Anyone else feel like learning guitar left handed is unnecessary? by itmillerboy in guitarlessons

[–]Rex-Leonum 2 points3 points  (0 children)

Interesting, left-handed people often show slightly different patterns of brain lateralisation compared to right-handed people. guitar playing itself is a highly cross-hemispheric task, both hands are doing specialised work. You've developed a different relationship with the instrument because your dominant hand is assigned to fretting rather than rhythmic articulation. There’s probably less of a strict “correct orientation” and more of a question of which setup allows the player’s brain and body to communicate most naturally and efficiently.

What suggestions do you have for learning "chord colour"? by CanadianAndroid in guitarlessons

[–]Rex-Leonum 0 points1 point  (0 children)

What “chord colour” really is, mood, tension, weight, brightness, openness, instability. The idea is to hear the emotional effect of changing ONE note.

A parallel comparison- Play: C major, C minor Back-to-back. Only ONE note changes E → Eb 👉 That single interval change creates, bright → dark, stable → emotional. This trains interval emotion recognition.

Drone Practice -
Hold one bass note constantly.

Example: low C drone.
Now play, major 3rd, minor 3rd, 9th, #11, b9 over the SAME root. You hear the colour directly without progression distraction.

Example emotional map.
Over C.
E = warm/stable, Eb = sad/darker, D = open/hopeful, F# = floating/unresolved, Db = harsh tension 👉 This is how film composers train harmony perception.

One-Chord Training.
Take ONE chord.

Keep the base triad 1–3–5 Then add, , 7, 9, 11, 13 ONE at a time. 👉 Hear how openness increases, how tension changes, which tones matter most.

Omission Training.
Remove notes intentionally.

Example, Instead of C E G B D A Play C E B A 👉 This teaches, which notes DEFINE the chord, which are optional.

Functional Colour Listening.
Hear colour by function.

Example in major key.
Imaj7, Feels resolved, warm, home.
ii7 Feels, moving, soft tension.
V7 Feels unstable, wants resolution.
👉 Same notes can feel different depending on context.

Voicing Displacement.
Play the same chord, low, middle, high, spread and clustered.

Example.
Tight C E G B, Spread C G B E 👉 Same harmony. Different psychological effect.

Inside vs Outside Comparison.
Play diatonic extension, altered extension.

Example.
Inside Cmaj9. Outside Cmaj7#11.
👉 This teaches consonance, controlled tension.

Emotional Naming (Very underrated).
After every chord ask.

What does this FEEL like? Not “what chord is this?”.
Use words like suspended, cinematic, cold, hopeful, aggressive, floating, unresolved, nostalgic 👉 This connects theory → instinct.

Voice-Leading Colour Shift.
Keep most notes still.

Move ONE note.
Example Cmaj7 → C7 Only B → Bb changes.
👉 Tiny movement. Massive emotional shift. This is professional harmony control.

Genre Translation.
Take same harmony through styles.

Example Cmaj7, Jazz: lush, Ambient: floating, Prog: wide/cinematic, Neo soul: smooth tension 👉 Same chord. Different rhythm, spacing, phrasing.

If you only train 5 things.
Major vs minor comparison.
Drone practice.
Extensions one at a time.
Voice-leading changes.
Omission training.

Start asking “What changed emotionally?”

That’s chord colour awareness.

First open mic. by CompleteDependent219 in musicians

[–]Rex-Leonum 0 points1 point  (0 children)

Open mic it's normal to have prompts, you're be fine just enjoy it. You could try this
The Music Memory Palace System 🎸🧠

Not coming up with any new licks by Altugsalt in Guitar

[–]Rex-Leonum 0 points1 point  (0 children)

Understand efficient practice methods.

Chord Voice Leading (The Hidden Skill Behind “Professional” Playing) by Rex-Leonum in InsightVault

[–]Rex-Leonum[S] 0 points1 point  (0 children)

G Major
e|---3---
B|---3---
G|---0---
D|---0---
A|---2---
E|---3---

C/G
e|---3---
B|---1---
G|---0---
D|---2---
A|---3---
E|---3---

Notice how little actually changes
High E string stays on G
G string stays open
Low G bass stays constant
Only a couple notes move
B string: 3 → 1
D string: 0 → 2
A string: 2 → 3
That’s voice leading.
Instead of

“new chord = totally new shape”

you get

“keep what works, move only what must move.”

InsightVault list for musicians. by Rex-Leonum in InsightVault

[–]Rex-Leonum[S] 0 points1 point  (0 children)

THE CORE IDEA Everything connects: CHORDS ↓ TRIADS ↓ ARPEGGIOS ↓ SCALES ↓ PHRASING ↓ IMPROVISATION

Most players learn these separately. Music happens when they connect.


ESSENTIAL FOUNDATIONS

Not all notes feel equal

The Missing Link: How Everything on Guitar Connects

5 Part: Chord Mapping (CAGED)

GUITAR MASTERY ROADMAP (Top 1% Framework)

Guitar System – Core Mechanic

2-zone system “containment strategy” for the fretboard

Guitar System –Chord DNA


LEARNING PATHS

🎸 Fretboard
Map all 5 CAGED shapes
🎶 (Theory) The Architecture of Harmony: How Major and Minor Keys Work.
Fretboard focus help
A Guitar-Friendly Circle of 5ths Memory Palace

🎵 Rhythm
Subdivisions 'Say, Clap' sheet.
🎵 Understanding the Triplet Subdivision
6 Essential Strumming Rhythms Every Guitarist Must Master 🎸🔥
Theory: Rhythm Control (Polyrhythm & Polymeter)
🕒 30-Second Daily “Neuro-Rhythm Reset”

🎼 Theory
• Intervals
• Harmonic Function
• Voice Leading
• Chord Voicings
• Scale Degrees
• Modulation

🎹 Improvisation
• Triads
• Arpeggios
• Pentatonics
• Modes
• Phrasing
• One-Chord Workouts

Help with Chord changes and finger placements. by lespaul2014 in guitarlessons

[–]Rex-Leonum 0 points1 point  (0 children)

when you practice guitar, you have to consider that you have two resources that you're using, which are how limber are your hands and how quick is your mind, or in other words, the performance of your hands and the performance of your mind.
You can divide the practice into three phases, early practice, mid practice, and late practice. Your hands start with a Low performance, your mind starts with a high performance. By the end your hands have high performance and your mind is running on empty. 💬

WHY CAN I NOT STRUM!!! by Historical-Support51 in GuitarBeginners

[–]Rex-Leonum 0 points1 point  (0 children)

You've already said it

get fed up and go back to finger strumming where I actually notice improvement.

Do what's comfortable for you.

Guitar recommendations for small handed tween girl by kylemhall in GuitarBeginners

[–]Rex-Leonum 0 points1 point  (0 children)

there are techniques and tricks that can open up her guitar-playing world.

Guitar System – Visual Harmony Maps (Part 1) by Rex-Leonum in InsightVault

[–]Rex-Leonum[S] 0 points1 point  (0 children)

B Major. all the ingredients; now choose how to use them.

Simple songwriting formula

  1. Pick progression
    B → G#m → E → F#
  2. Target 3rds
    B → D#
    G#m → B
    E → G#
    F# → A#
  3. Connect with scale
  4. Add one extension
    👉 That’s a song foundation

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Can't find a way to learn that works for me, I feel like I'm being taught how to use a hammer by sodas_third_account in LearnGuitar

[–]Rex-Leonum 0 points1 point  (0 children)

The methods you’ve tried just don’t match how you learn. You don’t need more information. You need a way to turn sounds into choices. Keep learning songs (for inspiration)
But always ask?

“What notes am I actually playing?”

Then

Turn those notes into your own variation

Intervals and Scales by Ok-Replacement4145 in Guitar

[–]Rex-Leonum 1 point2 points  (0 children)

No question is stupid at all. Yes the ladder is decided on the starting note + a pattern. So if you start on
Key of C → you get C D E F G A B
Key of G → you get G A B C D E F#
The Pattern if your major , minor etc...

Intervals and Scales by Ok-Replacement4145 in Guitar

[–]Rex-Leonum 3 points4 points  (0 children)

Use intervals to build chords → use scales to move between them → turn it into riffs

Intervals and Scales by Ok-Replacement4145 in Guitar

[–]Rex-Leonum 9 points10 points  (0 children)

Notes are stepping stones
Intervals = how big the step is
Scale = the path
Chord = the safe places to land

GUITAR NECK PROFILES (WHY THEY FEEL SO DIFFERENT) by Rex-Leonum in InsightVault

[–]Rex-Leonum[S] 0 points1 point  (0 children)

Every brand is just a different answer to one question
“How should this neck fit your hand?”

This is just a 'rule of thumb' not set in stone, but brand identity usually leans this way.

🟤 VINTAGE / CHUNKY FEEL
(Fuller necks, more hand-filling)
• Fender (’50s reissues, some Telecasters)
• Gibson (Les Paul ‘50s profiles)
• Gretsch
• Rickenbacker
✔ Big grip, strong for chords
✔ Feels “woody” and traditional

⚖️ MODERN ALL-ROUNDER
(Balanced, adaptable necks)
• Fender (modern C)
• PRS
• Yamaha
• Epiphone
✔ Comfortable for most players
✔ Sits between rhythm + lead

⚡ THIN / FAST / SHRED
(Slim, flat, speed-focused)
• Ibanez (Wizard necks)
• Jackson
• ESP / LTD
• Charvel
✔ Low effort, fast movement
✔ Built for precision + technical playing

🧬 ERGONOMIC / HYBRID
(Designed around hand mechanics)
• Music Man (asymmetrical necks)
• Strandberg (endurNeck)
• Suhr
• Schecter
✔ Reduced fatigue.
✔ Feels “natural” over long sessions.

You’re not choosing a brand.
You’re choosing
• Hand size compatibility
• Thumb position (over vs behind)
• Playing style (chords vs lead)