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The following octave exercise is for the A tone. This is great way to learn your fretboard in standard tuning [EADGBE].
- Play the exercise, using the fingerings suggested next to the tab numbers. The numbers below the tablature are the octave.
- Play these for the other 11 tones. The shapes are consistent for all of them, they just start at different points in the octave cycle. Do one a day for 12 days. A suggested order for weekly practice is below.
A Practice OrderHere is a suggestion for how to cover all of the octave shapes for each tone. Play in whatever order makes sense to you. And, try the whole list in a single day at some point. Maybe even right now.
|Starting Octave Shape||53||64||63||64||63||64||52||42||52||42||53||52/53|
Sometimes, we need just one more number to open the creativity lock. Other times, we need to discard two numbers, gain three, and the lock opens. And once the lock is open, there are a new set of considerations. Will it stay open? Do we get to 'keep' it? Creativity is a process in flux. It's a waveform. It cycles. There's time for it, then we get squeezed. It flows, then the world happens. Often, keeping the flow happening means a continual tending to the conditions that allow it to happen, on its own. It's a mind-body-set. What we hold in our consciousness matters. What we do with our bodies matters. When they are in alignment, and social conditions allow, we flow. We jam. We feel it. It's happening. As a coach, and a creative human, I've learned techniques for keeping the spigot open. And, they change and evolve over time. In my world, as it is with most, time is the question. I need sleep, but when will I practice? There are phases to the creative life, especially with work and children in the mix. We all have a different mix. It's been my job to help folks find activities and nurture views which deliver creative experiences. Each of us is unique. Though we may do similar type things, we do them differently, in different orders, in our own way. This is how it should be because this is how it is. Answers to creativity lie within each of us. It is our job to ask the right questions, so even better questions emerge. One leads to the next. They keep us moving. Even though 'confusion' may happen, this isn't a sign that things are off-track, but on.
The next round of posts with be the Octave Explorer system. It's done me a world of good and hope it can do the same for you. Octave Explorer is learning system which uses the octave structures in standard tuning for the basis of exploration. We are using each of them [there are 7] to improvise and to create melodies/chords. We are using a set of maps and our imagination to create music. By relying on our own process of discovery, we get to know our fretboards, really well, at the same time we learn what our resonant musical inclinations are [personal style building]. In each octave [there are 7], we play the Major pentatonic & the Major scale in each octave, then build a Major and minor type mode in each. We use Numera to understand different tone groups [modes]. We train, build chords, play scales, get imaginative, jam.
Chords/HarmonyFor each octave, we play every possible chord combination from a particular set of tones. Our chord library quickly expands. Whether we need to know the names of every possible chord is up to each of us. The idea is that if it sounds good, use it. Chord playing does include arpeggios [broken chords]. See musical definitions on this Nucleus resource page.
Scales/Soloing/MelodyWith these tones, we also train and jam as single tones [be melodic; play scales]. We will use scale names [aka modes], just to have a name for a group of tones, but you could also work with each octave map [tone group] at the base level of sound and skip trying to remember names. Again, this is up to you. Yet, this method is a great way to get into more advanced scale types with a few changes to Major scale [we call these exchanges]. We use Numera [root as 0] and tone names. We build two modes in each octave, one Major and one minor. The idea here is to simply experiment with each of the octaves, then join them together however we can imagine. We build chords, play scales, solo, mix things together, play arpeggios, double and triple stops. Anything we can dream up. We can jettison the Numera and mode talk and just follow the exploration path. All of this is up to you, as things always are. We are simply providing a means for everyone to experiment with the materials of our musical system using a specific mapping system. This way, style can develop with the least interference, and we get to know our fretboards really well.
Links will go live as we add session pages, wave by wave. Some sessions will be tiny nuggets, while others high density.
Swaps from the Major scale
31 → Lydian • minor Pentatonic
63 → Mixolydian • Melodic minor
64 → Lydian Dominant • Harmonic minor
41 → Lydian Blues • Natural minor
42 → Phrygian Dominant • Dorian
52 → Aeolian Major • Phrygian
53 → Harmonic Major • Phryga-Dorian