Tom Quale Fretboard Trainer App Options

[Mertay]

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Actually I learned guitar very similar to your post.

Being 90's and living in Turkey (not many books to be found) I basically learned the fretboard by small speed exercises (similar to Todd's exercises) and running up-down scales aside song solo's. I had no idea of box shapes way late of my 20's

Started to try jamming very late too. Despite had good ear training since the fretboard isn't like the piano as Tom mentions, when instantaneously creating a melody in my head I still cheat by either spicing things up occasionally by playing something fast from memory (jazz guys do this too often too though ) or have tendency of trying to stay on the same string as much as possible.

So this topic reminded me I have focus on my guitar intervals too

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This post has been edited by Mertay: Mar 31 2021, 12:35 PM

[Timmez]

Yes there is so much to learn

Its True what you guys say. Everybody learn on his own pace and style. And it also depends in the things you want to learn and the goals you have.

I truly believe that a good teacher helps you with that and have multiple teaching styles that fits several students.

ITs funny because a week ago or something i read about a teacher who said that its good to learn a lot of New things. And that its ok to work on it till you get it at 70 or 80 percent of your ability. Others said you have to learn it till you can play everything perfect.
I believe the first one and think it works for me as a student. But maybe its also because i want it to believe 😂

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[klasaine]

For instance a trumpet player cabt learn patterns. I think thats why they most of the time sound more melodic and 'on' the chord.

All instruments have 'patterns' and fingering sequences that fall easily on them. Trumpet is no different (fingering combinations - trust me on this, both my father and brother are trumpet players).
The difference with brass and wind players, (not the instruments), especially when it comes to improvisation, is that there is really only Jazz music to study. The canon of rock trumpet and sax is minuscule whereas jazz was invented on those instruments (and of course piano). The primary focus of jazz music is linear improvisation. So yeah, they're gonna sound more melodic. That's all they work on other than basic technique.

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[Storm Linnebjerg]

Never really come across that before, apart from comparing modes on a root of C (i.e. C aeolian over C-drone and C lydian over the same drone), but I don't think that's what you are speaking up.

I've heard keyboard players talk this way before but not really guitar players? Many keyboard players talk about everything relative to "MIDDLE C".

I've seen the drone technique a few times on a guitar using a low E as a drone, then playing E ionian an octave above (starting 2nd fret of the D string), then E dorian starting same position as before, then E phrygian and so on. It gives you a visualisation of the differences between the scales/modes, as opposed to playing E ionian, F# dorian, G# Phrygian and so on, which is a different approach to learning scales/modes.

I'm trying to find the lesson I saw about it on YouTube, but it's honestly been a lot of years, and I don't remember who it was. However, Frank Gambale does something similar in Modes no More Mystery, just with chords, but staying in C tonality (i.e. C ioanian, C dorian, C phrygian, C lydian...)

I found the video I was talking about. It was actually by Rob Chapman, way back in 2008. He uses a drone low E to then play the modes an octave above (E ionian, E dorian, E phrygian etc):





As far as I can tell it's Pitch Axis Theory. There is a small article in the GMC wiki about it:

https://www.guitarmasterclass.net/wiki/inde...tch_axis_theory

"All the chords are based around the root note of E. This is the whole point of pitch axis theory, to keep the same tonic center whilst changing the mode.

The first chord has root note E and a major third (G#) so it implies a major mode. The mode which fits in with this, because of the C# isn't the Lydian, but a Lydian is played for the first bar of the four bar sequence, even though it technically shouldn't.

The second chord has the notes E, G, C, D. The G implies a minor mode, and as it contains the 7th, the aeolian mode is played in this bar.

The third chord has the notes E, G#, C#, D#. The G# implies a major mode and the D# implies the Lydian to be played again.

The final chord has the notes E, A, D. This is a Dominant 7th chord and implies the Mixolydian mode.

This 4 bar pattern of chords and Lydian - Aeolian - Lydian - Mixolydian continues throughout the entire song."

Basically staying with the same root note, for instance E, but changing the mode. So instead of going i.e. "E aeolian, F# locrian, G ionian", it would be "E aeolian, E locrian, E ionian".

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This post has been edited by Caelumamittendum: Apr 11 2021, 12:16 PM