Scribd
Upload
66 views3 pages

Ben Monder Practice

The document outlines a comprehensive practice regimen for guitarists focusing on triads, seventh chords, and various voicings across major, harmonic minor, and melodic minor scales. It emphasizes experimenting with different inversions, voice leading, and chord substitutions while also encouraging the creation of unique chord structures based on intervallic patterns. Additionally, it includes specific arpeggio fingerings and warm-up exercises to improve accuracy and legato playing.

Uploaded by

jax ye
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
66 views3 pages

Ben Monder Practice

The document outlines a comprehensive practice regimen for guitarists focusing on triads, seventh chords, and various voicings across major, harmonic minor, and melodic minor scales. It emphasizes experimenting with different inversions, voice leading, and chord substitutions while also encouraging the creation of unique chord structures based on intervallic patterns. Additionally, it includes specific arpeggio fingerings and warm-up exercises to improve accuracy and legato playing.

Uploaded by

jax ye
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd

Be able to move a triad through the major, harmonic minor and melodic

minor scales. Play triads in root position, 1st and 2nd inversion, and in
close and open position on as many string groups as apply. Experiment
with arpeggiating it in different note orders as well as playing the notes
simultaneously.

C Major 7

CEGB EGBC GBCE BCEG

CGBE EBCG GCEB BEGC

CBEG ECGB GEBC BGCE

CGEB EBGC GCBE BECG

CEBG EGCB GBEC BCGE

CBGE ECBG GECB BGEC

Take all these voicings up and down through the major scale, then practice
voice leading them through different cycles (5th, 3rd, etc).

Write this chart out for all 7th chords:

Maj7-5

Maj7#5

Min 7

MinMaj7

Min7-5

Dom7

Dom7-5

Dom7#5

Then, experiment with replacing different chord tones with other scale
degrees, eg. the 2nd for the 3rd （CDGB, DGBC,etc.）

Limit yourself to one voicing type at a time, and work your way through a
tune playing a different inversion on every beat. Cover all possible string
groups that apply to each voicing. Make sure to go to the nearest available
voicing when the harmony changes
Learn as many uses for each 7th chord （as a superimposition over a bass
note） as you can.

Take each chord and make a list：

CMaj 7 = Dsus13 = Eb13b9#5 = FMaj9#11 = AbMaj7#9#5= Amin9

CMaj7b5 = D13= FMaj7#11b9 = F#11= Ab7#9#5= Amin13 = Bsusb9

CMaj7#5 = D13b5 = FminMaj7#11 = F#o9/11 = AminMaj9 = BPhryg


Natural 6

C7 = Db dim Maj7 = Dsus9b6 = Eb13b9 = FMaj9sus4 = F#7b9b5 =


AbMaj9#5= A7#9b9

C7b5= D+9 = Eb13#9b9 = F#7b5= Ab+9= A13#9b9

C7#5 = D+9b5（can also be thought of as o） =F#9b5= Ab+9 C7suS4 =


DbMaj6b5 = Dmin11b6 = Eb6/9 = F#Maj7b5b9 = AbMaj13 =
APhryg（min7b9b6） = BMaj7b5#5b9（！？）

Cmin7 = Db Maj13b5 = DPhryg（min11b9b6） = Eb6 = EminMaj7b5b6 =


Fsus9 = AbMaj9 = A7b5#9b9 = BMaj7#5b9

Cmin7b5 = D7b9#5 = Ebmin6 = EMaj9b5#5 = F7sus4b9 = Ab9 =


BMaj7b9

CminMaj7 = Dsus13b9 = EminMaj7#5= F9#11 = AbMaj7#9= Ap9

Create chords out of consistent intervallic structures. For example, a four


note chord built on the intervals 4th, 2nd, 5th, starting on Fin the F
mixolydian mode would be F Bb C G. Move that structure up to the next
scale degree and the chord is GC DA， then A D Eb Bb,etc.

Use this idea to come up with a variety of structures built on 3 to 6 notes


and take them through various scales.

Then practice voice leading between structures, and over moving


harmony. Don't forget to apply melodic and harmonic minor, as well as
other 7 note scales.

Arpeggio Fingerings：

Each number represents notes per string, each cell represents one octave.
Always start on the 6th string,and start the second octave on the same
string （in most cases, the 4th） you ended the first octave on.

For example, 112 means one note on the 6th string, one on the 5th, and
two on the 4th.

As a warm up, play a scale with the metronome on 20 （or lower, even 10）
and play one note per click. Do this through every position of the scale,
trying to be as accurate as possible. Try to be even and legato （even
though you are attacking every

note）. Then put the metronome on 5 or 10 and have that be the first beat
of an 8 or

4 bar cycle. improvise over a tune this way and see how accurate you can
be.

You might also like