Wednesday, 27 May 2015

Sapphire Ng | Berklee Guitar Private Instruction - (Week 12) SPRING 2015 [Class Materials & Concepts]

Guitar Private Instruction Lesson

Berklee College of Music
SPRING 2015 Semester

Private Instruction Teacher: Sheryl Bailey

[Week 12]

Concepts/content covered in class:
-Revision for Guitar PI final exam
         ~Whole-Half Diminished scale
                 -Fingerings: <6 string> 1 3 4, <5th string> 1 2 4, [shift down a fret] <4th string> 1 3 4, <3rd string> 1 2 4, <2nd string> 1 3 4, <1st string> 1 2 4.
                 -To be able to see the Dim7 arpeggio as falling within the Diminished scale pattern; & to be able to see the Diminished scale pattern as an extension to the Dim7 arpeggio fingerings. 

         ~Drop 2 Triads
                 -To drop the 2nd voice from the top down 1 octave from closed voicing Root, 1st inversion & 2nd inversion of the triad.

                 -Denominations for Drop 2 Triads: "3 R 5" for 1st inversion form; "5 3 R" for 2nd inversion form; "R 5 3" for Root inversion form. 
                 `Eg. C major drop 2 triad 1st inversion form "3 R 5" = E C G; D major drop 2 triad 1st inversion form "3 R 5" = F# D A. 
                 `Eg. C major drop 2 triad 2nd inversion form "5 3 R" = G E C; D major drop 2 triad 2nd inversion form "5 3 R" = A F# D. 
                 `Eg. C major drop 2 triad Root position form "R 5 3" = C G E; D major drop 2 triad Root position form "R 5 3" = D A F#. 

                 -To be able to play drop 2 triad voicings up & down an octave from any Root or inversion:
                 `i.e. Starting from 1st inversion, to 2nd inversion, to Root position, and then back down to 2nd inversion and then finally back to 1st inversion again. 
                 `i.e. Starting from 2nd inversion, to Root position, to 1st inversion, and then back down to Root position and then finally back to 2nd inversion again.
                 `i.e. Starting from Root position, to 1st inversion, to 2nd inversion, and then back down to 1st inversion and then finally back to Root position again. 
                 
                 -2 options in movement direction along the fretboard when playing the drop 2 triads up and down an octave
                 `To travel up and down the neck of the guitar along the frets - horizontal movement
                 `To move across the fretboard of the guitar along the strings - vertical movement/ within a single position 

                 -For each of the drop 2 triad root position or inversions, learn to play voicings with the lowest note on the 6th string, 5th string and 4th string. 

                 -If interested, explore multiple fingering patterns for the same drop 2 triad voicing/denomination. 

Class Homework:
-Practice 1 octave arpeggios for Guitar Level 3 chord qualities and to be able to play them from any note of the arpeggio, i.e. Root, 3rd/b3rd, 5th/b5th or 7th/b7th. 
-To learn and be able to play at least 2 forms of each Guitar Level 3 chord quality, including Dom7(#9), Dom7(b9), Dom13 etc.
-To learn and be able to play Drop 2 triad voicings from any inversion up & down an octave.
-To be able to play the Harmonic Minor scale from all scale degrees/ To be familiar with the scale patterns for the Harmonic Minor scale starting from any note in the scale. 

Class Material:


Whole-Half Diminished; 
Drop 2 Triads in Root, 1st Inversion & 2nd Inversion









[VIDEO] Sapphire Ng | Jamming to "Yesterday" by Toni Braxton

Guitarist: Sapphire Ng

Jamming to "Yesterday" by Toni Braxton

[VIDEO]








Monday, 18 May 2015

Sapphire Ng | [Guitar TAB & VIDEO] Adim7 / Cdim7 / Ebdim7 / Gbdim7 Arpeggios, Played in 4 Sets of Broken 3rds

Guitarist: Sapphire Ng

Adim7 / Cdim7 / Ebdim7 / Gbdim7 Arpeggios, 
Played in 4 Sets of Broken 3rds

Line Direction, Interval Direction:
{Up,Up} \ {Down,Down} \ {Up,Down} \ {Down,Up}

[VIDEO]



[Guitar TAB]




Monday, 11 May 2015

Sapphire Ng | Berklee Guitar Private Instruction - (Week 8) Spring 2015 [Class Materials & Concepts]

Guitar Private Instruction Lesson

Berklee College of Music
Spring 2015 Semester

Private Instruction Teacher: Sheryl Bailey

[Week 8]

Concepts covered in class:
-4 sets of resolving Dom7 Chord/Dim7 Arpeggio positions for practice, namely having the dim7 arpeggio starting on the 6th string of the guitar from the:
           -b9 of the dom7 chord [Recall: To play the dim7 arpeggio starting from note a 1/2 step above the root of the dom7 chord]
           -3rd of the dom7 chord
           -5th of the dom7 chord
           -b7th of the dom7 chord

[*In the handout given during the class, the example involves having the F7 chord resolving to a Bbmaj7 chord, note as well that you can alter the exercise to resolving to a minor chord instead of a major chord, ie. Bb-7 chord.]

[*For the Bbmaj7 or Bb-7 that you resolve into in the handout, there are suggested fingering patterns and 2 fingering pattern options for the dim7 arpeggio set starting on the 3rd and the 5th of the dom7 chord.]

[*Referring back to the 3 sets of resolving dom7 chord/ dim7 arpeggio found in "Black Orpheus" as part of the homework from previous week of Guitar Private Instruction class, now you can try categorizing the fingering patterns/positions to the 4 categories given in the handout and thus will help put this concept into perspective.]

[*This is yet another system to help you organize the fretboard.]


-Drop 3 chord voicings with F-7 demonstrated as an example. 
           -Similarly, this allows you to segment the guitar fretboard into 4, as you play the drop 3 chord in root position, 1st inversion, 2nd inversion and 3rd inversion.
           -For the same type of inversion or root position voicing on the 6th string, there is an equivalent, oftentimes similar-shaped voicing on the 5th string. The ideal would be to know how to play the voicings from both the 6th and 5th strings of the guitar. 


-Practice walking bassline comping using drop 3 chord voicings. 
           ~Connect the chord voicings in root position and inversions using 2 methods: 
                      -Scale tone, i.e. by "walking" on notes diatonic to the scale when approaching target notes.
                      -Chromatic, i.e. by playing approach notes a 1/2 step above or below a target note. 

           ~For practice, for example F-7 drop 3 chord voicings, you can play along the 6th string only, by systematically ascending and descending in the walking bassline comping in an octave. 

[i.e. Start off by playing the voicing with root "F" note on 1st fret, then on the upbeat "walk" on a scale tone which is the "G" note on the 3rd fret on the same string in this case, and then play the voicing with the "Ab" note on the 4th fret, and then "walk" on the "Bb" note on the 6th fret before reaching the target of the voicing with the "C" note on the 8th fret and so on, until you hit all inversions along the same string set then you can start to descend in the same systematic manner.]

           ~After practicing connecting all 4 voicings along the 6th string with the walking bassline, do the same with the voicings along the 5th string. And once comfortable, practice combining voicings on both the 6th and 5th string


-A fun session in class playing to "Black Orpheus" where my teacher and I solo together. 
           -A point to note is the need to outline chord changes with the solo/improvising lines especially when it is a duo context, and when both are soloing, there will be no one playing the chord progression. 


Class Handouts/Materials:

Dom7/Diminished Arpeggio



Drop 3 Chord Voicings (With Root on 6th & 5th String)



2 Ways to Connect Inversions to Practice Walking Basslines