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This Week on the Guitar Blog...

 

Arpeggios for Blues Progressions
This week on the GuitarBlog I discuss the process of performing Dominant 7th Arpeggios on each of the chords typically found in a Blues Progression. In the video, viewers will get to check out a neck pattern for the Dom. 7th arpeggio as it relates to each of the chords in a common Blues. Off of the key of "A" we will run through, A7, D7 and E7. Along with the patterns each arpeggio will be applied in a related guitar lick. Enjoy!

 

RELATED VIDEOS for "Arpeggios for Blues Progressions":
Jazz-Blues Licks and Chords

 

Blues Combination Scales

 

For more resources on the topic of Harmony and Theory, visit the course pages at Creative Guitar Studio / Harmony and Theory.

 

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Recent Video Lessons

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December 012, 2014:
Strengthening Song Structure

 

This lesson explores the structure of songs and how song arrangements can be made stronger.  By adding different layering concepts, using unique rhythm ideas, as well as, composing melodies that pull the listener across linear scale movements, songs can have a stronger impact.  Watch the video lesson to find out more, and Download the FREE MP3 JamTrack and PDF lesson handout for the practice examples.

SONGWRITING: Strengthening Song Structure

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Guitar Blog Q and A

 

 

Your EmailQ: Hi Andrew...

I just wanted to say thanks for making your Understanding Music Intervals lesson. You taught me in 15 minutes what my private lesson trombone teacher in school couldn’t teach me in more than 5 years of weekly lessons... just wanted to ask a question about the dim7.  

 

It seems to be an interval only in name since when you play it, it would sound as a major 6?  At least taking your example as C to B as a 7th, B flat as a minor 7th and then B double flat as a diminished 7th... effectively that makes the played interval C to A or a Major 6th, if I’m trying to identify the interval by ear.

 

What context can you use to make the decision on something you’re just listening to, to try to identify? Lastly, I noticed that the symbol you use for double sharp has dots in it but I was never taught a symbol with dots.  Is that a Canadian vs. United States difference?  I can’t seem to find the symbol you drew on a quick Google search.

- Nathan

 

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A: Hi Nathan...

Thanks, glad that video helped you. The Dim.7 and the Ma6 are what is known of as, Enharmonic. The difference between naming them will come to front and center if you wanted a distance of a 6th or a distance of a 7th.

 

Generally, this would come up most often when constructing chords, arpeggios, or various scales and you’re using several intervals together. For example, the Ma6 would be applied in the context of constructing a triad or arpeggio of major or minor quality. But, the Dim. 7 would be applied when constructing a Diminished chord, the Diminished arpeggio, or harmonizing the Harmonic Minor scale’s seventh degree, (which would be the Dim. 7 chord).

 

Keep in mind that although intervals are taught in theory as the distance of one note to another, they are generally used inside of situations where there are more than two notes. So, as you assumed in your question, their names are dependent upon the context in which they are used. As far as simple listening to note distances, (when perhaps analyzing a song by ear), I’d say 9 times out of 10 I’d name this particular distance as a Ma6.

 

Lastly, in regard to that double-sharp symbol... That type I had drawn was what would be called Manuscript Style. I found it in a Books.Google search for Theory and Technique for Music Notation. The book by Mark McGrain (page 37). Modern software such as Finale does not show the double sharp in that manner, just as an X.

 

Thanks for writing in. - Andrew Wasson

 

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