Ready to break out of that decade-long minor pentatonic rut and start playing blues solos that HIGHLIGHT the chord changes? 🤔 🎸 Check out my book ‘Beyond Pentatonic Blues Guitar’ 👉geni.us/beyondpentatonic 🎸 Don’t know me well enough yet? That’s fair! Here’s a FREE blues improvisation masterclass so you can figure out if I’m full of sh*t or not BEFORE you buy from me 👉www.bulletproofguitarplayer.com/freebluesmasterclasswaitinglist
If anyone is struggling with this lick and it’s timing, it really helps to think of it in 3 distinct parts. The first two parts are self explanatory, but the third part is very fluid, where timing/phrasing are essential. Try to isolate that third part, practice it and you will find that the lick goes from tough to very doable. Just my two cents. Great lick, great lesson once again Ross.
Thanks to everyone for the kind comments on this! The overwhelming verdict seems to be that this is coming from G lydian dominant. I'll have to look into this scale more often in my practice 😅
Yes you’re right! it’s G Blues to G Lydian dominant On the I chord in G jazz blues an outside sound is created by playing a G mixolydian scale with a #11
Hi! It's often used a Maj7 arpeggio from the b7 of a dominant in jazz, wes montgomery was using that a lot, and often using the upbeat halfnote, triplet trick, when you rise half tone the 5, so #5 you make sure there is no friction with the chord tones of the dominant, specifically with the third. Great video by the way! 🤟
Ross. Very nice. Not only a very well rounded player, but the info you are giving away is priceless. Keep doing what you are doing. I would love to see you break down some of Shawn Tubbs’ licks. Thanks for your hard work.
The line in question comes from the G Lydian dominant scale. It is one of many typical choices played on dominant chords in a jazz setting. You are correct in that Wes used this, and the major 7#5 shape captures the #11 of the Lysian Dominant sound. Bill Evans used these shapes (dominant equivalents) throughout his playing. There are many more types of shapes used on dominants as well.
Ross you are quickly becoming one of my favorite guitar players ever. Just absolutely amazing tasty Blues Licks and your teaching method is fantastic. Just picked up your book the other day and I'm looking forward to diving in
I remember checking out Robben Ford's similar lines in Misdirected Blues. Other players have done similar things since, but I didn't realise until later they're all 'double speeded' vs the rest of the playing, so less likely you'll have the chops to suddenly double speed like they do, *but* the lines still work well at 1/2 speed, so you can still play them in a tune, and as you get used to the fingerings, you can start to double speed them too.
Hi Ross, thanks for your guitarlessons. They inspired me so much the last month and improve my own guitar playing. I love the triads and this episode has also good licks and vibes for me.
Now, this is some of the most tasty lessons, I've watched on RUclips ever. I remember you, when you was a "guest teacher" on Quist's channel. Tasty stuffas well. Thank you so much, Ross. You actually makes it easy for us, and we don't have to se hundreds of variations over the usual pentatonic scales "with a twist" 💙
Hey Ross, you seem to have a slight mistake in the tab. You play and speak about the E in the first part, but you tab an F (10 instead of 9 on the G string)... Minor details, this is fabulous!!! Did not look up all the comments. If someone mentioned this before, my apologies. I just spent my rainy Sunday morning with this and stumbled upon it. Massive thanks Ross!
I really liked the concept. It is spicy indeed. Playing it out will turn heads for sure. Whatever if it's not the "correct" way to call it, you made it super easy to find it, so including it in practice will be super easy. Thanks a lot.
in blues and jazz it's commonly used to approach chords from half step below or above. if you consider those 4 out sounding notes ( F#, F natural,A and C#) as part of some F sharp chord approaching the G it might be that he is using a F#- maj7 kind of sound. after all any F# chord can be used for approach a G as far as you like the sound of it
Hi Ross - great guitar tuition mate and very tasty playing! Hey is your Gmaj7#5 scale not “simply” a D Melodic minor scale which is actually preceded by four notes (i.e. Bb, A, G, Gb) from G mel minor . . ?
Since Mateo is playing the lick over the D7 chord (5 chord), I would think of it more as playing that lick off of the minor third of that chord which is of course F.
I can definitely use this lick! What a cool use of the maj7#5 arpeggio! What appears to be happening is he's treating the D7 like it's a DmM7 for a moment as Fmaj7+5 is from the third mode of Melodic Minor. I'd search for information re superimposing Melodic Minor on the V7. I personally like the sound of a Bm7b5, B Locrian Pentatonic, in addition to D Melodic Minor and the DmM7 arpeggio.
It’s clear the lick is played through the last 2 bars as if both bars are G7 regardless that the last bar moves to D7, the ear accepts it as not clashing because it is harmonically clear and rhythmically executed, apart from the use of the blues scale in part the extension notes which gives the lick its flavour and lift are outlining a G13#11 chord
An easier way to view the ending lick (and the way I think Matteo views it) is as the familiar outside trick to play something out of key one fret below or above, in this case the commonly used augmented five chord arpeggio lowered one fret to get that outside sound.
Great lick Ross! I use that position of the blues scale quite a a lot. And I think your harmonic analysis is spot on! That last lick is based on the D melodic minor scale, or you can call it G Lydian flat 7, very nice sounding scale on dominant chords. Anyway cheers! Thanks a lot🙏
Hi, the link to the tab etc...seems to be broken. The "Spicy Licks" in my library only go up to 10 - is there something I'm missing, or not signed up to, in order to get to #13?
Thanks for this great video Ross. Could it also be a Dm(maj9) arpeggio? I can also see it as notes of the G blues scale, with the added 9th and 13th. :D
Very well explained and insightful video as always! Kudos Ross 👏(to me it sounded almost like a D melodic minor arpeggio at the end of the turnaround, but maybe that's only me...😊)
It’s such an awesome colour! Could it be though just a triton substitution, quite common in jazz, here would substitute the G7 for a C#7aug... Django Reinhardt used to do this...
amazing video Ross! one thing though sorry to bug but you have a mistake in the tab notation, in 4:14 the tabs mention 10th note on the g string and you play the 9th.. i think :O
Heres a random thought of how to conceptualise: the D7 can actually be substituted for F7, Ab7 and B7 thru tritone subs. Now change the F7 to F augmented which itself repeats: Aaug then C#aug. whachyarekn?
The way you transition on the downbeat to strong tones in the next chord is seamless. What do you recommend to practice those transitions to "see them" everywhere?
Thanks! Good question. I'm trying to figure out a good way of teaching that. I've been practicing blues improv solidly for the past 14 months or so and it's mostly consisted of learning solos from other players and then attempting to improvise over backing tracks on my own. It all feels like it's really fallen into place within the past 4-6 months or so. Meaning I now feel very confident that I'll land on a nice chord tone whenever those changes happen. I'm trying to figure out a method for teaching that at the minute so watch this space. There might be a blues improv course on the horizon.
Thanks! Oh yeah Shawn is great at coming up with really odd sounding outside lines that work. What's interesting about his approach is that it's not really theory/scale based at all. He just looks for 'wrong notes' and finds a way to create cool lines with them. Monster player
Thanks for recognizing a “different” style of blues lick and tearing it apart! I almost understand your analysis and I am shite on theory! FYI: Your voice has a very pleasant timbre. Reminds me of a Scot that I know by the name of Zander. Cool!
Hey Robert, you can grab the TAB, backing track and a few bonus licks for this video here bulletproofguitarplayer.com/courses/play-this-over-blues-turnarounds--spicy-licks-13
The scale that naturally comes to my ear/fingers when playing that augmented chord is the D melodic minor scale. So I'm hearing it as him playing a D melodic minor over the V chord. Usually you see the D altered scale there which would give that Augmented triad where we expect it. It sounds weird but the augmented triad works for me when I think D melodic minor.
Or...the G Lydian Dominant scale, (the fourth mode of the D melodic minor scale), if we're considering the key of 'G'. Same notes, just thinking modally. Very common to play this scale over dominant chords in jazz (Miles' "Kind of Blue").In this sense, the Fmaj7 #5 arpeggio is just an arrangement of notes tucked in the G lydian dominant scale. That helps me get my head around it, anyway.
That's an interesting use of the augmented triad for sure. However, I think the easiest explanation for why it works is to look at the aug. triad F-A-C# being a part of the G lydian dominant scale. So even though it's not really at home over the D dominant chord, it's still works because it's leading into the one chord.
@@jacobilton6879 yeah, but as Ross goes on to explain at 11:40 is that the "usual" way to play an augmented triad over the V chord is not what Mancuso is doing.
The beauty of music theory is that it is open to so much interpretation! How about this is just: F# ,F, A - so major 3, minor 3, 5th (common juxtaposition of major and minor thirds in blues) followed by C#, E, D (common jazz enclosure to resolve to root). You can look at it in a million ways, but that seems simple and it makes sense???? The idea of a Ma7#5 built on a b7 of the 1 chord but played over the 5 chord, seems a bit convoluted??
Hey dude is that Strat an American Vintage Reissue Custom Shop? I know I've heard you talk about it before but I can't recall where and I'm thinking of getting a 62 Reissue Custom Shop Strat in Fiesta and I'm just curious if that's what that is and how the neck feels. Awesome vid btw.
It's a custom shop 60s inspired strat. Have no idea what the actual model name is, or if there even is one. You know how it is with the custom shop, they don't seem to really have 'standard' lines of guitars in the same way that Fender USA/Mexico do.
@@RossCampbellGuitarist Yeah it's really hard to nail down Custom Shop stuff. Did you actually have it made specifically for you or did you buy it second hand from someone that just wanted to get rid of it for whatever reason?
I think what Matteo is doing here is simply playing an enclosure. The way I see it is that: 1) Broadly speaking, you can play notes from a D minor arpeggio/scale over a G7. The notes are very similar. And if you take Dm6 chord and a G9, they are identical. 2) At the end of the turnaround, right before it reaches the first bar of the next 12 bar sequence, Matteo is already playing notes from Dm/G7 (i.e. the last 5 notes of the lick) 3) Of the last 5 notes of the lick, all except the Db note belong to this Dm/G7 idea. The simplest explanation is simply that Matteo is playing an enclosure around the D note, essentially playing one note below (in this case, Db), one note above (in this case, E), then landing on the target note (in this case, D, which is the V of G). Quite a common move in jazz. I highly doubt he's thinking of some weird chord when playing this lick. My opinion is that he's simply thinking of G7, playing a Dminor line over it, and just using an enclosure. And this could've been done on basically all the other strings, to achieve the same effect.
Ready to break out of that decade-long minor pentatonic rut and start playing blues solos that HIGHLIGHT the chord changes? 🤔
🎸 Check out my book ‘Beyond Pentatonic Blues Guitar’ 👉geni.us/beyondpentatonic
🎸 Don’t know me well enough yet? That’s fair! Here’s a FREE blues improvisation masterclass so you can figure out if I’m full of sh*t or not BEFORE you buy from me 👉www.bulletproofguitarplayer.com/freebluesmasterclasswaitinglist
I hear a lot of Josh Smith and Robben Ford here, which is always a good thing, thanks for the lesson
If anyone is struggling with this lick and it’s timing, it really helps to think of it in 3 distinct parts. The first two parts are self explanatory, but the third part is very fluid, where timing/phrasing are essential. Try to isolate that third part, practice it and you will find that the lick goes from tough to very doable. Just my two cents. Great lick, great lesson once again Ross.
Thank you!
I'm italian and I'm so proud we have Matteo, he's an incredible guitarist. Good video as always :)
He certainly is. Thank you!
Thanks to everyone for the kind comments on this! The overwhelming verdict seems to be that this is coming from G lydian dominant. I'll have to look into this scale more often in my practice 😅
Nice vid Ross. Could it also be D harmonic minor? - 1-2-b3-4-5-b6-7
Right : Lidia dominant ( d minor harmonic) with c#augmented arpegio as miles does in Freddie freeloader over ab7 using a eb minor harmonic
Yes you’re right! it’s G Blues to G Lydian dominant
On the I chord in G jazz blues an outside sound is created by playing a G mixolydian scale with a #11
That’s how I heard it. G lydian dom sound.
BTW, Lovely playing
Very.....very expressive and fluid.
Hi! It's often used a Maj7 arpeggio from the b7 of a dominant in jazz, wes montgomery was using that a lot, and often using the upbeat halfnote, triplet trick, when you rise half tone the 5, so #5 you make sure there is no friction with the chord tones of the dominant, specifically with the third. Great video by the way! 🤟
Mancuso’s right hand techniques are insane. The fact ross can play his shit with a pick is also insane!
Ross.
Very nice. Not only a very well rounded player, but the info you are giving away is priceless. Keep doing what you are doing. I would love to see you break down some of Shawn Tubbs’ licks. Thanks for your hard work.
You open my eyes
Thanks Ross, love this.
Ross that was the coolest blues so on the money plus you've got the feeling and made me pick my guitar play it. Thank You
Thank you Ray!
The line in question comes from the G Lydian dominant scale. It is one of many typical choices played on dominant chords in a jazz setting. You are correct in that Wes used this, and the major 7#5 shape captures the #11 of the Lysian Dominant sound. Bill Evans used these shapes (dominant equivalents) throughout his playing. There are many more types of shapes used on dominants as well.
Mancuso can Play, but you sir, can teach!!! Congratutations for your effort e for your skill. A rarity this days!!
Ross you are quickly becoming one of my favorite guitar players ever. Just absolutely amazing tasty Blues Licks and your teaching method is fantastic. Just picked up your book the other day and I'm looking forward to diving in
Brilliant, one more time
Thank you!
Im on it!!
very good notes and you are right! His technic is unique but nobody reviewed what amazing stuff he plays. yet:) thank you!
This guy is such a killer player.
Love the playing. It always sounds like he’s saying “boolet” proof guitar to me when he says bulletproof guitar from across the pond haha. Love it...
Thanks!
Whoa, spicy indeed! Matteo's playing is something else man, he's scary good. Thank you for the excellent breakdown and lesson Ross!
Thank you!
I’ve been in a year long rut, this was what I needed. Thanks homie ✌️
Glad to hear that dude
That was very tasteful bud. Thanks for sharing those hot licks and turnarounds.
man.. your sounding great.. thanks for the licks
Loved this ! Thank Ross
It's not just for Matteo's Lick of course...I really enjoy your playing in general ! Got really inspired: ruclips.net/video/XuzjkqPUDNM/видео.html
man this dude is still getting better..
I remember checking out Robben Ford's similar lines in Misdirected Blues. Other players have done similar things since, but I didn't realise until later they're all 'double speeded' vs the rest of the playing, so less likely you'll have the chops to suddenly double speed like they do, *but* the lines still work well at 1/2 speed, so you can still play them in a tune, and as you get used to the fingerings, you can start to double speed them too.
Ahhh yes . Just what I needed. Some inspiration
If your looking at the last part from ross his approach, you can also play the same arpeggio a major third from the f arpeggio because its augmented.
dude your a fantastic musician
Thanks for all of your lessons, Ross. They are outstanding and very generous.
Thank you!
Sweet playing man. That strat is magnificent
Thank you! I love this guitar
amazing .
Hi Ross, thanks for your guitarlessons. They inspired me so much the last month and improve my own guitar playing. I love the triads and this episode has also good licks and vibes for me.
So glad to hear that. Thank you!
Good stuff Ross, thanks as always
Thanks Andrew!
Thanks Ross, so useful and tasty for triads approach in blues!!!
Now, this is some of the most tasty lessons, I've watched on RUclips ever. I remember you, when you was a "guest teacher" on Quist's channel. Tasty stuffas well. Thank you so much, Ross. You actually makes it easy for us, and we don't have to se hundreds of variations over the usual pentatonic scales "with a twist" 💙
Thanks Allan!
I’ve got to learn that intro
You always have some very smooth blues man. Cheers!
Thank you mate!
@@RossCampbellGuitarist my pleasure!
Wow, what a great guitarist !!
Hey Ross, you seem to have a slight mistake in the tab. You play and speak about the E in the first part, but you tab an F (10 instead of 9 on the G string)... Minor details, this is fabulous!!! Did not look up all the comments. If someone mentioned this before, my apologies. I just spent my rainy Sunday morning with this and stumbled upon it. Massive thanks Ross!
Yep...ima have me sum dem spicy licks! Absolutely killer 👍
Thank you!
Great !! I agree its getting that timing right thats sooooooo important !!! Thanks Ross ;-)
Excellent!
loved the solo .. /thumbsup
Excellent teaching my friend!
Thank you!
Great video! Your playing is phenomenal man. I would think of this lick as part of the G lydian dominant scale.
Thanks Jack! Ah interesting. Down the rabbit hole I go...
Smooth and sweet. Reminds me of Robben Ford
Thanks! Love Robben Ford
I really liked the concept. It is spicy indeed. Playing it out will turn heads for sure. Whatever if it's not the "correct" way to call it, you made it super easy to find it, so including it in practice will be super easy. Thanks a lot.
SO COOL
Thanks!
Great explanation and analysis. To me this is the melodic minor played a 5th up from the root, hence d melodic minor, which becomes Lydian dominant
Your Some man Ross 👍 one of Scotland's finest.
Ah thank you!
Very. Nice.
Thank you!
That Revstar sound pretty damme fine
in blues and jazz it's commonly used to approach chords from half step below or above. if you consider those 4 out sounding notes ( F#, F natural,A and C#) as part of some F sharp chord approaching the G it might be that he is using a F#- maj7 kind of sound. after all any F# chord can be used for approach a G as far as you like the sound of it
I agree with the poster about it being a melodic minor arp..Lydian Domiant
Hi Ross - great guitar tuition mate and very tasty playing!
Hey is your Gmaj7#5 scale not “simply” a D Melodic minor scale which is actually preceded by four notes (i.e. Bb, A, G, Gb) from G mel minor . . ?
Really cool video Ross. Really well explained. Great playing by the way.
Thanks Dean!
awesome
I this was you when I heard you playing. Great again
Great playing, great lick choice and great explanation!
Thank you!
Really nice. Reminds me of Larry Carlton's playing on his Last Night album. Great to learn ways to think of these musically.
definitely signing up for your courses based on these videos mate, also I'm in the UK (Cornwall) can you give me some 1 on 1 zoom lessons?
Awesome Danny! Hope you enjoy the site :) I'm afraid private lessons aren't something that I'm currently offering but I appreciate your interest.
Since Mateo is playing the lick over the D7 chord (5 chord), I would think of it more as playing that lick off of the minor third of that chord which is of course F.
i agree with who says it's D melodic minor, you can think it as G lydian dominant (minor melodic built on the fifth of the chord)
Another Amazing lesson straight up bro! please more on counting and keeping in time!
Thank you! Noted :)
I can definitely use this lick! What a cool use of the maj7#5 arpeggio! What appears to be happening is he's treating the D7 like it's a DmM7 for a moment as Fmaj7+5 is from the third mode of Melodic Minor. I'd search for information re superimposing Melodic Minor on the V7. I personally like the sound of a Bm7b5, B Locrian Pentatonic, in addition to D Melodic Minor and the DmM7 arpeggio.
It’s clear the lick is played through the last 2 bars as if both bars are G7 regardless that the last bar moves to D7, the ear accepts it as not clashing because it is harmonically clear and rhythmically executed, apart from the use of the blues scale in part the extension notes which gives the lick its flavour and lift are outlining a G13#11 chord
An easier way to view the ending lick (and the way I think Matteo views it) is as the familiar outside trick to play something out of key one fret below or above, in this case the commonly used augmented five chord arpeggio lowered one fret to get that outside sound.
Great lick Ross! I use that position of the blues scale quite a a lot. And I think your harmonic analysis is spot on! That last lick is based on the D melodic minor scale, or you can call it G Lydian flat 7, very nice sounding scale on dominant chords. Anyway cheers! Thanks a lot🙏
Thank you Danilo!
Hi, the link to the tab etc...seems to be broken. The "Spicy Licks" in my library only go up to 10 - is there something I'm missing, or not signed up to, in order to get to #13?
Good video Ross !
Thank you!
This is pure Gold as always ..Hey Ross did you move to Nashville or still in Edimbourg ? Cheers
Thanks! Still in Edinburgh. Pandemic put a halt on that and I'm still not in a huge rush to get out there but it's on the horizon for sure :)
Thanks for this great video Ross. Could it also be a Dm(maj9) arpeggio? I can also see it as notes of the G blues scale, with the added 9th and 13th. :D
Great chanel 👍
Thanks!
Liked your content and tone . Tone is out of a plugin, amp or kemper ?
Very well explained and insightful video as always! Kudos Ross 👏(to me it sounded almost like a D melodic minor arpeggio at the end of the turnaround, but maybe that's only me...😊)
It’s such an awesome colour! Could it be though just a triton substitution, quite common in jazz, here would substitute the G7 for a C#7aug... Django Reinhardt used to do this...
amazing video Ross! one thing though sorry to bug but you have a mistake in the tab notation, in 4:14 the tabs mention 10th note on the g string and you play the 9th.. i think :O
Can you tell me what amp or amp simulator and pedal you were using on this video? Great tone, playing and video!
It was a while ago but I think it would have been the Neural DSP Cory Wong plugin
Heres a random thought of how to conceptualise: the D7 can actually be substituted for F7, Ab7 and B7 thru tritone subs. Now change the F7 to F augmented which itself repeats: Aaug then C#aug. whachyarekn?
The way you transition on the downbeat to strong tones in the next chord is seamless. What do you recommend to practice those transitions to "see them" everywhere?
Thanks! Good question. I'm trying to figure out a good way of teaching that.
I've been practicing blues improv solidly for the past 14 months or so and it's mostly consisted of learning solos from other players and then attempting to improvise over backing tracks on my own. It all feels like it's really fallen into place within the past 4-6 months or so. Meaning I now feel very confident that I'll land on a nice chord tone whenever those changes happen.
I'm trying to figure out a method for teaching that at the minute so watch this space. There might be a blues improv course on the horizon.
@@RossCampbellGuitarist Were they Matt Schofield solos by any chance? You sounded dead on Schofield with a dash of Robben Ford.
Hi Ross, is it something to do with the G lydian dominant scale? All the notes fit that scale & then he leads to a Gm blues lick to the root note?
If you think enharmonically, it’s still dominant harmony: F-A-C#-E or
F-A-Db-E over D7. That would be a V9 b9#9.
Really nice playing on the intro! The odd sounding end of the lick you talked about at length is something Shawn Tubbs does a lot.
Thanks! Oh yeah Shawn is great at coming up with really odd sounding outside lines that work. What's interesting about his approach is that it's not really theory/scale based at all. He just looks for 'wrong notes' and finds a way to create cool lines with them. Monster player
@@RossCampbellGuitarist Yes, Shawn says he thinks in terms of shapes rather than scales or modes.
Thanks for recognizing a “different” style of blues lick and tearing it apart! I almost understand your analysis and I am shite on theory! FYI: Your voice has a very pleasant timbre. Reminds me of a Scot that I know by the name of Zander. Cool!
Thank you!
Where can I get the whole tab for what you played? Absolutely epic
Hey Robert, you can grab the TAB, backing track and a few bonus licks for this video here bulletproofguitarplayer.com/courses/play-this-over-blues-turnarounds--spicy-licks-13
The scale that naturally comes to my ear/fingers when playing that augmented chord is the D melodic minor scale. So I'm hearing it as him playing a D melodic minor over the V chord. Usually you see the D altered scale there which would give that Augmented triad where we expect it. It sounds weird but the augmented triad works for me when I think D melodic minor.
Or...the G Lydian Dominant scale, (the fourth mode of the D melodic minor scale), if we're considering the key of 'G'. Same notes, just thinking modally. Very common to play this scale over dominant chords in jazz (Miles' "Kind of Blue").In this sense, the Fmaj7 #5 arpeggio is just an arrangement of notes tucked in the G lydian dominant scale. That helps me get my head around it, anyway.
@@simon0770 Yes definitely! I saw someone else mention that after I posted and it probably makes more sense as to what he was thinking.
Killer Ross, random question what's the radius on that strat
That's an interesting use of the augmented triad for sure. However, I think the easiest explanation for why it works is to look at the aug. triad F-A-C# being a part of the G lydian dominant scale. So even though it's not really at home over the D dominant chord, it's still works because it's leading into the one chord.
10:00
Ohhh lydian dominant. Interesting! I hadn't considered that
@@jacobilton6879 yeah, but as Ross goes on to explain at 11:40 is that the "usual" way to play an augmented triad over the V chord is not what Mancuso is doing.
The beauty of music theory is that it is open to so much interpretation! How about this is just: F# ,F, A - so major 3, minor 3, 5th (common juxtaposition of major and minor thirds in blues) followed by C#, E, D (common jazz enclosure to resolve to root). You can look at it in a million ways, but that seems simple and it makes sense???? The idea of a Ma7#5 built on a b7 of the 1 chord but played over the 5 chord, seems a bit convoluted??
Nicely done- sounds a ton like Matt Schofield...
Thanks! He's been a huge influence on my blues playing in recent years.
It’s a G Lydian dominant scale.
Great lesson. Another fun lick to mess about with! I see you switched back to regular strat pickups in the custom shop or is that a new set?
Thanks! Yeah I put the og pickups back in a couple of years ago
To me it’s easier to think of it as a min(maj7) arpeggio with the root on the V chord, so a Dmin(maj7). Adding the E would lead to Dmin(maj9)...
yup melodic minor
Could that arpeggio actually be 13#11 starting form the flat 7 and hitting only the extensions: 9, #11, and 13?
The last bit of the lick is easy, G9 in the 9th position and he uses the b7,9. b5 and 13, chord tones
Hey dude is that Strat an American Vintage Reissue Custom Shop? I know I've heard you talk about it before but I can't recall where and I'm thinking of getting a 62 Reissue Custom Shop Strat in Fiesta and I'm just curious if that's what that is and how the neck feels. Awesome vid btw.
It's a custom shop 60s inspired strat. Have no idea what the actual model name is, or if there even is one. You know how it is with the custom shop, they don't seem to really have 'standard' lines of guitars in the same way that Fender USA/Mexico do.
@@RossCampbellGuitarist Yeah it's really hard to nail down Custom Shop stuff. Did you actually have it made specifically for you or did you buy it second hand from someone that just wanted to get rid of it for whatever reason?
I think what Matteo is doing here is simply playing an enclosure.
The way I see it is that:
1) Broadly speaking, you can play notes from a D minor arpeggio/scale over a G7. The notes are very similar. And if you take Dm6 chord and a G9, they are identical.
2) At the end of the turnaround, right before it reaches the first bar of the next 12 bar sequence, Matteo is already playing notes from Dm/G7 (i.e. the last 5 notes of the lick)
3) Of the last 5 notes of the lick, all except the Db note belong to this Dm/G7 idea. The simplest explanation is simply that Matteo is playing an enclosure around the D note, essentially playing one note below (in this case, Db), one note above (in this case, E), then landing on the target note (in this case, D, which is the V of G). Quite a common move in jazz.
I highly doubt he's thinking of some weird chord when playing this lick. My opinion is that he's simply thinking of G7, playing a Dminor line over it, and just using an enclosure. And this could've been done on basically all the other strings, to achieve the same effect.
Ross, I just signed up for your website. Where can I find this on your site? Thanks
Sorry Ross, Found it....Thanks
Hey Jim, thanks for signing up!