Excellent ... thank you Rob for this straightforward explanation. So it looks ... sounds ... like that you can play about anything over everything if you do it with the right attitude? ... "just play it like you really mean it!" ... 😎🙏
Great lesson as always! I was wondering why we cannot used the C minor pentatonic over C Maj7 chord. To my hears, there are tensions, but no awful clash like a major7 note over a 7th chord... In a similar fashion, in blues we're allowed to play the minor 3rd on the major chord, but not the other way around. Maybe I need to get my hears checked, but I would be curious to know why we cannot used the C minor Penta over the C major 7 chord. Thank you!
Always trust your ears over theory, but if you play minor pent. over Amj7th chords, you'll play 2 notes that clash (b7 and b3). In Blues we play dominant chords that have already a b7. The clash with the b3 is a style element and we used to that #9 sound that the b3 over a dominant chord creates. Over Major 7th chords it's a bit different.
Is there diminished scales and arps, and augmented scales and arps? What other types of arps are there besides 7th arps, and what are they and how to play them if they exist?
Of course I'm not Rob, but I can try to help anyway. Playing the F over a Cmaj7 gives you a tritone between the B that's the 7th of the Cmaj7 and the F you're playing. Which isn't bad or good in and of itself, but it's of course a very specific sound that you need to be going for rather than land on by accident.
Great video. Sorry if this is a silly question, I thought the 4th mode is Lydian in major scale, so why wouldn’t F major7 arp over the c maj7 give you the Lydian sound and not G major 7 arp?
Gmaj7 over the Cmaj chord result in C lydian because Gmaj7 contains the augmented 4th degree (f#). So Fmaj7 arp over the Cmaj chord results in C major (C ionian) Thecoterway around however, Cmaj7 arp over the Fmaj chord results in F lydian, because the Cmaj7 arp contains the augmented 4th in F. The note B.
If your adding F# to the Cmaj scale your just playing C Lydian irrespective how you want to explain it. if the scale contains 1357 then you have the freedom to do what you want such as the augmented scale or the 6th mode of the E harmonic minor (CMaj7) would also work.
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He is the best guitar teacher ever in youtube👍👍👍👍 .....better than music schools n universities
Nice just what i was looking for 👌
Excellent, thank you!
Thanks so much for sharing.Your lessons are really helpful. It has helped me a lot. Keep them coming!!
Great, as usual! I love the Sat(ri)anic combination starting @ 8:45'. It rang a big bell in my small guitarist head!
Great Channel you have... one of the best in the Whole Platform
One of the best videos of the topic. Thanks a lot!
Fantastic lesson...
This channel is really underrated!
I appreciated a lot.Great class as always.
Thank you very much! Absolutely fantastic lesson!
As always!! great lesson
Great and super job. Tx.
Thanks mate. This is really helping a lot. Looking forward to the next lessons.
very inspiring, i´m allways impressed
Hallo....i'm italian guitarist..your videos are very good!!!.....thank you for your lesson..😀🥳🥳👍
Your videos are, as usual, perfect!!
Excellent ... thank you Rob for this straightforward explanation. So it looks ... sounds ... like that you can play about anything over everything if you do it with the right attitude? ... "just play it like you really mean it!" ... 😎🙏
Exactly play it like if you mean it and practically anything goes. True!
@@QJamTracks 😎🙏 ... and a safe and inspiring weekend 😃 🤙!
Thank you so much
Very explanatory.
Well done explained, I learn a lot of new things to apply to improve my guitar language, new sub here, greetings from Mexico.
Great lesson as always! I was wondering why we cannot used the C minor pentatonic over C Maj7 chord. To my hears, there are tensions, but no awful clash like a major7 note over a 7th chord... In a similar fashion, in blues we're allowed to play the minor 3rd on the major chord, but not the other way around. Maybe I need to get my hears checked, but I would be curious to know why we cannot used the C minor Penta over the C major 7 chord. Thank you!
Always trust your ears over theory, but if you play minor pent. over Amj7th chords, you'll play 2 notes that clash (b7 and b3). In Blues we play dominant chords that have already a b7. The clash with the b3 is a style element and we used to that #9 sound that the b3 over a dominant chord creates. Over Major 7th chords it's a bit different.
Awesome.
Is there diminished scales and arps, and augmented scales and arps? What other types of arps are there besides 7th arps, and what are they and how to play them if they exist?
Yes there are. In part 3 and 4 I will mention these for sure
I like you sound!
Tanxxx a lot..have each part can be a pdf or gpro for lessons?
Playing E minor or G major over Cmaj7 is the same as playing C Lydian. The important thing to remember is that C is the root note.
That Em7 scale over Cmaj7 looks like a G major scale starting on the 3rd of G?
Dynamite lesson
Can you please define what you mean by “avoid-note” and how is it determined what the avoid-note(s) are in a scale.
Of course I'm not Rob, but I can try to help anyway. Playing the F over a Cmaj7 gives you a tritone between the B that's the 7th of the Cmaj7 and the F you're playing. Which isn't bad or good in and of itself, but it's of course a very specific sound that you need to be going for rather than land on by accident.
Great video. Sorry if this is a silly question, I thought the 4th mode is Lydian in major scale, so why wouldn’t F major7 arp over the c maj7 give you the Lydian sound and not G major 7 arp?
Gmaj7 over the Cmaj chord result in C lydian because Gmaj7 contains the augmented 4th degree (f#).
So Fmaj7 arp over the Cmaj chord results in C major (C ionian)
Thecoterway around however, Cmaj7 arp over the Fmaj chord results in F lydian, because the Cmaj7 arp contains the augmented 4th in F. The note B.
@@QJamTracks Great! Thanks for the info. Keep up the great videos
The Dutch accent suits guitar videos perfectly! Who knew? 😁
ohhh... that one of the maj7 arpeggio on the 5th degree is the piece I was missing
If your adding F# to the Cmaj scale your just playing C Lydian irrespective how you want to explain it. if the scale contains 1357 then you have the freedom to do what you want such as the augmented scale or the 6th mode of the E harmonic minor (CMaj7) would also work.
Maj Pent over a maj7 is more a Maj6 or Maj 69 sound.
great teaching but maybe hold the rock tone in the 2nd vid.. a clean tone helps learn better.. the jazz tone was great too
I'm not getting your vids recommended, sadly
Yes, I hear that from others too...
you can tell in a split second when somebody is from the Netherlands after they open their mouths