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More Than A Woman is the latest release from Pop Superstar Toni Braxton, and is another great one from this talented musician.

Unfortunately, it’s not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can’t force myself to get through. Not at all the case with More Than A Woman. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

These days it’s a very rare CD on which every single song is good or better than the one before it. This CD is certainly one of those rare CDs.

Overall More Than A Woman is a solid release. Quite possibly Toni Braxton’s best to date. Really spectacular from beginning to end. If you’re even mildly into Pop music you’ll enjoy this album.

While this entire album is outstanding the truly standout tunes are track 1 – Let Me Show You The Way, track 8 – Do You Remember When, and track 12 – Always.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 3 – A Better Man. Great track!

More Than A Woman Release Notes:

Toni Braxton originally released More Than A Woman on November 19, 2002 on the LaFace label.

CD Track List Follows:

1. Let Me Show You The Way (Out) 2. Give It Back – (featuring Big Tymers) 3. Better Man, A 4. Hit The Freeway – (featuring Loon) 5. Lies, Lies, Lies 6. Rock Me, Roll Me 7. Selfish 8. Do You Remember When 9. Me & My Boyfriend 10. Tell Me 11. And I Love You 12. Always

Personnel includes: Toni Braxton (vocals); Pharrell Williams (vocals, various instruments); Loon, The Big Tymers, Baby, Manny Fresh (rap vocals); Stokely (acoustic guitar, background vocals); Blake English, Tomi Martin (guitar); Keri Lewis (keyboards, programming); Ricky Kinchen (bass); Chris Dave (drums); Tamar Braxton (background vocals). Producers include: The Neptunes, Chink Santana, Irv Gotti, Rodney Jenkins, Keri.

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Have you ever wondered if there’s some ’secret trick’ to learning how to play guitar? Well, there IS a trick — but it’s one that ‘hides in plain sight.’

If you want to move beyond the basics and truly master your instrument, there are two things you absolutely must do:

1. Memorize the fretboard.

2. Develop a solid understanding of the relationship between scales, modes

and chords.

The reason for memorizing the fretboard should be obvious. Knowing where all the notes are will make you a faster, more intuitive player. The reasons (there are many) behind learning the relationship between scales, modes and chords require a little more explanation.

The first thing to understand is that chords are constructed from scales.

Let’s say you want to know which notes make up the G-major chord You’d first need to know is that Major chords are built from the root, third and fifth tones of their corresponding Major scale. Then, you’d need to know the G Major scale, which is: G-A-B-C-D-E-F#-G.

If you count up from G to the 3rd note you arrive at B. If you count up from G to the 5th note you have D. Play these notes simultaneously as GBD, and you have a G Major chord!

The second to understand is that scales (and,therefore, chords) can begin on any note within the key

Here’s where modes and chord inversions (‘voicings’) come in. Let’s say that you decide to play that G Major chord at the 7th fret on the first three strings of the guitar. If you strum the chord from the inside out, you will play DGB. In other words, your ‘root’ is no longer the bottom/first note of the chord. This is what’s known as an inversion.

Now, let’s say you are playing a song in G Major, and you decide to play the scale starting from a root other than G. For instance, you might begin playing the scale at D. Is this a ‘new’ scale or just the same scale from a different position? It’s actually both!

A G Major scale played from any point while in the key of G is considered “Ionian Mode”. It will always sound ‘Major’.

However, if you play the G Major scale pattern from D while you’re in a different key, you’ll be in one of the following, alternative modes: Aeolian, Dorian, Phrygian, Mixolydian, or Locrian.

These modes will sound something other than ‘Major’. The Aeolian mode, for example, is actually considered the Minor scale (Ionian = Major scale for all keys, and Aeolian = Minor scale for all keys).

The other modes fall in between, creating interesting harmonizations and are often used in Jazz music for soloing over the more complex, dissonant-feeling chords such as the Major and Minor 7ths and 9ths.

When you learn these relationships, you’ll start to notice something akin to an ‘interlocking’ pattern on your fretboard. For example, when you know all of the inversions for a given chord, then you’ll also know that beginning a scale on the root of that inversion can lead you into whichever modal scale you want to play over the current key.

The more relationships you see and understand, the more your fretboard opens up to you for creative soloing and songwriting. The end result is learning and mastering your guitar faster than you ever imagined!

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