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	<title>IntellectualMusician.com &#187; Daniel Dratch</title>
	<link>http://intellectualmusician.com</link>
	<description>-Where Musicians Come To Think</description>
	<pubDate>Fri, 07 Dec 2007 12:33:03 +0000</pubDate>
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		<title>Finding and using triad shapes within scales</title>
		<link>http://intellectualmusician.com/ddratch/finding-and-using-triad-shapes-within-sclaes</link>
		<comments>http://intellectualmusician.com/ddratch/finding-and-using-triad-shapes-within-sclaes#comments</comments>
		<pubDate>Tue, 12 Jun 2007 22:50:29 +0000</pubDate>
		<dc:creator>Daniel Dratch</dc:creator>
		
		<category><![CDATA[Improvisation]]></category>

		<category><![CDATA[Theory]]></category>

		<category><![CDATA[Chords]]></category>

		<category><![CDATA[Guitar]]></category>

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	<category>triad</category>
	<category>shapes</category>
	<category>connecting</category>
	<category>solos</category>
	<category>mode</category>
	<category>array</category>
	<category>ionion</category>
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		<description><![CDATA[ In my last article I talked about how triads can be used to construct more interesting solos.  If you take this whole concept one step further you can begin to really incorporate these ideas and shapes in new ways.that will allow you to scale the fret board, somewhat escaping the idea of scales, [...]]]></description>
			<content:encoded><![CDATA[<p> In my last article I talked about how triads can be used to construct more interesting solos.  If you take this whole concept one step further you can begin to really incorporate these ideas and shapes in new ways.that will allow you to scale the fret board, somewhat escaping the idea of scales, or combining the knowledge you have of scales with the shapes and melodic sounds of these triads. <a href="http://intellectualmusician.com/ddratch/finding-and-using-triad-shapes-within-sclaes#more-337" class="more-link">(more&#8230;)</a></p>
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		<title>A Triadic Approach To Soloing</title>
		<link>http://intellectualmusician.com/ddratch/208</link>
		<comments>http://intellectualmusician.com/ddratch/208#comments</comments>
		<pubDate>Mon, 14 May 2007 23:56:56 +0000</pubDate>
		<dc:creator>Daniel Dratch</dc:creator>
		
		<category><![CDATA[Improvisation]]></category>

		<category><![CDATA[Beginner]]></category>

		<category><![CDATA[Theory]]></category>

		<category><![CDATA[Solo]]></category>

		<category><![CDATA[Guitar]]></category>

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	<category>triad</category>
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	<category>shapes</category>
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		<guid isPermaLink="false">http://intellectualmusician.com/ddratch/208</guid>
		<description><![CDATA[As a guitar player who focuses a good deal of his attention on Jazz there have been things I have noticed along the journey to becoming a  better musician.  The understanding of Harmony is basically the most essential element in becoming a proficient jazz musician. Besides applying this knowledge to your comping it [...]]]></description>
			<content:encoded><![CDATA[<p>As a guitar player who focuses a good deal of his attention on Jazz there have been things I have noticed along the journey to becoming a  better musician.  The understanding of Harmony is basically the most essential element in becoming a proficient jazz musician. Besides applying this knowledge to your comping it can be directly applied to your soloing and quickly put you on your way to sounding more melodic. <a href="http://intellectualmusician.com/ddratch/208#more-208" class="more-link">(more&#8230;)</a></p>
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