Great lesson Chris, when you mentioned the chord progression was actually ii and V in G it all clicked. The overlay graphics with the note names really help. Thank you. After being stuck in a rut for a while this gives me something new to practice.
Another awesome lesson! Ending a phrase on that F# over the D7 sounds very sweet! I would love for you to keep this series coming. I have learned so much from these two lessons already.
this made me cry, some people can play some people can teach but not everyone can explain things that make sense regardless of your perceived abilities, skill level, you're truly a master in my mind. for the above reason
This is really helpful, I’m gonna write it out in a notebook of all the diatonic chord notes to highlight when I practice over a backing track, awesome lesson!
Wow I really thought at first we went on a mode change but when you said it was G major I saw it right away. Great lesson really learned another. 👌 thanks Chris have been looking for the part 2.
Please stop making these concepts so straightforward and easy to comprehend! Really, this video lesson is golden. Thank you. Please do more of these types of lessons.
Fantastic teaching method! In this lesson you covered concepts that I already knew, but your way of breaking it down adds another layer of clarity, of seeing how simple it really is. Well done!
@@QBRX it gets easier the more you do it, but yeah, gotta think about the chords. The best way to do this is to take small progression “chunks” and work them. This helps get you used to working on a “cadence” (like V I for example) AND it gets your brain learning this new cognitive skill.
Thanks Chris, always love your insights. I would be thinking Dorian when I hear the vamp or just Pentatonic and hopefully having the presence of mind to see the Major 6th chord tone over it. Always good to have other perspectives and think in G Major!
Good call! A Dorian is clearly a great way to look at it, and arguably a better way. The reason I chose G Major was to avoid any "modal confusion" that folks might have. Glad you enjoyed this one Andy!
This idea is easy to see and understand, takes a little while to get it working, but then, you will NEVER see a chord progression the same way again. Glad you're here, Franco!
I definitely use the question- what major scale do these chords come from? But then I name the mode. A Dorian- Then what are the color notes- the B and the F sharp- start with pentatonic then build from there. When it's a borrowed chord- I add that extra note or 2. To the scale. I love the a minor pentatonic plus the G major scale
That's a huge compliment Mark...humbling. Bloomfield and Greene really helped push the blues into the hands of the electric guitarist. Now I gotta go listen to some of that!!! Thanks, Mark!
I've commented on several of your videos. I always walk away with something new I can use. Best idea I have heard to incorporate arpeggios into soloing. I would like to learn more about how you determine another scale like you did with G major. I understand the G major notes compose both chords, but I would like to know if there is a way you can determine it "on the fly" or it is a matter of knowing more theory. Thanks again!
It gets easier the more you do it, but it does take some deductive reasoning and a bit of theory knowledge. Every Dom7 chord is the V of a major Key, so THAT is a great indicator right there any time you see one!
Hello Chris. I'm wondering if there is a quick way to realize or visualize what you illustrated at around the 7 minute mark, that using the G maj scale would fit so nicely in playing over the change to the D7 chord ? It seems like quite a leap (for me at least) to make that connection while improvising a solo unless I had previously committed to memory that the G maj scale is yet another "tool" in my box to use for this particular chord change. Loving your lessons and your great teaching style !
I don’t know about “quick” in this case. The thought process for me is that when I see the minor progression is “Dorian” I know (from modes study) that the scale is the second mode of the G major scale. That leap gets smaller and smaller the more you work on piecing together the origin of the chords in the progression. The ONLY key that produces Am and D7 is the G major scale.
I understand that we use the G major scale because it has all the notes of the A7 and D7 arpeggios and therefore it naturally works over those chords but we didn't have a G chord or anything in the mix so how would one know that in advance/on the fly in a real world situation which scale to play? Is it just because G is the 7th in the key of A so we would always use the major scale of the 7th of whatever key we are in?
There’s a lot going on here, but the bottom line is that Am and D7 are built from the Gmajor scale. It’s a “2 5” progression. One thing you can do to help is to play all the chords in every key a few times. That kind of exercise really helps to demystify these progressions. Hope that helps!
Mr. Sherland, as a 45 year old just starting with guitar your videos actually make some sense to me even though I have no idea what I'm doing. I don't have a teacher yet. So as I start on my own where is a good place to start? Memorize notes on the neck, basic chords, scales, or all of it? I'm just trying to get some directions to get the ball rolling.
I'd start with these: 1) Learn a few songs to incorporate chords and some rhythm 2) Map the major scale and the minor pentatonic scale over as much of the fretboard as you can 3) memorize the natural notes, open string names, and the formula for the major scale 4) Start mapping triads on the neck. THAT should keep you busy :D
Hi Michael...I started a few years ago when I retired (73 now). The first year or so I got familiar with all the cowboy chords and then the bar ones. I bounced around for another few months trying stuff out but not really having any direction, and no teachers around. My break came when I started learning the pentatonic scale and found after a while that I could play along with a lot of blues songs, simple stuff but really satisfying. I'm trying to get my head around modes right now with not of lot of luck, but persistence pays in music :) All the best.
@@Bob48 Thanks for the advice and well wishes... I regret not starting earlier. But like they say, the next best time to learn something new is now. Yeah I got kind of frozen on not know where I should start out. So I've been doing a lot of starting and stopping. I figure If I had some structure I could focus and have some goals.
Great stuff, what's the quick way to identify expansion scales to use, as you did with G, in this video? I got it once you laid it out, but would have never thought of it on the fly. Maybe that's another video. PS: I love the blooper reel. That's what I envision a day of watching me teach looks like.
Well ANY Dom7 chord is begging to be found as the V of a key. So when you see THAT, just use the circle of fifths to "drop down" to the parent scale. In this progression that was the trick I used. My son is in charge of keeping me humble...you can thank HIM for the bloopers :) HAHAHA!
This was great,,,,,, And thank you for recommending.. Question... Short of memorizing all the scale notes for major and minor in every key,,, Is there a trick to finding which scale??? In this example the relative Major to A minor would have been F#,, but you found G major to be the scale to be useful to hit both chords... These scales are very familiar to me because the 3 note per string 7 positions are my "go to" when im just blasting over stuff.. Maybe im just lacking flavor.. My favorite style is like Randy Rhoads, Mixing the fast blazing scale work, with the melodic make the hair on the back of your neck while the guitar sings feel.... If I want to describe the style I hear myself playing,,, You would mix Styx & Journey with Ozzy & Iron Maiden with the feel of Neil Zaza.... Excruciatingly complicated to translate what I hear in my head to the fret board..
Great description! As far as identifying what scale works the best thing to focus on is learning the diatonic chords (all the chords in a key) and what order they come in. It’s always the same, for every key. So that Am to DMajor can ONLY happen in the key of G.
@@curiousguitarist Rereading this comment the next day and you can see one of my problems right off the bat. I said F#Major... When the relative Major to A minor is C Major.. I kinda know this stuff but it doesnt come to me fluidly... The way I learned was to pick song out off the radio and/or look at tab.. When I had to solo over something, Iet say in A,,, I never really thought about if it was major or minor, I just took up real estate on the 5th fret and started blasting away and then I thought maybe its because I was using the 5 pentatonic positions instead of the whole diatonic scale. I never really took the time to learn music theory. As I look back on my playing career,, I know now thats what has stopped me from really being great. And dont get me wrong, Im no slouch,, I just cant seem to improvise to the standard that I think I should.. the best way to describe it is Im following scale patterns blindly and always hitting bad notes unless I work something out ahead of time.. But I cant really do anything off the cuff with any measure of accuracy... Here is an example of one of my audition videos to give you an idea where Im at.. ua-cam.com/video/HNv8O_MQs9k/v-deo.html
@@oldmanpatriot1490 yup, settling into the difference between a scale and a pattern is a huge leap forward. A scale is a discrete set of pitches that all relate to each other. Knowing those relationships allows you to choose great notes as the context presents itself. A pattern is generated from all of those notes laid out on the fretboard in every place they can be found. In that light the notes have no context at all, just visual distance. Take the journey solo and analyze when notes Schon is choosing to end phrases on, and relate those to the chords underneath them. He is a master of targeting notes that have musical context. You’re definitely no slouch, just shift your focus for a bit from the technical to the musical context and it’ll all come together.
Nice job. Thnks Chris. Is that a custom neck on your new SG? It has almost no tape back to the nut. You said you just got this and it's a killer color. But that neck doesn't look stock??
@@curiousguitarist That surprises me. It is noticeably wider than most standard SG necks with little or no taper. What year does the headstock serial show? I know you got it on Reverb so they must have really changed the neck design in the last 10 years. It's really sharp.
@@curiousguitarist I spent overnight really embedding the idea of moral change from your last video I I am familiar with it but you just confirmed it for me. Thanks!
Great lesson! How do you know that the G maj scale will work in this progression over Am to D7??? Is there an easy way to think about this so I could use it for other keys??
@@Stevehando.guitar It seems that Chris rushed his answer - Actually he said "look DOWN a fifth" (down in pitch) - so the root of the overall key is the 4th of the V chord (if you're moving up in pitch). Going down a 5th and going up a 4th lands you on the same note, albeit an octave apart. The '5th of the Vth' would be the two chord, if you're not changng keys.
A minor pentatonic works nicely there, but if you want to retain the A major sound I'd focus on playing more chord tones to help outline that change. You could also just swap between A and C major pentatonic.
9:55 "Works better because it's the third of the chord". Forgive my ignorance, but is "the third of the chord" special or are you simply saying it's part of the chord (just happens to be the third)?
The "third" of any chord designates whether the chord is major or minor, so it's a substantial sound to go after when targeting a chord tone. As the diagram shows, that minor pentatonic scale has the Root, 5th, and b7 of the D7, but that 3rd has to be "added" there in order to target that note specifically. Hope that helps...let me know if you're still confused.
Only recently discovered your channel and already I've made significant progress in trying to move out of the beginner/intermediate plateau I've been stuck on for years. Particularly your lesson on the circle of fifths. This is equally instructive, thank you. Also, that SG with the P90s is gorgeous.
Originally it was coined from a single song called “I Got Rhythm” by George Gershwin. But at this point the term has been generalized to encompass playing melodically and intentionally over any chord change, and usually including the method of targeting arpeggios or single chord tones from each chord.
Great explanation of using the Dorian mode and fitting the nodes of the 2 chords, A minor 7 and D7. What I struggle with is using the mixolydian and what progressions use that mode (I do know it is highlighting the 5th note and 5th chord of scale). I know AC DC uses it a lot but knowing when, how and what major chord-like progression and hitting those extra notes at right chord has been difficult for me. Can you do a similar style lesson for mixolydian please?
I just found what I've been looking for years, somebody that actually shows how to improvise properly, Thank you
You are so welcome, Michael. Glad you found the channel!
I Agree 100%. Great content presented here.
I'm loving the guitar changes between videos. My wife doesn't understand why we need 9 guitars..... But you guys do!
Haha! Right!?
Great lesson Chris, when you mentioned the chord progression was actually ii and V in G it all clicked. The overlay graphics with the note names really help. Thank you. After being stuck in a rut for a while this gives me something new to practice.
So grateful to hear this Stephen, I’m glad this got you motering down the line again! Love that clicking!!
Another awesome lesson! Ending a phrase on that F# over the D7 sounds very sweet! I would love for you to keep this series coming. I have learned so much from these two lessons already.
Cool, this is a subject I can go on and on about, so more coming for sure!
this made me cry,
some people can play some people can teach but not everyone can explain things that make sense
regardless of your perceived abilities, skill level, you're truly a master in my mind. for the above reason
Wow, thanks Jen! I really appreciate that, and so glad you enjoyed (or cried) for this one :)
Love this lesson, especially as it's in that chilled Dorian mood (my fave mode) :)
Nice catch!! Thanks for all you do JG!!
You are a great teacher Chris. You explain & demonstrate things, in an Easily digestible manner. Really enjoying your lessons. Appreciate it.
Thanks, Michael. I appreciate that and I’m glad you’re here.
wow. surprising number of good ideas in this one video. thanks!
You bet!
Nice, I like this because a lot of notes that I play are also never in the scale ! Finally a lesson tailored to my playing .Thanks Chris!
Glad I finally hit one for you, Rajesh! This technique sticks with you for the rest of your journey!
Thank you for another great lesson! You are an amazing teacher - making music theory relatable to knuckle heads like me lol
Only because, I myself, am a knuckle head. At least that's what my dad called me when I was little. Don't worry, he was smiling when he did :)
I needed this lesson 🎉
So glad you enjoyed this one!
best damn teacher in the whole youtube jungle
Thanks, Adrian, that means a lot to me.
The outtakes at the end!! I'm rolling.
:)
Duude ... finally that was enough.. good job
This is really helpful, I’m gonna write it out in a notebook of all the diatonic chord notes to highlight when I practice over a backing track, awesome lesson!
Thanks, Matt! Glad you enjoyed this one!
Your playing in this video was TASTY! Love it, the scale switching helps keep it way more fun and really opens up the fretboard
Oh, thank you, I appreciate that. Glad you enjoyed this one, Jake.
Thanks Chris. There is a lot of value in this lesson. Gave me a lot of ideas to practice, and made it really click.
Great lesson! I’ve been focusing on triads for over a year, but this is really a simple and clear approach.
That’s great to hear,Dirk. I hope this helps them stick
Thank you for a great lesson sir! Very clear.
My pleasure, Steve.
Excellent video. Been so confused about this for years and you solved it!!!
That is a treat to hear, Ali. Thank you!
Great lesson Chris. Your channel is one of my favorites.
I really appreciate that, Kevin. Thanks for watching.
This sounds like an Albert Collins move with the song Frosty...when he targets the 6
Another great video with classic clarity and application. Thank you.
Hey Ari! Good to see you lurking about, hope all is well, glad you enjoyed this one!
Wow I really thought at first we went on a mode change but when you said it was G major I saw it right away. Great lesson really learned another. 👌 thanks Chris have been looking for the part 2.
Ah yes! When you SEE it...THAT's the moment. So great to hear that, Chad!
Please stop making these concepts so straightforward and easy to comprehend!
Really, this video lesson is golden. Thank you. Please do more of these types of lessons.
ANYTHING for YOU Robert!
Glad you enjoyed this one...let's work on it next time we're hangin'
Tacos and beer?
@@curiousguitarist Def!
Great stuff here! The solos are much more soulful! Thank you! Sir!
Great lesson! : )
Damn. Excellent video.
Wow, thanks, John!
Thank you so much
Another great lesson, easy to follow and understand how you lay it out for us. Love the use of triads. Keep on keeping on Chris 👍👍👍
Thanks Bubba! Keep on tugging! Thanks for all your support!
You are so good. I’d give a month of my life to know what you know. 🙌🏻
Thanks Mark! I'm happy to share it all with you.
Thank you very bright, I hope we see more lessons like. This
I’ve got a lot planned! Glad you enjoyed this one, Isaac.
Santana is happy ❤
Fantastic teaching method! In this lesson you covered concepts that I already knew, but your way of breaking it down adds another layer of clarity, of seeing how simple it really is. Well done!
Thanks, David. I appreciate the compliment and I’m glad you got some value from this one!
Wow, light bulb moment. Thanks Chris, love it!
Glad you enjoyed it, QBRX 2157!
💡
@@curiousguitarist Is there a formula for figgering this out, or do you just have to look at all the chords in the arrangement?
@@QBRX it gets easier the more you do it, but yeah, gotta think about the chords. The best way to do this is to take small progression “chunks” and work them. This helps get you used to working on a “cadence” (like V I for example) AND it gets your brain learning this new cognitive skill.
@@curiousguitarist OK, more work ahead. Thanks for the enlightening!
Fantastic lesson thanks 🙏🏼
You did it again. Need I say more besides thank you
You are welcome! Happy that this one landed well GB!
Thanks Chris, always love your insights.
I would be thinking Dorian when I hear the vamp or just Pentatonic and hopefully having the presence of mind to see the Major 6th chord tone over it. Always good to have other perspectives and think in G Major!
Good call! A Dorian is clearly a great way to look at it, and arguably a better way. The reason I chose G Major was to avoid any "modal confusion" that folks might have. Glad you enjoyed this one Andy!
Great lesson, Chris! Awesome perspective.
This idea is easy to see and understand, takes a little while to get it working, but then, you will NEVER see a chord progression the same way again.
Glad you're here, Franco!
I literally was just working on this morning
Oh really? What a coincidence!
@@curiousguitaristlol
Thanks
Thanks Jacob!!
BLOOPERS YESSSSSSS😄
Ha!
Good stuff! Thanks for sharing your sound advice!
Glad you enjoyed it Timmy, good to see you here again!
Amazing!!!!!! Thanks Cris!!!!
You bet, Andres!
I definitely use the question- what major scale do these chords come from? But then I name the mode. A Dorian- Then what are the color notes- the B and the F sharp- start with pentatonic then build from there. When it's a borrowed chord- I add that extra note or 2. To the scale. I love the a minor pentatonic plus the G major scale
Fantastic context! Great comment.
Somewhere around 9:50 I heard Mike Bloomfield as in Stills Bloomfield and Kooper Super Session.
That's a huge compliment Mark...humbling. Bloomfield and Greene really helped push the blues into the hands of the electric guitarist. Now I gotta go listen to some of that!!!
Thanks, Mark!
@@curiousguitarist 🙌🏻❤️
Super helpful
Excellent!
This why they don't let you play baseball, sir. You knock it out the park every time.
Thanks Red! Hope all is well!
Awesome guitar!
Thanks, I love this thing. The neck is so great...a little wider and a little flatter, but not a shredder profile.
@@curiousguitarist very cool ! I’m looking into the SG Jr. I have Fred Flintstone hands… so the smaller the neck the better !
I've commented on several of your videos. I always walk away with something new I can use. Best idea I have heard to incorporate arpeggios into soloing.
I would like to learn more about how you determine another scale like you did with G major. I understand the G major notes compose both chords, but I would like to know if there is a way you can determine it "on the fly" or it is a matter of knowing more theory. Thanks again!
It gets easier the more you do it, but it does take some deductive reasoning and a bit of theory knowledge.
Every Dom7 chord is the V of a major Key, so THAT is a great indicator right there any time you see one!
@@curiousguitarist That is a great tip! I've used it when learning songs by ear but never thought to apply it to soloing. Thanks again!
Hello Chris. I'm wondering if there is a quick way to realize or visualize what you illustrated at around the 7 minute mark, that using the G maj scale would fit so nicely in playing over the change to the D7 chord ? It seems like quite a leap (for me at least) to make that connection while improvising a solo unless I had previously committed to memory that the G maj scale is yet another "tool" in my box to use for this particular chord change. Loving your lessons and your great teaching style !
I don’t know about “quick” in this case.
The thought process for me is that when I see the minor progression is “Dorian” I know (from modes study) that the scale is the second mode of the G major scale.
That leap gets smaller and smaller the more you work on piecing together the origin of the chords in the progression.
The ONLY key that produces Am and D7 is the G major scale.
I understand that we use the G major scale because it has all the notes of the A7 and D7 arpeggios and therefore it naturally works over those chords but we didn't have a G chord or anything in the mix so how would one know that in advance/on the fly in a real world situation which scale to play? Is it just because G is the 7th in the key of A so we would always use the major scale of the 7th of whatever key we are in?
There’s a lot going on here, but the bottom line is that Am and D7 are built from the Gmajor scale. It’s a “2 5” progression.
One thing you can do to help is to play all the chords in every key a few times. That kind of exercise really helps to demystify these progressions. Hope that helps!
Mr. Sherland, as a 45 year old just starting with guitar your videos actually make some sense to me even though I have no idea what I'm doing. I don't have a teacher yet. So as I start on my own where is a good place to start? Memorize notes on the neck, basic chords, scales, or all of it? I'm just trying to get some directions to get the ball rolling.
I'd start with these:
1) Learn a few songs to incorporate chords and some rhythm
2) Map the major scale and the minor pentatonic scale over as much of the fretboard as you can
3) memorize the natural notes, open string names, and the formula for the major scale
4) Start mapping triads on the neck.
THAT should keep you busy :D
@@curiousguitarist thank you!
Hi Michael...I started a few years ago when I retired (73 now). The first year or so I got familiar with all the cowboy chords and then the bar ones. I bounced around for another few months trying stuff out but not really having any direction, and no teachers around. My break came when I started learning the pentatonic scale and found after a while that I could play along with a lot of blues songs, simple stuff but really satisfying. I'm trying to get my head around modes right now with not of lot of luck, but persistence pays in music :) All the best.
@@Bob48 try this Bob: ua-cam.com/video/v01pGRHdng0/v-deo.html
@@Bob48 Thanks for the advice and well wishes... I regret not starting earlier. But like they say, the next best time to learn something new is now. Yeah I got kind of frozen on not know where I should start out. So I've been doing a lot of starting and stopping. I figure If I had some structure I could focus and have some goals.
Thanks Chris!! I've been feeling down and stuck, now I know something else that I must practice more!
Oh yeah! Being stuck sucks. I'm glad this looks like it'll un-stick you, Samuel!
Great stuff, what's the quick way to identify expansion scales to use, as you did with G, in this video? I got it once you laid it out, but would have never thought of it on the fly. Maybe that's another video.
PS: I love the blooper reel. That's what I envision a day of watching me teach looks like.
Well ANY Dom7 chord is begging to be found as the V of a key. So when you see THAT, just use the circle of fifths to "drop down" to the parent scale. In this progression that was the trick I used.
My son is in charge of keeping me humble...you can thank HIM for the bloopers :) HAHAHA!
Nice lesson Chris, which colour is that on the SG SPECIAL? Very nice.
Faded Pelham Blue. It sure is pretty!
This was great,,,,,, And thank you for recommending..
Question... Short of memorizing all the scale notes for major and minor in every key,,, Is there a trick to finding which scale??? In this example the relative Major to A minor would have been F#,, but you found G major to be the scale to be useful to hit both chords...
These scales are very familiar to me because the 3 note per string 7 positions are my "go to" when im just blasting over stuff.. Maybe im just lacking flavor.. My favorite style is like Randy Rhoads, Mixing the fast blazing scale work, with the melodic make the hair on the back of your neck while the guitar sings feel....
If I want to describe the style I hear myself playing,,, You would mix Styx & Journey with Ozzy & Iron Maiden with the feel of Neil Zaza.... Excruciatingly complicated to translate what I hear in my head to the fret board..
Great description!
As far as identifying what scale works the best thing to focus on is learning the diatonic chords (all the chords in a key) and what order they come in. It’s always the same, for every key. So that Am to DMajor can ONLY happen in the key of G.
@@curiousguitarist Rereading this comment the next day and you can see one of my problems right off the bat. I said F#Major... When the relative Major to A minor is C Major.. I kinda know this stuff but it doesnt come to me fluidly...
The way I learned was to pick song out off the radio and/or look at tab.. When I had to solo over something, Iet say in A,,, I never really thought about if it was major or minor, I just took up real estate on the 5th fret and started blasting away and then I thought maybe its because I was using the 5 pentatonic positions instead of the whole diatonic scale. I never really took the time to learn music theory. As I look back on my playing career,, I know now thats what has stopped me from really being great. And dont get me wrong, Im no slouch,, I just cant seem to improvise to the standard that I think I should.. the best way to describe it is Im following scale patterns blindly and always hitting bad notes unless I work something out ahead of time.. But I cant really do anything off the cuff with any measure of accuracy...
Here is an example of one of my audition videos to give you an idea where Im at..
ua-cam.com/video/HNv8O_MQs9k/v-deo.html
@@oldmanpatriot1490 yup, settling into the difference between a scale and a pattern is a huge leap forward.
A scale is a discrete set of pitches that all relate to each other. Knowing those relationships allows you to choose great notes as the context presents itself.
A pattern is generated from all of those notes laid out on the fretboard in every place they can be found. In that light the notes have no context at all, just visual distance.
Take the journey solo and analyze when notes Schon is choosing to end phrases on, and relate those to the chords underneath them. He is a master of targeting notes that have musical context.
You’re definitely no slouch, just shift your focus for a bit from the technical to the musical context and it’ll all come together.
@@curiousguitarist Thank you.. I am finding your channel very informative... Its definitely not a quick study type thing..
@@oldmanpatriot1490 yeah, for me, if it's worth having...well...it's worth working your butt off for.
Nice job. Thnks Chris. Is that a custom neck on your new SG? It has almost no tape back to the nut. You said you just got this and it's a killer color. But that neck doesn't look stock??
Its totally stock, but man the neck is badass! Slim bit not thin, wide at the nut, and the body join at 22 is sublime.
@@curiousguitarist That surprises me. It is noticeably wider than most standard SG necks with little or no taper. What year does the headstock serial show? I know you got it on Reverb so they must have really changed the neck design in the last 10 years. It's really sharp.
@@donlessnau3983 it’s a 2019
"Again" 🤣 brilliant
Glad you enjoyed this one!
@@curiousguitarist I spent overnight really embedding the idea of moral change from your last video I I am familiar with it but you just confirmed it for me. Thanks!
..or an A Dorian or D Mixolydian scale = G major.
If Santana playes he gonna focus most of the F# to get Dorian sound. 🙂
BAM! So right! I was going to use a Santana-inspired riff as an example and I forgot to do it!! DOH!
Thanks for the context!!
Great lesson! How do you know that the G maj scale will work in this progression over Am to D7??? Is there an easy way to think about this so I could use it for other keys??
Every dom7 chord is the V in a key. Just look down a 5th from that chords root and that’s your major key!!
@@curiousguitarist so you mean the fifth of the five chord ?
@@Stevehando.guitar perfect!
@@curiousguitarist thank you so much! What a great lesson 👏
@@Stevehando.guitar It seems that Chris rushed his answer - Actually he said "look DOWN a fifth" (down in pitch) - so the root of the overall key is the 4th of the V chord (if you're moving up in pitch). Going down a 5th and going up a 4th lands you on the same note, albeit an octave apart. The '5th of the Vth' would be the two chord, if you're not changng keys.
how about soloing over two chords not in the same key? like A major to C major?
A minor pentatonic works nicely there, but if you want to retain the A major sound I'd focus on playing more chord tones to help outline that change. You could also just swap between A and C major pentatonic.
@@curiousguitarist Cool! ill try that.
9:55 "Works better because it's the third of the chord". Forgive my ignorance, but is "the third of the chord" special or are you simply saying it's part of the chord (just happens to be the third)?
The "third" of any chord designates whether the chord is major or minor, so it's a substantial sound to go after when targeting a chord tone. As the diagram shows, that minor pentatonic scale has the Root, 5th, and b7 of the D7, but that 3rd has to be "added" there in order to target that note specifically.
Hope that helps...let me know if you're still confused.
@@curiousguitarist Understood. Thank you!
@@JaysonT1 of course!
Thank you so much
You are welcome.
Only recently discovered your channel and already I've made significant progress in trying to move out of the beginner/intermediate plateau I've been stuck on for years. Particularly your lesson on the circle of fifths. This is equally instructive, thank you. Also, that SG with the P90s is gorgeous.
Welcome aboard! Great to hear about your progress. And yeah, this SG is pretty lovely, thanks!
I thought 'playing over changes' was about what to play over non diatonic chords like dominant 7th chords in an otherwise diatonic progression.
Originally it was coined from a single song called “I Got Rhythm” by George Gershwin. But at this point the term has been generalized to encompass playing melodically and intentionally over any chord change, and usually including the method of targeting arpeggios or single chord tones from each chord.
Really excellent approach for players of all skill level. Thank you!
Glad it was helpful, Brian.
What a great guitar.
Thanks, Pete!
Another great lesson Thanks
Thank you, Joe! Glad you enjoyed this one
Thank you, Joe! Glad you enjoyed this one
Chris, 😊
Audrey, 👍
So much good stuff to unpack here! The Studio discussion this morning was pretty amazing too! Thanks so much Chris!
You bet Tim! Yeah it was a cool live stream, great to see so many new faces too. Thanks for being a part of it all, Tim!
Great explanation of using the Dorian mode and fitting the nodes of the 2 chords, A minor 7 and D7. What I struggle with is using the mixolydian and what progressions use that mode (I do know it is highlighting the 5th note and 5th chord of scale). I know AC DC uses it a lot but knowing when, how and what major chord-like progression and hitting those extra notes at right chord has been difficult for me. Can you do a similar style lesson for mixolydian please?
Great suggestion...something like....this?
ua-cam.com/video/aBzrANPvVtM/v-deo.html