God work is right!! I’m a visual learner and Fretjam is the only teacher I’ve found who breaks it down like this! The growth I’ve got since watching these videos is insane.
From first hand experience I've been playing for 12 years and have never been explained theory and technical ideas so seamlessly. Mike I love it! Thanks FretJam
Haha. I don't mean to pile on the homework. I hope it's more play than work. Even if the only take away from this lesson is "I can move vertically from this note", then job done.
this is actually mindblowing no other guitar teacher has ever explained this concept and I've been playing for 7 years. It will finally take me from random noodling to becoming an experienced guitarist
Yes there is surprisingly little out there covering this concept, at least as a specific technique. Jazz and classically trained musicians learn this stuff early on, but it's definitely not genre specific. I guess the general concept here is that you can open up that vertical direction in your lead and connect it to horizontal, step-wise movements. It's another way of breaking up and shaping the phrasing pattern. And best of all, it can be very simple (e.g. a three tone arpeggio) and it will give you a whole new dynamic from which to set up musical phrases. It becomes very intuitive once it's identified as one of the "tools" in the box.
Holy insight! To play the arps to 13th, just play the starting chord arp, the arp of 1 note lower (but higher in pitch), then 1 note lower (but a higher pitch) than that is 13. So, in C key, playing: A minor to 13th would be Am arp (ace 135), higher G arp (gbd 7911), then high F (13). G13 arp'ed would be G arp, F arp, Em arp or just E.; gbd 135, fac 7911, e13th. C would be C, B°, A; ceg, bdf, a(ce). Dm; dfa, ceg, b(df). F; fac, egb, d(fa). B; bdf, ace, g(bd). Em; egb, dfa, c(eg).
This tutorial is the absolute in theroy and what to expect while learning and doesn't make any childish pimple we rock claim about some new way to learning or you been doing it wrong. JUST GREAT.
I swear you are the most informative, and most useful guitar channel on RUclips! I'm gonna make it a personal goal, to make your channel the biggest on RUclips! Just don't forget me if I'm successful! ❤
So glad you still post videos, every long time goap between an old and new one I get worried you’ve stopped posting. You’re videos help me a lot, and get me out of numbing rutts.
I can only apologise for the gap between videos. Yes, there is a voice in my head saying "come on man, you can do better than this" and the motivation comes and goes. I won't stop posting though, absolutely not. I just hope that what I do put out, though infrequent, gives people a lifetime's worth of new concepts and skills, even if it's a just a lightbulb flash moment that compels you to explore these concepts more deeply. Thank you for your time!
I've played long enough now to use these lessons effectively but this guy is easy to understand and these are great lessons, I get a lotta lighrbulb moments watching these 🎯 specially in my lead playing 🏴
I hear so much Steve Vai in this. In a way, it demystified his songs. I can definitely see how this will improve my musicianship. Thank you for sharing your knowledge!
What a fantastic lesson!!!!! I can’t thank you enough. Your lessons have freed me from being stuck for years not having any clear direction. You are a true Godsend. Thank you 💯👍🎸
Haven't even watched it yet. But oh the excitement when you get a fretjam post. Can't wait. Your content, knowledge and pedagogical abilities are of Jedi caliber 🙏💥🌟💫
This is the first time I’ve come across your channel. I’ve struggled to really grasp this type of information that I feel is really crucial to me overcoming my years long battle being stuck in a rut and plateauing, Your way of presenting has me in a trance-like, hypnotic state after about 5 minutes. So, when after 12 minutes and 53 seconds, seeing that face above the fretboard, while my brain is already malfunctioning trying to digest all of this, just about made my day 🤘
You've taught me well! I immediately noticed that the C# on the D string was missing! (0:57) Your videos are awesome! A year ago, this diagram would've looked like Greek to me!
I just started working on how to tie thirds together and bam fret jam appears in the notifications covering what else? thirds! Co inky dink? I think not, great minds think alike. All kidding aside fret jam puts out great content and I think in this particular fret jam has once again hit the high water mark for excellence. Well done.
Thanks God or whoever, you are back! The greatest news of 2022. Still struggling to understand why 4 to 3 in Ionian clashes more than any other minor 2nd elsewhere (b6 to 5 in Aeolian, etc.). One day maybe you'll tell us (if not already done). THANKS again.
I think the answer to that is, frankly, above my pay grade and lies in fields such as acoustic physics and psychoacoustics. I just know that the general "rule" is, if a tone lies a minor 2nd/semitone above a chord tone, it's going to want to resolve or, at the least, sound a little harsh or incongruent (though maybe that's the sound you'll want occasionally). But there are of course exceptions to this, especially outside of the diatonic framework. Scales like phrygian dominant can make the b2 and b6 sound more excitingly rebellious. I think at the end of the day you just have to trust your own ears. But there's something about emphasising/holding the 4th over the tonic major chord in a key that doesn't sound right to my ears, yet at the same time sounds natural as part of a passing, resolving sequence (i.e. 4 - 3).
I should be hooking up with tomorrow. Waiting for my Wifi Monday evening at 5. Laptop computer which I'm not familiar with. Some of them really blows my Mind. Ty
These lessons are unbelievable. Anything I want to know about guitar I can find a lesson here that’s either what I wanted exactly, or something even better .
When I started watching I thought - well i know my basic arpeggios, and was already using diatonic triads to fill gaps in my soloing or express the background chords better while noodling over the scale, so this should be an easy lesson. But... I learned them only using 1 3 5 (7) up and down octaves. When you presented an arpeggio as 1 3 5 7 9 11 13 (covering 2 octaves before returning to the root), that kinda immediately blew my mind. The examples sounds very cool and i can clearly see how useful this knowledge can be, but i got overwhelmed quickly and cant remember the full patterns yet across and over the neck. I will re-watch this 100x times and practice the patterns and examples to oblivion (for few hours/days/years) in order to fully benefit from this lesson. Thanks !
My friend, you can take away as little or as much as you like. I wouldn't expect you to spend hours and hours learning the arpeggio across every position. It's not realistic for most of us (even me tbh). So just take away the general concept - that you can use arpeggios as part of a vertical expression of your lead phrases. I probably go into far more depth than is practically necessary. What I'm really getting at here is the overall concept of using vertical movements within a lead phrase.
@@fretjamguitar Sure I hear you . :) Just to clarify, The above statements were meant as a compliment, I was not being sarcastic in any way. Just excited to try your examples and "upgraded" version of something I was already kinda familiar with and was now expended even further. Unless I find ways to use them often I tend to forget most patterns eventually, I just try to understand the concept and theory so i can "rebuild" it from scratch on demand, long after it was lost. So this is great stuff to incorporate into my practice routine.
Just Amazing is your Knowledge and thank you so much for trying to share a part with us. We are so lucky. A simple question , sorry if it’s a silly one: At 5 : 51 you say Major for A to C# but you say also Major from C# to E . ? It looks like 3 frets. Thank you again for the Quality of your Teaching
It was confusing when you say lydian is a commonly used major scale. It's a mode from the major scale using the 4th degree as your root. I don't recall anyone referring to the modes as a major scale. A major scale is a pattern of whole steps and half steps = W W 1/2 W W W 1/2. Just wondering if it's correct to say what you did at 1:55?
I feel it's correct to say Lydian is a (emphasis on "a") commonly used major scale because its tonic chord is maj7 and it's often the go-to scale for accompanying maj7. It's kind of like saying Dorian is a type of minor scale, though THE minor scale is most typically associated with Aeolian. Sorry for any confusion with that.
@@fretjamguitar Thank You. I like to hear your thoughts. Over the years I've just never referred to any mode mode except Ionian as a Major scale. My music degree was finished in 1992 so sometimes things change. I asked a few piers as well, but they are old like me. I like to use the correct terminology as best I can. I've been teaching over many years and never just assume I know. Your channel contains some great information. Thanks for sharing your knowledge. I see and hear what you mean. It's true I do not refer to Dorian as a minor scale but it's obviously a minor sound. Thanks for discussion.
@@marc8vino I completely understand wanting consistency with terminology. I know I should be more careful with how I word certain things in respect of how terms have been used institutionally and historically. With scales I like to first group them in terms of tonic chord quality. I find it more practical to think of scales as being ultimately major, dominant, minor, diminished or augmented and then distinguishing them based on the additional colours they add (e.g. Dorian with a major 6th vs Aeolian with a minor 6th - albeit both minor flavours). I find this a more practical way to identify scales and connect them to chords and a certain feeling. This, as you probably know, is favoured more by modern jazz musicians using the chord-scale system (though I am by no means a highly competent jazz player). I like how they approach scales/modes in terms of chord quality. So that's why Lydian to me is ultimately major in quality, or "a major scale", because its center of musical gravity is maj7. Of course, modal music introduces a different function of these scales, but their most typical usage is to colour a chord with the aforementioned base qualities. I appreciate your comment because it makes me more aware of the backgrounds people come from, and I can try to find a more inclusive language.
It did kind of get a bit complex, more than I initially intended. But I would draw your attention to the general concept - that when playing lead, you can move vertically as well as horizontally (i.e. outlining a chord as well as playing through the degrees of a scale). That alone adds another dimension to your lead playing. So if you ever feel trapped in a kind of linear "corridor" movement through a scale pattern, try skipping tones in the scale and jumping through larger intervals as part of the phrases you form.
Hello I really like your lessons, I would like to know if we contribute to your patreon, is it only unlocking an access to your videos for 1 year ? Or can you download the files? Thanks again for your amazing work 😉 (I am a little old scool, I love my dvds from the 90 's with neon colors 😅)
Truly amazing lesson. Being a player of soon to be 15 years, I honestly do feel overwhelmed by this. Am I correct in saying that you were looking at the arpeggios as if every note in a scale is the tonic, therefore every notes has its 3,5,7,9,#11,13 respectively? But, depending on context, what might separate that from saying that it's an A maj triad into a G min triad? or something else with a similar regard? Would I be remissed to look at the fretboard only from a basic triad perspective, or is this more indepth approach truly something to work on? I assume it's how one maximizes the extent of that one note's relationship to all notes in a key? So crazy man xD
Yes, each scale degree can be seen as the "1" of its own arpeggio, using 3rds from that position. You can take that arpeggio as far as you wish in the scale's sequence (whether just a triad or to a 13th). When playing around with a scale, have that scale's tonic chord in the background and play through the triads, 7ths, 9ths etc. on each degree. It's up to you how far you take it, but looking at scales purely from a triad perspective, maybe later adding the 7th to a degree's arpeggio, is probably enough for anything outside of jazz. The general concept in this lesson is that you can use arpeggios (even just triads) to create a kind of vertical intro/outro to your phrases, even if that arpeggio starts on a note other than the root, 3rd or 5th of the backing chord (though that is a great place to start - arpeggiating the individual chords using 1 3 5, maybe just using familiar chord shapes). So ultimately, that's the primary take away here.
I feel like this channel is good at giving you fundamental starting points on different topics, and covers a broad range of a particular topic very well. But I wish you could go a bit deeper into how all of these things fit together in the end. It seems like you focus on letting people come up with things themselves, and I appreciate that, but for me, maybe because I'm not so advanced in all of this, I need to be walked through it a bit. Maybe you have made videos in the past that do this that I haven't seen, or I just am failing to understand something. But I feel like I've gained all of these fragmented pieces of knowledge and I'm not sure how it all exactly comes together. It would help me if you could sequence the videos in some way, or give links to prerequisite knowledge or videos that would be good follow ups, etc. Or, just publish videos in a way that feels more structured. Again, I could be totally missing something, I dont know.
I hear you. Making everything fit together into a logical, structured roadmap is my weakest point (beyond the structure of the individual lessons). I'm very scatter brained with learning different concepts and techniques, so I think this comes out in my teaching, for better or worse. Slowly but surely, I'm trying to fill in the gaps and build that broader roadmap. I just find it very difficult to piece things together. For example chords and scales are connected, but there would be a series of steps where you would just need to focus on one or the other to fully grasp them. So I'm constantly searching for that balance between learning individual skills/concepts and connecting them, without the burnout of totally devoting time to one single element. Hope that makes sense!
I would start with being able to arpeggiate the scale patterns you're familiar with improvising around, using the stacked 3rds concept. Start with a single chord backing connected to the tonic of the scale in question (e.g. A Dorian arpeggios over A minor) and then move on to diatonic chord changes (i.e. the I ii iii IV V vi vii system). As mentioned in the video, just like how one scale pattern covers this entire diatonic system, you can experiment with the same arpeggio fragments from that "parent" pattern through common chord changes (e.g. ii V I or I IV V or I V vi IV). So a C Ionian pattern of arpeggios, in their respective positions, would colour all the other chords in the natural sequence of that key - ii, iii, IV, V, vi, vii - in different ways. Preliminary knowledge of the diatonic system (both natural major and minor keys) would be hugely beneficial as a way of applying these arpeggio patterns across common chord changes. A lot of experimentation is possible here, beyond the triad arpeggios of the individual backing chords. I plan to expand my Chord Connections course in this way - initially using one pattern to vertically (arpeggiate) colour each chord in the sequence. Eventually, it will become more intuitive because you'll see/hear each arpeggio fragment as a unique colour of each chord in the sequence. So there's an element of seeing one pattern and its fragments as a unique colour of each chord in the natural key/sequence of chords. You'll just need to hear it, first over a single chord, then over two chords, then three etc.
I'm not sure I totally follow how to learn this as a total theory noob. Do I need to know the lydian scale by heart and then try to visualize each degree stacked arpeggio or is it more crucial for me to know all arpgeggios by heart and then apply them on 7 degree scales to find how to connect shappes on chord changes?
It can appear like a chicken and egg scenario! Knowing the basic major and minor arpeggio patterns and being able to follow chord changes with them is a good start (especially for tone targeting). Using familiar chord shapes and forming arpeggio patterns around them can help with that. The primary aim of this lesson is to give you another visual starting point for creating arpeggios or "vertical" movements, outside of those chord shape positions. So when you come to learn those seven-tone scales, you'll also be aware that each degree potentially creates its own arpeggio (just as it does a related chord), and that you have access to vertical movements within that scale. So you can see arpeggios as forming around a chord, or arpeggios forming within a scale. I would start by knowing the basic arpeggio patterns and then you can apply them to any scale you might learn.
@@fretjamguitar that’s a great explanation thank you. I think I can hear the advantage this gives you compared to just following chord changes with basic arpeggios, this really grounds you within the scale while giving visual aid to skip to other positions of the same degree, and then all the scale tones are accessible around the arpeggio for spicing it up or to reach the chord change new tones.
I mention the 11th later in the video. This was a bit of a spanner in the works when creating this lesson because I wanted to start with a scale whereby all the tones were truly consonant and not have to throw in the 11th caveat early on. In short, the 4th/11th, when played in arpeggio form over major chords, sounds a little awkward. It wants to resolve (e.g. down to the 3rd). I felt this technicality was best left until later, so I chose Lydian (with the #11) as the starting point for an extended major arpeggio. Not that I want to home in too much on jazz, but in this field of study, Lydian, with the #11, is considered the primary major sound, not Ionian with the 11. I can hear why there's a reason for that and it's something worth exploring. It was a difficult call (since it's common to start with Ionian) but, as mentioned, I wanted to be able to initially explain the 3rd stacking concept without the dissonance of the 11 muddying the waters. Hope that makes sense!
@@fretjamguitar thank you for replying. it doesn't make much sense to me now but i feel like if i meditate on it, i'd get it. the only thin i know with #11/#4th is that it is also a b5 which is used in Blues. the Jazz, i am yet to fully explore but already had the pleasure of playing a little bit, very shallowly. thanks again for the very comprehensive reply, i really appreciate it!
@@ardiancereyes I think I could better summarise it by saying that the #11 is more reliable within an extended major arpeggio sequence than the 11. A good ear training exercise with this is to compare both 11 and #11 arpeggios over a major chord. You'll find this works with extended dominant arpeggios too (#11 vs 11). It's a good place to begin experimenting with arpeggios.
![[DOKKAN BATTLE] Worldwide Campaign Announcement Video](http://i.ytimg.com/vi/zxfEiMksZQs/mqdefault.jpg)
This is hands down the most intuitive guitar channel I've ever come across. You are doing God's work man.
God work is right!! I’m a visual learner and Fretjam is the only teacher I’ve found who breaks it down like this! The growth I’ve got since watching these videos is insane.
Agree +1
so agree with you
When you say, god, are you referring to Hendrix or Clapton?
Wish I had your channel available when I was 15, would have saved about ten years of fumbling around on the guitar. Thanks!!
Becoming a patreon because of this lesson
Thank you so much for your support. Lots more on the way!
From first hand experience I've been playing for 12 years and have never been explained theory and technical ideas so seamlessly. Mike I love it! Thanks FretJam
Bless you. Thank you for your time with it!
well now i have something to work on for the next 10 years or so :D seriously what a great lesson!
Haha. I don't mean to pile on the homework. I hope it's more play than work. Even if the only take away from this lesson is "I can move vertically from this note", then job done.
You're the best man! Have learned so much from your videos and website courses over the years, thanks for all your work:)
I really appreciate your time my friend.
My signature is under every your word. Huge thanks to Mike!
this is actually mindblowing no other guitar teacher has ever explained this concept and I've been playing for 7 years. It will finally take me from random noodling to becoming an experienced guitarist
Yes there is surprisingly little out there covering this concept, at least as a specific technique. Jazz and classically trained musicians learn this stuff early on, but it's definitely not genre specific. I guess the general concept here is that you can open up that vertical direction in your lead and connect it to horizontal, step-wise movements. It's another way of breaking up and shaping the phrasing pattern. And best of all, it can be very simple (e.g. a three tone arpeggio) and it will give you a whole new dynamic from which to set up musical phrases. It becomes very intuitive once it's identified as one of the "tools" in the box.
Best channel ever
The best guitar instructor on youtube hands down, thank you for sharing your knowledge for free.
God Bless this Man for helping us understand music scale!
Thank you for your time my friend.
Wooow thank god, I had already watched the previous 3 videos about 10 times in the past couple days. Whew
Lol have a break my friend. Don't want you to burn out with this stuff.
Your Lessons are awesome!!!! Thank You!!!!
Thank you sir I'm your fan love you
Thank you for taking the time with this.
One of the best RUclips channels for guitar, good to see new videos.
I still love your stuff. Having so much information squished into my last 2 brain cells at once is delightful. 🧠🎶
Holy insight! To play the arps to 13th, just play the starting chord arp, the arp of 1 note lower (but higher in pitch), then 1 note lower (but a higher pitch) than that is 13.
So, in C key, playing:
A minor to 13th would be Am arp (ace 135), higher G arp (gbd 7911), then high F (13).
G13 arp'ed would be G arp, F arp, Em arp or just E.; gbd 135, fac 7911, e13th.
C would be C, B°, A; ceg, bdf, a(ce).
Dm; dfa, ceg, b(df).
F; fac, egb, d(fa).
B; bdf, ace, g(bd).
Em; egb, dfa, c(eg).
Wowww MASTER!!!
WHAT AN AMAZING EXPLANATION!!!🙏🙇🤗
This tutorial is the absolute in theroy and what to expect while learning and doesn't make any childish pimple we rock claim about some new way to learning or you been doing it wrong. JUST GREAT.
Great concept. Thank you for the upload
Good to see you back after a long time. Your videos are really helpful.
Thanks you legend!
Fret jam is the best channel for learning guitar with detailed information ,fresh inspiring ideas 🙏🙏🙏🙏🙏🙏👍
Yoice, thank you for answers to the questions that keep rolling thru my mind! Lol
All I have to say, is thank you for the best guitar teaching on RUclips. Graciously, a proud Patreon supporter.
Thank you for your support my friend.
I swear you are the most informative, and most useful guitar channel on RUclips! I'm gonna make it a personal goal, to make your channel the biggest on RUclips! Just don't forget me if I'm successful! ❤
That's so nice, thank you! I wish you success beyond your dreams.
Fretjam provides us with quality guitar lessons.
So glad you still post videos, every long time goap between an old and new one I get worried you’ve stopped posting. You’re videos help me a lot, and get me out of numbing rutts.
I can only apologise for the gap between videos. Yes, there is a voice in my head saying "come on man, you can do better than this" and the motivation comes and goes. I won't stop posting though, absolutely not. I just hope that what I do put out, though infrequent, gives people a lifetime's worth of new concepts and skills, even if it's a just a lightbulb flash moment that compels you to explore these concepts more deeply. Thank you for your time!
Thank You 🎸☮️
I've played long enough now to use these lessons effectively but this guy is easy to understand and these are great lessons, I get a lotta lighrbulb moments watching these 🎯 specially in my lead playing 🏴
Yes new content! I’ve been waiting! I’ve Learned so much from you videos the past 2 years it’s unbelievable! Thank u so much 🙏🏻
Thank you for your time with it. Sorry for the wait!
@@fretjamguitar No rush I enjoy the quality videos!!
Thank you
I hear so much Steve Vai in this. In a way, it demystified his songs. I can definitely see how this will improve my musicianship. Thank you for sharing your knowledge!
What a fantastic lesson!!!!! I can’t thank you enough. Your lessons have freed me from being stuck for years not having any clear direction. You are a true Godsend. Thank you 💯👍🎸
I love your lessons. Keep them coming in '22!
Holy shit, what an amazing lesson!!! Thank you so much man!! Time to break out of scales!! 🔥💯
Haven't even watched it yet. But oh the excitement when you get a fretjam post. Can't wait. Your content, knowledge and pedagogical abilities are of Jedi caliber 🙏💥🌟💫
Thank you! I appreciate the albeit premature appreciation of this video!
This is the first time I’ve come across your channel. I’ve struggled to really grasp this type of information that I feel is really crucial to me overcoming my years long battle being stuck in a rut and plateauing, Your way of presenting has me in a trance-like, hypnotic state after about 5 minutes. So, when after 12 minutes and 53 seconds, seeing that face above the fretboard, while my brain is already malfunctioning trying to digest all of this, just about made my day 🤘
4:47 Thanks for showing both a future stage of application, and also a first step, side by side this way. Helpful!
You've taught me well! I immediately noticed that the C# on the D string was missing! (0:57) Your videos are awesome! A year ago, this diagram would've looked like Greek to me!
2:42) I really like the sound quality of this particular arpeggio.
I just started working on how to tie thirds together and bam fret jam appears in the notifications covering what else? thirds!
Co inky dink? I think not, great minds think alike.
All kidding aside fret jam puts out great content and I think in this particular fret jam has once again hit the high water mark for excellence.
Well done.
So good to know I'm joining you at the same point! Thanks for your time with it.
Thanks God or whoever, you are back! The greatest news of 2022.
Still struggling to understand why 4 to 3 in Ionian clashes more than any other minor 2nd elsewhere (b6 to 5 in Aeolian, etc.). One day maybe you'll tell us (if not already done). THANKS again.
I think the answer to that is, frankly, above my pay grade and lies in fields such as acoustic physics and psychoacoustics. I just know that the general "rule" is, if a tone lies a minor 2nd/semitone above a chord tone, it's going to want to resolve or, at the least, sound a little harsh or incongruent (though maybe that's the sound you'll want occasionally). But there are of course exceptions to this, especially outside of the diatonic framework. Scales like phrygian dominant can make the b2 and b6 sound more excitingly rebellious. I think at the end of the day you just have to trust your own ears. But there's something about emphasising/holding the 4th over the tonic major chord in a key that doesn't sound right to my ears, yet at the same time sounds natural as part of a passing, resolving sequence (i.e. 4 - 3).
I should be hooking up with tomorrow. Waiting for my Wifi Monday evening at 5. Laptop computer which I'm not familiar with. Some of them really blows my
Mind. Ty
Very well explained. There's no way known I'll ever be able to visualise these patterns in real time on a fret board.
Your videos are so good, but it cracks me up when you play with that Rick Beato guitar tone
Super Job like always Merci
Ingenious lesson it will take awhile to get this fluid but im going for it
These lessons are unbelievable. Anything I want to know about guitar I can find a lesson here that’s either what I wanted exactly, or something even better .
Bless you. I really want to keep delivering that.
This man is very good. There is much of Eric Johnson I hear in this.
Great stuff, Mike! Love the latest installment ;-)
So happy i found your channel 😩😩😩
Awesome breakdown
This is a great improvising technique to start incorporating into my playing. 🙂
8:46 is SO old-school 80s Vai and I'm here for it!
Haha. Child of the 80s here. It's not going away.
Never heard it explained in those terms. I'll have to watch this several times as there's alot to absorb.
Excellent lessons. Thank you for posting. Lots to learn and never disappointing.
amazing content as always. this one especially
Fantastic work, great pattern suggestions.
very good guide, thank you
Your videos are insane, they make me realize how much I'm missing
This channel has a ton of awesome guitar theory and techniques amazing. Wish I had this years ago
Wow thank you
Thanks, Mike. 🙂
You are the best teacher sir! Not like the others they only demonstrate but I don’t know how to apply. But you, you say it very very clearly 👍👍
Thank you so much, it means a lot.
An absolute badass dude😎😎😎!
Great video. Thank you
Awesome !!!!
Really incredible as expected.
Wonderful lesson that brought a smile to My face ,I think it’s called Aha moment . Thank You Sir .
When I started watching I thought - well i know my basic arpeggios, and was already using diatonic triads to fill gaps in my soloing or express the background chords better while noodling over the scale, so this should be an easy lesson.
But... I learned them only using 1 3 5 (7) up and down octaves.
When you presented an arpeggio as 1 3 5 7 9 11 13 (covering 2 octaves before returning to the root), that kinda immediately blew my mind. The examples sounds very cool and i can clearly see how useful this knowledge can be, but i got overwhelmed quickly and cant remember the full patterns yet across and over the neck. I will re-watch this 100x times and practice the patterns and examples to oblivion (for few hours/days/years) in order to fully benefit from this lesson.
Thanks !
My friend, you can take away as little or as much as you like. I wouldn't expect you to spend hours and hours learning the arpeggio across every position. It's not realistic for most of us (even me tbh). So just take away the general concept - that you can use arpeggios as part of a vertical expression of your lead phrases. I probably go into far more depth than is practically necessary. What I'm really getting at here is the overall concept of using vertical movements within a lead phrase.
@@fretjamguitar Sure I hear you . :)
Just to clarify, The above statements were meant as a compliment, I was not being sarcastic in any way. Just excited to try your examples and "upgraded" version of something I was already kinda familiar with and was now expended even further. Unless I find ways to use them often I tend to forget most patterns eventually, I just try to understand the concept and theory so i can "rebuild" it from scratch on demand, long after it was lost. So this is great stuff to incorporate into my practice routine.
damn so much to learn from this channel
Outstanding, and thank you so much
Muito obrigado!
♥️
Missed you bro
I missed you too
gold
Great lesson!!!
Vou ter que aprender inglês para aproveitar melhor essas aulas.
🇧🇷
Advance topic. Well, no doubt if one master on his fingers, certainty, new world widely open for him.
Thank you…
Just Amazing is your Knowledge and thank you so much for trying to share a part with us.
We are so lucky.
A simple question , sorry if it’s a silly one:
At 5 : 51 you say Major for A to C# but you say also Major from C# to E . ? It looks like 3 frets.
Thank you again for the Quality of your Teaching
24k gold lesson
Would love to have learned this from the Ionian
It was confusing when you say lydian is a commonly used major scale. It's a mode from the major scale using the 4th degree as your root. I don't recall anyone referring to the modes as a major scale. A major scale is a pattern of whole steps and half steps = W W 1/2 W W W 1/2. Just wondering if it's correct to say what you did at 1:55?
I feel it's correct to say Lydian is a (emphasis on "a") commonly used major scale because its tonic chord is maj7 and it's often the go-to scale for accompanying maj7. It's kind of like saying Dorian is a type of minor scale, though THE minor scale is most typically associated with Aeolian. Sorry for any confusion with that.
@@fretjamguitar Thank You. I like to hear your thoughts. Over the years I've just never referred to any mode mode except Ionian as a Major scale. My music degree was finished in 1992 so sometimes things change. I asked a few piers as well, but they are old like me. I like to use the correct terminology as best I can. I've been teaching over many years and never just assume I know. Your channel contains some great information. Thanks for sharing your knowledge. I see and hear what you mean. It's true I do not refer to Dorian as a minor scale but it's obviously a minor sound. Thanks for discussion.
@@marc8vino I completely understand wanting consistency with terminology. I know I should be more careful with how I word certain things in respect of how terms have been used institutionally and historically.
With scales I like to first group them in terms of tonic chord quality. I find it more practical to think of scales as being ultimately major, dominant, minor, diminished or augmented and then distinguishing them based on the additional colours they add (e.g. Dorian with a major 6th vs Aeolian with a minor 6th - albeit both minor flavours). I find this a more practical way to identify scales and connect them to chords and a certain feeling. This, as you probably know, is favoured more by modern jazz musicians using the chord-scale system (though I am by no means a highly competent jazz player). I like how they approach scales/modes in terms of chord quality. So that's why Lydian to me is ultimately major in quality, or "a major scale", because its center of musical gravity is maj7. Of course, modal music introduces a different function of these scales, but their most typical usage is to colour a chord with the aforementioned base qualities.
I appreciate your comment because it makes me more aware of the backgrounds people come from, and I can try to find a more inclusive language.
Are you interested in doing a break down of any open tunings and how to take control of play them
🤯
i'd love to see the video in Spanish 🙏🙏🙏🙏🙌🤭
beyond my level for the moment.
It did kind of get a bit complex, more than I initially intended. But I would draw your attention to the general concept - that when playing lead, you can move vertically as well as horizontally (i.e. outlining a chord as well as playing through the degrees of a scale). That alone adds another dimension to your lead playing. So if you ever feel trapped in a kind of linear "corridor" movement through a scale pattern, try skipping tones in the scale and jumping through larger intervals as part of the phrases you form.
Hello I really like your lessons, I would like to know if we contribute to your patreon, is it only unlocking an access to your videos for 1 year ? Or can you download the files? Thanks again for your amazing work 😉 (I am a little old scool, I love my dvds from the 90 's with neon colors 😅)
Take this sub and like it.
Truly amazing lesson. Being a player of soon to be 15 years, I honestly do feel overwhelmed by this.
Am I correct in saying that you were looking at the arpeggios as if every note in a scale is the tonic, therefore every notes has its 3,5,7,9,#11,13 respectively?
But, depending on context, what might separate that from saying that it's an A maj triad into a G min triad? or something else with a similar regard?
Would I be remissed to look at the fretboard only from a basic triad perspective, or is this more indepth approach truly something to work on? I assume it's how one maximizes the extent of that one note's relationship to all notes in a key? So crazy man xD
Yes, each scale degree can be seen as the "1" of its own arpeggio, using 3rds from that position. You can take that arpeggio as far as you wish in the scale's sequence (whether just a triad or to a 13th).
When playing around with a scale, have that scale's tonic chord in the background and play through the triads, 7ths, 9ths etc. on each degree. It's up to you how far you take it, but looking at scales purely from a triad perspective, maybe later adding the 7th to a degree's arpeggio, is probably enough for anything outside of jazz.
The general concept in this lesson is that you can use arpeggios (even just triads) to create a kind of vertical intro/outro to your phrases, even if that arpeggio starts on a note other than the root, 3rd or 5th of the backing chord (though that is a great place to start - arpeggiating the individual chords using 1 3 5, maybe just using familiar chord shapes). So ultimately, that's the primary take away here.
After watching this video and practicing for 6 months, I know understand the video beyond 2 seconds
I feel like this channel is good at giving you fundamental starting points on different topics, and covers a broad range of a particular topic very well. But I wish you could go a bit deeper into how all of these things fit together in the end. It seems like you focus on letting people come up with things themselves, and I appreciate that, but for me, maybe because I'm not so advanced in all of this, I need to be walked through it a bit. Maybe you have made videos in the past that do this that I haven't seen, or I just am failing to understand something. But I feel like I've gained all of these fragmented pieces of knowledge and I'm not sure how it all exactly comes together. It would help me if you could sequence the videos in some way, or give links to prerequisite knowledge or videos that would be good follow ups, etc. Or, just publish videos in a way that feels more structured. Again, I could be totally missing something, I dont know.
I hear you. Making everything fit together into a logical, structured roadmap is my weakest point (beyond the structure of the individual lessons). I'm very scatter brained with learning different concepts and techniques, so I think this comes out in my teaching, for better or worse. Slowly but surely, I'm trying to fill in the gaps and build that broader roadmap. I just find it very difficult to piece things together. For example chords and scales are connected, but there would be a series of steps where you would just need to focus on one or the other to fully grasp them. So I'm constantly searching for that balance between learning individual skills/concepts and connecting them, without the burnout of totally devoting time to one single element. Hope that makes sense!
Great lesson here
What would be a good routine to practice this?
I would start with being able to arpeggiate the scale patterns you're familiar with improvising around, using the stacked 3rds concept. Start with a single chord backing connected to the tonic of the scale in question (e.g. A Dorian arpeggios over A minor) and then move on to diatonic chord changes (i.e. the I ii iii IV V vi vii system). As mentioned in the video, just like how one scale pattern covers this entire diatonic system, you can experiment with the same arpeggio fragments from that "parent" pattern through common chord changes (e.g. ii V I or I IV V or I V vi IV). So a C Ionian pattern of arpeggios, in their respective positions, would colour all the other chords in the natural sequence of that key - ii, iii, IV, V, vi, vii - in different ways.
Preliminary knowledge of the diatonic system (both natural major and minor keys) would be hugely beneficial as a way of applying these arpeggio patterns across common chord changes. A lot of experimentation is possible here, beyond the triad arpeggios of the individual backing chords.
I plan to expand my Chord Connections course in this way - initially using one pattern to vertically (arpeggiate) colour each chord in the sequence. Eventually, it will become more intuitive because you'll see/hear each arpeggio fragment as a unique colour of each chord in the sequence. So there's an element of seeing one pattern and its fragments as a unique colour of each chord in the natural key/sequence of chords. You'll just need to hear it, first over a single chord, then over two chords, then three etc.
@@fretjamguitar Thanks
I guess this is still too advance for me at this stage
I should get familiar with basic arppegio across the neck first
I'm not sure I totally follow how to learn this as a total theory noob. Do I need to know the lydian scale by heart and then try to visualize each degree stacked arpeggio or is it more crucial for me to know all arpgeggios by heart and then apply them on 7 degree scales to find how to connect shappes on chord changes?
It can appear like a chicken and egg scenario! Knowing the basic major and minor arpeggio patterns and being able to follow chord changes with them is a good start (especially for tone targeting). Using familiar chord shapes and forming arpeggio patterns around them can help with that. The primary aim of this lesson is to give you another visual starting point for creating arpeggios or "vertical" movements, outside of those chord shape positions. So when you come to learn those seven-tone scales, you'll also be aware that each degree potentially creates its own arpeggio (just as it does a related chord), and that you have access to vertical movements within that scale.
So you can see arpeggios as forming around a chord, or arpeggios forming within a scale. I would start by knowing the basic arpeggio patterns and then you can apply them to any scale you might learn.
@@fretjamguitar that’s a great explanation thank you.
I think I can hear the advantage this gives you compared to just following chord changes with basic arpeggios, this really grounds you within the scale while giving visual aid to skip to other positions of the same degree, and then all the scale tones are accessible around the arpeggio for spicing it up or to reach the chord change new tones.
At 0:20 stamp, why is there a #11 on the major side and not just 11? Hope you can enlighten my theory-curious mind and its desire to learn. Thank you.
I mention the 11th later in the video. This was a bit of a spanner in the works when creating this lesson because I wanted to start with a scale whereby all the tones were truly consonant and not have to throw in the 11th caveat early on. In short, the 4th/11th, when played in arpeggio form over major chords, sounds a little awkward. It wants to resolve (e.g. down to the 3rd). I felt this technicality was best left until later, so I chose Lydian (with the #11) as the starting point for an extended major arpeggio. Not that I want to home in too much on jazz, but in this field of study, Lydian, with the #11, is considered the primary major sound, not Ionian with the 11. I can hear why there's a reason for that and it's something worth exploring. It was a difficult call (since it's common to start with Ionian) but, as mentioned, I wanted to be able to initially explain the 3rd stacking concept without the dissonance of the 11 muddying the waters. Hope that makes sense!
@@fretjamguitar thank you for replying. it doesn't make much sense to me now but i feel like if i meditate on it, i'd get it. the only thin i know with #11/#4th is that it is also a b5 which is used in Blues. the Jazz, i am yet to fully explore but already had the pleasure of playing a little bit, very shallowly. thanks again for the very comprehensive reply, i really appreciate it!
@@ardiancereyes I think I could better summarise it by saying that the #11 is more reliable within an extended major arpeggio sequence than the 11. A good ear training exercise with this is to compare both 11 and #11 arpeggios over a major chord. You'll find this works with extended dominant arpeggios too (#11 vs 11). It's a good place to begin experimenting with arpeggios.
Dziś wydaje mi się to czarna magia
💜💘💖
💥🚀💥 🐻👍👍👍
We’d love to see your face bro
It really sucks that I don't understand any of this.
I'm sorry. Email me (mike at fretjam.com). Always happy to help clarify. It may be just one piece of the puzzle you're missing...
Its not you, its me. I just need to find a remedial fretjam or something.