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  • This Month's Live Streaming Guitar Lessons: TUESDAY AUGUST 6TH - USING CHORD TONES AS SEEDS FOR SOLOING. Improvising can be intimidating - but here's a simple trick you can use to spark soloing ideas. By using the chord tones, you can create simple "seed" ideas that can be expandaded into much larger musical ideas. TUESDAY AUGUST 20TH - BEING A SINGER/SONGWRITER WITH ROB HARRIS. Ever dreamed of playing your own songs at a songwriters night? or perhaps playing guitar at a local restaurant? Rob Harris is a master of this and he will be dropping by to talk about crafting your own songs and building gigs. SPECIAL EVENT: MONDAY AUGUST 26TH - THE BOUTIQUE GUITAR SHOWCASE. These are some of the rarest and fascinating instruments in the world. We'll be showing these amazing instruments live from Gruhn Guitars in Nashville Tennessee. Watch LIVE on our Guitar Gathering YouTube Channel. It's going to be a great month! Learn all you can!

adrienp

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About adrienp

  • Birthday 05/15/1987

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    Chicago, IL

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  1. Yes it's the 6th string moveable two chord. The alternatives are a bit easier because they omit the third finger.
  2. Just some background, I've been playing piano almost my entire life, so my left hand is already quite flexible. However my hands are on the small side. I'm a female player with a thin build, so I have to do many adjustments to make things sound good. Usually I can find a solution. I purchased a Martin Jr. Dreadnought (15/16 size) and that has already helped immensely. My question is, should I hold on to hope to master this moveable 6th string two chord? I have tried and failed and I have doubts that I can get my left hand more flexible than it already is. What I've tried: Option 1: muting the 5 of the chord on the A string with the second finger, then using the 4th finger to play the root on the D string. This leaves me with a R-R-2 voicing. Option 2: Play the 5 on the A string with my 4th finger, but then using the fourth finger to mute the doubled root on the D string. Second option gives me a R-5-2 voicing. I figure if I need to sacrifice a note, might as well be that doubled root. I like the second way better because that 2 against the 5 is what gives it that dissonant perfect interval texture. If I mute the 5, then that beautiful overlapping perfect 4th and 5th sound is absent.
  3. You can say the same for other modes with a flat 7. Dorian you just add the 3 and flat 5. Aeolian also.
  4. You can transpose to A with a capo, or if you dont have one you can also transpose like this: G=A, Am=Bm, Bm=C#m, C=D, D=E, Em=F#m, F#dim=G#dim, or if flat VII, then F=G If you need it higher then use the same pattern for the key if B or C
  5. Just registered! I'm excited to meet everyone. You guys give me the motivation I need to practice.

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