Talking Technique: Beautiful Practice

by: No Treble

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I know trouble this is Ari with talking technique and today it's going to be another double whammy of music theory and technique but some music theory part the music theory part is going to be diatonic triads in an open voicing sounds beautiful what's the technique part well duh if you do stuff in an open voicing you have to jump over a lot of strings so that's what we're going to be doing you briefly explain what diatonic means there's chromatic that means all 12 notes and then there's diatonic that means just seven notes out of the pool what other seven notes typically it's just the notes of the scale so for example G major G a b c d e f sharp those are the only notes we're going to be using what a try it's very flippantly set there play one skip one play one skip one play one now I can do what I just did from every single scale degree and depending on how the chips fall since I only have those seven notes I'm going to get either major triads minor triads or a diminished triad in this case so you can do this in one position but you could also do it all across all walking up the bass and that's actually a good thing to do

because it helps you see it a little better if here's my major scale made I will have a major triad here a minor triad here and four major it's always good practice to start with your middle finger and four minor it's always good practice to start with your pinkie okay so major minor and then if you go to the first finger okay I'm setting my major with the second finger of my mind with the pinky and then here first finger for the minor major with the second finger and then here's a major with the pinky finger and then you go up and have these three all in one position now this is a triad in root position that's just rude three five now there's a lot of stuff you can do with it with the try it you can invert it now I just hmm started at first I started with the root third fifth then I go three five eight then I couldn't go five eight three right those are inversions that's one thing I can do and the other thing I can do is I can voice the try it in a different way so rather than just going root three five I can take the three here for example poured it up the octave and then I get this gorgeous thing that's my third finger here G D and B so again here are the diatonic try it's up the base like this okay and I suggest you're exempt for example practice these triads first of all all in order of the base so you can do things I'm going to flip on that delay path just because it sounds cool so those were the diatonic triads and open voicings going from the first to the second to the third and so for scale degree so in order of the scale in music however many times courts progress in either falling fifths or ascending fourths that is the SE leads you to the same note whether you acent a fourth from the G to the C or you descend a fifth G to the C okay so as sending forth or descending fifth leads you to the same note G C G see what we're going to do now is step through the G Major scale but not in order one two three four five six seven but we're going to go in fourths so if I go from the G and do my open voicing try it and then go up a fourth that would lead me to the C now if I go up fourth from the C that would typically lead me to an F but hey F is not part of my G major scales has got to be F sharp so I'm ending up doing an Augmented fourth here but still a fourth right so there is my seventh scale degree and then I'm going to the start scale degree that's the next one up and then to the six and two five one okay so all I'm doing is not going one two three four five six seven but always going up a fourth and then figure out what note that is and it leads you to exactly that sequence again one mmm oh and you can actually make a group out of it you can play it with delay pedal sounds lovely

the last step that is left to get to exactly what I played in the intro is to play this sequence it just played earlier but stay in one position so I gave myself the assignment to stay in one position and execute this sequence there are the way I think about scales are the way I organize the fretboard there are five positions where I can play this scale and for each of those positions I figure out how to execute it without jumping around now I can only do that if I use inversions I will very briefly demonstrate that for the first position here but you also have a PDF with this talking technique where you can dive a bit deeper if you like it has the tab laid out it has the score it has the chord written above so you're welcome to check that out so for the G this is my first area here and I'm allowed to stay within those four frets in this area I don't have to jump up or down so and this is my assignment so for the G chord that's easy to do and I can figure this out then for the C chord I'm already in trouble because the open voicing would be C G and then the e up here so I can't do that what's another note that I've what's the lowest note of that try it that I have available well it's out of C G and E it's the G so I have to use open voicings I can't go G C II but I can take that seaport it up the octave and then I have G e C okay and the next one would be the F sharp diminished chord that one lies fairly accessible it's very easy to say because I don't have to invert but then the next one would be the B minor triad and again if I do start with the be here and sharp D then that wouldn't work so the three notes of B F sharp and D what's the lowest note F sharp the lowest note out of those three then note in the Triad would be be but I have to port it up the octave open voicing so I do F sharp D B if you need some help with the theory if you want more information want to go deeper along those lines I recommend my book music theory for the bass player I'm going to play that sequence for you one more time on my five string enjoy thanks so much

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This week’s lesson is called “Beautiful Practice” for a reason. Our exercise this week creates a lush harmony and texture all while working out our theory and technique at the same time
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