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Drill House
Triad Drill Room
1. Closed Triads - Unbroken String Sets
Top 3 Strings
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Upper Middle Set
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Lower Middle Set
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Bottom 3 Strings
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2. Closed Triads - Inside/Outside Method
High to Low - Root Based
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Low to High - Root Based
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2a. Closed Triads - Inside/Outside - Diatonic 3rds
Top 3 Strings - High to Low
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Upper Middle Set
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Lower Middle Set
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Bottom 3 Strings
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Diatonic 3rds - Low to High - Top 3 Strings
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Upper Middle Set
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Lower Middle Set
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Bottom 3 Strings
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Top 3 Strings - Combinations
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Upper Middle Set
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Lower Middle Set
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Bottom 3 Strings
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3. Closed Triads in Position
F Major / Ab Major
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4. Open Triads
Diatonic Triads - F Major
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4b. Open Triad Inversions
Inversions - F - Bb - Eb Major
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5. Triad Trails - Closed
F Major
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Ab Major
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G Minor
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G Diminished
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5a. Triad Trails - Closed - Combinations
Ab to F
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II V I - F Major
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5b. Triad Groupings
6. Major Triads
Major - Static
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Major - Chromatic - 3/4
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7. Minor Triads
Minor - Static
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Minor - Chromatic - 3/4
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8. Diminished Triads
Diminished - Static
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Diminished - Chromatic - 3/4
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Rhythm Drill Room
Triads
Major - Ascending
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Major - Descending
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Minor - Ascending
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Minor - Descending
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Diminished - Ascending
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Diminished - Descending
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7th Arpeggios
3/4 Swing - Dominant 7th - Ascending
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3/4 Swing - Dominant 7th - Descending
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Dominant 7th - Offbeat - Ascending
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Dominant 7th - Offbeat - Descending
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Major 7th - Ascending
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Major 7th - Descending
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Major 7th - Ascending - 3:2 Clave
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Major 7th - Descending - 3:2 Clave
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Minor 7th - Ascending - 7/4 (Rhythm 1)
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Minor 7th - Descending - 7/4 (Rhythm 1)
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Minor 7th - Ascending - Avoiding Beat 1
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Mode Drill Room
Detecting the Source
Identifying the Source - Part A
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Identifying the Source - Part B
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Moods
Hearing/Identifying Formulas
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Modal Recognition - Key of C
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Modal Recognition - Key of Ab
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Modal Recognition - Key of E
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Modal Recognition - Key of Bb
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Three Way Formula - Recognition
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The 4th Degree
G Major /Ab Lydian - Bb Major /Ab Lydian
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Modal Morphing
Modifying Modes in Position
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Dorian Modal Vamps
D Minor
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F# Minor
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A Minor
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Mixolydian Modal Vamps
G
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E
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C
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Lydian Modal Vamps
E Lydian
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C Lydian
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Ab Lydian
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Phrygian Modal Vamps
E Minor
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G Minor
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Eb Minor
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Aeolian Modal Vamps
A Minor
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C Minor
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B Minor
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Arpeggiodes
Arpeggiode Drills - C Root
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Arpeggiode Drills - Bb Root
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Arpeggiode Drills - Ab Root
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Ionian b3 Modal Vamps
C Ionian b3
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Phrygian Nat6 Modal Vamps
E Phrygian Natural6
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Lydian Augmented Modal Vamps
G Lydian Augmented
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Lydian b7 Modal Vamps
C Lydian Dominant
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Mixolydian b6 Modal Vamps
G Mixolydian b6
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Locrian Natural2 Modal Vamps
E Locrian Natural2
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Altered Scale Modal Vamps
A7 Altered
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Pent Drill Room
Minor
Locating Minors - Part A
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Locating Minors - Part B
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Five Forms
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Five Forms - Faster Tempo
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Skipping Forms - G minor
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Location Workout - G Minor
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Single Strings - G Minor
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Two Adjacent Strings - G Minor
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Three Adjacent Strings - G Minor
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Vamp for Minor Pentrinity Practice - Amin
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Major
Locating Major Pentatonics
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Major Pentatonics - 2 Beats between
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5 Note Groupings
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Minor Pentrinity
Vamp for Minor Pentrinity Practice - Amin
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Locating the Minor Pentrinity in G Minor
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The Major Pentriangle
Fretboard Drill Room
Pinpointing Planetary / Orbital Notes
Locating Planetary Notes
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Locating Orbital Notes
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Chrome Attic Drill Room
Broken/Unbroken Links
Major and Minor 3rd Links - Recognition
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Major and Minor 3rd Links - Recognition - Part 2
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Connecting Links -Top 2 Strings Ascending
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Connecting Links - Middle 2 Strings Ascending
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Connecting Links - Bottom 2 Strings Ascending
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Connecting Links - All Strings Descending
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Outside/Inside - inside/Outside
Outside / Inside - F Major Diatonic Triads - High to Low
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Outside / Inside - F Major Diatonic Triads - Variations
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Inside / Outside - D Major Diatonic Triads - Half Step into Low Note
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Inside / Outside - Outside / Inside D Major Diatonic Triads
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Enclosures
Single Strings - G Major - Enclosing with Scale Tones
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Diatonic Triads - G Major - Upper Scale Tone / Lower Chromatic Tone
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Diatonic Triads - G Major - Upper Scale Tone / Lower Chromatic Tone Variation
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Diatonic Triads with Turns - G Major
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Diatonic Triads - G Major - Variation - High to Low
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Diatonic Triads - G Major - Mixed Embellishment
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Diatonic Triads - G Major - Mixed Embellishment - Uptempo
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String Skipped Diatonic Triads - G Major - Upper Scale Tone / Lower Chromatic Tone
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Intervals
G Major - Diatonic 3rds - Half Step into Root - Horizontal
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G Major - Diatonic 3rds - Half Step into Root - Vertical
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Triads
G Major - Diatonic Triads - Half Step into Root - 3rd - 5th
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G Major - Diatonic Triads - Half Step Variations
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Arpeggios
G Major - Diatonic 7ths - Half Step into Roots - Horizontal
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G Major - Diatonic 7ths - Half Step into Roots - Vertical
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C Major - Diatonic 7ths - Half Step into Roots - Horizontal
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F Major - Diatonic 7ths - Half Step into Roots - Horizontal
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Bb Major - Diatonic 7ths - Half Step into Roots - Horizontal
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G Major - Diatonic 7ths - Half Step into All Chord Tones - Ascending
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G Major - Diatonic 7ths - Half Step into All Chord Tones - Descending
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A Major - Diatonic 7ths - Half Step into All Chord Tones
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G Major - Diatonic 7ths - Half Steps - Alternating 1 3 5 7 - 5 7 3 1
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G Major - Diatonic 7ths - Half Steps into 5 7 3 1 - Horizontal
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Chord Drill Room
Note Recognition
G / F / Ab
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C / Eb / A
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F# / B / E
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D / Bb / Db
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Organic Entities
Organic Chords - 6th String Root - G
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Organic Chords - 5th String Root - C
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Maj7 Chords in Position
12 Individual Voicings
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Chord Scales
F Maj - F# Maj - G Maj - Ab Maj
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A Maj - Bb Maj - B Maj - C Maj
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Db Maj - D Maj - Eb Maj - E Maj
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Chord Chains
D Major 7
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D Minor 7
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D Dominant 7
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D Minor 7b5
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Chord Tapestry
C Major 7 - One Chord per Bar
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Chord Tone Drill Room
Major 7th
Static
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Chromatic
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Minor 7th
Static
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Chromatic
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Dominant 7th
Static
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Chromatic
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Spotting Chord Tones
Spotting the 3rds - Using the Whole Neck
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Spotting 3rds in Position
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Arpeggio Inversions in F
Dominant - 1st Inversion
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Dominant - 2nd Inversion
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Dominant - 3rd Inversion
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Major7 - 1st Inversion
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Major7 - 2nd Inversion
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Major7 - 3rd Inversion
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Minor7 - 1st Inversion
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Minor7 - 2nd Inversion
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Minor7 - 3rd Inversion
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Scale Drill Room
Basic Forms - Major
F Major - A Major - C Major
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E Major - G Major - Bb Major
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D Major - Ab Major - F# Major
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Db Major - Eb Major - B Major
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Basic Forms - Melodic Minor
Melodic Minor - F / F# / G / Ab
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Melodic Minor - A / Bb / B / C
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Melodic Minor - Db / D / Eb / E
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Connecting Scale Forms
Uniting F Major
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Linking Ab Major
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Binding D Major
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Connecting F Melodic Minor
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Bonding A Melodic Minor
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Fusing C Melodic Minor
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Gluing E Melodic Minor
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Cementing G Melodic Minor
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Joining Bb Melodic Minor
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Nearest Note
Seamless Scale Connection
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Taking the Leap
Skipping Forms in F Major
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Jumping in G Major
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Bounding About in Bb Major
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Single String Major Ideas
3 - 3 - 2 Matrix
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2 - 2 Matrix
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3rds
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A Sequence Idea
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Combinations
Merging Major Scales in One Position
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Merging More Major Scales
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Theory Drill Room
Major Scales Continually Unveiled
F Major Unveiled
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G Major Revealed
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Bb Major Disrobed
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Intervals From One String
Finding Intervals From G on the 4th String
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From Bb on the 4th String
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From C on the 3rd String
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From F on the 5th String
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From E on the 3rd String
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From C on the 5th String
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From A on the 6th String
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Interval Inversions
Interval Inversions - F - 5th String / G - 4th String
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Interval Inversion - From Bb - 6th String
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Intervals in Position
G Major - Harmonic 5ths in Position
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G Major - Melodic 5ths in Position
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G Major - Melodic 5ths in Position - Ascending Descending
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F Major - Harmonic 6ths in Position
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F Major - Melodic 6ths in Position
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F Major - Melodic 6ths in Position - Ascending Descending
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Db Major - Harmonic 7ths in Position
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Db Major - Melodic 7ths in Position
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Db Major - Melodic 7ths in Position - Ascending Descending
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Mode Drill Room
Detecting the Source
Moods
The 4th Degree
Modal Morphing
Dorian Modal Vamps
Mixolydian Modal Vamps
Lydian Modal Vamps
Phrygian Modal Vamps
Aeolian Modal Vamps
Arpeggiodes
Ionian b3 Modal Vamps
Phrygian Nat6 Modal Vamps
Lydian Augmented Modal Vamps
Lydian b7 Modal Vamps
Mixolydian b6 Modal Vamps
Locrian Natural2 Modal Vamps
Altered Scale Modal Vamps
My Favourite Lessons
Major Modes - Overview
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Mode Drill Room
>
Detecting the Source
Detecting the Source
Videos
Tools
Identifying the Source - Part A
Identifying the Source - Part B
Homer the Metronome
The listening Space
Backing Tracks
205
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