DR. ANTHONY FESMIRE

Applied Jazz/Commercial Guitar Sequence

 

Following is the sequence of technical and theoritcial concepts that are applied to the guitar during jazz/commercial guitar study at College of the Desert. All of these concepts are applied practically to the study of repertoire with a focus on learning melodies, chords/rhythm, and improvisation.

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Note that this page is currently in development and will eventually have page links to all topics. Please explore the links that are available and check back regularly for updates! Follow me on social media for the most up-to-date announcements.

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Semester I

 

1. Chords

   1. Nine common open chords (E, A, D, G, G7, C, Em, Am, Dm)

   2. E form bar chords

   3. A Form bar chords

   4. Power chords

   5. E form 7th chords (maj7, m7, 7, m7b5)

   6. A form 7th chords (maj7, m7, 7, m7b5)

2. Scales

   1. Five pentatonic scale positions

   2. Extended Pentatonic Scale

   3. Seven positions of the major scale

3. Note and rhythm reading

   1. Fingerboard Mapping

   2. Reading in open position

      1. F# and Bb accidentals and C, G, and F key signatures

      2. 4/4 time Quarter, half, dotted half, whole notes, and eighth note pairs

4. Comping

   1. 16 basic quarter note and eighth note pair strumming patterns (4/4)

   2. Dotted quarter/eighth note strumming patterns (4/4)

5. Extensions

   1. Major scales, three notes per string

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Semester II

 

1. Chords

   1. Shell voicings in root position

   2. Guide tones

   3. Three note close position triad voicings

2. Scales

   1. Chromatic scale

   2. Horizontal pentatonic with string pairs

3. Arpeggios

   1. E form seventh chord arpeggios in major keys (maj7, m7, 7, m7b5)

   2. A form seventh chord arpeggios in major keys (maj7, m7, 7, m7b5)

4. Note and rhythm reading

   1. Reading in position 2 with no open strings

   2. 16th note rhythms

5. Comping

   1. Bossa nova comping pattern (eighth/quarter/eighth)

   2. Basic swing comping patterns (eighth/quarter/eighth)

   3. Basic funk comping patterns (sixteenth notes)

6. Extensions

   1. Major scales in string pairs (three notes per string)

   2. Introduction to pick slanting

 

Semester III

 

1. Chords

   1. C and G form seventh chords

   2. Shell voicing inversions

2. Scales

   1. Seven positions of the harmonic minor scale

      1. Mixolydian b9, b13

3. Arpeggios

   1. E and A form seventh chord arpeggios in harmonic minor (add mMaj7, +maj7, o7)

4. Note and rhythm reading

   1. Reading in fifth position

   2. ¾ time

5. Comping

   1. Anticipation

6. Transcription

   1. Charlie Christian

7. Extensions

   1. Harmonic minor three notes per string

   2. Pick slanting continued

   3. G and C form seventh chord arpeggios

 

Semester IV

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1. Chords

   1. Drop 2 voicings

   2. Guide tones plus one tension

2. Scales

   1. Seven positions of the melodic minor scale

      1. Altered dominant

      2. Lydian dominant

   2. Symmetric dominant scale

   3. Whole tone scale

3. Arpeggios

   1. E and A form arpeggios in melodic minor

4. Note and Rhythm Reading

   1. Reading up to 12th fret

5. Transcription

   1. Choice

6. Extensions

   1. Melodic minor three notes per string

   2. Voicings in fourths