It makes sense! His support materials are also excellent and he really does answer his emails!!! A Must Buy!!! I still have to practice and the fingers are rusty, but the book helps me over all of those hurdles. Desi’s book made everyhting relate to the fretboard and the grid system. So when I picked up the guitar again at age 55, I was thinking in terms of a linear keyboard. I was a guitar player a long time ago (almost 40 years) and I learned it all the WRONG way because I was also a keyboard player who practiced endless scales etc. Great for “old-timers” like me!, December 6, 2008 To learn more about music theory for guitar, including scales, chords, progressions, modes, and more, sign up for a free preview of my Fretboard Theory books and DVDs by using the form on this web page. This chromatic passing tone bridges the gap between the F7’s root and the C7’s fifth (hence the C7/G). The F#diminished chord is basically an F7 chord with the root raised. You can even switch back and forth between 7th chords and the diatonic chords (I ii ii, etc.). I7 VI7 II7 V7 (A foundational jazz progression.) I7 IV7 V7 (Most blues songs are based on this.) Progressions in this new sequence are the same as the diatonic scale but now everything is a 7th chord. Yikes, that’s a lot to keep track of! But jazz players love it. If you want to solo over these chords, you’ll have to switch the parent major scale for every chord. But we used the C major scale structure as a guide to determine which keys to combine. Each seventh chord is a V chord from a different key. So this chord sequence is actually a series of key changes. But, who says you can’t change keys and play over the V7 chord each time? Well, which keys go good together? What if you take the intervals from the major scale and play each of them as a dominant seven chord? The key of C would become: Now, there’s only one seventh chord in a key (see Fretboard Theory chapter 10). Jazz players like to play over dominant seven chords. Just be sure to master the basic concepts before venturing into advanced areas like this. This song is based on an advanced concept that stems from the chord progression number system I teach in my guitar theory method. Please help me understand how that fits into the basic harmonized major scale, I ii iii IV V vi vii. The music for “Nobody Knows You When Your Down and Out” by Eric Clapton is written in the key of C but most of the chords are played as major and/or dominant sevens.
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