“When you have control of creating and destroying or resolving harmonic tension you’re really in control of your musicianship that you haven’t been in the past.” This is my koan for the day. Many thanks.
Realizing a huge growth in learning the inner workings of guitar, and it started with you. I feel like I'm transitioning from imitation to artistic expression
Part of me is commenting to help the channel but another part is genuinely mind blown. The chromatic sequence involving the 3 and 7 had never occurred to me somehow. Love it! Grateful to have found such an awesome channel.
Thanks Nate! So glad that chromatic idea was helpful. Nothing more satisfying for me than looking at the guitar (again!) and seeing something I've never seen before!
Been playing guitar for years without ever understanding these golden nuggets you're so generously sharing. What once appeared to be "magic" is slowly becoming the musical language it actually is. :P
Hey Chris..Marty sent me here. I think you do a fantastic job explaining what's going on with these progressions and simplifying strategies/methods to get them under your fingers. I look forward to getting this concept locked in and more in the future. Keep it up!
Just watched that vid on your chan Mick...is that you with the LP? I absolutely love that axe...black beauty with P90s??? Holy mother of Abraham Lincoln!!
Righteousness! I always overplay my parts, so it's nice to see the 3/7 spotlighted in this way. I'm always jumping on mixo or mixo penta, then you brought me down to 4 notes with your 135b7 blues arps video. Now I'll try so 3+7 focus for a bit of fun.
That's great Richard! Target notes over the 1-4-5 really open a door to a new way of thinking about soloing over the blues progression, glad you enjoyed this one.
Thanks for this tutorial. I’ve just joined your Patreon. I’ve been a rhythm guitarist for years, but never pursued lead stuff, and am starting from the ground floor with scales and theory. Looking forward to learning more!
Yup, this concept goes on and on. The 3-7 line is a go-to mechanism for outlining more-complex changes as target notes. Hope this helps, and thanks for the view.
Damn good teaching, just when I thought it wasn't possible to get a completely refreshing take on these concepts. My biggest challenge are keeping control over my fingers during fast flourishes. I want to learn Texas blues & J.Page techniques, that popular phrase using G, B,E strings. Bending the G a fulll step then quickly playing B, E with my index finger laying over it. Kinda Johhny B good, hard to explain over text but those more advanced crescendo must require a different way to hold the guitar. Wrist position and elbow adjustment seems to become more important by the day, accuracy has always been my weakness
Hmmm, great idea...but...the pentatonic scale is not the greatest for target notes because it's a 5-note scale and so it has a much more limited harmonic library. But the Aminor pentatonic scale does contain the following chord tones for that progression: A7: R, 5, and b7 D7: R, 5, and b7 E7: R and b7 Notice how none of the 3rds show up for ANY of these chords in the pentatonic? That's why the scale falls so short when playing more melodically; it simply does not contain enough harmonic information. This is exactly WHY you want to choose target notes as a study and an additional tool in the improvisation tool box! As for more strings, YES, I'll put together an arpeggio exercise for the I IV V progression that will link this stuff together. Thanks for the idea bryvale!
Thanks Chris . Awesome lesson. Mind blowing. Where would the 9th figure in case the 4 change and 5 change uses 9th chords in a blues progression. Thanks in advance for addressing this.
The 9th is always a whole step above the root, and usually up an octave (sometimes 2 octaves) from the lowest root. Hope that helps, George! I love the sound of the 9.
Sometimes I have issue w 1 ' 4 progressions like B E. Any advise? The rhythm guitar just playing straight bar chords.The B minor pentatonic just sounds off. Ty
B min pentatonic will work great until you get to that E chord, then you'll need to watch the notes on the B string...play that E barre chord and look at what note you need to change. Hope that helps!
@@curiousguitarist thanks chris.it kinda sounds like I should be in a major key in the E.I will figure it out thought you might have some magic budda thing I didnt know.thanks for your time. Love the channnel.cheers
Woah. Dom 7 chords are all from different keys as they're all the V chord from each of the keys!? That's why, in A, I can't play A mixolydian over the IV⁷, I have to specifically play D mixolydian. That was really confusing me as in the i IV progression oye cómo va vid I can play A Dorian over the whole thing and it sounds great and I was wondering why I can't do that over the blues with Dom7 chords.I have been trying to figure that out all day, thanks!
You got the idea. The Oye Como Va example has no key change, but in the blues progression EVERY chord is in a different key. You CAN play mixolydian over the IV, but look at it...look at the scale and the VI chord...you will see that there are "missing" or "wrong" notes in that scale over that chord. Glad this is helping Mike!!
@@curiousguitarist that's what I noticed; using A mixo scale shape, the Dom7 is missing from the IV chord so I thought it didn't outline the tonal quality of the chord sufficiently. Thanks for the responses, Merry Christmas!
Sure, If you have a looper pedal just throw down a chord progression and focus on hitting the 3rds and 5ths as the chords change. You can do that for a backing track too, as long as you know the progression.
Great videos but seem a bit random on youtube. is this done deliberately, as it's difficult to know where it is best to start. Lots of great information, but seems a bit random.
Yeah I guess I like an edgy sound in general. I grew up listening to Billy Gibbons, Peter Frampton, David Gilmore, Joe Walsh...I guess that type of edge just stuck with me.
![Lethal Company Music Video 🎵 "Follow The Orders" [VERSION A]](http://i.ytimg.com/vi/QeooZB4Z7RA/mqdefault.jpg)
“When you have control of creating and destroying or resolving harmonic tension you’re really in control of your musicianship that you haven’t been in the past.” This is my koan for the day. Many thanks.
Nice! Love it Meeno!
Realizing a huge growth in learning the inner workings of guitar, and it started with you. I feel like I'm transitioning from imitation to artistic expression
Wow Jake, I can’t tell you how great that makes me feel.
Might use that as a testimonial for the website if you don’t mind...?
@@curiousguitarist please do
@@Jake66564 Thank you!
I’ve had exactly the same experience Jake. Chris is awesome.
@@darreneden thanks, I’m so glad to be helping folks move through music theory on this amazing instrument
Theory and practice all in one. Outstanding lesson. Thank you.
You bet Jesse!
Part of me is commenting to help the channel but another part is genuinely mind blown. The chromatic sequence involving the 3 and 7 had never occurred to me somehow. Love it! Grateful to have found such an awesome channel.
Thanks Nate! So glad that chromatic idea was helpful. Nothing more satisfying for me than looking at the guitar (again!) and seeing something I've never seen before!
Been playing guitar for years without ever understanding these golden nuggets you're so generously sharing. What once appeared to be "magic" is slowly becoming the musical language it actually is. :P
Fantastic! Glad you’re here Doc!
Hey Chris..Marty sent me here. I think you do a fantastic job explaining what's going on with these progressions and simplifying strategies/methods to get them under your fingers. I look forward to getting this concept locked in and more in the future. Keep it up!
Thanks Mick, welcome to the channel!
Just watched that vid on your chan Mick...is that you with the LP? I absolutely love that axe...black beauty with P90s???
Holy mother of Abraham Lincoln!!
@@curiousguitarist nope, must have been another....I have a couple Heritage thanks to Marty turning me on
For some reason I resonate with this teaching like no other I have had.
That, friend, makes me a happy guy!
Great, to the point, precise and practical lessons that are gonna open up a lot of doors for people
I hope so, it's so inspiring to see folks getting real value from these videos. Good to have you here Sean
Fantastic news, great video. Please develop this further in future videos. Cheers from Canada
Better than enlightening. I love the simple exercise that you show, then add in scale tones to groove it up. Simple and effective. Thx!
Righteousness! I always overplay my parts, so it's nice to see the 3/7 spotlighted in this way.
I'm always jumping on mixo or mixo penta, then you brought me down to 4 notes with your 135b7 blues arps video. Now I'll try so 3+7 focus for a bit of fun.
yeah! Sounds good Timmy! Thanks for the views~
This is amazing. Everyone of your lessons is a like a huge revelation!
Thank you, glad to have you here and there's more to come!
Wow!!! So Simply yet so sophisticated sounding. I love it!! Thanks for dispelling music, love the theory behind it.
Anytime Cesar!
I like this. Given in a bite I can swallow.
Very clear and information I never really had.
That's great Richard! Target notes over the 1-4-5 really open a door to a new way of thinking about soloing over the blues progression, glad you enjoyed this one.
Only discovered this channel last week, truly insightful lessons. A massive help, beautifully demonstrated, thank you
Wow John, thanks! Great to have you on board!
Thanks for this tutorial. I’ve just joined your Patreon. I’ve been a rhythm guitarist for years, but never pursued lead stuff, and am starting from the ground floor with scales and theory. Looking forward to learning more!
Great to have you on board, thanks so much for the support!
Great lessons Chris, very enlightening.
PS. And a thumbs to Marty Schwartz 👍 for the recommendation.
Thanks Steve! And yes, thank you Marty!!
Lot's to unpack here. Great stuff.
Yup, this concept goes on and on. The 3-7 line is a go-to mechanism for outlining more-complex changes as target notes. Hope this helps, and thanks for the view.
Again.... this is superb
Thanks Jack, so glad you like this
😳mind blown! Great content!
Thanks Tony, glad you're getting something out of the channel!
The spirit carries on solo is unique progression for targetting chord tones
So good, thanks!
Thanks Chris, this is great.
You bet!
Damn good teaching, just when I thought it wasn't possible to get a completely refreshing take on these concepts.
My biggest challenge are keeping control over my fingers during fast flourishes. I want to learn Texas blues & J.Page techniques, that popular phrase using G, B,E strings. Bending the G a fulll step then quickly playing B, E with my index finger laying over it. Kinda Johhny B good, hard to explain over text but those more advanced crescendo must require a different way to hold the guitar. Wrist position and elbow adjustment seems to become more important by the day, accuracy has always been my weakness
I know exactly the phrase type you’re talking about. I’ve got a video planned on blues basics, that phrase will be in there for sure!
Keep um coming..thanks
You bet James, thanks for checking out the channel!
@@curiousguitarist no worries maybe a little lesson on soloing over the changes in a pedestrian way of course..lol
very nice info thanks
You bet! Thanks for the view!
Hey Chris, thanks for showing us a great practical application. Can you show us how to apply it to the pentatonic scale and some additional strings?
Hmmm, great idea...but...the pentatonic scale is not the greatest for target notes because it's a 5-note scale and so it has a much more limited harmonic library.
But the Aminor pentatonic scale does contain the following chord tones for that progression:
A7: R, 5, and b7
D7: R, 5, and b7
E7: R and b7
Notice how none of the 3rds show up for ANY of these chords in the pentatonic? That's why the scale falls so short when playing more melodically; it simply does not contain enough harmonic information.
This is exactly WHY you want to choose target notes as a study and an additional tool in the improvisation tool box!
As for more strings, YES, I'll put together an arpeggio exercise for the I IV V progression that will link this stuff together. Thanks for the idea bryvale!
Thanks Chris . Awesome lesson. Mind blowing. Where would the 9th figure in case the 4 change and 5 change uses 9th chords in a blues progression. Thanks in advance for addressing this.
The 9th is always a whole step above the root, and usually up an octave (sometimes 2 octaves) from the lowest root.
Hope that helps, George! I love the sound of the 9.
Pep-talking my hands "you can do it boys, follow his example!".
If I wanted to start with the first lessons or when I start
Hi Dave, welcome to the channel. As far as target notes are concerned start here! ruclips.net/video/1fN-er3x6vA/видео.html
Sometimes I have issue w 1 ' 4 progressions like B E. Any advise? The rhythm guitar just playing straight bar chords.The B minor pentatonic just sounds off. Ty
B min pentatonic will work great until you get to that E chord, then you'll need to watch the notes on the B string...play that E barre chord and look at what note you need to change.
Hope that helps!
@@curiousguitarist thanks chris.it kinda sounds like I should be in a major key in the E.I will figure it out thought you might have some magic budda thing I didnt know.thanks for your time. Love the channnel.cheers
Woah. Dom 7 chords are all from different keys as they're all the V chord from each of the keys!? That's why, in A, I can't play A mixolydian over the IV⁷, I have to specifically play D mixolydian. That was really confusing me as in the i IV progression oye cómo va vid I can play A Dorian over the whole thing and it sounds great and I was wondering why I can't do that over the blues with Dom7 chords.I have been trying to figure that out all day, thanks!
You got the idea. The Oye Como Va example has no key change, but in the blues progression EVERY chord is in a different key.
You CAN play mixolydian over the IV, but look at it...look at the scale and the VI chord...you will see that there are "missing" or "wrong" notes in that scale over that chord.
Glad this is helping Mike!!
@@curiousguitarist that's what I noticed; using A mixo scale shape, the Dom7 is missing from the IV chord so I thought it didn't outline the tonal quality of the chord sufficiently. Thanks for the responses, Merry Christmas!
Chris could you suggest a practice routine for target notes?
Sure,
If you have a looper pedal just throw down a chord progression and focus on hitting the 3rds and 5ths as the chords change.
You can do that for a backing track too, as long as you know the progression.
@@curiousguitarist Thanks--what is your Venmo handle?
@@blindponyband @ChrisSherland
@@curiousguitarist can't find it...does it have a dash @chris-sherland,?
@@blindponyband capital C and capital S
The devil is in the detail....and the tritone 🎸😈
So true!
Great videos but seem a bit random on youtube. is this done deliberately, as it's difficult to know where it is best to start. Lots of great information, but seems a bit random.
There is a "WATCH THESE FIRST" playlist here. Maybe that will help!
@@curiousguitarist Thanks Chris, have done and was very helpful. Will try to keep up, love the channel.
@@tonypurcell1049 thanks Tony!
I was taught that these were called little chords
Sounds cute!
Like your lessons a lot, BUT still not getting used toThe gitaar sound itself, ITS very distored , to My ears
Yeah I guess I like an edgy sound in general. I grew up listening to Billy Gibbons, Peter Frampton, David Gilmore, Joe Walsh...I guess that type of edge just stuck with me.