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Week 26 (May 21, 2010)


barrymclark

910 views

What is your favorite Heritage Color? And yes you have to pick just one!   

155 members have voted

  1. 1.

    • Almond Sunburst
      22
    • Amber Translucent
      5
    • Antique Cherry Sunburst
      5
    • Antique Natural
      9
    • Antique Sunburst
      16
    • Black
      0
    • Black Translucent
      3
    • Blue Opaque
      0
    • Blue Translucent
      12
    • Burnt Amber
      5
    • Cherry Translucent
      3
    • Chestnut Sunburst
      11
    • Dark Almond Sunburst
      7
    • Emerald Green Translucent
      3
    • Gold Top
      7
    • Natural
      3
    • Old Style Sunburst
      17
    • Orange Translucent
      4
    • Red Opaque
      1
    • Rose Natural
      1
    • Sunsetburst
      7
    • Vintage Sunburst
      14
    • White Opaque
      1

Due to my late entry for last week, this entry only comes a few short days after my last one... but I needed to get back on track.

 

Since my last and very recent entry, I have been going after the Dmin7 arpeggio diatonic to Cmaj in both the 6/1 and 6/4 hand positions. I have already committed 6/2 to memory.

 

The interesting part for me is that in the 6/4 position, the fingering pattern for Dmin7 is the same as Emin7 in the 6/2 position also diatonic to C. What this could ultimately mean for a solo run that uses the iii-ii progression is that you can play the same fingering pattern over both but only moving your hand back a full step to move from iii to ii. Does it get any easier than that?

 

There are others but I won't get into those as I have only noticed those in fleeting glances.

 

One thing I am being very careful of is to always run through the diatonic arpeggios for C in the 6/2 position before I practice on the 6/1 and 6/4 patterns. As I do this, I make sure to tell myself at the start of every arpeggio what chord this is for. I am beginning to recognize the patterns as Dmin7 diatonic to C or Fmaj7 diatonic to C. Also I am now starting to associate the note positions on the fretboard as note names and not merely fret positions. This is a 25 year old habit that is proving painfully difficult to break but it is happening.

 

Before I started this journey, the only notes I could immediately name off of finger position were the open notes, the 5th fret (4th for the B string), 7th fret and 12th fret notes. All of those for obvious reasons. The rest I could come up with fairly quickly but not nearly fast enough to work in a band setting. I would have to rely on the fret numbering where the inherent weakness is obvious. Now, in this arpeggios, I can easily call up D, F, G and all the others. The one that is still slowing me up just a bit is G on the B string. For what ever reason, I see the B string as an abyss of frets. Typing here, I have no issue calling up the notes, but when I am playing the guitar, there is anxiety around the B string. haha. Not that bad. I am getting it.

 

All things in good time and not a minute sooner than I am ready to handle it. :D

 

Although my progression is slight compared to where I want to be and may seem small to accomplished musicians, for me, I might as well have landed on the moon. It is that exciting to me. Last night was when it hit me that I was seeing the guitar's fretboard far differently than I ever had.

 

Thanks, Sal!

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