Good idea to imply the chords with a proper melody. I have seen Derek Trucks do that by playing a slide melody with no one else playing. I will be doing this now.
Still watching your videos after 10 years now. Time passes by so quickly. Thank you for your perseverance on this channel, David, it seems like it finally paid off.
Interesting how some things just feel natural because I've been playing for so long. I've never thought of a theme in this manner, but I've always turned towards chord-focused blues solos (and rhythm). Your explanation fits what I've stumbled on naturally to a tee.
Excellent video and instruction! Such a simple idea and yet so profound! On a slightly different subject, I've noticed how much your American accent has improved. I can only speak English so anyone who can speak more than one language, and do it while sounding like a native speaker, is incredibly impressive to me. I'm curious, how did you make such strides?
Can you explain why you stay in A minor pentatonic and add the thirds of the D and E chords? Why wouldn't you play the corresponding scales to each chord and incorporate the third from those shapes?
Good question! You can definitely go with the associated scales but that would probably sound a bit too disjointed. Keeping a common base like the pentatonic scale throughout will help the story you are telling musically flow better I think.
If you like the Blues, a little bit of theory can go a long way. Heck, you don't need close to as much theory knowledge for the blues as you do for Jazz.
The idea of good music has always been, that the audience has the impression, music would talk to him, which is in reality not the case. This needs tools, and the tools always have been the same. The special function of the 5th is mentioned in the Middle Ages. Repeat this tone and something will reach the audience. You can repeat a short motive. The audience will remind this motive better. You can repeat it a second time, and he reminds it even better. More repetitions will not do the same work. Beethoven knew that. Imitate the sound of your language and the audience will think that you speak to him. The French melody is famous to have a different sound to American. You can find a lot of such rules, which were not written down. What you are doing here is to reinvent the wheel. This is a good idea, because the musical wheel was going to be forgotten.
Dietrich Buxtehude was a famous organist, some decades before Bach. What he invented was the repetition of fast tones. No one else does. They all think, the first melodically interval is the 2nd, and sometimes you can use the 3rd. Take the same tone 6 times, go on. Later take the same tones, 6 times again. Listen to Schubert, Unfinished Sinfonie, last movement. There is the "infinite melody". You end a melody. Short pause. Then take the same tones of the ending to start with the next melody and listen to the effect. I am a native German speaker and have the ability to switch off my understanding of English, if I want. Then I can hear the melody of the language, you all speak. Normally you talk two seconds, make a short break and begin the next sentence. It can also last ten seconds to the break, but not more. Half a minute is not possible, you have to breathe. Take this for your solo, if you want to speak with music. If you sing, you will have a range of slightly more than an octave, or you are a professional. Imitate it with your guitar. For a solo, you need the tones above the band, but only in a short distance. Above means, people can easily hear you. Short distance means, it will sound best. If your sound has not so much sustain, play a long note and let it sound without vibrato. Then, most of the tone has vanished, the vibrato comes. The one who listens will notice it. Take the one or other tone with a special sound effect from the right hand. This will be remembered. Start your lines upbeat. See more videos of David Walliman.
Glad to see you’re getting back to blues guitar lessons. I love it! God bless.
Excelente man... valeu demais 😎
Good idea to imply the chords with a proper melody. I have seen Derek Trucks do that by playing a slide melody with no one else playing. I will be doing this now.
Thank you for this lesson. Excellent instruction.
Still watching your videos after 10 years now. Time passes by so quickly. Thank you for your perseverance on this channel, David, it seems like it finally paid off.
Interesting how some things just feel natural because I've been playing for so long. I've never thought of a theme in this manner, but I've always turned towards chord-focused blues solos (and rhythm). Your explanation fits what I've stumbled on naturally to a tee.
Good presentation. I learn much better when I know the why behind it. That is why I liked this.
This is a great video‼️👍
📌 Free Workshop ➜ guitarplayback.com/bluestraining
Excellent video and instruction! Such a simple idea and yet so profound!
On a slightly different subject, I've noticed how much your American accent has improved. I can only speak English so anyone who can speak more than one language, and do it while sounding like a native speaker, is incredibly impressive to me. I'm curious, how did you make such strides?
Thank you! The accent I think it’s just living here in the US and being married to a native. I didn’t really work on it just came naturally.
Can you explain why you stay in A minor pentatonic and add the thirds of the D and E chords? Why wouldn't you play the corresponding scales to each chord and incorporate the third from those shapes?
Good question! You can definitely go with the associated scales but that would probably sound a bit too disjointed. Keeping a common base like the pentatonic scale throughout will help the story you are telling musically flow better I think.
You're in Wa State?
No, I’m in Colorado
If you like the Blues, a little bit of theory can go a long way. Heck, you don't need close to as much theory knowledge for the blues as you do for Jazz.
The idea of good music has always been, that the audience has the impression, music would talk to him, which is in reality not the case. This needs tools, and the tools always have been the same.
The special function of the 5th is mentioned in the Middle Ages. Repeat this tone and something will reach the audience.
You can repeat a short motive. The audience will remind this motive better. You can repeat it a second time, and he reminds it even better. More repetitions will not do the same work. Beethoven knew that.
Imitate the sound of your language and the audience will think that you speak to him. The French melody is famous to have a different sound to American.
You can find a lot of such rules, which were not written down. What you are doing here is to reinvent the wheel. This is a good idea, because the musical wheel was going to be forgotten.
Dietrich Buxtehude was a famous organist, some decades before Bach. What he invented was the repetition of fast tones. No one else does. They all think, the first melodically interval is the 2nd, and sometimes you can use the 3rd. Take the same tone 6 times, go on. Later take the same tones, 6 times again.
Listen to Schubert, Unfinished Sinfonie, last movement. There is the "infinite melody". You end a melody. Short pause. Then take the same tones of the ending to start with the next melody and listen to the effect.
I am a native German speaker and have the ability to switch off my understanding of English, if I want. Then I can hear the melody of the language, you all speak. Normally you talk two seconds, make a short break and begin the next sentence. It can also last ten seconds to the break, but not more. Half a minute is not possible, you have to breathe. Take this for your solo, if you want to speak with music.
If you sing, you will have a range of slightly more than an octave, or you are a professional. Imitate it with your guitar. For a solo, you need the tones above the band, but only in a short distance. Above means, people can easily hear you. Short distance means, it will sound best.
If your sound has not so much sustain, play a long note and let it sound without vibrato. Then, most of the tone has vanished, the vibrato comes. The one who listens will notice it.
Take the one or other tone with a special sound effect from the right hand. This will be remembered.
Start your lines upbeat.
See more videos of David Walliman.