonic Modulation

    Altered and Enharmonic Modulation

    Altered andmusic Enharmonictheory for musicians and normal people Modulation by toby w. rush œ œ w b œ œ œ nœ w Altered common chord modulation & œ œ is easy: remember diatonic common F: I IV V chord modulation, where we used a C: I V I chord that was diatonic in both the old and new keys? altered common chord modulation is the same thing, only using the œ œ pivot chord as an altered chord & b œ œ œ #nw in either the old key, the new key, œ # #œ w or both. F: I IV V n œ E: bVI V I Now, in both diatonic modulation and altered modulation, we have one chord that plays two different roles, one for each key. But the chord type doesn’t change... if it was a major chord in the old key, it’s still a major chord in the new key. ...but...but whatwhat ifif thethe chordchord typetype did change? this technique is in enharmonic modulation, we respell a chord so — well, odd — that so the enharmonically chord type itself there are only is different in the old and new keys. two specific ways to do it. ever notice that the german augmented sixth chord is just like fully diminished seventh chords are a major-minor seventh chord cool for a lot of reasons, and one of with the seventh respelled them is that they are equidistant chords: enharmonically? inverting a fully diminshed seventh yields another root-position fully dimished seventh chord. # w bw beethoven b ww b w did! & b w bw bw bww b ∫w 7 b w C: Ger.6 D : V b w b w w b & w7 invert & 6 & 7 a° a°5 respell c° we can take advantage of this and use it meaning that a fully diminished as a pivot chord..
  • Guitar Virtuosity for the Everyday Man for Use with Guitar Freak Workstation

    Guitar Virtuosity for the Everyday Man for Use with Guitar Freak Workstation

    Guitar Virtuosity for the Everyday Man For use with Guitar Freak Workstation Sean Clancy 2nd Edition ©2009 Sean Clancy Enterprises Guitar Virtuosity for the Everyday Man Contents: Welcome to Guitar Freak Workstation with SightReader Master Extreme! 3 Lesson 1 -for beginners -the very basics 4 Lesson 2 -the guitar 6 Lesson 3 -Naturalization -the concept 10 Foundation course 12 Lesson 1 -Timing 13 Lesson 2 -strumming 19 Lesson 3 -strumming continued 21 Lesson 4 - Alternate Picking made easy 24 Lesson 5 - The major scale -playing it in timing subdivisions 27 Lesson 6 -Basic Chords 29 Lesson 7 -Learning a basic song 32 Lesson 8 -How chords and scales work (also a little on GFW Quick chords) 34 Chord Families -Introducing the Major, Minor and Dominant Families 38 Rhythm – chords level 1 (learning rock level chords, top 40 level, pop, country, blues) 40 Lesson 1 -Barre chords 41 Lesson 2 -Learning the notes on the E and A Strings (using GFW SightReader) 45 Lesson 3 -Learning songs by Ear 48 Lesson 4 -Finger Picking 53 Lesson 5 -Writing songs -song forms 56 Lesson 6 -Blues Structures and Rhythms 59 Lesson 7 -Working out chords for songs we may have heard but are in demand at an Impromptu jam 63 Lesson 8 -A list of popular songs to learn and steal forms from 67 Lead – level 1, (getting to learn lead playing, playing over songs, sounding great 69 Lesson 1 -Finger agility! 70 Lesson 2 -Laying chord shapes for your soloing 73 Lesson 3 -The Pentatonic Scale -part A - 77 Lesson 4 -Part B - 80 Lesson 5 -Breaking out of the box shapes - 83 Lesson 6 - Modes? I don’t need any stinking modes? 87 Lesson 7 -Rules for Soloing 90 1 Guitar Virtuosity for the Everyday Man Advanced Rhythm- 93 Lesson 1 -Stylistic Rhythms 94 Lesson 2 -Jazz Chords 99 Lesson 3 -The Metronome “Practice Chords, Scales and Licks 101 Lesson 4 -Know where the 3, 5, 7 and root are.
  • March 2013 Guitar Journal PDF

    March 2013 Guitar Journal PDF

    March 2013 www.joedocmusic.com Guitar Journal PDF Copyright 2013 www.joedocmusic.com/Joe Dochtermann, all rights reserved. This document and all contents are only to be distributed by www.joedocmusic.com from the designated download link. Contents may not be copied, reproduced, redistributed, resold, recycled, or regurgitated without express permission of the author. So there. For your reference, here's a link to the YouTube video: https://www.youtube.com/watch?v=JTHwqVadL64 This month's lesson is a primer on some of the country guitar techniques that differ significantly from how you probably play if you come from the blues/rock school of guitar playing. I'm planning a full DVD in this style, which will expand on these ideas and add a lot more about double-stops, bending, chromatics, and creating fills and solos using all these techniques. Bookmark our site and subscribe to our YouTube channel to be sure you don't miss upcoming lessons! * First off is the tab for the lick I play at the beginning of the video. I suggest that you work through the video before jumping in and trying this. It's important to learn the proper right-hand technique first - you don't want to practice incorrectly and wind up "programming" your fingers the wrong way. If you're familiar with hybrid picking, then you're ready to try it out: My suggestions for the picking are next to the tab: P = pick M = middle finger R = ring finger Please pardon the way the tablature program displays the grace notes on the D- string.
  • Altered Chords

    Altered Chords

    TutorTube: Altered Chords Summer 2020 Introduction Hello and welcome to TutorTube, where The Learning Center’s Lead Tutors help you understand challenging course concepts with easy to understand videos. My name is Darren Churn, Lead Tutor for Music Theory. In today’s video, we will explore chords with lowered alterations. Let’s get started. Chordal Alterations The group of chords containing a bVI, bIII and bII have many things in common. These chords are all altered in a way that makes them major in a specific context. The alterations of these chords come from harmonic mixture that resulted in the lowering of specific scale degrees to create major chords. These chords are used in different situations. Let’s look at each chord, starting with the bVI. The bVI A chord with the 6th scale degree as its root is normally minor (vi). With harmonic mixture, our 6th scale degree is now lowered a half step to create a new chord. Let’s look at an example. If we were to look at a normal vi in the key of C Major. Our chord would be A C E. Now, with the inclusion of harmonic mixture, an Ab is introduced. Our chord would now be Ab C E. This results in augmented chord that has no context or use for common practice. In order to create a more stable chord, the root is accompanied by another altered pitch to create a major chord. In this example, we get an Ab C Eb chord. When writing a bVI, the flat at the beginning of the chord is showing that the root has been lowered.
  • Lesson 10 Chromatic Chords Part 1.Key

    Lesson 10 Chromatic Chords Part 1.Key

    What are Secondary Dominants? 1. They are the most common type of altered chord since the chromatic note creates a functional dominant harmony FUNDAMENTAL HARMONY 2. The normal dominant chord (V) acts as the 5th chord of the tonic chord (I). Dr. Declan Plummer Secondary dominants act as the 5th Lesson 10: Chromatic Chords Part 1 chord of any other major or minor chord (Borrowed Chords, Altered Chords & Secondary Function Chords) besides the tonic chord: Major Keys Minor Keys V/ii or V7/ii V/iv or V7/iv V/iii or V7/iii V/V or V7/V V7/IV V7/VI V/V or V7/V V/VII or V7/VII V/vi or V7/vi Progression without secondary dominants 7 Progression with V/V and V7/IV secondary dominants Kinderscenen (‘Träumerei’) by Schumann 3. Secondary dominants often give the effect of a V-I cadence in a key other than the tonic. In other words they act as the dominants of the chords that usually follow them. 4. Secondary dominants are used primarily for colour instead of modulation,so they are followed by chords which continue in the old key, with the foreign note quickly cancelled. 0:16 5. Chromatic note in a secondary dominant chord should not be doubled. (V - I) (V - I) 9 6 6 F major: I V 7 /V I 4 V ii V/ii ii V I Prelude No.7 (Op.28) by Chopin Start A major I V7/ii ii 6. Secondary Dominants are usually 7. Secondary Dominants can also be followed by a seventh chord or followed by the chord for which (V - I) another secondary dominant chord.