Practicing 101: Chord Tone Soloing & More
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- Опубліковано 2 жов 2024
- In today's live stream, we are going through examples of Chord Tone Soloing over Chord Changes.
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Maybe I'm retarded but it seems to me one would either have to instantly know where every interval is in relation to every root for every chord, without having to spend any time thinking about it, or they'd simply have to have every single scale pattern memorized to the point of instant knowingness for each alteration/chord. Which is easier? Not sure how to drill this. Or do they become one in the same at some point?
Here's what helped me: first learn the entire major scale on your fretboard. Be able to find the roots on the entire fretboard without hesitation . For example if I'm in the key of C I can play the C major scale across the whole fretboard and identify where every C note is.
Then learn your 5 CAGED chord shapes so that you've got 5 ways to build a major/minor chords each all along the fretboard. This is where the CAGED system comes in clutch. It breaks down the major scale into 5 universal chunks that repeat so soon you can find every interval that relates to the root.
After that you learn the arpeggios for each chord shape and figure out where the 3rds and 5ths are for each chord shape, and thus the whole fretboard. Triads also help because they break your chords into smaller chords: the root, 3rd (or b3 if you're in minor scale) and 5th as well as your inversions.
Then you learn your 7th chords, which should come easy because you already know your chord shapes so all you simply do is modify the root in each chord shape. Now you can find the root, 3rds , 5ths, and 7ths (including b7) all along the fretboard for any root. After that you fill in the gaps and learn where your 2nd, 4th, and 6ths are for each scale shape.
Now you are at a point where you can identify all your intervals across the fretboard so you no longer rely on scale shapes. So you've indirectly come to a point where you CAN figure out where every interval is in relation to every root for every chord. Because when you switch to a different chord the patterns just shift over.
I dont know if this makes sense but Im drunk so blah
@@jupyter_core9411 that's pretty much how my progression as an improviser went but there's one more step that I learned that helped me tremendously. Around each of those chord shapes (CAGE&D) I not only learned all of the scale tones (basically the scale pattern that the chord/ arpeggio is derived from) but I also learned all of the arpeggios (triads and 7th's) of the diatonic scale within that position from the 1st string to the 6th string. So, keeping my fingering strictly to that position, I start from each individual scale tone and play the arpeggio within that 4 (sometimes 5) fret position. All the arpeggio/chord tones in that position on all 6 strings. Then I learned the extended arpeggios. So stacking 3rds all the way up to the 13th so that every note of the scale is played within 2 octaves of the scale. The extended arpeggios brings out the unique quality of each mode because you're playing the entire scale (I.e. Ionian, lydian, mixolydian etc...) starting from the root. 1, 3, 5, 7, (2 or 9), (4 or 11), (6 or13). It took less time than I thought it would because after you've learned a couple positions, your ear really gets good at knowing the intervals. That's done so much for my improvising. Even though I still feel like I'm repeating myself so much when I improvise. My newest thing is trying to write interesting melodies spontaneously while working within these parameters. There's nothing you can do to speed up the learning process. You just have to put in the work. There aren't any cheats or hacks that I'm aware of.
I tried this method out in a practice session. I played this practice method over a basic jazz blues, and I liked the results. I got a lot of interesting ideas out of it. Eventually I kind of jettisoned the chord progression and just let my ears guide me through the blues form. I still have a long way to go on my crappy fingering, but it was a lot more fun and a lot more structured than the normal way I try to practice.
You're on Kingdom, Phylum, Class, Order, Family, Genus and Species, and I'm on Duckie and Birdie.....
Your RV Freedom I sympathize with this all too well haha.
Love Rik Beatoff
Oh I wish all my students see this. I can have a break from preaching.. :-) Thanks Rick
After learning the Caged system, and, of course, relying on the Pentatonics and the blue scales, I am coming to realize that Triads, and Chord Tones are the key to really stand out, especially when it comes to accompaniment!
As always, thank you Rick!
You are a living legend in my opinion, at least among those I know that play Guitar!
I just noticed all the picking downstrokes that you do Rick! I guess doing this eliminates a technical variable so you can focus on the notes. That's just given me an idea... Sounding Off with Troy Grady!
Hey Mr Beato are you still doing the ear training course? Been waiting for an update on that
You play well but really have no ability to explain what u are doing to help anybody!
Love the classes you did and the tips from you! Thanks for sharing your knowledge!
Hey Rick, great video. One question, how come you don't bring in a looper in you soloing videos to play over the chords? I think it'd be awesome to hear each different scale/arpeggio over the chords and compare the different sounds
Pick up your guitar and play the chords with the video ;)
When you play Eb melodic minor over the D dominnt, do you think of it as an 'Eb' or D altered?
I've been working on melodic minor lately, and in this situation, working hard at looking at it from the 'D altered' POV... i.e., flat 9, min & maj 3rd, flat & aharp 5th, flat 7th. It seems to help me extend my conceptual visualization of the fingerboard beyond the normal box shapes.
I had that same guitar, in red. I let someone talk me into selling it and I've regretted it ever since. I miss my Danelectro so much...
There is no such thing as improvisation. There is ONLY composition.
We use the word "improvisation" to specify a kind of composition in which "trial and error", "reworking" and "think time" are disallowed. But what you are doing when you improvise is composition and nothing else.
To compose, you must know COMPOSITIONAL devices. The single best compositional device is CHORD TONES, not scales. In fact, I would say scales are NOT compositional devices at all. They are theoretical and technical devices. If you insist on using them as compositional devices you'll never be happy with your compositions. Aka improvisation.
Does this mean scales are bad or useless? Of course not. But they are not the starting point and are not the fountain of composition. Chord tones are.
Start with chord tones. Then add enclosures to your chord tones. Then approach notes and passing tones. And arpeggios. Last, not first, you'll see where scales come into play as short snippets to connect ideas smoothly and build tension. But this assumes everything else is already in place.
There, that's what you've never been told by the chord/scale crowd. Take it to heart and you'll make progress. Otherwise you'll keep trying to make music from scales and IT WILL NEVER WORK.
I agree Don!!!
The chord progressions make me feel like I'm on the beach chilling to the sunset
Great lesson, thank you for your work!!
I've seen many of your videos. This is one of the best, and the toughest nut to crack.
Great lesson and suggestion for practicing. To help support these videos, I just bought the book (for less than the price of a private guitar lesson). Still have to put in the work to make it happen.
Thanks Max!
Same.
I live in Norway, too far away 🤔😢
This 101 class has 404 level prerequisites.
Beato Isolator is sold out - too funny - I love you guys! haha
Need another one of these please~
You're looking trim there Rick!
Could analyzing jazz standards through classical lens be beneficial sometimes? For instance: In key of C: Ab7(b5) - G7 - CMaj7 we could just analyze the Ab7(b5) as a tritone sub into the G7, or instead (from classical lens) simply as a Fr+6. Some jazz standard's chord functions get me, and I'm not sure what to do when improvising or just analyzing. I just remember that many of those composers (Gershwin, Weill, Kern, etc.) come from classical European backgrounds... Love your videos Rick!
Thank you for all youre giving us Rick !
Invaluable stuff!! Thanks so much. Confirms everything I’m working on right now
Way to simplify: all in key of F just switch f to f# and E to Eb over d7b9 or ignore altered notes of d7 at times.
Nah man then you'll just sound like you're wiggling around in F major and not actually playing the changes, you gotta think of each chord as having specific strong and weak tones
Still in here...
I'd love to get behind Rick with a pair of brushes to this. loved the sixteenth note triplet he snuck in there
Hi Rick! Are you still using Apple products?
How many tones to a chord before it becomes an ugly sound?
I would say 5!
Hi Rick, Please tell me what page this information is on in your Red Book?
She tells you she can, you tell her she can't. She actually could...
I always play #4 on a Major chord :)
Ionian is
Just too obvious, don't you think?
the pedal point exercise sounds great!
Thanks Rick. Another enlightening tutorial that is very helpful for me, a drummer, who is a struggling student of the guitar.
Without the struggle, there is nothing.
Here’s to 400K subs by July 4!
U lost me at d7b9. Def not a beginner course. About 10 secs in and left the channel.
😊
Just no clue. Why start out with chords 95% of us that need this have never played…