Advanced Boot Camp

Uncle Rod suggested a system called Boot Camp to learn chord families and how to tranistion between chords.

I love it and am eternally grateful. I almost always revert to the Boot Camp when I don't know what to play.

Part of the process is also to "call out" the names of the chords.

so... the more I learn, the more I "add on" to the Boot Camp experience.

LINE ONE (1)
Such as the first line has the following form: I, VIm, IV, V7

Relative minor VIm. Maybe a new person doesn't know what its for. I suggest the following
Scale the I and then the VIm.
Call out relative minor substitution
picture both the I and VIm on the Circle of Fifths (and later add the IV and V with their relative minors)
Advanced: Do the relative minor substitution for for all 3 chords: I, IV, V (keeping the V7?). Do some 12 bar chord progressions to demonstrate.

Line (2)
I have yet to apply a diminished chord in my playing. I am still puzzled why the diminished chord has relevance. I know how to make the diminished chords. Can somebody show me an example of a good use of the diminished chord? I've went to websites for explanations but I only get confused because I can't hear examples.

The IIm7 and the V7. Interesting. only now, am I delving into II - V s. The point is this is that this II - V is for the I. Not only that but its a special IIm7 -V7 of the I. Later on, you will do a II7 - V7 of the I and it will be known as the Hawiian Turnaround or the Jazz Turnaround. I kept asking myself. What is so special about the IIm7 -V7. I'm sure I will find out soon enough There must be a difference in a normal II7 vs a IIm7 ( or is is just a substitition option only) Which is more bluesy?? Which is more jumpy?? aha.

So line 2 is still a mystery; however it appears that these 2 parts show a definition portion of a chord progression. I think I will see it evolve in my chord substition sheets for the Blues.

I still haven't addressed lines 3, 4, and 5; but this shows you how you can build on a process.

Boot Camp becomes rote in the memory. Why not use it to continue learning more about the family chord progressoins and substitutions?

Hi, Where do you find out about this system? I tried Googling and didn't get anything but your post. Thanks.

I'll try to get that link for you.

Line 1) In my readings, I find out that line 1 is referred to as a common chord progression. I had known I,IV,V in my study of Blues so I didn't know what the vim, the relative minor's role was. So its interesting that you have a group of chormatic chords and the root chord; so, I'm gonna jumble it up and see how the options sound. Very common chord progressions using this are C, Am, G, F. so this line needs to be known in all its variations.

line 2) The diminished chord, from what I read is supposed to cause tension and introduce a change Let's say between verse and chorus or between verse and outro.

THe II V also seems to be the most common progression before a change.

I'm thinking lines 4 and 5 is) just a classic ending for songs because it uses II V two times until it resolves. Until I know further, I'll treat it like an ending to know. (Which can also be used as an intro)

The leaves line 3. I to I7 . Need to know that. Need to know the difference in sound. the I7 announces a change. The second part?? hhmmmm

SuzukHammer said:

I'll try to get that link for you.

Line 1) In my readings, I find out that line 1 is referred to as a common chord progression. I had known I,IV,V in my study of Blues so I didn't know what the vim, the relative minor's role was. So its interesting that you have a group of chormatic chords and the root chord; so, I'm gonna jumble it up and see how the options sound. Very common chord progressions using this are C, Am, G, F. so this line needs to be known in all its variations.

line 2) The diminished chord, from what I read is supposed to cause tension and introduce a change Let's say between verse and chorus or between verse and outro.

THe II V also seems to be the most common progression before a change.

I'm thinking lines 4 and 5 is) just a classic ending for songs because it uses II V two times until it resolves. Until I know further, I'll treat it like an ending to know. (Which can also be used as an intro)

The leaves line 3. I to I7 . Need to know that. Need to know the difference in sound. the I7 announces a change. The second part?? hhmmmm

Click to expand...

Well one example of the Dim popped up in an arrangement of Somewhere Over the Rainbow (The real one, not the IZ one) is at the very beginning.

Or try this turnaround.
For kicks you can play the Adim 2323 then slide up for 5656 before going to the Dm7.

Ok. That's it. Can't give away all my secrets.

olgoat52 said:

Ok. That's it. Can't give away all my secrets.

Click to expand...

Maybe you should use the Cone of Slience!

Here's his member page. Go to the "About Me" tab and the links are all there. I'm going through his boot camp now. I'm really seeing some improvement.

http://www.ukuleleunderground.com/forum/member.php?13582-Uncle-Rod-Higuchi

molokinirum said:

Maybe you should use the Cone of Slience!

Click to expand...

That's where I do most of my best ukulele playing!! Trust me!! really!!

Olgoat, I understand your hesitancy but I don't live in Chicago so trust me I won't be stealing your thunder. haha. Thanks. I am going to give those examples a go today .

The whole intent is to find additional content to expand Uncle Rod's Boot Camp into intermediate modules or just sets of different modules because.... I believe in it. Because, I see improvement. Its my go to daily practice and I'm thinking that expanding the "tricks" can only help.

SuzukHammer said:

Olgoat, I understand your hesitancy but I don't live in Chicago so trust me I won't be stealing your thunder. haha. Thanks. I am going to give those examples a go today .

The whole intent is to find additional content to expand Uncle Rod's Boot Camp into intermediate modules or just sets of different modules because.... I believe in it. Because, I see improvement. Its my go to daily practice and I'm thinking that expanding the "tricks" can only help.

Click to expand...

Hopefully everyone knew I kidding. I stole it from somebody else.. Nothing new under the sun. When it comes to chords, I think you have to play sequences to hear how they go together. Before you know it you will hear a diminished passing chord in your head and you will go for it.

In going from the Guitar to the Uke what drives me a little nuts (but is a real eye openner) is all the chords I hear in my head but can't find right now on the uke. I know where they are on the guitar in 6 string from but not in the 4 string form for the uke. I always thought most of my chord knowledge was mechanical but this is teaching me that I actually do hear them so that's a good thing. Just gotta find the little buggers.

i iii i V7
i iii ii(dim) V7

Jake_Loew said:

i iii i V7
i iii ii(dim) V7

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I tried the i iii i and V7 as an Am Cm Am E7 and this appears to be a turnaround? Would you agree. It does seem to have tension the requires some path to resolution.

I tried the i iii ii (dim) V7 as Am Cm Bdim and E7. I think this is a nice progression that goes up the neck for the first 3 chords and then I went to the open position E7 . I wonder how it would sound if I used a lower positioned E7.

Thanks for the input there. Good suggestion.