This lesson was alien to me 2 years ago. Then I studied a little bit about Notes, Scales, Chords etc. If you study only for 7 days and get used to the terms (notes, intervals, etc), this lesson will make perfect sense. Although I know almost nothing, but I know what he is trying to implement here. It is a good lesson.
It is really not that complicated in theory. Whenever you do a solo run it sounds best when you "land" on a tone that's also in the chord that is played at that particular moment. Chords are created from the scale by taking the first, the third and the fifth note from that scale and by shifting up to the next note in the scale and doing the same thing (keeping the same distance between notes) you get the next chord and so on. So you may play tones from the scale or chromatic tones in between, they create tension. If you want to resolve that tension, which is very pleasing to the ear, you resolve it by landing on a chord tone (the seventh is also considered a resolving tone). The problem is that you must be constantly aware of what particular chord from the progression is being played and where the resolving notes are situated. Otherwise you don't know how to resolve your run. Be aware that songs may not be within one scale all the time.
In theory it's easy, when you start practicing no, and it's more difficult to the begginer, because first you have to know where each note is located and because the 1 3 and 5 notes are so simmilar (1 and 5 especially) you can be targeting these 3 notes without knowing which one you're playing
I have been doing this for quite some time and I can tell you it will open up a whole new world of how you hear and understand music. Not knowing this is like not having a g string on your guitar...seriously.
Enjoy your lessons a lot. its had to find free lessons that go deep into theory, as most are geared toward beginners ( 1st finger, second fret, second finger...). I mean yeah thats super helpful for the majority of strummers wanting to get into it, but a lot of online guys arent willing to give up fan base /views by getting into the nuts and bolts of it. anyway thanks a lot man, you help a lot.
What performers need is the ability to know how a particular position in a scale pattern sounds when landing on it. This is needed in addition to (or even instead of) the theory. Theory is an excellent way of understanding and learning, but unless you know what intervals of a chord and degrees of a scale sound like, it is meaningless . I advise recording a chord played over and over, then practicing each note of the scale form with the chord to learn how it sounds. Of course, theory will tell you which notes you should learn first, but eventually you need to know how every note sounds with the chord, Theory and knowing the notes on the fretboard will also make it easier to understand why a particular note of a scale form sounds the same as a note of a different form.
Great lesson. Once a player knows some chord construction it may be a good idea to practice triad pairs for learning chord tones and extensions. For example on a Cmaj7 the triads Cmaj = C E G = R 3rd 5th, and Bdim = B D F = M7, 9, and 11 chord extensions. Just another of many ways to approach learning this stuff. Cheers!
You're a nice guy, and a good guy, and a great guitarist, and I'm sure this lesson is appropriate for some people, but it's way too complicated for what's a relatively simple question. Know where the root, 3rd, and 5th ar, in other words, learn your arpeggios, and then practice playing them over various chord progressions.
A quick question Andrew.. How tall are you? I ask because I need some sort of measure when I tell my friends how high the AWESOME is stacked wrt your guitar & guitar teaching skills Thanks for all you do on your channels, You are helping A LOT of people grow as musicians with the Breadth, Depth, Quality & Clarity of your videos. I hope your RL students appreciate what they have in you. Thanks again!
I have a request for a video. Can you explain all the other chords except major and minor and go deeper into the other chords that i want to study and know a little better on the guitar so i know more other intervals of whatever chord(s) i like to know and learn.
If I am understanding correctly it's "basically" playing the strong notes in a chord and leading smoothly into the next one? How would I go about learning music notation? I know my fretboard by intervals mostly, and base my scale patterns on that.
thank you so much Andrew!!! what a very5 useful lesson!!! so it doesn’t matter if the rhythm section is playing A-major without the 7, can i still use the extension 13 chord tone to solo??
everything is in the triads and altered tones-I make my students visually see the chord shapes and all inversions- very simple but effective approach for connecting melodiesalso using pent from different roots ex. AMaj.7 C#min pent, F#min.pent G# min.pent includes #11. :)
all triads are 1,3,5 ex. G7 =G.B.D.and F is the b7 let's say in key of C. all scale tones in Key of C.if you want to play let's say G7-9 you would need a G triad G,B,D and the F as the flat 7.Then simply Flat your D .and there's your altered 7th chord G,B,Db,F. do this on All your G7 inversions and you'll now have many new forms and play as arpeggios to get to hear them.Of course you can go ahead and do this with #5,and the 9th as well. good luck :)
Dear Mr. Wasson, i can't understand why we use the "F# note" (B string, 7th fret) in Am9 example melody Line , F# is not in the A minor scale, it's not the 13th interval, it's not a lemon Tone.... SO WHAT IS iT?? Can u please explain this, already thanx... You're like a pathfinder in a desert :)
Andrew, you definitely know your stuff no question. But you went all over the place with this. Which ultimately confused the hell out of me as it did with most people in the comment section. Sorry, but this was no help. I appreciate the effort anyways.
Hello! Thank you very much for posting this. Regardless what the other commentators said: I think it is a very well prepared, understandable lesson. So, thank you for putting in the effort!
Suppose we have 1-4-5 chord progression in the key of c major.. But F has Bb and G has F# note and these notes are not in the C.. if we play Bb & F# when F and G chords in progression looping the music is not in C anymore... What notes we need to avoid.... Bb, F# or b note in f chord and F note G chord
We dont need to memorise notes of each chord. its Just to learn caged arpegios and the basic about intervals and chord/arpegio construction. its good to focus only on tríads on the first 4 months. after memorise those shapes (chords and arpegios) play them following a chord progression. playing arpegios slow and without holes on all the neck. after a whille we start to " see" them overlayed the scales. practice those progressions on the 5 zones of the neck and Voila. its hard at the begining. But with daily practice this become pure instinct. When tríads become easy its time to start to play 4 notes arpegios.
Does it say it is for the average beginner to intermediate? What if you are at the point where you want this information? You don't get to see a lesson because its too advanced for some people? There are a shit ton of beginner to intermediate lessons, books, etc. out there.
Not at all. Anyone with even a basic understanding of the different modes can follow this. And anyone with an understanding of the different fingerings of the pentatonic scale will understand the modes. It's pretty simple stuff.
More complicated than necessary. Learn arpeggios. Arpeggios are chord tones. Learn the arpeggios for each scale position and target those notes for resolution as you improvise.
I fell asleep after 3 minutes, too much talk,how to take the joy and feel out of music,sorry the guy has no personality its like he's explaining how to put together shelves lol .
I take your comments on board , but hey the guys just not very engaging no matter how you slice it and we as guitar teachers have to inspire and find interesting ways to get our point across.Your right though nothing comes from being negative like that.I wont do it again. p.s I think you meant 'dont' intimate,right. A Freudian slip perhaps
+gibwise Couldn't agree more. The guitar is a cerebral instrument or should I say music is a cerebral pursuit and after over 40 years of study and 30 of teaching, playing in bands, giving cclassical recitals, jazz big bands etc thinking and understanding is so important so that when the shit flies YOU and your playing doesn't. Being prepared for anything only comes by constant challenge - mental and physical (fingers). Wanking the same tunes, riffs etc that one knows off by heart is not going to get you anywhere !!
+Anthony Rochester Good way to look at it. You are right in that helping a young mind to WANT to pick up that piece of wood and steel in the early days is a big responsability and not one to be taken lightly. It's way too easy to pick up an e-device but learning to scale the heights ,pardon the pun, takes more from the teacher to interest our pupils. Besides after having some really good teachers I must say that without that very first one who took time to connect with me and make things interesting as well as learning all the fundamentals from technique, reading, aural, musicianship etc. I think I may have given up with another teacher??
+Anthony Rochester Internet is great isn't it. Why don't you tell us more about your feelings. Really helps me understanding the concept of chord tones.
This is a tough lesson to teach because, taken as a group, guitarists are generally averse to learning fundamentals which requires delaying gratification and perhaps not getting laid as quickly and as often, lol. This is the threshold which will separate all guitarists, save the truly gifted and creative ones, into two basic groups: the truly well rounded musicians and the limited guitar players.
This lesson was alien to me 2 years ago. Then I studied a little bit about Notes, Scales, Chords etc. If you study only for 7 days and get used to the terms (notes, intervals, etc), this lesson will make perfect sense. Although I know almost nothing, but I know what he is trying to implement here. It is a good lesson.
It is really not that complicated in theory.
Whenever you do a solo run it sounds best when you "land" on a tone that's also in the chord that is played at that particular moment.
Chords are created from the scale by taking the first, the third and the fifth note from that scale and by shifting up to the next note in the scale and doing the same thing (keeping the same distance between notes) you get the next chord and so on.
So you may play tones from the scale or chromatic tones in between, they create tension. If you want to resolve that tension, which is very pleasing to the ear, you resolve it by landing on a chord tone (the seventh is also considered a resolving tone).
The problem is that you must be constantly aware of what particular chord from the progression is being played and where the resolving notes are situated. Otherwise you don't know how to resolve your run.
Be aware that songs may not be within one scale all the time.
thanks
👏👏👏👏
In theory it's easy, when you start practicing no, and it's more difficult to the begginer, because first you have to know where each note is located and because the 1 3 and 5 notes are so simmilar (1 and 5 especially) you can be targeting these 3 notes without knowing which one you're playing
All my music theory questions always lead me back to your channel. Thank you!
Joshua Cohen lol same
I have been doing this for quite some time and I can tell you it will open up a whole new world of how you hear and understand music. Not knowing this is like not having a g string on your guitar...seriously.
Enjoy your lessons a lot. its had to find free lessons that go deep into theory, as most are geared toward beginners ( 1st finger, second fret, second finger...). I mean yeah thats super helpful for the majority of strummers wanting to get into it, but a lot of online guys arent willing to give up fan base /views by getting into the nuts and bolts of it.
anyway thanks a lot man, you help a lot.
What performers need is the ability to know how a particular position in a scale pattern sounds when landing on it.
This is needed in addition to (or even instead of) the theory. Theory is an excellent way of understanding and learning, but unless you know what intervals of a chord and degrees of a scale sound like, it is meaningless
.
I advise recording a chord played over and over, then practicing each note of the scale form with the chord to learn how it sounds. Of course, theory will tell you which notes you should learn first, but eventually you need to know how every note sounds with the chord, Theory and knowing the notes on the fretboard will also make it easier to understand why a particular note of a scale form sounds the same as a note of a different form.
very good lesson! with guys like you internet is a blessing!
Great lesson. Once a player knows some chord construction it may be a good idea to practice triad pairs for learning chord tones and extensions. For example on a Cmaj7 the triads Cmaj = C E G = R 3rd 5th, and Bdim = B D F = M7, 9, and 11 chord extensions. Just another of many ways to approach learning this stuff. Cheers!
WTF?? utter gibberish!
This is such a beautifully explained lesson! Thank u so much this adds so much to my everyday practice!
OMG, these "I just bought a Lamborghini" commercials are killin' me!
best guitar teacher on the tube
You're a nice guy, and a good guy, and a great guitarist, and I'm sure this lesson is appropriate for some people, but it's way too complicated for what's a relatively simple question. Know where the root, 3rd, and 5th ar, in other words, learn your arpeggios, and then practice playing them over various chord progressions.
**VISIT MY BLOGGER PAGE** Daily posts for the guitar player... creativeguitarstudio.blogspot.ca/
Thanks, Andrew. Great lesson.
A quick question Andrew.. How tall are you?
I ask because I need some sort of measure when I tell my friends how high the AWESOME is stacked wrt your guitar & guitar teaching skills
Thanks for all you do on your channels, You are helping A LOT of people grow as musicians with the Breadth, Depth, Quality & Clarity of your videos.
I hope your RL students appreciate what they have in you.
Thanks again!
Andrew, this started out pretty well, but got heavy very quickly.
Do you have a beginners video on the basic Maj min triads?
I have a request for a video.
Can you explain all the other chords except major and minor and go deeper into the other chords that i want to study and know a little better on the guitar so i know more other intervals of whatever chord(s) i like to know and learn.
Excellent! Next level ish.Thanks, man!!!
If I am understanding correctly it's "basically" playing the strong notes in a chord and leading smoothly into the next one? How would I go about learning music notation? I know my fretboard by intervals mostly, and base my scale patterns on that.
I always learn from Your lessons Andrew. Thanks for sharing!
thank you so much Andrew!!! what a very5 useful lesson!!! so it doesn’t matter if the rhythm section is playing A-major without the 7, can i still use the extension 13 chord tone to solo??
How about a Major chord e.g.. ?!?
everything is in the triads and altered tones-I make my students visually see the chord shapes and all inversions- very simple but effective approach for connecting melodiesalso using pent from different roots ex. AMaj.7 C#min pent, F#min.pent G# min.pent includes #11. :)
+tony spada i was with you until the roots part :(
I gave only one example of triads base over pentatonic.Building over Amaj.7-use the pentatonics I listed above.Try it :)
keep at it -all the altered tones are pertaining to 5th and 9th .
all triads are 1,3,5 ex. G7 =G.B.D.and F is the b7 let's say in key of C. all scale tones in Key of C.if you want to play let's say G7-9 you would need a G triad G,B,D and the F as the flat 7.Then simply Flat your D .and there's your altered 7th chord G,B,Db,F. do this on All your G7 inversions and you'll now have many new forms and play as arpeggios to get to hear them.Of course you can go ahead and do this with #5,and the 9th as well. good luck :)
Dear Mr. Wasson, i can't understand why we use the "F# note" (B string, 7th fret) in Am9 example melody Line , F# is not in the A minor scale, it's not the 13th interval, it's not a lemon Tone.... SO WHAT IS iT?? Can u please explain this, already thanx... You're like a pathfinder in a desert :)
hey Andrew is this your new blog from creative guitar studio?
Andrew, you definitely know your stuff no question. But you went all over the place with this. Which ultimately confused the hell out of me as it did with most people in the comment section. Sorry, but this was no help. I appreciate the effort anyways.
This is not a good lesson.Just explain how to target the root, third and fifth of basic minor and major chords.... That was so confusing.....
Fuckin' a!
Hello!
Thank you very much for posting this. Regardless what the other commentators said: I think it is a very well prepared, understandable lesson. So, thank you for putting in the effort!
Thanks for another great lesson.
This was very interesting. It sounds very much like the dorion scale. What do you suggest for mager chords. For example G magor.
Another fine lesson!
Suppose we have 1-4-5 chord progression in the key of c major.. But F has Bb and G has F# note and these notes are not in the C.. if we play Bb & F# when F and G chords in progression looping the music is not in C anymore... What notes we need to avoid.... Bb, F# or b note in f chord and F note G chord
Awesome teacher!
Damn good instruction
This is the very same problem I had for years!
he is awesome
Who did you piss off hard enough that they are willing to make tons of accounts to comment negative things in broken English?
Go to PlaneTalk by Kirk Lorange, his method is simple and easier to understand by many orders of magnitude.
the second lick kind of sounds like Beat It
If I target chord tones I'm phrasing but if i'm not targeting the chord tones then I'm soloing. Is this right?
Genius!!
"learning guitar? Wait, don't touch that skip button...." aaaaaand SKIP!
very nice~~!
to sum up : play the right notes.
We dont need to memorise notes of each chord. its Just to learn caged arpegios and the basic about intervals and chord/arpegio construction. its good to focus only on tríads on the first 4 months. after memorise those shapes (chords and arpegios) play them following a chord progression. playing arpegios slow and without holes on all the neck. after a whille we start to " see" them overlayed the scales. practice those progressions on the 5 zones of the neck and Voila. its hard at the begining. But with daily practice this become pure instinct. When tríads become easy its time to start to play 4 notes arpegios.
and there is reason to use P4 tuning.....you get lost less with a symmetrical fret board.....you don't shift.....
This lesson is far above the average beginner to intermediate. Very complicated and spoken far far too quickly.
Does it say it is for the average beginner to intermediate? What if you are at the point where you want this information? You don't get to see a lesson because its too advanced for some people? There are a shit ton of beginner to intermediate lessons, books, etc. out there.
Im sure this guy is way way too theoretical for most people
Not at all. Anyone with even a basic understanding of the different modes can follow this. And anyone with an understanding of the different fingerings of the pentatonic scale will understand the modes. It's pretty simple stuff.
More complicated than necessary. Learn arpeggios. Arpeggios are chord tones. Learn the arpeggios for each scale position and target those notes for resolution as you improvise.
He made me feel stupid cause I just want the secretes without wanting to work for it😋
I fell asleep after 3 minutes, too much talk,how to take the joy and feel out of music,sorry the guy has no personality its like he's explaining how to put together shelves lol
.
I take your comments on board , but hey the guys just not very engaging no matter how you slice it and we as guitar teachers have to inspire and find interesting ways to get our point across.Your right though nothing comes from being negative like that.I wont do it again.
p.s I think you meant 'dont' intimate,right.
A Freudian slip perhaps
+gibwise Couldn't agree more. The guitar is a cerebral instrument or should I say music is a cerebral pursuit and after over 40 years of study and 30 of teaching, playing in bands, giving cclassical recitals, jazz big bands etc thinking and understanding is so important so that when the shit flies YOU and your playing doesn't. Being prepared for anything only comes by constant challenge - mental and physical (fingers). Wanking the same tunes, riffs etc that one knows off by heart is not going to get you anywhere !!
+Anthony Rochester Good way to look at it. You are right in that helping a young mind to WANT to pick up that piece of wood and steel in the early days is a big responsability and not one to be taken lightly. It's way too easy to pick up an e-device but learning to scale the heights ,pardon the pun, takes more from the teacher to interest our pupils. Besides after having some really good teachers I must say that without that very first one who took time to connect with me and make things interesting as well as learning all the fundamentals from technique, reading, aural, musicianship etc. I think I may have given up with another teacher??
+Anthony Rochester Internet is great isn't it. Why don't you tell us more about your feelings. Really helps me understanding the concept of chord tones.
This is a tough lesson to teach because, taken as a group, guitarists are generally averse to learning fundamentals which requires delaying gratification and perhaps not getting laid as quickly and as often, lol. This is the threshold which will separate all guitarists, save the truly gifted and creative ones, into two basic groups: the truly well rounded musicians and the limited guitar players.
worst "lesson" I found at youtube the last six month
leave him alone he went to MI they give you all the scales arps but dont tell you how to use it properly
this is advanced stuff bro not a walk on minor pentatonics.
K S
I didn't mean the content, bro, but the didactics.
The worst teacher i have ever seen . Teaching is an art , he is a very good player anyway.
you talk more than teaching...
what in the sweet fuckin jesus!? I need to learn to read music I guess :(
Another excellent lesson!