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1. AddressDo something with the structure. Train with it in some way. Design an exercise to address any facet of your 'single tone' playing. Idea: use the tone order we've used before: start on the A♭ tone [6 string, 4 fret] in P1, play to the highest, then to the lowest, then back to the starting A♭, playing in a new rhythm. Then shift to the next position → do the same thing in P2 [A Major], then 3 and so on, as high as you want [maybe P9 or P12], then descend, position by position.
2. ArpeggiosPlaying 7th type melodic arpeggios within this structure is a really valuable finger logic challenge. Try not to leave the fretting hand in a "dead end". Check out my fingerings after playing through this. For this exercise, we are basing the scale in A Major in P2.
3. ImproviseChoose a key [a position] – maybe one that you've never played in before. Improvise for 3-5 minutes using the scale. Example: move the pattern to position 3…jam in Bb. Have you ever jammed in Bb?
In our harmonic system, the fully diminished 7 chord (R ♭3 ♭5 ♭♭7) 'first appears' in the Harmonic minor. We saw that in A Harmonic minor, the vii chord is G♯o7. In all harmonic minor tone groups, the seven chord is a viio7. The fully diminished 7 chord formula is R-♭3-♭5-♭♭7 (3-3-3-3 - all minor 3rds - the double flat 7 is also known as the 6). What this means is that once we build this chord, and move it 3 frets up or down, it is the same chord. If a chord is built with all minor 3rds, and we move it 3 frets, all of the relationships are constant. And this means that every tone in the chord is the root, is the flat 3rd, is the flat 5, and the double flat 7.
Only 3Another important point is that there are only 3 of these chords. If we were to build the same type of chord starting on the next fret up from the first, this will be the 2nd, and 2 frets up, the 3rd. Once we move it up one more, we are back at the first. There are only 3 serving all '12' keys. We will be learning 3 voicings of the these chords (on 4 adjacent strings), then modifying each shape 4 times (lowering a tone). In doing so, we create 4 Dominant chords.
In any key, the 1 to 1 [in this case, C to C] is Ionian. The 2 to 2 [D to D here] is Dorian, and so on. Here we have the modes in order, with tone names. We can see that all of the tones are the same; each is its own scale. The Major modes are Ionian, Lydian, & Mixolydian [I, IV, V]. The minor modes are Dorian, Phrygian, Aeolian [ii, iii, vi]. Locrian is a minor mode with a flat 5 [diminished - viio].