I discovered yesterday this Video, went quickly through others video from you Robert and I have to admit that you appeared to me as a SERIOUS guy willing to explain clearly. I DO appreciate this spriti of willing to offer the best, your explanations are very well built. I definitly will investifate more your videos from now (and already bough the 6 Licks pack). Great Job, this makes me happy to discover from time to time great guys as you are Robert.
Great idea learning the arpeggios. I keep playing fewer and fewer notes and sounding better. Even really simple licks sound great if you hit the chord tones and add some feel.
Hey Robert, As usual, when I give a first listen through to one of your theory oriented lessons I am totally intimidated. It's like WHAT?!!! Then after working through it in bits and pieces, WHAT? becomes YES!!! Usually I just resort to playing pieces from the scale that the dominate key that the progression is in. Sounds ok, but following each chord with notes from that chords arpeggios as you have demonstrated has so much more feeling. Hope what I just said makes sense. Great stuff, thanks again Maestro! Dave in the Adirondacks Hope the hip is well on the mend!
Hi Robert. Many thanks for this. I think that this is a must-see lesson for guitarists. The whole 'Chord Tone'/CAGED/Arpeggio idea, and the relationships between them have taken years to penetrate my tiny brain, and I have been trying to integrate them into my playing for a year or so.
Great clarification of must-know for soloing in conjunction with chord progressions through the blues examples. Yeah I agree with you that you don't have to know all the theories if you can still play without it. But I am sure it is still a very efficient way of learning to play competently. What if they don't possess gifted sense of hitting the right notes even from the early stage? In that case knowing your theory is one of the essentials to get you there I suppose.
I once saw Matt Schofield demonstrate a similar thing where he saw each chord as the start of a new "key" and played the A blues scale over the A7 chord when it was the four chord etc. I never figured out how he did it, although he made it sound awesome. But now I have! Brilliant explanation and demonstration as ever Robert. I've shared this with my pals who struggle to play solos as the chords change. This is now my "go to" lesson for the next few weeks. And to downhill2400, you can learn without theory or reading music - just watch Tommy Emmanuel. He does neither. He just has a fantastic musical ear, even though he only has 20% hearing in both ears.
Glad you like it! If you learn where the chord notes are (sweet notes), you're set. You have to memorize this, so keep practicing until you do. Anyone can memorize this - it just takes some practice time.
Thank you Robert, that is precisely what I will be doing. I'm OK with the chord notes and the theory. It's getting the fingers to do what the tune in my head is saying! I loved all your bluesy licks as well - they're up next.
You can say what you want. But i think it's for THIS kind of stuff you need to know the theory. Yea you can follow your ears to learn this. But it's gonna take so long to be use to the good vibrations. And well, what if we change the tone after it? 🤗. Guys if you like music just give a quick look to the theory and you'll understand how cool it is (been playing for 3 years and i started to study theory by myself for 4 month. The best decision i've ever take into the music)
Great tone as usual ! Zexccoil pickups are really great, I use the signature set and it's really nice, maybe I would try another set, with less gain, but it's really really fun
I'm not familiar with Blues progressions. Why is the 4th a Dominant 7th and not a Major 7th? Sounds good tho. I especially like how the 9th/2nd added a color since its not part of the pentatonic.
@@Dolphinstreets Robert, just the fact that you respond to so many of your messages speaks volumes of your sincerity of what you are doing. Truely mean that. Thank you. Great guitarist.
What do you mean when you say things like go up to the 9, and your not on the 9th fret? What is this 7,8,9,10,ect. Your talking about? Like what's the difference between a 4 and 1 chord? This stuffs so confusing it's frustrating..
Brandon Sickles the 1 and the 2 etc are either talking about the 1st or 2 note in the major or minor scale of the key the song is in. And when he says the 4 chord it's the chord based off the 4th note in the scale. So if take the key of G you have the notes G A B C D E and F# and to figure out which chord to play in the key of G major the pattern is Major, minor, minor, Major, Major, minor, diminished... so the 4 chord in the key of G is C major. The 3 chord is B minor. Etc. Look up some stuff about intervals if you wanna learn about the distance between notes in scales. Once you start learning things like this it opens up a whole new world to allow you to create the melodies in your head with the instrument. Because if you have 2 notes in your head or a melody you can hum... No matter what key you play in.. if you play a major 4th interval... or the 1 note and the 4 note... You can play it in any key and it will have the same feel. Just start playing with the stuff and learning and as you go it will be like a series of lightbulbs going off in your mind
Brandon Sickles and this is the world of music theory that he spoke about. It gives you a great understanding of why all the stuff you play that sounds good, does sound good. It helps you understand why everything works and what will work and allow you to write your own music much more easily. One really cool thing that I've learned in my early theory exploration. If you play in any major key... And say you pick a progression like the 6 chord, 4 chord, 1 chord, 5 chord. In theory speak it would be called a 6, 4, 1 , 5 progression. If you play the chords that match those numbers in any of the major keys... it will sound like the same progression just in a different pitch or with a different sound sort of... But the distance between the notes are the same so the relationship is the same regardless of your key, making the progression sound very similar regardless of the key
They are intervals. A chord is made up of the intervals 1, 3 & 5 (major chords: 1 3 5 & minor chords 1 b3 5). A 7th chord adds the next interval so it's 1 3 5 7. A 9th chord 1 3 5 7 9 and so on. Notice that each interval is a third away from the last interval (or every other note). Chords are built this way. You have a root note, a major or minor 3rd and a 5th. This is called a triad. Adding further notes creates more colourful and interesting sounding chords. But you would not play all the intervals of the chord all the time. A 9th chord would normally be a triad (1 2 3) and the 9, so 1 3 5 9. I hope that helps.
WHY MOST SUGGESTION ABOUT SOLOING PARALLEL TO CHORDS ARE INADEQUATE (POST 87) (I am not someone that has monetized his publications I am a University Professsor, and my suggestions have a purelly academic nature) An extract from my Blogsimplerguitarlearning.blogspot.gr/2018/03/87-why-most-suggestion-about-soloing.html Most of the suggestions about soloing parallel to chords are of the type: 1) Play the arpeggio or chord-tone 2) Play the pentatonic scale minor or major with the same root 3) Play a mode or scale that the song is in it etc And although applying the above will not sound ugly when soloing, still all of the above are inadequate for good licks and multiplicative (meaning dense and chatty) soloing by an instrument in a song! The reason is the next: A song has a singable melody and chords and when soloing, the soloing must not only fit the chord progressions but also resemble the melody that the singer sings! Now the melody has simple themes that repeat, ascend or descend and expand or contact. So the soloing must refect the simple theme and transform it in more complicated ways. That is why all the 1),2), 3) are not really adequate. In other posts of this book, we have enlarged on the structure of the melody from simple themes that somehow repeat and the simplicial sub melody. E.g. the soloing must have also the same simplicial sub melody.
I'm playing guitar for 2 years and a half right now, but I found very difficult follow this lesson, I think I got 10%, LOL. In my opinion, right or wrong, I think that who can follow this lesson can also use licks into the chords. Do you think exist another more simple way for beginners or I need to study more the subject? :) Just my 0.02$
+sergiobodyweb if you want to understand this lesson, you have to study the basics of music theory, itn't an advanced level. you need to know the notes, intevals, chords (know which note is made). you know what the key of a song is? you can?t skip steps, you have to understand how to do before you can do
+Marco Miola Here the teacher is explaining that when the chords change the soloist can move through the notes that make up the chords, so you don't have to run always the same scale up and down because it's icky
+Marco Miola Hi Marco, thank you for your answer first of all. Probably I miss something, I know intervals, scales, pentatonic and natural, minor and major, I know what's the key of a song, I can find myself most of the time. I may have problem with connecting chords note and scale note, chords are what I'm not confident with, especially exact note composition.
+Marco Miola : So, basically you need to memorize and know notes of the scale and of the chord to remember those notes and find around the fretboard in the kay and scale you are playing. (Totally a mess for me, LOL)
+sergiobodyweb yes exactly, you see that he shows us for example if you have a A7 chord he plays before the first, the third and fifth note of the A scale, this notes recall the sound of the chord. The reason why you can do this is in the chord progression.
Sorry. I don't agree. "How to play licks that fits the chords? play the chord in arpeggio mode". Sorry, but that don't resolves the question. Arpeggios are just chords played note by note. The main key for tonal improvisation (or composition) is to find triads, phrase over them (cause they are stronger intervals) and then find other intervals, less strong, but in the scale, to improve the main motiv. The arpeggio (from italian, arpa = the harp) is just a tecnique that consists of play note by note, like a player do on the harp. Its like tapping, bending, etc and has nothing to do with phrasing, intervals or improvisation.
IMO not a VG lesson Robert. Basically you said go to the Dominant 7th arpeggios for thethe chord tones yet you did not get into anything about those arpeggios.Now I will have to look elsewhere for more on identifying chord tones thru the use of Dominant 7ths.
Robert- First, great vid. This is exactly the kind of info I love. I can memorize tabs all day, but at the end, there's no thought behind it. It's just robotic playback without awareness of where the chord changes are etc. Do you have a long form video that discusses this type of information? Also, what's the best way to incorporate these things into your playing? Do you memorize the neck? Do you memorize arpeggio forms? Do you memorize scales and note positions? Just trying to wrap my head around how best to approach this. Thanks!
Greg's Garage Yeah, I do have a whole course about scales you can use over blues. I go over the details, and I include 3 guitar solos too. www.masterguitaracademy.com/store/scales-you-can-use-when-you-play-the-blues/ The best way to incorporate these things is to learn the chords all over the neck, to memorize the intervals for the chords, and practice your ear. There are several ways you can practice this - arpeggio runs, triad exercises, etc. It's important to understand that it's not the grip/form/pattern that is the important thing - it's the NOTES or INTERVALS that matter the most. You can play a Triad, for example, in several different ways, with different fingerings, and they are ALL correct. It's just a preference how you choose the play the notes, but you MUST know the notes you are playing. Does that make sense?
Yes it does. Thank you. I grew up playing piano. I know the scales there. I know how to form all sorts of chords and I know where the notes of the chords fall in the scales... I can use a chart to get from notes on the piano to notes on the guitar neck, I just can't seem to look at the guitar as intuitively as I look at a piano. It's VERY slow for me to find say an "F#" half way up the neck... I have to hunt and peck to find it. I learned to play guitar totally by ear and it's always been a guess as to what notes are what, they just sound right. I will take a look at your link. Thanks again for all the vids!!!
Greg's Garage Sound good. I recommend learning the SHAPE of a 1-3-5 (triad) for starters. Take frets 7-6-5 on D-G-B strings. A Major Triad. That is a shape you probably already know. Learn which intervals they are (1-3-5) so that you can instantly see those intervals within the shape. Move the shape 3 frets up, what do you get? C Major Triad... and so on. Learn as many triad shapes as you can, and constantly relate them back to the scales you (may) know, like the major scale, pentatonics, etc.
Robert is the best teacher on UA-cam when it comes to chord tones.
AGREE
I don't know how anyone can play without learning some level of theory. Great lessons here!
I discovered yesterday this Video, went quickly through others video from you Robert and I have to admit that you appeared to me as a SERIOUS guy willing to explain clearly. I DO appreciate this spriti of willing to offer the best, your explanations are very well built. I definitly will investifate more your videos from now (and already bough the 6 Licks pack).
Great Job, this makes me happy to discover from time to time great guys as you are Robert.
Great player, great teacher, great guy.
Allan Gildea You are too kind.
Superb lesson, brilliant playing. Cheers
Great idea learning the arpeggios. I keep playing fewer and fewer notes and sounding better. Even really simple licks sound great if you hit the chord tones and add some feel.
I believe that is the most useful single lesson on learning something about how to construct a blues lick I have ever seen
Hey Robert,
As usual, when I give a first listen through to one of your theory oriented lessons I am totally intimidated. It's like WHAT?!!! Then after working through it in bits and pieces, WHAT? becomes YES!!!
Usually I just resort to playing pieces from the scale that the dominate key that the progression is in. Sounds ok, but following each chord with notes from that chords arpeggios as you have demonstrated has so much more feeling. Hope what I just said makes sense.
Great stuff, thanks again Maestro!
Dave in the Adirondacks
Hope the hip is well on the mend!
Thank you professor X you're the best!
Hi Robert. Many thanks for this. I think that this is a must-see lesson for guitarists. The whole 'Chord Tone'/CAGED/Arpeggio idea, and the relationships between them have taken years to penetrate my tiny brain, and I have been trying to integrate them into my playing for a year or so.
What is that guitar you’re using in this video, and how’re you getting such “bite” with rosewood?
@@lawrencedickerson6287 It's an American Standard Strat with Zexcoil pickups. The neck is a Warmoth neck.
Thanks for lesson. Your playing sounds great :)
Thank you!
Great lesson! This is helping me break out of the scale rut. Many thanks.
Enjoy watching you go up and down when I learnt boxes I went across more than up and Down
Great clarification of must-know for soloing in conjunction with chord progressions through the blues examples. Yeah I agree with you that you don't have to know all the theories if you can still play without it. But I am sure it is still a very efficient way of learning to play competently. What if they don't possess gifted sense of hitting the right notes even from the early stage? In that case knowing your theory is one of the essentials to get you there I suppose.
I've learned a lot from Robert.. A lot
Really amazing and concise lesson thank you Robert. You make a lot of sense.
Thanks!
Elemental, conceptual and useful.
I once saw Matt Schofield demonstrate a similar thing where he saw each chord as the start of a new "key" and played the A blues scale over the A7 chord when it was the four chord etc. I never figured out how he did it, although he made it sound awesome. But now I have! Brilliant explanation and demonstration as ever Robert. I've shared this with my pals who struggle to play solos as the chords change. This is now my "go to" lesson for the next few weeks. And to downhill2400, you can learn without theory or reading music - just watch Tommy Emmanuel. He does neither. He just has a fantastic musical ear, even though he only has 20% hearing in both ears.
Glad you like it! If you learn where the chord notes are (sweet notes), you're set. You have to memorize this, so keep practicing until you do. Anyone can memorize this - it just takes some practice time.
Thank you Robert, that is precisely what I will be doing. I'm OK with the chord notes and the theory. It's getting the fingers to do what the tune in my head is saying! I loved all your bluesy licks as well - they're up next.
You can say what you want. But i think it's for THIS kind of stuff you need to know the theory.
Yea you can follow your ears to learn this. But it's gonna take so long to be use to the good vibrations. And well, what if we change the tone after it? 🤗.
Guys if you like music just give a quick look to the theory and you'll understand how cool it is (been playing for 3 years and i started to study theory by myself for 4 month. The best decision i've ever take into the music)
Wow THX
from germany
I think I found the teacher I've been sreaching for...top notch
Thanks a lot.
Nice explanation as we know there are that know this and others that do it all by ear.
Great lesson.
This is really helpful Robert! Thanx.
Thank You so Much
Welcome!
Great tone as usual ! Zexccoil pickups are really great, I use the signature set and it's really nice, maybe I would try another set, with less gain, but it's really really fun
so professional...so precise and so efficient...amazing video!
Give some demo in the beginning and have discussion later on so it will be nice to watch and what to expect
One of the prettiest s style guitars ive seen nice Rob
thank-you Robert, nicely presented, got some clarity on an area I was not having the progress I wanted./peace\ , be well,Jay
Great lesson wonderfull explained. And a Hammer Strat sound!!!
awesome.......
awesome lesson
I have gone mad, wanting to listen and learn Every video, Yesterday! lol, I am Thankful to have run across you. Only wish it was years ago!
Very love tonix
Great sounding pickups. What series or model number is that set? Good lesson too.
I'm not familiar with Blues progressions. Why is the 4th a Dominant 7th and not a Major 7th? Sounds good tho. I especially like how the 9th/2nd added a color since its not part of the pentatonic.
Thanks for that info, very useful. BTW your guitar playing is incredible.
***** Thanks, glad to hear this!
Here’s a question. From what I’m seeing, can you use chromaticism in front of the root note and it’s octaves?
Great lesson, awesome tone!
Rapi Do Thanks!
Is that a warmoth neck? It's really nice
Awsome lesson sir
Keibee Votran Thank you.
hi, can you tell how long guitar solo are contructed
Excellent
it would be great if the zexcoils were humbucker
I hit a wall of knowledge...............studying to much to fast.
សុំរៀនផងលោកគ្រូ
How can I use pivot chord...Tell me pl...thanks
See ua-cam.com/video/8t6B1ZJOZmk/v-deo.html
Oh Man ! can i borrow your hands, so i can play like you do ...good teaching !!!
caloy sanchez Thanks, glad you like it.
awsome lesson sir, can i ask what pick up are you using on that guitar? looks weird to me
Zexcoil
Robert Renman thanks sir, but i mean is it humbucker?
Look at www.zexcoil.com
Robert Renman thank you so much sir
@@Dolphinstreets Robert, just the fact that you respond to so many of your messages speaks volumes of your sincerity of what you are doing. Truely mean that.
Thank you. Great guitarist.
is this the singer for linkin park?
What do you mean when you say things like go up to the 9, and your not on the 9th fret? What is this 7,8,9,10,ect. Your talking about?
Like what's the difference between a 4 and 1 chord? This stuffs so confusing it's frustrating..
Brandon Sickles the 1 and the 2 etc are either talking about the 1st or 2 note in the major or minor scale of the key the song is in. And when he says the 4 chord it's the chord based off the 4th note in the scale. So if take the key of G you have the notes G A B C D E and F# and to figure out which chord to play in the key of G major the pattern is Major, minor, minor, Major, Major, minor, diminished... so the 4 chord in the key of G is C major. The 3 chord is B minor.
Etc. Look up some stuff about intervals if you wanna learn about the distance between notes in scales. Once you start learning things like this it opens up a whole new world to allow you to create the melodies in your head with the instrument. Because if you have 2 notes in your head or a melody you can hum... No matter what key you play in.. if you play a major 4th interval... or the 1 note and the 4 note... You can play it in any key and it will have the same feel. Just start playing with the stuff and learning and as you go it will be like a series of lightbulbs going off in your mind
Brandon Sickles and this is the world of music theory that he spoke about. It gives you a great understanding of why all the stuff you play that sounds good, does sound good. It helps you understand why everything works and what will work and allow you to write your own music much more easily. One really cool thing that I've learned in my early theory exploration. If you play in any major key... And say you pick a progression like the 6 chord, 4 chord, 1 chord, 5 chord. In theory speak it would be called a 6, 4, 1 , 5 progression. If you play the chords that match those numbers in any of the major keys... it will sound like the same progression just in a different pitch or with a different sound sort of... But the distance between the notes are the same so the relationship is the same regardless of your key, making the progression sound very similar regardless of the key
They are intervals. A chord is made up of the intervals 1, 3 & 5 (major chords: 1 3 5 & minor chords 1 b3 5).
A 7th chord adds the next interval so it's 1 3 5 7. A 9th chord 1 3 5 7 9 and so on.
Notice that each interval is a third away from the last interval (or every other note).
Chords are built this way. You have a root note, a major or minor 3rd and a 5th. This is called a triad. Adding further notes creates more colourful and interesting sounding chords. But you would not play all the intervals of the chord all the time. A 9th chord would normally be a triad (1 2 3) and the 9, so 1 3 5 9.
I hope that helps.
New Guitar ah? Great bluesy sound
P F No it's not new, I just changed the neck. Warmoth.
Robert Renman Ha Thanks. Thought, it was one of the new fender strat black neck model
what guitar are you playing and what are those pickups.....I believe you said before but can't find it....thanks in advance. Love your lessons.
Hooter Bear zexcoil pickups
Thanks!!
Hooter Bear Fender American Standard Strat with Warmoth rosewood neck, and Zexcoil pickups.
thank you sir.
Robert Renman May I ask why you replaced your neck ? And are you happy with the quality from warmoth ?
Says “you don’t really need to know music theory” then proceeds to talk about nothing BUT music theory. 🤣
In short, you meant I need to learn about chord tone to make licks fitted to chord ??
Yes
WHY MOST SUGGESTION ABOUT SOLOING PARALLEL TO CHORDS ARE INADEQUATE (POST 87) (I am not someone that has monetized his publications I am a University Professsor, and my suggestions have a purelly academic nature)
An extract from my Blogsimplerguitarlearning.blogspot.gr/2018/03/87-why-most-suggestion-about-soloing.html Most of the suggestions about soloing parallel to chords are of the type:
1) Play the arpeggio or chord-tone
2) Play the pentatonic scale minor or major with the same root
3) Play a mode or scale that the song is in it
etc
And although applying the above will not sound ugly when soloing, still all of the above are inadequate for good licks and multiplicative (meaning dense and chatty) soloing by an instrument in a song! The reason is the next: A song has a singable melody and chords and when soloing, the soloing must not only fit the chord progressions but also resemble the melody that the singer sings!
Now the melody has simple themes that repeat, ascend or descend and expand or contact. So the soloing must refect the simple theme and transform it in more complicated ways. That is why all the 1),2), 3) are not really adequate.
In other posts of this book, we have enlarged on the structure of the melody from simple themes that somehow repeat and the simplicial sub melody. E.g. the soloing must have also the same simplicial sub melody.
I'm playing guitar for 2 years and a half right now, but I found very difficult follow this lesson, I think I got 10%, LOL.
In my opinion, right or wrong, I think that who can follow this lesson can also use licks into the chords.
Do you think exist another more simple way for beginners or I need to study more the subject? :)
Just my 0.02$
+sergiobodyweb if you want to understand this lesson, you have to study the basics of music theory, itn't an advanced level.
you need to know the notes, intevals, chords (know which note is made).
you know what the key of a song is? you can?t skip steps, you have to understand how to do before you can do
+Marco Miola Here the teacher is explaining that when the chords change the soloist can move through the notes that make up the chords, so you don't have to run always the same scale up and down because it's icky
+Marco Miola Hi Marco, thank you for your answer first of all.
Probably I miss something, I know intervals, scales, pentatonic and natural, minor and major, I know what's the key of a song, I can find myself most of the time.
I may have problem with connecting chords note and scale note, chords are what I'm not confident with, especially exact note composition.
+Marco Miola : So, basically you need to memorize and know notes of the scale and of the chord to remember those notes and find around the fretboard in the kay and scale you are playing.
(Totally a mess for me, LOL)
+sergiobodyweb yes exactly, you see that he shows us for example if you have a A7 chord he plays before the first, the third and fifth note of the A scale, this notes recall the sound of the chord. The reason why you can do this is in the chord progression.
Sorry. I don't agree. "How to play licks that fits the chords? play the chord in arpeggio mode". Sorry, but that don't resolves the question. Arpeggios are just chords played note by note. The main key for tonal improvisation (or composition) is to find triads, phrase over them (cause they are stronger intervals) and then find other intervals, less strong, but in the scale, to improve the main motiv. The arpeggio (from italian, arpa = the harp) is just a tecnique that consists of play note by note, like a player do on the harp. Its like tapping, bending, etc and has nothing to do with phrasing, intervals or improvisation.
I give up
Hang in there, friend!
!!!!!👍
IMO not a VG lesson Robert. Basically you said go to the Dominant 7th arpeggios for thethe chord tones yet you did not get into anything about those arpeggios.Now I will have to look elsewhere for more on identifying chord tones thru the use of Dominant 7ths.
For a quite a while I couldn't understand what do you mean saying "quorthons" :)))
Wow, thanks...awesome, now....I give up. Lol.
Sounds really dry and boring doesn’t it? Well.... it is! *pauses* 😂😂😂😂😂😂😂😂😂😂
Very uninteresting
Awesome lesson.
mraggrovator Thanks!
Hi Robert how do I join your academy for lessons and backing tracks . I'm just currently up to this point in my guitar playing thanks Colin UK
Go to www.masterguitaracademy.com/join-now/
Robert thank you. I learned something new again.
Sweet!
Robert- First, great vid. This is exactly the kind of info I love. I can memorize tabs all day, but at the end, there's no thought behind it. It's just robotic playback without awareness of where the chord changes are etc. Do you have a long form video that discusses this type of information? Also, what's the best way to incorporate these things into your playing? Do you memorize the neck? Do you memorize arpeggio forms? Do you memorize scales and note positions? Just trying to wrap my head around how best to approach this. Thanks!
Greg's Garage Yeah, I do have a whole course about scales you can use over blues. I go over the details, and I include 3 guitar solos too. www.masterguitaracademy.com/store/scales-you-can-use-when-you-play-the-blues/
The best way to incorporate these things is to learn the chords all over the neck, to memorize the intervals for the chords, and practice your ear. There are several ways you can practice this - arpeggio runs, triad exercises, etc. It's important to understand that it's not the grip/form/pattern that is the important thing - it's the NOTES or INTERVALS that matter the most. You can play a Triad, for example, in several different ways, with different fingerings, and they are ALL correct. It's just a preference how you choose the play the notes, but you MUST know the notes you are playing. Does that make sense?
Yes it does. Thank you. I grew up playing piano. I know the scales there. I know how to form all sorts of chords and I know where the notes of the chords fall in the scales... I can use a chart to get from notes on the piano to notes on the guitar neck, I just can't seem to look at the guitar as intuitively as I look at a piano. It's VERY slow for me to find say an "F#" half way up the neck... I have to hunt and peck to find it. I learned to play guitar totally by ear and it's always been a guess as to what notes are what, they just sound right. I will take a look at your link. Thanks again for all the vids!!!
Greg's Garage Sound good. I recommend learning the SHAPE of a 1-3-5 (triad) for starters. Take frets 7-6-5 on D-G-B strings. A Major Triad. That is a shape you probably already know. Learn which intervals they are (1-3-5) so that you can instantly see those intervals within the shape. Move the shape 3 frets up, what do you get? C Major Triad... and so on. Learn as many triad shapes as you can, and constantly relate them back to the scales you (may) know, like the major scale, pentatonics, etc.
You should have put “advanced” in the title… I’m decent, but this video recommendation makes me want to throw my guitar into a fire
Your a very good teacher! I like your licks very tasty. Do you have any original stuff? Dolphin street right?
You are a great teacher Robert. Thanks
This proves not all " great guitarist" are the ones you hear on the radio.
+Tick Bryan Thanks very much.
Question. It would be interesting to see a few fusion flavored progression and licks.
Great lesson! Thank you!
Great teacher this bloke
Guitar god extraordinaire! You make this so much easier to understand! You play so beautifully!
Your so humble! What a great quality to possess! Canada rocks!
Sort of make sense. I've been doing those licks without knowing the theory behind them. Now it makes a little more sense. Thanks, Robert.
Rob Castro Great!
its a little confusing,i didn't get much out of it because i'm not as well versed as you.
kevin mount Stick with it, it will makes sense eventually!
Thanks a lot for this lesson it’s very helpful for me !