About

My name is Chris Delisa and I hold Master of Music in Guitar Performance degree from Colorado State University and a Bachelor of Music in Guitar Performance degree from Metropolitan State University of Denver. Playing guitar since 2004, I have studied rock and jazz, but mainly classical.

While attending MSUDenver, I played in masterclasses for: 

Martha Masters (x2) 
Ekachai Jearakul 
Dimitris Kotronakis
Matt Palmer 
Alexander Dunn
 
While studying at Colorado State University for my Master's degree, I have played in masterclasses for:

Jason Vieaux 
David Russell
 
Having a fascination for the guitar, I write articles pertaining to fretboard theory and technique.

If interested in taking online lessons, or if you have any questions, you can email me at chris@infinitefretboard.com

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Drop Voicings Part 1: Introduction

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In part 1 of this article, we will identify a challenge that is inherent to the guitar and suggest a solution: Drop Voicings. Then we will go into depth about the most common example: Drop-2.  In part 2, we will dissect all the types of drop voicings. In part 3, we will learn a practical exercise that will incorporate the drop voicings into your harmonic vocabulary.  If you are curious about what "Drop-2" or "Drop-3" means, this article is for you. If you do know what those terms mean, you might find some additional insight here. To start, here are the four inversions of a C Major 7 chord:   Fig 1: Close Voicings These are called the "close voicings" because the notes are as close together as possible. If you look at the top and bottom notes of each inversion, you'll find that the notes span an interval less than an octave. For example, root position has the interval C-B, which is a Major 7th. 1st inversion has the interval E-C, which is a minor 6th. T
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The Secrets of the Diminished Scale that Theory Professors Don't Want You to Know About

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The diminished, also known as the "Octatonic" scale is known for its symmetry which is achieved by a strict alternation of half-step, whole-step, half-step, whole-step etc. G diminished scale One of the many fascinating facts about the diminished scale is its eight tones can be organized into two fully diminished 7th chords, a half step away. The two diminished chords that comprise the octatonic scale On top of that, if we invert any diminished 7th chord, we get the exact same intervals of the original chord, which results as the same shape on guitar shifted up three frets. For example, the G diminished chord above becomes B-flat diminished. B-flat diminished 7th With these two facts in mind, it can be extrapolated that any octatonic scale may be harmonized with nothing but diminished chords, as such: Fig 4: Harmonized G Octatonic Scale Yet this scale hides much more than just diminished chords. It has minor 7th, dominant 7th, major 7 sus4 #11, an
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The Diminished Scale Is A Pathway To Many Substitutions Some Consider To Be Unnatural

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Many guitarists are familiar with the classic ii-V-I progression. Figure 1: ii-V-I It's a tried and true sequence of chords, but it can get a bit... vanilla. One way of spicing it up is borrowing the Vb9 chord from harmonic minor. Figure 2: ii-Vb9-I If you play Figure 2  on your guitar, you'll notice that the second chord is simply a fully diminished 7th chord. This is an easy way of voicing a G7-flat 9 chord on guitar without playing the root. D is the fifth, A-flat is the flat 9, B is the third, and F is the seventh. Playing this chord is as easy as raising the root of the vanilla V7 voicing. Don't forget that A-flat is the flat 9. Since a diminished 7th chord may be spelled with any of the four tones as the root, why can't we consider any of these four tones to be the flat 9? For instance, if F  is the flat 9, this is an E7 flat 9 chord. If B is the flat 9, this is a Bb7-flat 9. If D  is the flat 9, this is a Db7 flat 9. To take it a step farther
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