Bob Ferry discusses how chords are heard from the bottom up and how the ear hears all the notes of a scale, arpeggio, or chord relative to the root note. Bob utilizes the Superimposition of Fingerings For Guitar to demonstrate an example based on A7 in the key of D: the 1st-6th A7 arpeggio as the Mixolydian V chord with the 1st-5th D Major Scale.
Bob Ferry discusses the application of the Superimposition of Fingerings For Guitar to the combination of scale fingerings with chord fingerings using an example based on a 4th-5th E♭ Major 7th chord with the 4th-5th E♭ Major scale.
Do you want to be a great guitar player? Bob Ferry discusses how students that really want to excel at the guitar will gain a thorough understanding of the fretboard through study of the Superimposition of Fingerings For Guitar.
Bob Ferry discusses how the Superimposition of Fingerings For Guitar enables you to learn a solo, lick, or melody on the guitar in harmonic context and how this will dramatically increase your ability to understand and retain what you have learned.
Bob Ferry discusses how the Superimposition of Fingerings For Guitar combines the chord, arpeggio, and scale in harmonic context to produce a chord scale from the root note of the chord itself.
Bob Ferry provides another demonstration from the Superimposition of Fingerings For Guitar using an example based on G7 in the key of C: the 1st-6th Dominant 7th Arpeggio as the Mixolydian V Chord with the 1st-5th Major Scale.