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- Herausgeber: Modern History Press
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
- Veröffentlichungsjahr: 2023
A Novel Approach to Learning Guitar Chord Progressions
This treatise seeks to encourage guitarists of all levels to find their voice by experimenting and creating chordal ideas by playing notes on any part of the fingerboard to come up with their own chord shapes and patterns and not necessarily familiar, geometric shapes. These chord progressions can express an emotion or tone, be it sad, happy, humorous, mysterious, and the next step is to use an online chord app (if needed) to determine the names of the chords that were created. Guitarists who compose instrumental pieces will not be limited by conventional chord shapes but can come up with unusual chordal ideas that highlight their creative and compositional abilities against a background of shapes and patterns.
"This is interesting! I am an intermediate-level guitar player, and I am only familiar with moving basic chord shapes vertically, but I do think it would have been very useful if I had been familiar with these chord shapes, and this concept of moving them horizontally, earlier in my learning process."
-- Dennis Dezentje, The Netherlands
"I have read this book repeatedly and found it quite interesting. It did not take long to recognize the genius it unleashed. As I explored Persaud's Geometric Patterns, Angles and the Guitar and applied its principles, I most certainly wished I had had access to it much earlier during my exposure to advanced guitar methods."
-- Hezekiah Dean, District Superintendent of Education (retired), Bahamas
"This method can revolutionize the way a student is taught to play a musical instrument. Many students have problems processing words. For many of them, learning through visualizing shapes and the pattern of movements will be easier because the concept is more concrete. Geometric Patterns, Angles and the Guitar will have great success with both tactile and visual learners."
-- Mary Moncur Grey, B.A., Dip Ed., MBA
"The author provides an interesting geometrical concept, something that the mathematically oriented guitarist will certainly appreciate. Geometric Patterns, Angles and the Guitar will open up a less-trodden path for guitarists, allowing them to explore chord construction, sounds and tonalities. Welcome to music creativity beyond basic music theory."
--Rehman Abdul, M.S., P. Eng., Geotechnical Engineer
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Geometric Patterns, Angles and the Guitar: A ‘Chordological’ Shifting Perspective
Copyright © 2023 by Steve Persaud. All Rights Reserved.
ISBN 978-1-61599-751-0 paperback
ISBN 978-1-61599-752-7 hardcover
ISBN 978-1-61599-753-4 eBook
Published by
Modern History Press
5145 Pontiac Trail
tollfree 888-761-6268 (USA/CAN/PR)
Ann Arbor, MI 48105
Library of Congress Cataloging-in-Publication Data
Names: Persaud, Steve, 1958- author.
Title: Geometric patterns, angles and the guitar : a 'chordological' shifting perspective / Steve Persaud.
Description: [1st.] | Ann Arbor : Modern History Press, 2023. | Includes bibliographical references. | Summary: "This treatise seeks to encourage guitarists of all levels to find their voice by experimenting and creating chordal ideas by playing notes on any part of the fingerboard to come up with their own chord shapes and patterns and not necessarily familiar, geometric shapes. These chord progressions can express an emotion or tone, be it sad, happy, humorous, or mysterious. "-- Provided by publisher.
Identifiers: LCCN 2023024581 (print) | LCCN 2023024582 (ebook) | ISBN 9781615997510 (paperback) | ISBN 9781615997527 (hardcover) | ISBN 9781615997534 (epub)
Subjects: LCSH: Guitar--Fingering. | Guitar--Chord diagrams.
Classification: LCC MT588 .P376 2023 (print) | LCC MT588 (ebook) | DDC 787.87/193--dc23/eng/20230601
LC record available at https://lccn.loc.gov/2023024581
LC ebook record available at https://lccn.loc.gov/2023024582
Contents
Introduction
Importance of this Treatise
Right-Angle Chords
Straight Line/Angle Chords
Acute Angle Chords
Obtuse Angle Chords
Inverted Triangle Chords
Triangular Chords
Rhombus- Shaped Chords
Trapezium/Trapezoid-Shaped Chords
Conclusion
About the Author
References
Notes
Area of the Circle
A circle is fraught with dissensions;
polemical meanderings fracture our
sense of belonging.
A clash and clang of ideas is
cataclysmic as it is revolutionary.
There are no lines of demarcation,
so we crisscross a minefield of mind
games.
Someone’s explosion is someone’s
implosion; letters are lost -words
displaced in the battle for the front.
There are the cases of the wounded
seeking redress in the corridors of poetic
justice; some refuse to answer the call of
duty and desert their post momentarily.
But steadfastly we must unfurl our flag
of verses and carry those who are weary
of feet and mind to an area of the circle
where it is safer to reside.
Steve Persaud
Introduction
Guitar ‘chordology’, no it is not a guitar-related heart condition; actually, understanding this concept may help alleviate stressful conditions for guitarists. The idea is to study chords in a horizontal, shifting pattern, moving from left to right or right to left. For example, a triangular shaped chord shifted to the right or left becomes a different chord as opposed to moving vertically which creates a sharpened or flattened chord of the same kind. Shifting also refers to adding notes to a barred (horizontal) position to create a series of vertical but differently constructed chords; these concepts give rise to geometric patterns and angles.
We all know that music is synonymous with mathematics, so I am constantly trying to find ways to help my guitar students and friends see the chemistry of chord construction and analysis from a shapely perspective. All right, I know what you may be thinking, but imagine trying to understand chords from angles and shapes, in other words, from a mathematical perspective. All the chords discussed can be played both as block or arpeggiated chords.
Overall, the general idea is to encourage guitar students, guitarists to create their own patterns and shapes (not necessarily geometric), which will lead to their own unique chord progressions and give prominence to their creativity. We can begin by looking at chords based on angles and then move on to a discussion on chords based on geometric patterns/shapes. A basic knowledge of chords and their formation and the guitar fretboard along with a bit of music theory, will certainly help at this point.
Importance of this Treatise
The general idea of putting together this treatise is based on the following observations:
•This treatise is based on my actual experience of trying to find practical solutions to guitar chord theory during group and one-on-one sessions with students of various ages.
•I found that many students were more open to a shape, pattern or a number when learning chords or their formulas using even basic or crude illustrations or drawings which is referred to as spatial learning.
•Well-intentioned guitar videos and books many times complicate chord theory and by extension music theory by using ornate language and too many unexplained technical terms. As a result, they often fail to reach the intended audience.
•Many guitar books often repeat themselves using familiar language to explain chord theory.
•By studying this treatise, it is hoped that young students of the guitar will have a greater appreciation for math and use a practical approach with their math assignments.
•The overall idea of this treatise is to instill confidence in guitar players by showing that their creativity is an integral part of their development, and by experimenting with notes, they can create their unique chordal patterns.
Right-Angle Chords
We can begin by looking at a few chords which have a right-angle pattern. We can for example, use the A6 chord whose notes are E A C# F# to form a base. Now use the index finger to bar (from the French word barre) or clamp which is the act of using the index finger to hold several notes together. Use the index finger to cover or bar the E A C# F# notes to form the A6 chord; now extend the fourth finger to reach the note on the fifth fret(A), and this of course gives us an A chord (extended); the A6 chord becomes an A chord using this movement, and this gives us a right-angle chord.
From this linear position, we can form a series of right-angle chords. For example, from the same barred position, we can hold the G# note by extending the fourth or third finger to the fourth fret which gives us the Amajor7 chord. This again looks like a right angle; furthermore, using the second finger to hold the G note on the third fret creates the A7 chord which looks like a miniature right angle. So we have a progression of chords (Amajor, Amajor7, A7) which look like right angles. These diagrams illustrate the point of right-angle chords:
By a similar token, we can cover or bar all the notes on the third fret using the index finger. This will be G C F Bb D G giving us the Gminor7add11chord or the Bb6add9 chord which constitutes our base.
We can also add two notes to the barred third fret: the F on the second string and the C# on the third string; both notes are on the sixth fret, and the overall combined notes will give us the C#major7b5 chord whose combined notes I refer to as a parallel chord as is the case with parallel lines.
To add some variety to the process, we can move the F to E omitting the C# which will give us a C7add11chord and moving the E to Eb will give us the Cminor7add11chord. Keep in mind the right-angle position, and we can easily find these types of chords by ascending/descending the fingerboard by holding the same positions. The following diagrams will clarify these points:
As a corollary to this, we can look at chords from a straight line/angle perspective. A straight line/angle is equal to 180 degrees. We will notice that a different chord is formed as the initial chord the Gminor6add9 shifts to the left as reflected in the following diagrams:
