awesome video, I remember listening to that trey talk many years ago, before I had any real music theory chops...makes a hell of a lot more sense today, and with this commentary it's crystal clear. still a really tough thing to master. trey is the best in rock at this.
I figured out years ago that ne of the mainreasons the Grateful Dead was so addictive was Garcia's constant use of chromtic passing tones. The constant tension and release keeps the listener engaged. It's almost like adding addictive chemicals to ciggarets. Trey, on the other hand, would grab one of those chromatic tones, and expand it for 5 minutes. Its like micro vs macro chromaticism.
@@PhishGuitarLessons I didn’t know about the half-whole note scale. Super cool and kind of has a mysterious sound. Seems to work over any dom 7 chord? I tried it over the D7 in the Free jam and sounded great. The whole note scale also works over dom 7 chords too, huh? Maybe even more tense? Thanks again!
I don't really hear the tension I think of when I hear Trey play when you're playing Diminished arpeggios over the chord. I hear that Stash diminished sound, but songs like Maze and Antelope seem to be doing something else to create tension. I did struggle to follow along here, but I could mostly keep up with what you're saying.
Thanks for the feedback! I was attempting to present how you can use tritone substitutions which are a very particular thing and I thought a blues progression would be a good way to practice them. Can you point me to a certain version of Maze or Antelope with the outside sound you're talking about? Like Trey mentions in the interview, there are a lot of ways to create tension so I'd love to look at some other approaches, thanks!
@@PhishGuitarLessons Hey really appreciate it. There are so many performances and everyone has their favorites, along with the album versions, but my personal favorite Maze I like to listen to a lot is from 8-23-15 (MagnaBall). ua-cam.com/video/dUpKrdK7bYI/v-deo.html One thing I find fascinating on that version is how Trey works with Page on the rhythm guitar part behind Page's solo to build even more tension there. There's an Antelope I love on 11-22-1997, but of course there are tons of them. ua-cam.com/video/rmesD_-oBwM/v-deo.html Thanks! Would love to learn more about how he gets that tension, which is something I really love about Phish (and the thing my wife hates about them).
@@PhishGuitarLessons Like, is there a certain go-to note that gives the tension? Maybe that's what I don't understand. I only moved beyond Pentatonic scales a few years ago with some good lessons, but Trey's playing is a whole other universe.
![Phish Front Man Trey Anastasio Casts Wide Musical Net [FULL INTERVIEW]](/img/n.gif)
awesome video, I remember listening to that trey talk many years ago, before I had any real music theory chops...makes a hell of a lot more sense today, and with this commentary it's crystal clear. still a really tough thing to master. trey is the best in rock at this.
Yeah there are some really great moments in this interview. Thanks for checking out the video!
I figured out years ago that ne of the mainreasons the Grateful Dead was so addictive was Garcia's constant use of chromtic passing tones. The constant tension and release keeps the listener engaged. It's almost like adding addictive chemicals to ciggarets. Trey, on the other hand, would grab one of those chromatic tones, and expand it for 5 minutes. Its like micro vs macro chromaticism.
Always loved this underground audio.
Awesome! Super pumped to try this. Thanks!
Thanks!
@@PhishGuitarLessons I didn’t know about the half-whole note scale. Super cool and kind of has a mysterious sound. Seems to work over any dom 7 chord? I tried it over the D7 in the Free jam and sounded great. The whole note scale also works over dom 7 chords too, huh? Maybe even more tense? Thanks again!
For the love of God, give us a tab tutorial on The Landlady!
Thanks, very helpful.
Happy to help!
Um lovin’ it 🎉
I don't really hear the tension I think of when I hear Trey play when you're playing Diminished arpeggios over the chord. I hear that Stash diminished sound, but songs like Maze and Antelope seem to be doing something else to create tension. I did struggle to follow along here, but I could mostly keep up with what you're saying.
Thanks for the feedback! I was attempting to present how you can use tritone substitutions which are a very particular thing and I thought a blues progression would be a good way to practice them. Can you point me to a certain version of Maze or Antelope with the outside sound you're talking about? Like Trey mentions in the interview, there are a lot of ways to create tension so I'd love to look at some other approaches, thanks!
@@PhishGuitarLessons Hey really appreciate it. There are so many performances and everyone has their favorites, along with the album versions, but my personal favorite Maze I like to listen to a lot is from 8-23-15 (MagnaBall). ua-cam.com/video/dUpKrdK7bYI/v-deo.html One thing I find fascinating on that version is how Trey works with Page on the rhythm guitar part behind Page's solo to build even more tension there. There's an Antelope I love on 11-22-1997, but of course there are tons of them. ua-cam.com/video/rmesD_-oBwM/v-deo.html Thanks! Would love to learn more about how he gets that tension, which is something I really love about Phish (and the thing my wife hates about them).
@@PhishGuitarLessons Like, is there a certain go-to note that gives the tension? Maybe that's what I don't understand. I only moved beyond Pentatonic scales a few years ago with some good lessons, but Trey's playing is a whole other universe.
Thanks for this. Also. First.
Thanks for watching!
Love this shit more than anything in the world