Most of the time I play alone. To get a decent Allman touch just play the pentatonic scale parallel on two strings at once. I call it my Fake Allman mode.
@@MarkZabel I have to put this into my own construct of how I think about the fretboard rather than these pentatonic positions. So I'm thinking about playing the inversions, but on the same string in the same pattern as the original melody, which was the first great insight I got from you. This is very exciting. Running through my looper all last night and coming up with a lot of Les Paul/Mary Ford sounding stuff because I'm not sticking to purely pentatonics, doing bends, etc. But also, you're last trick, the Betts note is just killer. thank you for opening the eyes of this old man.
@@DThompson55 Growing up I listened to WJMS in Ironwood, MI. They played a lot of Les Paul and Mary Ford. 4 decades later I realized how influential and earth shattering those 2 were. I will never reach that skill level as a strummer and will always RESPECT them.
This was awesome. Simple, short, well recorded and edited. One the best song movie placements was Jessica in Field of Dreams. Every road trip since 1989 starts with the ceremonial playing of Jessica. Thanks for the video.
Great stuff! Just remember... there's NO lick like Dicky Betts' "One Way Out" groove. Divinely inspired I think. Then Betts' solo is perfect, and then Duane comes in with the slide on top of it... wow! "One Way Out - Live at the Fillmore East" - 6/27/1971"
Dickey is the most UNDER-RATED guitarist of the rock era. I can't play guitar at all, but your video was clear and understandable. I love Dickey and often wondered what it was about his style that was so appealing. Thanks for explaining it.
It's weird I know but for some reason I prefer the guitarists who keep a serious demeanor when they play like Clapton was always somber Dickie a little scary ha,ha, rather then laughing kind of giggling like some do The Stones alot!!!
@johncmitchell4941 believe it or not I never went that far with The Allmans I'm one of the rare Rock fans who think a band should quit on top rather then milk it for years The Outlaws cool also!!!
Thank you for creating and sharing this content. When using the 4th is it wiser to use it as a "passing tone"? Treat it similarly to the "blue note"? Thank you in advance for your responses. BEST AND PEACE
Lots of people say they can transform you playing in 5 minutes, but this is the real deal. Lots of possibilities to go and work on and all from this one idea!
Duane used to do a lot of experiments with guitars,I guess when he played slide he was trying to get his guitar to sound like a harmonica...try that sometime
Very cool, thanks Mark. It's interesting to note that Dickey was influenced by Western Swing and tried to incorporate that sound and style into his playing.
Great video.... You had me at Dodge Dart. I had a 1969 Dodge Dart, slant 6 engine.. I just need your guitar skills to match our choices in 70's Dodge's..
Great content here! I have been playing out of the Allman's catalog since about 1975. Your breakdown could not have been more concise or accessible. Really a cool Deluxe by the way. I have had her twin since 1980. Original pickups in mine but yours sounds great! Cheers!
I believe, on the recording, there are three parts - the main melody line is played by Dickey Betts, the low harmony is Gregg Allman on Hammond organ and the high harmony is played by Chuck Leavell on Rhodes piano. Chuck also played the acoustic piano part on the recording. I think the twin guitar thing came from their live performances of the song, since Chuck could not play both the Acoustic piano and Rhodes parts at the same time live. The song sounds brilliant played either way, though the original recording does have something very special
Brothers And Sisters was the first ABB album without Duane Allman. Les Dudek, a Florida free lancer and friend of Dickey’s, played most of the second lead guitar parts. To hear Les tell it, “Jessica” was his idea. He’s a great player and he did play a lot on that record. About the “Dickey Betts Scale:” Nice description of that. Indeed-it’s a thing. When you have something named after you in music, you’ve had an impact. The “Dickey Betts Scale” and the “Jimi Hendrix Chord” fit the bill. Two giants, two additions to the “slang” of music.
@@MarkZabel I knew about Les Dudek from guitar mags, etc. About 30 yrs ago I met him through a friend down in Florida and jammed with him a bit. Quite a player.
After years playing I picked out, by ear, Southbound. From there I have always used what I call a minor pentatonic in C with the “house shape” up from that scale. It’s all Dickey and it has gotten me by for years now. 😊
Hey Mark, love your playing and lessons, but like others, there seem to be some inconsistencies in this one that I found confusing: 1) At 2:30, you show the alleged notes of 3rd position Em pentatonic; except it's not because it shows 3 C# notes.... not part of Em pentatonic. It's F# minor pentatonic. I think you just missed by two frets. 2) The notes to be played that you show in blue (I think that's what you're trying to do) on frets 6,7,9&10 are not the notes you actually play which are down on frets 4-8?? What you play is in 3rd pos. Em penta. 3) If by "play the same pattern" you mean play the same relative fret positions on each string but just moved up, that's not what's happening. The fret pattern played in the harmony is NOT the same as the pattern played in the melody. For example in the melody, the third note, G is on the same fret as the starting note; that is, fret 0. In the harmony the 3rd note (B) is on fret 4 while the starting note is fret 5. I think you mean play the same relative note in the 3rd position as was played in 1st position.... the two licks each start on the 5th note of their respective positions and the 1st four notes are 5,1,2,1 Most of my confusion stemmed from the incorrect display at 2:30. I get it now... cool trick!
Sorry I messed up the diagrams. Thanks for letting me know. I check pretty thoroughly, but sometimes I miss it. It's all done by hand, and mistakes can be made. Yes, the same relative note 2 positions up from the primary lick.
This formula is transferable to any of the 5 Pentatonic shapes. As long as you skip a shape in between two Pentatonic shapes you will find the harmony. Great trick thank you!
Dickey Betts is probably my favorite guitarist. My band plays a lot of Allman Brothers including Jessica but without the harmony part since I'm the only lead guitarist. We still rock it including the piano solo. The main riff is from the D chord structure or actually C. Its an A scale. At least thats how I see it.
I learned a lot from listening to The Allman Brothers when I was starting to get serious about playing - whether I knew exactly what it was I was learning or not (I am the least "theory" guy you will ever meet - 98.9% self-taught). Your videos are great. Maybe if I had a teacher like you back in the late-70s, I'd be a little more aware of what it is I am doing 😂.
Mark, I appreciate that you eschew the use of the pedal to "mimic" this technique. In the guitar community and on RUclips especially it sometimes feels like interesting music couldn't be created without the use of pedals, when in fact great guitarists and musicians like Betts and many others found the way and most pedals only try to replicate it. My guitar "guru" once told me..."All pedals are cheating and with a little more practice and imagination you won't need them." He did recommend an amp with spring reverb and was ok with an EQ and drive pedal, though. This video was a great display of how an inventive approach can produce a legendary sound.
Thanks Charlie! Steve Cropper's advice for pedals was to throw them away. While I'm not quite there, I do know my playing and sound got much better the less junk I put on it. What happens is that you're forced to use your hands to get the sound you want. There are limits of course, but not as many as people think.
@@MarkZabelhaving a second musician to play a harmony with is awesome but in reality... a bit extravagant. You can do it by yourself with overdubs but live? Pedals have their place
Nice little trick, I'll have to try that! You can actually play both notes yourself by just using the 4th above the original note, playing 2 strings at a time. A little tricky to work out the fingering but 4ths are an easy interval to grab and it sounds great.
Gotta make sure you get the right mix of 4ths and 3rds or you sound like you're playing a samesan! Happened to us one time when we incorrectly worked out the beginning to Don't Want You No More.
Great lesson Mark!!! Dickie was and still is overshadowed by Duane. Great guitarist and still rocking!!! Keep up the great work. See ya on the next Livestream!!!!! Keep em coming!!🎸
Not to take anything away from Duane - but I have always focused on Dickie. Dickie is a very expressive player and truly channels his inners. I also loved his tone
Cool. The few times I've done that, I calculated the harmonies for each corresponding note of the main line. More fun than a harmonizer to DT yourself, imo.
Yes, sir, very nice indeed. If I may draw your attention to the live 1971 Fillmore concert briefly; on Hot 'lanta, consider those lead harmonies that bend and flow in and out so subtle yet with the power of Godzilla breaking out and wreaking havoc upon the listeners. The point is it wasn't what they played so much as how they played it. And that, my fellow guitar masters, is why they are the legends that they are today; never to be duplicated, only imitated. Oh, and add in some bass and organ harmonies while you're in there. I'm hardly worthy to even be talking about them.
Ah, this is the longer version of your TIkTok. Thank you! So seeing the two parts together, it's just the entire riff moved up three frets-exactly the same across the board? I get confused when you say "play it in this other position." We're not finding the unison notes in that different scale pattern, we're just moving up the exact move?
"It" equals the same pattern - same strings and same sequence. Different notes, because it's in a different position. Slow down (using the gear icon) the video during one of the double-guitar sections and you'll see what's going on.
The first time you display the second minor position graphic (position #3, at 2:30), I believe it's a whole step (two frets) up from where you're actually playing the lick. Or did I miss something?
My best friend (and conveniently next-door neighbor) Tom was one year ahead of me including with his driver's license. Tom also was an only child and both his parents owned cars.......so generally we got stuck cruising in his mom's Dodge Dart (identical to yours only bronze colored with a vinyl roof) which represented great independence, but the true treat was borrowing his dad the judge's sweet baby blue colored Ford Galaxie 500 XL! Then we moved from a Harmony guitar to a sweet Strat or LP!! Jim C.
Awesome! The one pictured in the video wasn't my car, BUT it appeared to be the same year, model and color. (Dart Swinger ... Sky Blue) Loved that car. Sad day when I took it to the junkyard, but man I drove the heck out of it.
I had a 1965. Galaxy 500 2 door when I was a kid. How I wish I had it now. Galaxies ended up being bigger cars but this was before that. 289cc . Be worth a fortune these days.
Good tips and explanation! The harmonies between Duane and Dickey have a unique sound that has made ABB one of my favorite bands ever. I've managed to learn most of Blue Sky (through Duane's solo + harmony part) and will soon get Dickey's solo + harmnony down. Playing both solos back to back is relatively straightforward, but I was wondering how on earth would I be able to do both harmony parts on one guitar? Do I just choose one and/or use a pedal? This really helps to at least approximate that sound so I won't go crazy. Thanks!
Thanks! You could either use a looper to lay down the primary line and overdub the harmony or try a harmonizer pedal. Either way it's really fun to do!
As fantastic and iconic as this song is, unfortunately Duane Allman was dead by this point. 😪🙏🎸 Dickey Betts played alongside an uncredited Les Dudek, who played the harmony part as well as the acoustic rhythm part, and he was a session musician for Capricorn Records at the time. The Allman Brothers' management were really pushing for Dudek to be in the band, and their encouragement had him believing that he'd really gotten the gig, so he began telling people that he was a shoo-in for the band...but that wasn't the case, and the rest of the band were furious that he was making this publicly known, least of all that he or anyone could actually replace Duane...😮 That in itself is an entirely different story, but in spite of the circumstances, Les Dudek deserves credit and his due for being in a right place albeit wrong time scenario and lent his great talents to this classic!
Dudek dated Cher after she and Gregg split. He had a minor hit in 1976 with "Old Judge Jones" Dickey really wanted to be the only guitar player in the ABB after pianist Chuck Leavell joined in 1973. That's the primary reason Dudek was never asked to join.
So in the final result, you're just playing notes an octave above correct? Because I think at the beginning you were playin the fourth or fifth notes or something like that relative to the "primary" sequence. Both sound great, but just wanted to ask since its something I noticed
No. The notes are either a 3rd or 4th above the original. (Pentatonic scales omit 2 notes, so the intervals are not 100% consistent.) Skipping 5 pentatonic positions would give you an octave.
30 years ago when I was familiar with three generally country genre bands one went a step beyond. Lead guitarist got Dickey's style. Plain to see when they did an ABB song that was heard on the radio. Guy was good on slide too. btw, Gotta be old to remember/recognize Mick Taylor, as well as Peter Green, and Albert Lee. (not 10YA's Alvin)
Mark, thank you for the great video. Wanted to let you know that the follow-up video that you pointed to his about ZZ Top, not a deeper dive into Dickey Batts. Let me know if I am missing something. Thanks a bunch for your awesome work
I loved how May, used this technique, Jimmy Page as well, then really got into it when I understood what was going on. I've used it on many songs to give it a tonal width with great effect. Thanks for the post Mark.
I love your goldtop! That's the thing about learning guitar, you are kind of let downby how easy it is to copy your idols. But, it is not the playing, so much, as it is coming up with something unique and GOOD! 5:06
Exactly. The information about scales, chords, the notes of the fretboard, etc. is all there for all of us equally. Good players think about what to do with the ingredients.
You know whats funny is after watching this... i never realized how much Allmans was in my lead playing haha! Im a Jerry Garcia type of player but i add this Allmans feel to stuff that keeps the energy going where the music sometimes crashes. Anywhoo thanks for the video. Also give us the scoop on that guitar ! I love no binding on a LP
Good question. It's applicable to a full (major) scale too - or mixolydian mode or whatever. The trick when using a full major scale is to use the 3NP systems. That way you have the same number of notes on each string and the harmony part is easy, because it's the same pattern as the primary.
So the parts are playing parallel on pentatonic or hexatonic scales and the intervals end up being a mix of thirds and fourths? Is that correct? It tripped me up because it seems to sound like both at different times. Thanks for the lesson.
ive always found that there is always a note that sounds off playing straight 5ths and always add a4th in there. Dont know why, maybe to add tension then back to the perfect 5ths(wait, theyre not always perfect so add a 4th)
That's true ... BUT if you use pentatonic scales shifted by 2 positions, the intervals are going to be 3rds and 4ths. Harmonizing in 5ths is less common. The usual reason for going away from the typical harmonizing (for example, harmonizing in 3rds using the major scale) is to fit the end of a phrase to chord tones. So when you hear it vary, it's often to accommodate a chord on a sustained note.
What I don't understand is that if you are playing an E Major Pentatonic scale and move it up 2 positions, aren't you still in E Major Pentatonic, just in a different position. Wouldn't it be correct to say I am playing in E Major, in position 2?? I'm no theory guy, so it doesn't make sense to m
Yes, but you don't play the same notes - you play the same sequence (same string patterns). So you play different notes. If you watch the cuts where I'm playing both parts it will be clear. Slow the video down if you need to.
@Mark Zabel OK, thanks!! Makes a lot of sense now! I'm a subscriber to your channel and watch every video. You have taught me some very important things, so I thank you for what you do! AND, for the fact that unlike most people, YOU actually respond!
@@MarkZabel Sorry Mark, but I don't get it either. How is the third position shown here the same string pattern as the first (open) position ? It doesn't look anything like it to me. It's a completely different pattern and scale surely, with a C# and an F#. What am I missing here ?
@philbaird1 No, it's the same scale. Just a different position. (E.g., position 1 for the primary and position 3 for the harmony) And you play the same string pattern. If pentatonic patterns are used, each pentatonic position has for each string only two notes - one closer to the nut and one closer to the bridge, in any position. For example, if you play a pattern in one of the positions, say on the fourth string bridge to nut to bridge again. Then in the other position, the higher position, you do the same thing - fourth string bridge to nut to bridge.
Good question. No, that's a great idea, but you need to play the notes of the same key. So, it's possible, but not "just" ... you'd have to play over a different shape of the scale still.
What do you mean by "the same sequence of notes" in the next position? Do you mean you start on and play the same exact notes, or are you speaking of a fingering pattern?
Interesting but complicated. Probably because I play by ear and learned all the notes by listening to records and copying the notes. Now I know what note goes with what sound and what fret. An easy but precise bit would have been from the introduction from Mountain Jam. Duane used that kind of pattern, too.
I do love Dickey Betts. Some time after Duane died, Dickey seemed to add a certain kind of bend to some of his notes and it sounded out of key, to me, but evidently not ot him because he kept it up. He was certainly a fine player and of equal rank with his early-in-life buddy, Duane Allman.
@@grantsmythe8625 unfortunately you only strike a certain magic once The Allman Brothers Band was ALWAYS a great band but the magic captured on Live at the Fillmore East where it sounded like Dickie was playing 🎻 Violin with his guitar and Duane was playing what RON.WOOD called some of the best slide playing ever was only captured while Duane was alive!!!
I like these OG guitar stories. My biggest fail/success was not realising Arlo Guthrie played Alice's Restaurant with a capo as there was no video or photos! So I learned it by ear from the LP without a capo. Craziest chords ever! None of them looked like normal chords. My left hand was in a perpetual claw shape. It took about 6 months to be able to play it. 20 years later I saw a video on YT and realised my mistake. It took about 15 minutes to learn and all the chords were simple, standard open chords🤣
LOL! Yep, that was what it was. Maybe someone down at the music store knew or you'd see them in concert and see their hands (with binoculars and a contact high!).
Similar story, I learned pieces by Doc Watson and Roy Buchanan with a flatpick. Then when I went to see them they were fingerpicking. No wonder it was so difficult.
Hi, let me thank you for your time for putting your videos out. You are a fucking awesome guitarist...love this. The one on Leslie west!..I work a lot but i will subscribe and look for other videos you have, again thank you so much😂
Dickey Betts, the man, the legend, what a legacy....
Most of the time I play alone. To get a decent Allman touch just play the pentatonic scale parallel on two strings at once. I call it my Fake Allman mode.
Fun!
😂👍🎸
Fake it till you make it, or don’t have to fake it anymore. Whatever works.
It’s not fake. If it sounds good it is good. In fact, it might also be considered an exercise in double stops.
Hate to ask, but I’m not following what you mean here…
OMG I've been playing guitar since 1962 and it never dawned on me how difficult I was making it and how easy this trick is. It's a whole new thing!
I had the same reaction!
@@MarkZabel I have to put this into my own construct of how I think about the fretboard rather than these pentatonic positions. So I'm thinking about playing the inversions, but on the same string in the same pattern as the original melody, which was the first great insight I got from you. This is very exciting. Running through my looper all last night and coming up with a lot of Les Paul/Mary Ford sounding stuff because I'm not sticking to purely pentatonics, doing bends, etc. But also, you're last trick, the Betts note is just killer. thank you for opening the eyes of this old man.
@@DThompson55
Growing up I listened to WJMS in Ironwood, MI. They played a lot of Les Paul and Mary Ford. 4 decades later I realized how influential and earth shattering those 2 were. I will never reach that skill level as a strummer and will always RESPECT them.
@@chucklutter7399 Might take age to appreciate what you said about Les, but👍. btw, Bet I could count his imitators on the thumbs of my left foot.
This was awesome. Simple, short, well recorded and edited. One the best song movie placements was Jessica in Field of Dreams. Every road trip since 1989 starts with the ceremonial playing of Jessica. Thanks for the video.
Thanks Craig!
Jessica would have graced any movie!
Thanks!
You're welcome - and thank you too! I really appreciate it!
Great stuff! Just remember... there's NO lick like Dicky Betts' "One Way Out" groove. Divinely inspired I think. Then Betts' solo is perfect, and then Duane comes in with the slide on top of it... wow! "One Way Out - Live at the Fillmore East" - 6/27/1971"
Thanks ... and yes, nothing like that!
Dickey is the most UNDER-RATED guitarist of the rock era. I can't play guitar at all, but your video was clear and understandable. I love Dickey and often wondered what it was about his style that was so appealing. Thanks for explaining it.
Cool, thanks!
my neighbor dickey betts passed today... 4.18.24
It's weird I know but for some reason I prefer the guitarists who keep a serious demeanor when they play like Clapton was always somber Dickie a little scary ha,ha, rather then laughing kind of giggling like some do The Stones alot!!!
@@robertgallagher5285 You might not appreciate The Outlaws then. lol But I bet you like Warren and Derek. (who doesn't?) Cheers.
@johncmitchell4941 believe it or not I never went that far with The Allmans I'm one of the rare Rock fans who think a band should quit on top rather then milk it for years The Outlaws cool also!!!
Thank you for creating and sharing this content. When using the 4th is it wiser to use it as a "passing tone"? Treat it similarly to the "blue note"? Thank you in advance for your responses. BEST AND PEACE
You're welcome. Yes, more or less. It's not as unstable as the b5 is, but it's not a great resolving note.
Thanks Mark Z, I enjoy your lessons very much! Great Content and teachings are generous and well presented!
Glad you like them!
😲😃Very cool Mark! I'll have try that with my looper. Never knew you could just go up to positions like that. Nice!
Thanks Mike! Yes, it's easy once you get the hang of it, and very addictive!
Lots of people say they can transform you playing in 5 minutes, but this is the real deal. Lots of possibilities to go and work on and all from this one idea!
Thanks Alec!
You have to practice, practice, practice Even Duane and Dicky knew that I always called what's he's playing the "hillbilly" scale
Duane used to do a lot of experiments with guitars,I guess when he played slide he was trying to get his guitar to sound like a harmonica...try that sometime
Nice!
I wish I had your RUclips videos 45 years ago to learn from.
Thanks for the lesson.👍👍
Glad you like them!
Very cool, thanks Mark. It's interesting to note that Dickey was influenced by Western Swing and tried to incorporate that sound and style into his playing.
Thanks! You can hear that influence in his double-step picking style. Very good point!
Great video.... You had me at Dodge Dart. I had a 1969 Dodge Dart, slant 6 engine.. I just need your guitar skills to match our choices in 70's Dodge's..
Thanks!
Love the Deluxe Les Paul, thanks for this lesson. Never could figure that out.
Happy to help!
Great content here!
I have been playing out of the Allman's catalog since about 1975.
Your breakdown could not have been more concise or accessible.
Really a cool Deluxe by the way. I have had her twin since 1980. Original pickups in mine but yours sounds great!
Cheers!
Glad you enjoyed it!
I believe, on the recording, there are three parts - the main melody line is played by Dickey Betts, the low harmony is Gregg Allman on Hammond organ and the high harmony is played by Chuck Leavell on Rhodes piano. Chuck also played the acoustic piano part on the recording.
I think the twin guitar thing came from their live performances of the song, since Chuck could not play both the Acoustic piano and Rhodes parts at the same time live.
The song sounds brilliant played either way, though the original recording does have something very special
Yes. It does sound like like Dickey and Duane. And like Mark. And hopefully soon, me 😁🎸
Rock on!
Brothers And Sisters was the first ABB album without Duane Allman. Les Dudek, a Florida free lancer and friend of Dickey’s, played most of the second lead guitar parts. To hear Les tell it, “Jessica” was his idea. He’s a great player and he did play a lot on that record. About the “Dickey Betts Scale:” Nice description of that. Indeed-it’s a thing. When you have something named after you in music, you’ve had an impact. The “Dickey Betts Scale” and the “Jimi Hendrix Chord” fit the bill. Two giants, two additions to the “slang” of music.
No, Dudek is a non thing.
I don't know much about Les. Dickey definitely was the real deal, as you say. Glad you liked the bit about the "Dickey Betts Scale". Thanks!
@@MarkZabel I knew about Les Dudek from guitar mags, etc. About 30 yrs ago I met him through a friend down in Florida and jammed with him a bit. Quite a player.
Great lesson 👍
Glad you liked it!
Very nice content. Enjoyed your breakdown of the Betts style. Thanks, mate. 👍
Thanks!
Thanks for making this easy to understand! Where is the link to the next video you point to at the end?
You're welcome. Here's the link: ruclips.net/p/PLSVfUQKkNUqZr6jUIMbjUnmEAdKMVgL7T
After years playing I picked out, by ear, Southbound. From there I have always used what I call a minor pentatonic in C with the “house shape” up from that scale. It’s all Dickey and it has gotten me by for years now. 😊
Thank you. Never even thought about that. Great tool to add to the toolbox. Always just worked through my harmonies this makes it so easy.
Glad to help!
Thank you! Love your lessons your outlook and your positive vibes.
You are so welcome!
One of the best articulations of his style for sure. I have been seeking this. Thank you!
My pleasure. Thanks for watching!
Hey Mark, love your playing and lessons, but like others, there seem to be some inconsistencies in this one that I found confusing:
1) At 2:30, you show the alleged notes of 3rd position Em pentatonic; except it's not because it shows 3 C# notes.... not part of Em pentatonic. It's F# minor pentatonic. I think you just missed by two frets.
2) The notes to be played that you show in blue (I think that's what you're trying to do) on frets 6,7,9&10 are not the notes you actually play which are down on frets 4-8?? What you play is in 3rd pos. Em penta.
3) If by "play the same pattern" you mean play the same relative fret positions on each string but just moved up, that's not what's happening. The fret pattern played in the harmony is NOT the same as the pattern played in the melody. For example in the melody, the third note, G is on the same fret as the starting note; that is, fret 0. In the harmony the 3rd note (B) is on fret 4 while the starting note is fret 5. I think you mean play the same relative note in the 3rd position as was played in 1st position.... the two licks each start on the 5th note of their respective positions and the 1st four notes are 5,1,2,1
Most of my confusion stemmed from the incorrect display at 2:30. I get it now... cool trick!
Sorry I messed up the diagrams. Thanks for letting me know. I check pretty thoroughly, but sometimes I miss it. It's all done by hand, and mistakes can be made.
Yes, the same relative note 2 positions up from the primary lick.
Yep....That's the sound I love to listen to...harmonized lead....Awesome!
Excellent video brother.Well done. Blessings.
Thanks, you too!
Huge western swing influences w Dickey Betts❤
Absolutely!
This formula is transferable to any of the 5 Pentatonic shapes. As long as you skip a shape in between two Pentatonic shapes you will find the harmony. Great trick thank you!
Exactly so! Thanks!
Dickey Betts is probably my favorite guitarist. My band plays a lot of Allman Brothers including Jessica but without the harmony part since I'm the only lead guitarist. We still rock it including the piano solo. The main riff is from the D chord structure or actually C. Its an A scale. At least thats how I see it.
Cool. Yes, that's the structure I used to play it in the video.
Actually there's only one electric guitar part. The other harmonies are played by an organ and an electric piano.
I learned a lot from listening to The Allman Brothers when I was starting to get serious about playing - whether I knew exactly what it was I was learning or not (I am the least "theory" guy you will ever meet - 98.9% self-taught).
Your videos are great. Maybe if I had a teacher like you back in the late-70s, I'd be a little more aware of what it is I am doing 😂.
Thanks so much!
Thanks Mark fantastic lesson. Your right that one note makes all the difference! 👋🖤🦋🖤
Thanks Kris!!
Very cool! Thank you!
Glad you liked it!
Always good to see a Mark Zabel viddy and then improvising on it, thanks!
Thanks!
@@MarkZabel A little thanks for a job well done is obligatory!
A
PHENOMENAL VIDEO LESSON...
FANTASTIC...
Thanks!! Glad you enjoyed it.
Very good , great information indeed. Thanks .
You bet. Thanks for watching!
Great guitar lesson. Thanks for breaking it down. Keep 'em coming Mark.
Thanks, will do!
Mark, I appreciate that you eschew the use of the pedal to "mimic" this technique. In the guitar community and on RUclips especially it sometimes feels like interesting music couldn't be created without the use of pedals, when in fact great guitarists and musicians like Betts and many others found the way and most pedals only try to replicate it.
My guitar "guru" once told me..."All pedals are cheating and with a little more practice and imagination you won't need them."
He did recommend an amp with spring reverb and was ok with an EQ and drive pedal, though.
This video was a great display of how an inventive approach can produce a legendary sound.
Thanks Charlie! Steve Cropper's advice for pedals was to throw them away. While I'm not quite there, I do know my playing and sound got much better the less junk I put on it. What happens is that you're forced to use your hands to get the sound you want. There are limits of course, but not as many as people think.
@@MarkZabelhaving a second musician to play a harmony with is awesome but in reality... a bit extravagant. You can do it by yourself with overdubs but live? Pedals have their place
Enjoyed that tip,and I had to laugh when you talked about your dodge dart, because I was a teenager in the 70's and my first car was a 67dodge dart.😉
Glad you enjoyed it! That's great, mine was a 1973 version. Great car, but a total rust bucket near the end.
Nice little trick, I'll have to try that! You can actually play both notes yourself by just using the 4th above the original note, playing 2 strings at a time. A little tricky to work out the fingering but 4ths are an easy interval to grab and it sounds great.
Fun to try. And yes, 4ths (and 3rds) are fairly easy to finger and play. (Not necessarily as fluidly as single note phrases though)
@@MarkZabel Definitely not, but a nice way to incorporate the sound if you're the only lead guitarist!
Gotta make sure you get the right mix of 4ths and 3rds or you sound like you're playing a samesan! Happened to us one time when we incorrectly worked out the beginning to Don't Want You No More.
Great lesson Mark!!! Dickie was and still is overshadowed by Duane. Great guitarist and still rocking!!! Keep up the great work. See ya on the next Livestream!!!!! Keep em coming!!🎸
Thanks a ton Paul! See you soon!
Not to take anything away from Duane - but I have always focused on Dickie. Dickie is a very expressive player and truly channels his inners. I also loved his tone
Nice breakdown, thx!!
Glad it was helpful!
Cool. The few times I've done that, I calculated the harmonies for each corresponding note of the main line. More fun than a harmonizer to DT yourself, imo.
Right on, Maud dib
FYI that photo of Duane you use at 1:03 was shot by my good friend Amalie Rothschild.
Yes, sir, very nice indeed. If I may draw your attention to the live 1971 Fillmore concert briefly; on Hot 'lanta, consider those lead harmonies that bend and flow in and out so subtle yet with the power of Godzilla breaking out and wreaking havoc upon the listeners. The point is it wasn't what they played so much as how they played it. And that, my fellow guitar masters, is why they are the legends that they are today; never to be duplicated, only imitated. Oh, and add in some bass and organ harmonies while you're in there. I'm hardly worthy to even be talking about them.
Any comment referencing Godzilla gets a thumbs up from me!
Yes
Very nice description
Thanks for sharing that analogy!
the lesson is great and all, but can we all just take a moment to appreciate the mini humbuckers?
LOL!
Ah, this is the longer version of your TIkTok. Thank you! So seeing the two parts together, it's just the entire riff moved up three frets-exactly the same across the board? I get confused when you say "play it in this other position." We're not finding the unison notes in that different scale pattern, we're just moving up the exact move?
"It" equals the same pattern - same strings and same sequence. Different notes, because it's in a different position. Slow down (using the gear icon) the video during one of the double-guitar sections and you'll see what's going on.
The first time you display the second minor position graphic (position #3, at 2:30), I believe it's a whole step (two frets) up from where you're actually playing the lick. Or did I miss something?
Correct.
I'm such a huge Dickey, Duane, and especially Jack Pearson fan
My best friend (and conveniently next-door neighbor) Tom was one year ahead of me including with his driver's license. Tom also was an only child and both his parents owned cars.......so generally we got stuck cruising in his mom's Dodge Dart (identical to yours only bronze colored with a vinyl roof) which represented great independence, but the true treat was borrowing his dad the judge's sweet baby blue colored Ford Galaxie 500 XL! Then we moved from a Harmony guitar to a sweet Strat or LP!! Jim C.
Awesome! The one pictured in the video wasn't my car, BUT it appeared to be the same year, model and color. (Dart Swinger ... Sky Blue) Loved that car. Sad day when I took it to the junkyard, but man I drove the heck out of it.
I had a 1965. Galaxy 500 2 door when I was a kid. How I wish I had it now. Galaxies ended up being bigger cars but this was before that. 289cc . Be worth a fortune these days.
Good tips and explanation! The harmonies between Duane and Dickey have a unique sound that has made ABB one of my favorite bands ever. I've managed to learn most of Blue Sky (through Duane's solo + harmony part) and will soon get Dickey's solo + harmnony down. Playing both solos back to back is relatively straightforward, but I was wondering how on earth would I be able to do both harmony parts on one guitar? Do I just choose one and/or use a pedal? This really helps to at least approximate that sound so I won't go crazy. Thanks!
Thanks! You could either use a looper to lay down the primary line and overdub the harmony or try a harmonizer pedal. Either way it's really fun to do!
A looper pedal can work but you have to start with just one guitar then play the second on top of the loop
Wonderful lesson. More ABB & Dickey please. Do you still have the Dodge?
Thank you! Yes on ABB ... alas, no on the Dodge.
Was the graphic overlay for Em pentatonic #3 on the wrong frets?
Oh dear! Yes, it's 2 frets closer to the bridge than it should be. Wish I could edit that. Darn!
@@MarkZabel Mark, I’m subscribing anyway. Lol. 😂 Really like your videos. I wasn’t nitpicking, I was harmonizing and said whoa, I’m off..
@@MarkZabel I thought something wasn't right. I'll have another go at it. Appreciate your help Mark.
As fantastic and iconic as this song is, unfortunately Duane Allman was dead by this point. 😪🙏🎸 Dickey Betts played alongside an uncredited Les Dudek, who played the harmony part as well as the acoustic rhythm part, and he was a session musician for Capricorn Records at the time. The Allman Brothers' management were really pushing for Dudek to be in the band, and their encouragement had him believing that he'd really gotten the gig, so he began telling people that he was a shoo-in for the band...but that wasn't the case, and the rest of the band were furious that he was making this publicly known, least of all that he or anyone could actually replace Duane...😮
That in itself is an entirely different story, but in spite of the circumstances, Les Dudek deserves credit and his due for being in a right place albeit wrong time scenario and lent his great talents to this classic!
I always thought the upper voice in Jessica was organ.
I use to play City Magic by Les Dudek decades ago. Loved the harmonized lick that started the song and continued throughout.
@@koshersalaami nope. Gregg played the organ and he wasn't all that proficient at it at this point in their history.
Dudek dated Cher after she and Gregg split. He had a minor hit in 1976 with "Old Judge Jones" Dickey really wanted to be the only guitar player in the ABB after pianist Chuck Leavell joined in 1973. That's the primary reason Dudek was never asked to join.
Les Dudek is underrated as a guitar player.
Is the Emaj pent the same as Aminor?
No. It's the same as C# minor pentatonic.
So in the final result, you're just playing notes an octave above correct? Because I think at the beginning you were playin the fourth or fifth notes or something like that relative to the "primary" sequence. Both sound great, but just wanted to ask since its something I noticed
No. The notes are either a 3rd or 4th above the original. (Pentatonic scales omit 2 notes, so the intervals are not 100% consistent.)
Skipping 5 pentatonic positions would give you an octave.
This is cool , I need all the help I can get .
Glad to help.
1:34 - Dicky Betts with a PRS?!?! Yeeeah!
What is the model Les paul that you are using here?
2012 Les Paul 1970s Tribute.
30 years ago when I was familiar with three generally country genre bands one went a step beyond. Lead guitarist got Dickey's style. Plain to see when they did an ABB song that was heard on the radio. Guy was good on slide too. btw, Gotta be old to remember/recognize Mick Taylor, as well as Peter Green, and Albert Lee. (not 10YA's Alvin)
Mark, thank you for the great video. Wanted to let you know that the follow-up video that you pointed to his about ZZ Top, not a deeper dive into Dickey Batts. Let me know if I am missing something. Thanks a bunch for your awesome work
Thanks! I change the order of the playlist sometimes. I guess I switched Dickey out of the pole position. Thanks for letting me know.
please post link to your deeper Betts dive ( the other one went to your ZZTop piece)
I loved how May, used this technique, Jimmy Page as well, then really got into it when I understood what was going on. I've used it on many songs to give it a tonal width with great effect. Thanks for the post Mark.
Thanks John!
Love your LP with mini humbuckers!
Me too!
I love your goldtop! That's the thing about learning guitar, you are kind of let downby how easy it is to copy your idols. But, it is not the playing, so much, as it is coming up with something unique and GOOD! 5:06
Exactly. The information about scales, chords, the notes of the fretboard, etc. is all there for all of us equally. Good players think about what to do with the ingredients.
You know whats funny is after watching this... i never realized how much Allmans was in my lead playing haha! Im a Jerry Garcia type of player but i add this Allmans feel to stuff that keeps the energy going where the music sometimes crashes. Anywhoo thanks for the video. Also give us the scoop on that guitar ! I love no binding on a LP
Glad you enjoyed it. The guitar is a 1970s Studio Tribute LP. So I guess because it's a Studio tribute, they left the binding off.
I read where Duane loved Jerry's playing
Too much fun!! Thank you!
Glad you enjoyed it!
I love playing that song Jessica
Great lesson on harmony without theory. A friend told me “If you’re thinking you’re stinking”.
LOL! Rock on!
Good stuff Mark, can this be played on a strat 🤭
Thanks! Hmmm ... don't know if I've ever seen Dickey (or Duane) with a Strat. PRS maybe. LOL!
No, only on a Mustang. :)
@@ThaiThom LOL!
I love the simple things in everything, especially music which can seem overwhelming 👍
Me too.
Is it applicable to a full scale or there's something to avoid?
Good question. It's applicable to a full (major) scale too - or mixolydian mode or whatever. The trick when using a full major scale is to use the 3NP systems. That way you have the same number of notes on each string and the harmony part is easy, because it's the same pattern as the primary.
@@MarkZabel thanks 😀
So the parts are playing parallel on pentatonic or hexatonic scales and the intervals end up being a mix of thirds and fourths? Is that correct? It tripped me up because it seems to sound like both at different times. Thanks for the lesson.
Pretty much! Sometimes the final note will be altered to fit the chord being played as well.
Great lesson!!!! Please more of it!😊
Thanks!
I do that in many songs and sometimes parte of the notes I play them one octave above or below.
Cool.
Very nice.
Thanks!
Thank you
My pleasure. Thanks for watching.
Great lesson, minor correction one typo is the ‘3rd position’ is written two frets too high.
Thanks. Yes, I noticed that after publishing. Wish RUclips would allow a correction. Oh well, I'll live with it! Thanks again!
I played ina a couple bands with another guitarist. We played a lot of harmony guitar parts. Counting is the easy way to figure out the harmony notes.
ive always found that there is always a note that sounds off playing straight 5ths and always add a4th in there. Dont know why, maybe to add tension then back to the perfect 5ths(wait, theyre not always perfect so add a 4th)
That's true ... BUT if you use pentatonic scales shifted by 2 positions, the intervals are going to be 3rds and 4ths. Harmonizing in 5ths is less common.
The usual reason for going away from the typical harmonizing (for example, harmonizing in 3rds using the major scale) is to fit the end of a phrase to chord tones. So when you hear it vary, it's often to accommodate a chord on a sustained note.
Duane had been dead about two years when 'Jessica' was recorded.
Hank Marvin does a great version of Jessica. I have played his version live in a three piece band? and I think I got away with it.
Interesting. Gonna check it out.
What I don't understand is that if you are playing an E Major Pentatonic scale and move it up 2 positions, aren't you still in E Major Pentatonic, just in a different position. Wouldn't it be correct to say I am playing in E Major, in position 2?? I'm no theory guy, so it doesn't make sense to m
Yes, but you don't play the same notes - you play the same sequence (same string patterns). So you play different notes. If you watch the cuts where I'm playing both parts it will be clear. Slow the video down if you need to.
@Mark Zabel OK, thanks!! Makes a lot of sense now! I'm a subscriber to your channel and watch every video. You have taught me some very important things, so I thank you for what you do! AND, for the fact that unlike most people, YOU actually respond!
@@MarkZabel Sorry Mark, but I don't get it either. How is the third position shown here the same string pattern as the first (open) position ? It doesn't look anything like it to me. It's a completely different pattern and scale surely, with a C# and an F#. What am I missing here ?
@philbaird1 No, it's the same scale. Just a different position. (E.g., position 1 for the primary and position 3 for the harmony)
And you play the same string pattern. If pentatonic patterns are used, each pentatonic position has for each string only two notes - one closer to the nut and one closer to the bridge, in any position.
For example, if you play a pattern in one of the positions, say on the fourth string bridge to nut to bridge again. Then in the other position, the higher position, you do the same thing - fourth string bridge to nut to bridge.
Dude! I had the same car. The blue was darker though. ❤
Right on!
Can't I just capo up 3 or 4 frets to play the harmony part?
Good question. No, that's a great idea, but you need to play the notes of the same key. So, it's possible, but not "just" ... you'd have to play over a different shape of the scale still.
What do you mean by "the same sequence of notes" in the next position? Do you mean you start on and play the same exact notes, or are you speaking of a fingering pattern?
Fingering pattern.
No other song has so influenced my own playing as much as Blue Sky. It's all about MELODY.
I play that extra note all the time in my pentatonic solos! Knowing that Dickey Betts is my likely influence makes it more special!
Yes, sounds great over the V chord especially.
Interesting but complicated. Probably because I play by ear and learned all the notes by listening to records and copying the notes. Now I know what note goes with what sound and what fret.
An easy but precise bit would have been from the introduction from Mountain Jam. Duane used that kind of pattern, too.
Love it!
Thanks!!
I see you are preparing for the Southern Rock Live Stream! "Guitarmony"? Did you just make that up?
A friend of mine used that word. I liked it so much I "stole" it from him! LOL!
I had the exact same Dodge Dart Swinger and same color.
I do love Dickey Betts. Some time after Duane died, Dickey seemed to add a certain kind of bend to some of his notes and it sounded out of key, to me, but evidently not ot him because he kept it up. He was certainly a fine player and of equal rank with his early-in-life buddy, Duane Allman.
@@grantsmythe8625 unfortunately you only strike a certain magic once The Allman Brothers Band was ALWAYS a great band but the magic captured on Live at the Fillmore East where it sounded like Dickie was playing 🎻 Violin with his guitar and Duane was playing what RON.WOOD called some of the best slide playing ever was only captured while Duane was alive!!!
@@robertgallagher5285 Yes, the original 6 were magic indeed, never to be equaled.
@grantsmythe8625 absolutely
3:38, isn't that Position 3?
I like these OG guitar stories. My biggest fail/success was not realising Arlo Guthrie played Alice's Restaurant with a capo as there was no video or photos! So I learned it by ear from the LP without a capo. Craziest chords ever! None of them looked like normal chords. My left hand was in a perpetual claw shape. It took about 6 months to be able to play it. 20 years later I saw a video on YT and realised my mistake. It took about 15 minutes to learn and all the chords were simple, standard open chords🤣
LOL! Yep, that was what it was. Maybe someone down at the music store knew or you'd see them in concert and see their hands (with binoculars and a contact high!).
Similar story, I learned pieces by Doc Watson and Roy Buchanan with a flatpick. Then when I went to see them they were fingerpicking. No wonder it was so difficult.
@@texasbelle6111 🤣
Always remember Dickey😢
Was that helpful? You Betts ya! 😎👍
LOL! Thanks!
In this photo, it's right before he turned his les paul around and did the "sludge 'o matic" with a watermelon to the front three rows
Hi, let me thank you for your time for putting your videos out. You are a fucking awesome guitarist...love this. The one on Leslie west!..I work a lot but i will subscribe and look for other videos you have, again thank you so much😂
Thanks!