Partitions Digitales de Theo pour Guitare

Solo Guitar - Level 2 - Digital Download

SKU: A0.1139670

Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #739941. Published by Brian Streckfus (A0.1139670).

This is a 12-page PDF showing 7 guitar chords on each page. Rather than selling each PDF seperately (which is a bit overpriced and too much of a hassle), I decided to combine them and offer a great deal! Learn how to compose chord progressions like a pro while having fun and playing!

Objective:
Teach yourself the seven chords that belong to each type of scale. Rather than bombard you with a thousand guitar chords (which is easy to happen when browsing the internet or playing random songs), I'd rather show how a select few chords are working well together in common contexts. The hope is that you would then be able to see this happening in all 12 keys.Â

What Scales/Modes are being harmonized?

C Major (+jazz version)
A (natural) minor (+jazz version)
A harmonic minor (+jazz version)
B Locrian
D Dorian
E Phyrigian
F Lydian
G Mixolydian

Features:

Slowly increases in physical and theoritcal difficulty at the same time.
Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar.
These chord progressions are a great composition aid.
Guitar chord diagrams
Traditional notation with letter names on the note heads
Roman numerals color coded
Modes included. The Beatles and jazz musicians use modal chord progressions to give their music uniqueness. It's almost as if one note is wrong intentionally.Â
Practicality and flow on guitar is emphasized more then music theory conciseness. Letter names are not in a perfect order (as that is sometimes impossible for the guitar to do). Sometimes a more complex chord is opted for because it's actually easier to play physically.Â

Tips:

Order = Blue, Yellow, Red, Blue for stereotypical classical style chord progressions.
Rock and blues often do more of a chord succession; red going to yellow happens often, even though it is breaking a rule.
The professional names for blue, yellow, red: tonic, predominant, dominant respectively. I did not invent this theoretical concept, but I am probably one of the few musician's to color code the categories regularly. The colors explain the situation elegantly; the professional words seem like abstract PhD education, whereas saying blue is relaxing and red is uncomfortable is something a child can understand quickly.
One fantastic tip I hardly hear anyone say: it doesn't so much matter that you play the same chord as the other musician in your ensemble (unless you are getting paid to do exactly that). It matters more that you simply play the same color as them. You will have a deeper understanding of how music works if you think like this, and mistakes will no longer be seen as mistakes. What happens when a C Major and A minor chord are played at the same time? Hardly anything! It's just a Am7! Big whoop! It isn't a horrendous sounding mistake.
Circle a key on the circle of fifths. Now circle the two keys next to it (-1b, +1#). This leads to six chords that belong diatonically to the first key you circled!
Memorizing these will allow you to better predict what composers are about to do, especially if you know ahead of time that the song does notÂ change key.
Get away from the echo chamber of common are arugably bad cowboy chords and be able to build your own.