We begin Omega.
These session blocks in Omega are wrapping up two of our core systems [CAGED & 7 Majors].
We are getting all of our multiplier knowledge on the table and putting it to work.
Let’s get started with the D Major scale.
First, determine fingerings. Then, play the chord scale (use both versions of E7 - unless high position is uncomfortable). These are solid voicings for fingerstyle comping. For strumming, the chord shapes themselves create most of the muting (5 & 1 strings). We can choose fingerings based on leaving a finger (or 2) free for tone toggling. Once the chords are in the hands, we play progressions. Try a i-VI-ii-V (we don't need to write all of the chord symbols, all the time). Then, write progressions. Experiment. Record it. The voicings here are just one way to play these chords, and is movable to all positions/keys.
Here's the A flat Major scale in P1. It's the G scale form moved up one fret. This scale has 2 tones on string 3. The G on string 4 can also be played on the string 3, behind the root, which would put 2 tones on string 4. This is your choice. Try both. A flat is the "opposite" of A Major. A Major has 3 sharps (F♯, C♯, G♯). In A flat, the F, C, & G are naturals. In A flat, all of the flats (B♭, E♭, A♭, D♭) are naturals in the key of A Major. Play the scale, academically, as shown in the tab. This scale form can be played in this manner, in every position, and thus every key.
Play each part, then try playing the lines together. We can fingerpick or hybrid pick [use a pick for the bass tones, & free fingers for the upper line]. Bass tones can be stopped so they don't create too much mud. It can be a combination of motor hand [mostly thumb muting] & fretting hand [since it's not doing anything!].