Chords for Supercharge Your Chops - #3 Howard Roberts - Guitar Lesson - Brad Carlton
Tempo:
109.975 bpm
Chords used:
D
G
F
Em
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret

Start Jamming...
Here's a great lesson by Howard Roberts entitled Sonic Shapes.
He's using geometric shapes and mirror images to get a lot of neat ideas on the fingerboard.
Since it's a jazz style lesson, I'm going to use a strat,
but use the neck pickup with the tone rolled off to get that warm jazz box sound.
The first shape is simply a diagonal line.
[F] So shape number [Em] one, F, B, E.
Now I'm going to play them in third position,
because if I want to play them there, and obviously I have 12 possible bass notes,
but we're going to assume that G is our bass note.
That gives us a G7-6 or a G13 without the 9th.
And then you [G] simply go back to a G chord.
So, you see if I'm playing over a G,
I have these [C] lines, and it's just a mirror image.
One's crossing over the other, okay, a nice X.
Shape number two elongates that X.
So let's play it assuming C is our bass note.
[E]
[G] So you have a Csus2, root, fifth, ninth.
[Gm] Then you're coming back, flat, 7, 5, 3.
[C] And make sure you juggle the order of the notes around a lot.
You don't even have to stay in the same order.
[D]
[G] Just use it as a framework.
[F#m] You have a scale or a mode that you're going to play.
[D] And you see this [Em] as a framework.
Shape number three.
Let's assume that our bass note is a C,
so that would give us Cmaj7,
if I play it up here in the fourth position.
So I have 5, 7, 3.
[D]
Then when the [F#] shape goes up,
[E] [D] that would be an Fm6 over a Cb, or [Fm] Fm6,
with any bass note you want.
See how you can get a lot of harmonies
by playing around with different bass notes.
That could just be a Bb9, Ab6,
[G] a lot of different sounds.
So make sure you take the shape and you move it around.
[E]
[D] [C]
[Fm] See how [Em] the line
[D] [Em] So you've got the [D] same thing, sonic shape.
Let's look at our fourth diagram.
If I choose to play these in the fifth position,
I have the following structure.
[G]
[D] D, G-sharp, D, G.
So if I do that over an E,
it's an E7-sharp9.
[F] Then, the flip of [A] that
would be an [F] Fmaj7-sharp5.
Here's a regular [A] Fmaj7, so you have a sharp5.
Now you could think of it as Fmaj7-sharp5,
an A over an F,
or Dm9 with a major7.
[D] So those are just some [F] harmonic [D] ideas.
[C#] [E] Just mix them up.
Our final diagram, I'll play them down here.
You have a C6-9, root 3rd, 6th, 9th.
And then it [Cm] goes up.
You could view that as an Eb7-6 without the root,
or you could look at it [G#] as a Dbmaj9 [Cm] with a flat 5.
The point [D] being,
[Cm]
[D] do you see how we're using these mirror images
or these crisscross shapes?
Geometry plays a big part
in how we visualize things on the guitar.
Go back to a standard D chord that you know and love.
What do you see?
I see a triangle.
[C] You see a C chord?
You see a diagonal [A] line.
You see an A chord?
You see a straight line.
So applying this principle of geometric shapes on the neck
will definitely open up some avenues
that you may not even be aware of.
Have fun with it.
He's using geometric shapes and mirror images to get a lot of neat ideas on the fingerboard.
Since it's a jazz style lesson, I'm going to use a strat,
but use the neck pickup with the tone rolled off to get that warm jazz box sound.
The first shape is simply a diagonal line.
[F] So shape number [Em] one, F, B, E.
Now I'm going to play them in third position,
because if I want to play them there, and obviously I have 12 possible bass notes,
but we're going to assume that G is our bass note.
That gives us a G7-6 or a G13 without the 9th.
And then you [G] simply go back to a G chord.
So, you see if I'm playing over a G,
I have these [C] lines, and it's just a mirror image.
One's crossing over the other, okay, a nice X.
Shape number two elongates that X.
So let's play it assuming C is our bass note.
[E]
[G] So you have a Csus2, root, fifth, ninth.
[Gm] Then you're coming back, flat, 7, 5, 3.
[C] And make sure you juggle the order of the notes around a lot.
You don't even have to stay in the same order.
[D]
[G] Just use it as a framework.
[F#m] You have a scale or a mode that you're going to play.
[D] And you see this [Em] as a framework.
Shape number three.
Let's assume that our bass note is a C,
so that would give us Cmaj7,
if I play it up here in the fourth position.
So I have 5, 7, 3.
[D]
Then when the [F#] shape goes up,
[E] [D] that would be an Fm6 over a Cb, or [Fm] Fm6,
with any bass note you want.
See how you can get a lot of harmonies
by playing around with different bass notes.
That could just be a Bb9, Ab6,
[G] a lot of different sounds.
So make sure you take the shape and you move it around.
[E]
[D] [C]
[Fm] See how [Em] the line
[D] [Em] So you've got the [D] same thing, sonic shape.
Let's look at our fourth diagram.
If I choose to play these in the fifth position,
I have the following structure.
[G]
[D] D, G-sharp, D, G.
So if I do that over an E,
it's an E7-sharp9.
[F] Then, the flip of [A] that
would be an [F] Fmaj7-sharp5.
Here's a regular [A] Fmaj7, so you have a sharp5.
Now you could think of it as Fmaj7-sharp5,
an A over an F,
or Dm9 with a major7.
[D] So those are just some [F] harmonic [D] ideas.
[C#] [E] Just mix them up.
Our final diagram, I'll play them down here.
You have a C6-9, root 3rd, 6th, 9th.
And then it [Cm] goes up.
You could view that as an Eb7-6 without the root,
or you could look at it [G#] as a Dbmaj9 [Cm] with a flat 5.
The point [D] being,
[Cm]
[D] do you see how we're using these mirror images
or these crisscross shapes?
Geometry plays a big part
in how we visualize things on the guitar.
Go back to a standard D chord that you know and love.
What do you see?
I see a triangle.
[C] You see a C chord?
You see a diagonal [A] line.
You see an A chord?
You see a straight line.
So applying this principle of geometric shapes on the neck
will definitely open up some avenues
that you may not even be aware of.
Have fun with it.
Key:
D
G
F
Em
C
D
G
F
Here's a great lesson by Howard Roberts entitled Sonic Shapes.
He's using geometric shapes and mirror images to get a lot of neat ideas on the fingerboard.
Since it's a jazz style lesson, I'm going to use a strat,
but use the neck pickup with the tone rolled off to get that warm jazz box sound.
The first shape is simply a diagonal line.
_ [F] So shape number [Em] one, F, B, E.
Now I'm going to play them in third position,
because if I want to play them there, and obviously I have 12 possible bass notes,
but we're going to assume that G is our bass note. _
That gives us a G7-6 or a G13 without the 9th.
And then you [G] simply go back to a G chord.
_ So, _ _ _ you see if I'm playing over a G, _
_ _ _ I have these [C] lines, and it's just a mirror image.
One's crossing over the other, okay, a nice X.
Shape number two elongates that X.
So let's play it assuming C is our bass note.
[E] _
_ _ _ _ [G] So you have a Csus2, root, fifth, ninth.
[Gm] Then you're coming back, flat, 7, 5, 3. _ _
_ _ _ _ _ _ [C] And make sure you juggle the order of the notes around a lot.
You don't even have to stay in the same order.
_ [D] _
[G] Just use it as a framework.
[F#m] You have a scale or a mode that you're going to play.
[D] _ And you see this [Em] as a framework.
Shape number three.
Let's assume that our bass note is a C,
so that would give us _ _ Cmaj7,
if I play it up here in the fourth position.
So I have 5, 7, 3.
_ _ _ [D] _ _
Then when the [F#] shape goes up,
[E] _ _ [D] _ _ that would be an Fm6 over a Cb, or [Fm] Fm6, _ _
with any bass note you want.
See how you can get a lot of harmonies
by playing around with different bass notes.
That could just be a Bb9, Ab6,
[G] a lot of different sounds.
So make sure you take the shape and you move it around.
_ [E] _
_ [D] _ _ _ _ [C] _ _ _
_ [Fm] _ _ See how [Em] the line_ _ _
[D] _ _ _ [Em] So you've got the [D] same _ thing, sonic shape.
Let's look at our fourth diagram.
If I choose to play these in the fifth position,
I have the following structure.
[G] _
[D] D, G-sharp, D, G.
So if I do that over an E,
it's an E7-sharp9.
_ [F] Then, the flip of [A] that
would be an [F] Fmaj7-sharp5.
Here's a regular [A] Fmaj7, so you have a sharp5.
Now you could think of it as Fmaj7-sharp5,
an A over an F,
or _ _ Dm9 with a major7.
_ [D] So those are just some [F] harmonic [D] ideas. _
_ [C#] _ [E] Just mix them up.
Our final diagram, I'll play them down here.
You have a C6-9, root 3rd, 6th, 9th.
And then it [Cm] goes up.
_ _ You could view that as an Eb7-6 without the root, _
_ or you could look at it [G#] as a Dbmaj9 [Cm] with a flat 5.
The point [D] being,
_ [Cm] _ _ _
_ [D] _ _ do you see how we're using these mirror images
or these crisscross shapes?
Geometry plays a big part
in how we visualize things on the guitar.
Go back to a standard D chord that you know and love.
What do you see?
I see a triangle.
[C] You see a C chord?
You see a diagonal [A] line.
You see an A chord?
You see a straight line.
So applying this principle of geometric shapes on the neck
will definitely open up some avenues
that you may not even be aware of.
Have fun with it.
He's using geometric shapes and mirror images to get a lot of neat ideas on the fingerboard.
Since it's a jazz style lesson, I'm going to use a strat,
but use the neck pickup with the tone rolled off to get that warm jazz box sound.
The first shape is simply a diagonal line.
_ [F] So shape number [Em] one, F, B, E.
Now I'm going to play them in third position,
because if I want to play them there, and obviously I have 12 possible bass notes,
but we're going to assume that G is our bass note. _
That gives us a G7-6 or a G13 without the 9th.
And then you [G] simply go back to a G chord.
_ So, _ _ _ you see if I'm playing over a G, _
_ _ _ I have these [C] lines, and it's just a mirror image.
One's crossing over the other, okay, a nice X.
Shape number two elongates that X.
So let's play it assuming C is our bass note.
[E] _
_ _ _ _ [G] So you have a Csus2, root, fifth, ninth.
[Gm] Then you're coming back, flat, 7, 5, 3. _ _
_ _ _ _ _ _ [C] And make sure you juggle the order of the notes around a lot.
You don't even have to stay in the same order.
_ [D] _
[G] Just use it as a framework.
[F#m] You have a scale or a mode that you're going to play.
[D] _ And you see this [Em] as a framework.
Shape number three.
Let's assume that our bass note is a C,
so that would give us _ _ Cmaj7,
if I play it up here in the fourth position.
So I have 5, 7, 3.
_ _ _ [D] _ _
Then when the [F#] shape goes up,
[E] _ _ [D] _ _ that would be an Fm6 over a Cb, or [Fm] Fm6, _ _
with any bass note you want.
See how you can get a lot of harmonies
by playing around with different bass notes.
That could just be a Bb9, Ab6,
[G] a lot of different sounds.
So make sure you take the shape and you move it around.
_ [E] _
_ [D] _ _ _ _ [C] _ _ _
_ [Fm] _ _ See how [Em] the line_ _ _
[D] _ _ _ [Em] So you've got the [D] same _ thing, sonic shape.
Let's look at our fourth diagram.
If I choose to play these in the fifth position,
I have the following structure.
[G] _
[D] D, G-sharp, D, G.
So if I do that over an E,
it's an E7-sharp9.
_ [F] Then, the flip of [A] that
would be an [F] Fmaj7-sharp5.
Here's a regular [A] Fmaj7, so you have a sharp5.
Now you could think of it as Fmaj7-sharp5,
an A over an F,
or _ _ Dm9 with a major7.
_ [D] So those are just some [F] harmonic [D] ideas. _
_ [C#] _ [E] Just mix them up.
Our final diagram, I'll play them down here.
You have a C6-9, root 3rd, 6th, 9th.
And then it [Cm] goes up.
_ _ You could view that as an Eb7-6 without the root, _
_ or you could look at it [G#] as a Dbmaj9 [Cm] with a flat 5.
The point [D] being,
_ [Cm] _ _ _
_ [D] _ _ do you see how we're using these mirror images
or these crisscross shapes?
Geometry plays a big part
in how we visualize things on the guitar.
Go back to a standard D chord that you know and love.
What do you see?
I see a triangle.
[C] You see a C chord?
You see a diagonal [A] line.
You see an A chord?
You see a straight line.
So applying this principle of geometric shapes on the neck
will definitely open up some avenues
that you may not even be aware of.
Have fun with it.