No, it actually isn't. Most people just wish to find a tutorial for a certain song they like ... most prefairable with TAB's. They have zero interest of how or why a (their own) piece of music is constructed in this or the other way ... how to achieve what they might have in mind - what is absolutely fine! And after all ... the idolized he or she couldn't understand music theory neither ... at least what they believe in 😉. But no doubt ... if you wish to understand and play music/guitar "Cristal Clear" ... THIS page is THE real deal 😎🙏!!!
This is, without a doubt, the most informative and useful tutorial I've seen about triad pairs. I'll be spending a good bit of time unpacking all of this and learning to implement what I've learned.
very well explained. one thing that sounds kind of "old school" but is very pretty is to connect each pair with a chromatic passing tone between the last note of one triad and the first note of the next. it helps when playing straight 8ths or 16ths, as you're in groups of four and it has a very jazzy sound.
By far the best video on triad pairs I have seen yet. Out of all the videos I've seen, nobody can explain what are considerations when choosing triad pairs. Offering no framework on how to approach them and use them. So thank you!
Always surprised for the quality of your very clear explanations, you are a source of wisdom in the guitar musicians community, thanks for all your hard work to make these awesome videos!
Comprehensive and a challenging requiring deep knowledge of scales and modes as demonstrated. I am not into playing 'outside' or scales for that matter, but admire the music theory and use of triad pairs to achieved unusual moves when soloing.
This is great material, and I think it would be good to include other “triads”, sus2 (1,2,5), sus4(1,4,5), lydian triad (1,3,#4), I think they can bring other harmonic colors and combinations of extensions of chords to the mix
Hello. I see in your videos two laney FRFR 112. Can you tell me a trick about play live with Fractal and frfr like stage monitors??. One or two frfr for live???. Thanks
I often see people talk about characteristic note of a mode. For the usual geek modes its quite easy. However, for the modes coming from the harmonic, melodic or whatever scale derived from the major scale I find it more difficult. Is the characteristic note of one of these modes the note that differentiate them from the major scale or is there something completely different ? Or do you consider multiple characteristic notes in one mode. For exemple the phrygian#6 (Dorian b9): b2 from the phrygian and #6 from the harmonic minor ? I find this subject quite complecated with little ressources available on the internet. If anyone is any information or intel, i would love to ear it !!
For the Lydian examples you use the i and ii, also the ii and iii yet in the ii v i at the end you use the ii and v, so you've changed the Em (iii) for G(v), can the relative majors and minors be switched around when they are in the scale?
I don't know exactly what you mean, but maybe this is an answer: In a mode you can use all chords, because every chord is equally important. That is the concept of modes. While in functional harmony (like in a ii-V-I) it is important which chord (function) you use and you are bounded (more or less) to the function of the chord within the scale.
is there any way you would do a bass guitar lesson on triads and inversion and pairing triads i am enjoying your lessons trying to convert the ideas over to bass but you are way over my head i spend more time finding the notes on my bass i would like to see your ideas of how to play them
@@QJamTracks around the time mark of 00:30 there's a female voice overdub that says "let's go for it." I think this is some weird RUclips glitch because I've experienced it on other videos from different channels.
The content of the videos on this channel is of impressive quality. For a person who certainly takes care of managing this content alone, I say "respect an Tanks aaaaa lot Rob »
@@QJamTracks excuse me but in the B altered scale example, even if it sound very well, i don’t understand the use of a B major triad cause there is no F# in the scale to create that chord. Sorry for my poor english
This may be a stupid question but, why not just play something modal? This sounds like just extra steps to me. I am missing some theory concepts I think
This Chanel is S tier content and it's a travesty that this dude doesn't have millions of subscribers.
I agree, this is college level music theory with real examples throughly explained, I’ve learned so much from this channel.
No, it actually isn't. Most people just wish to find a tutorial for a certain song they like ... most prefairable with TAB's. They have zero interest of how or why a (their own) piece of music is constructed in this or the other way ... how to achieve what they might have in mind - what is absolutely fine! And after all ... the idolized he or she couldn't understand music theory neither ... at least what they believe in 😉.
But no doubt ... if you wish to understand and play music/guitar "Cristal Clear" ... THIS page is THE real deal 😎🙏!!!
This channel and Write a Song are great
Agreed.
JAMES SCOTT NICHOLSON, ONTARIO, CANADA 🇨🇦 PEOPLE WITH NO KNOWLEDGE, NEVER REALIZE THEY ARE BEING RIPPED OFF, AND FED MINIMAL INFO,SO THEY COME BACK.
This guy is criminally underrated in his knowledge and teaching.
This is, without a doubt, the most informative and useful tutorial I've seen about triad pairs. I'll be spending a good bit of time unpacking all of this and learning to implement what I've learned.
very well explained. one thing that sounds kind of "old school" but is very pretty is to connect each pair with a chromatic passing tone between the last note of one triad and the first note of the next. it helps when playing straight 8ths or 16ths, as you're in groups of four and it has a very jazzy sound.
Thanks for your contribution. That is a nice technique.
All your tutorials have been exceptional. The best part is being able to rewind to get it to sink in. Thanks Rob.
this lesson is worth its weight in gold. One of the best on youtube. Awesome channel. 🙏Thank you so much.
as for the Romanian scale, incidentally i - II chord progression is often used in film music to evoke a sinister surprising mood
Yes it is such a sound!
By far the best video on triad pairs I have seen yet. Out of all the videos I've seen, nobody can explain what are considerations when choosing triad pairs.
Offering no framework on how to approach them and use them. So thank you!
Always surprised for the quality of your very clear explanations, you are a source of wisdom in the guitar musicians community, thanks for all your hard work to make these awesome videos!
Comprehensive and a challenging requiring deep knowledge of scales and modes as demonstrated. I am not into playing 'outside' or scales for that matter, but admire the music theory and use of triad pairs to achieved unusual moves when soloing.
I've been binge watching triad and triad pair videos. This is a great one.
One of the greatest lessons ever!! Thank you
His frets may be crooked, but this is straight ahead GOOD STUFF!
Cool that you have Jiboom in your intro
This is great material, and I think it would be good to include other “triads”, sus2 (1,2,5), sus4(1,4,5), lydian triad (1,3,#4), I think they can bring other harmonic colors and combinations of extensions of chords to the mix
Great stuff. If this nearly pointless comment of mine helps you getting more exposure from the Algorithm, it was worth it. Thanks, Rob!
ok I got most of this up until the ii V7b9 iMaj7 - but there were many fast examples
Great lesson!
Thank you! Wonderful Lesson
Havent got to really watch yet. But digging the new background bro 👍🏿
OutStandIng!🇺🇸💯🎯💥🎯💯🇺🇸
Hello. I see in your videos two laney FRFR 112. Can you tell me a trick about play live with Fractal and frfr like stage monitors??. One or two frfr for live???. Thanks
Great content!!!
I often see people talk about characteristic note of a mode. For the usual geek modes its quite easy. However, for the modes coming from the harmonic, melodic or whatever scale derived from the major scale I find it more difficult. Is the characteristic note of one of these modes the note that differentiate them from the major scale or is there something completely different ?
Or do you consider multiple characteristic notes in one mode. For exemple the phrygian#6 (Dorian b9): b2 from the phrygian and #6 from the harmonic minor ?
I find this subject quite complecated with little ressources available on the internet.
If anyone is any information or intel, i would love to ear it !!
For the Lydian examples you use the i and ii, also the ii and iii yet in the ii v i at the end you use the ii and v, so you've changed the Em (iii) for G(v), can the relative majors and minors be switched around when they are in the scale?
I don't know exactly what you mean, but maybe this is an answer: In a mode you can use all chords, because every chord is equally important. That is the concept of modes. While in functional harmony (like in a ii-V-I) it is important which chord (function) you use and you are bounded (more or less) to the function of the chord within the scale.
Slow video speed to pick out the very important concept of ''What Key?''🇺🇸💯🎯💥🎯💯🇺🇸
is there any way you would do a bass guitar lesson on triads and inversion and pairing triads i am enjoying your lessons trying to convert the ideas over to bass but you are way over my head i spend more time finding the notes on my bass i would like to see your ideas of how to play them
I don't know... my channel is a guitar channel and my viewers are guitarists. Isn't there a triad pair video for bass guitar on RUclips?
yes there are but you have gone deeper into it than anything i have found i understand this is a guitar channel thanks for taking the time to reply
Had earbuds on - “let’s go for it” made me jump… please don’t do it again. 😂
Excuse me :)
@@QJamTracks around the time mark of 00:30 there's a female voice overdub that says "let's go for it." I think this is some weird RUclips glitch because I've experienced it on other videos from different channels.
Great Video ! Thanks Rob, Just a little written mistake at 2:08 A Maj an G MAj triads over G Maj = G lydian ;-)
Yes... I saw it too...
And then when it's horizontal you write vertical...it's already confusing enough content
The content of the videos on this channel is of impressive quality. For a person who certainly takes care of managing this content alone, I say "respect an Tanks aaaaa lot Rob »
@@QJamTracks excuse me but in the B altered scale example, even if it sound very well, i don’t understand the use of a B major triad cause there is no F# in the scale to create that chord. Sorry for my poor english
Great
I can not follow: It's a Dorian sound @9:50, why "C Mixolydian" ?
It's the wrong title. Should have said "dorian#4" instead of "mixolydian".
did you go to school for music...if so which one
This may be a stupid question but, why not just play something modal? This sounds like just extra steps to me. I am missing some theory concepts I think
👌
Perfect Vai sample! 😂
2:06 over G major
Lidian. Not E minor
Excellent lesson!!