25 years of playing and 20 years of performing live and I'm finally getting the learn the things I should have done 26 years ago. this video is amazing
I agree. Now you can improv with Steely Dan sophistication. Corey Congilio just did a good video recently on this stacked triad technique from Larry Carlton.
Always loved Larry’s approach here and you did a nice job of explaining it. As for going “too far out” Larry talks about turning a dial and getting more or less outside as he plays. Remember you need not play the entire triad or scale but borrowing notes from the further harmonies is a good way to get that outside sound the pros use. Great job.
I am so glad I found this channel. I’ve only watched a couple videos so far and am totally blown away. Thank you so much for doing these lessons Steve.
This is an extremely useful tool for intermediate guitarists Steve, that perfectly juxtaposes essential but simple theory with really practical uses. This will give discerning viewers the chance to explore melodic possibilities as well as break out of self imposed pentatonic boxes. Very well done Steve and thank you again for cheerfully pointing us towards an incredibly useful improvisational tool
Well done, well explained and elaborated. I've seen others try to explain this and make it too complicated, or not get to the point. Why isn't this guy getting more views?
The E minor scale over the C major chord is kind of like playing in mixolydian mode, G mixolydian. All I can say is wow thank you I now have a whole new world of things to work on!
OK, wonderful. You have really cleared this up for me. Larry Carlton calls it the Tri-Tone Substitution. I never could make that work. But your explanation made it understandable for me. Thanks. Hey, V-PICKS is in Nashville as well. We should do lunch sometime.
Really amazing Congratulations for the way you described the whole thing and the simplicity of your playing using only triads notes every time Thank you
The man IS a genius and is very generous sharing his knowledge. Thank you Steve! I know so little about theory, as I just started playing at age 69, but I love this channel.
Thank you for explaining this. I had recently noted that when I was soloing and trying to "calculate" (on the fly) the added color notes, it made it feel clumsy. This idea circumnavigates that...
That's awesome! And fun to watch I was watching an old Larry Carlton star licks video that someone post and I saw this. I think you've actually triggered more understanding! Some awesome points! Thank you so much for this video. I'm off to have some fun! 😅👍 Love the tone of your setup by the way!
It also works on 7th chord harmony AND modes. Also chromaticised modes. You can also insert h-W 8 tone diminished scales. It's called playing in a tonal center.
Love this whole concept and I think I finally am getting a grasp of it!! One question....does this only with a static chord going on underneath?? Thanks for the awesome vid!!
As I was listening to you solo over the Gm chord, using minor and maj triads within the chord, it occurred to me how these triads also correlate with the modes of the major scale. Very cool how this all can connect.
Just stumbled across this, and I'm not into jazz theory but I have enough basic structure to follow what you're doing. Well, at least up until the extended chords 😂 Nicely explained on a really practical way of applying it as you go. Forget the theory, just move up to the third and flip , use the patterns you already know. So cool, thanks! Off to try it in a blues setting...
What an eye-opening and ear-opening lesson Steve! Thank you for sharing this enlightening guitar roadmap. One question: How would this apply to (for example), a G Maj7b5 chord? Would you just treat that as a Maj7th chord?
LooMinn, yes, but you need to be very careful to avoid the natural 5th and always play the b5th in a major 7th arpeggio if you wanted it to work over a Maj7 (b5) chord. Hope this helps. - Steve
JAMES SCOTT NICHOLSON,ONTARIO, CANADA 🇨🇦 WOW I AM GETTING ALL THE BACKGROUND INFO FROM YOU. AS YOU EXPLAINED,MAJOR & MINOR INTERVALS, I KNEW ALL THAT FROM THEORY,BUT NEVER BEEN TOLD WHY IT IS CALLED A PERFECT 5TH. OBVIOUSLY A LIGHT WENT OFF IN MY HEAD,BUT I WILL LET YOU TEACH IT...TOP LEFT BRO,GOES TO SHOW THROUGH EVEN THE BASSIC STUFF,YOU CAN STILL FIND SOMETHING IN IT.
Never heard this one before! I'll have to try it out. So each 3rd (min/maj) degree you go up the triads of the chord or the pentatonic will work but nothing beyond that?
That was a fascinating tutorial. I understood the music theory concepts from another source, but seeing it demonstrated as a practical application really tied the whole idea together. Tomorrow, when my music group meets I'm going to try this over a blues progression and see how it works. I'm thinking over A-D-E (chords), I would use something like C,F,G (minor chords)? Anybody got any last-minute tips or suggestions? Edit: OR...now that I'm noodling around with it, would it be C#, F#, G#? 🤔
I'm confused about the Bm7(b5). All the other chords on page 3 are composed of alternating 3rd's and flat 3rd's, but Bm7 (b5) has 2 flat 3rd's in a row. I understand that the F natural sounds better, but why does this one chord seem to break the rule? Is it because the base chord is dominant? If so, does this rule extend to all keys - in other words, if the base chord is dominant, then the chord built on the 3rd will have a flat 5 while if the base chord is a maj 7, the chord built on the 3rd will not have a flat 5?
Thanks for watching! Make sure to download the FREE Super Arpeggio PDF: bit.ly/TheSuperArpeggio
Isn’t the last example basically the arpeggios of the C harmonized major scale starting from the V chord (Gdom)?
25 years of playing and 20 years of performing live and I'm finally getting the learn the things I should have done 26 years ago. this video is amazing
Thanks Benny! Take it and make the most music you can from it. - Steve
53 years of playing and this theory never struck me. Outstanding!
This has to be one of the best lessons I have ever learned! This is how all the greats are improvising and thinking !
Yeah me too, great job on this lesson.
I agree. Now you can improv with Steely Dan sophistication. Corey Congilio just did a good video recently on this stacked triad technique from Larry Carlton.
Thanks Satchrules! Learn all you can. - Steve
Always loved Larry’s approach here and you did a nice job of explaining it. As for going “too far out” Larry talks about turning a dial and getting more or less outside as he plays. Remember you need not play the entire triad or scale but borrowing notes from the further harmonies is a good way to get that outside sound the pros use. Great job.
Wow, that's killer! That Em Penta over the C chord is the easiest magic I've ever heard.
One of the best lessons I've ever taken! Congrats, man. There must be more teachers like you in this world. Thank you for your kindness!
Thank you Hector! Learn all you can. - Steve
I seen a very old video of Larry explaining his concept and I thought my head would explode. Excellent job Clear as a bell!
Gold lesson ! No one ever explained it this good!
I am so glad I found this channel. I’ve only watched a couple videos so far and am totally blown away. Thank you so much for doing these lessons Steve.
WOW... I have been looking for something like this for years, but I did not know what I asking for specifically. Thank you compadre.
This is an extremely useful tool for intermediate guitarists Steve, that perfectly juxtaposes essential but simple theory with really practical uses.
This will give discerning viewers the chance to explore melodic possibilities as well as break out of self imposed pentatonic boxes.
Very well done Steve and thank you again for cheerfully pointing us towards an incredibly useful improvisational tool
Thanks Trevor. I hope you guys are well and safe. - Steve
Single most helpful, instructional, freeing, lightbulb-turning-on, guitar video I've ever watched on YT. Thank you sir 🙏 ☺️ 🙌
Thank you for these many window openings. An awesome concept so simply and plainly explained and demonstrated.I am blessed.Thank you again.
Holy freaking crap dude!!!
This is AMAZING. I'm applying this immediately in my playing, thank you so much for this video 😭
Ha! Great. Learn all you can! - Steve
@@GuitarGathering im tryin lol
We'll see if I get those John Mayer style licks going here soon
Awesome lesson, Steve!! Thank you! BTW, received my Real Book w/backing tracks today! BOOM!
Well done, well explained and elaborated. I've seen others try to explain this and make it too complicated, or not get to the point. Why isn't this guy getting more views?
Wow! Why didn't I see this three years ago? Most creative lesson on improvisation! Life changer for sure!
Hands-down one of the best lessons I've seen on TH-cam! Thank you! I've subbed your channel and am going to really work on this! Cheers - Luther
thank you sir you just showed us how to escape the pentatonic trap and goto further possibilities. Very useful for intermediate guitarists.
Wonderful! Learn all you can! - Steve
Finally, something I can understand.
Explained simply, directly and precisely.
Thank you, now a subscriber.
Holy smokes! This ties everything together so neatly. I love it. Thank you!!!
The E minor scale over the C major chord is kind of like playing in mixolydian mode, G mixolydian.
All I can say is wow thank you I now have a whole new world of things to work on!
Thanks very much. This lesson is among the best I've ever learned here on TH-cam.
This is a fantastic lesson. Brilliant guitar player and teacher. Thank you very much, Terry.
Thank you Steve, fantastically generous lesson.
Glad you're part of our guitar family! - Steve
This is exactly what I was looking for. Thank you.
This is why I’ve been searching for. Incredible
OK, wonderful. You have really cleared this up for me. Larry Carlton calls it the Tri-Tone Substitution. I never could make that work. But your explanation made it understandable for me. Thanks. Hey, V-PICKS is in Nashville as well. We should do lunch sometime.
Wow this lesson needs more like ! Just brilliant , thank you
Thank you so much! 😀 My re-inspiration for the day!
VERY helpful. Opening more ways to play.
awesome dude !! huge help here buddy,,,more possibilities and opening up the JazzVenue......greatly appreciated...thank YOU. SO much.....
Wow a great lesson from a great teacher. Thankyou steve.
very interesting and helpful, adding new phrases to your vocabulary!
All I had to do was look at your library of videos and I subscribed. Great classic songs and lessons you've got !
Another wonderful lesson Steve. Thanks for all You do!!
Thanks Mike! Learn all you can!
This is the most useful video I've seen in a long time. Thank you.
Great seeds, instantly I sound jazzy playing the same tired pentatonics.
Fantastic. You explained it beautifully (and thank you for the pdf)
Great concept Mr Steve 🤘🤘✌️🖖
Gonna help me tons....
Dudeeeeeeee I finally got it !!! I love bro!!!!
Thank You a Lot!!! You have shown us how things work in pratical terms..... Well this is a Lot of usefull information...thank You once again!!!
This is a solid approach for venturing into extended chords for composing and improvisation. Kudos!!
This is great, I would add that ending phrases on a chord tone helps keep things sounding tight.
Incredible, thanks Steve!
Thank you. Good for creative guitar playing.
Great lesson. First few minutes I was wandering where this was going, but I'm really glad I stuck around. Thanks man!
Really amazing
Congratulations for the way you described the whole thing and the simplicity of your playing using only triads notes every time
Thank you
Nice One. I'll take this concept into midwest emo and slay. THX!
Brilliant demonstration and explanation of modal playing also a great demonstration of how steely Dan got their sound 😊
The man IS a genius and is very generous sharing his knowledge. Thank you Steve! I know so little about theory, as I just started playing at age 69, but I love this channel.
Glad you're part of our guitar family. - Steve
What a great lesson! Theory and practice in an understandable package.
Fantastic tutorial 💯 thanks for sharing.
Love your spirit. ❤
Most amazing lesson thank you sir !
Very enlightening, thanks!
Wonderful. Learn all you can!
you are a great teacher and guitar player.Thanks.😀
I love this so damn much thank you 1 million
Great lesson - love this!!
What a great lesson. Top man . Thank you 👏👍
Great insights of melodic ideas. Thanks 🙏😀
THanks Mike. Learn all you can. - Steve
This was a really great lesson. Thank you for sharing this.
simly brilliant!
Great lesson
You are a very kind man. Thank you for all of these great videos and PDFs.
Great Lesson Steve.
Thanks Larry! Hope you are doing well. - Steve
Great video!
great lesson, a great way to put the circle of 3rds to use;)
This was good.... thanks
Thank you for explaining this. I had recently noted that when I was soloing and trying to "calculate" (on the fly) the added color notes, it made it feel clumsy. This idea circumnavigates that...
Fantastic!
That's awesome! And fun to watch I was watching an old Larry Carlton star licks video that someone post and I saw this. I think you've actually triggered more understanding! Some awesome points! Thank you so much for this video. I'm off to have some fun! 😅👍 Love the tone of your setup by the way!
Great lesson! Lunch on me!
It also works on 7th chord harmony AND modes. Also chromaticised modes. You can also insert h-W 8 tone diminished scales. It's called playing in a tonal center.
Thank you!
Thank You so Much
Wow I got it 😲💓 you now how lay things out
Thanks.!❤️✌🏼
This was fantastic! Thank you so much!
Oh my! Thank you
Excellent lesson. Thank you.
Love this whole concept and I think I finally am getting a grasp of it!! One question....does this only with a static chord going on underneath?? Thanks for the awesome vid!!
Awesome lesson! So clear!
As I was listening to you solo over the Gm chord, using minor and maj triads within the chord, it occurred to me how these triads also correlate with the modes of the major scale. Very cool how this all can connect.
When you finally realize how many notes are available, you wonder where are all those bum notes you hit when first starting to play. 😅
@@mdu2112 they still have a strange way of jumping out in front of your fingers, like squirrels do in front of your moving car.
Just stumbled across this, and I'm not into jazz theory but I have enough basic structure to follow what you're doing. Well, at least up until the extended chords 😂 Nicely explained on a really practical way of applying it as you go. Forget the theory, just move up to the third and flip , use the patterns you already know. So cool, thanks! Off to try it in a blues setting...
Brilliant.
Great lesson!!! Thanks a lot
Brilliant
What an eye-opening and ear-opening lesson Steve! Thank you for sharing this enlightening guitar roadmap.
One question: How would this apply to (for example), a G Maj7b5 chord? Would you just treat that as a Maj7th chord?
LooMinn, yes, but you need to be very careful to avoid the natural 5th and always play the b5th in a major 7th arpeggio if you wanted it to work over a Maj7 (b5) chord. Hope this helps. - Steve
JAMES SCOTT NICHOLSON,ONTARIO, CANADA 🇨🇦 WOW I AM GETTING ALL THE BACKGROUND INFO FROM YOU. AS YOU EXPLAINED,MAJOR & MINOR INTERVALS, I KNEW ALL THAT FROM THEORY,BUT NEVER BEEN TOLD WHY IT IS CALLED A
PERFECT 5TH. OBVIOUSLY A LIGHT WENT OFF IN MY HEAD,BUT I WILL LET YOU TEACH IT...TOP LEFT BRO,GOES TO SHOW
THROUGH EVEN THE BASSIC STUFF,YOU CAN STILL FIND SOMETHING IN IT.
Never heard this one before! I'll have to try it out. So each 3rd (min/maj) degree you go up the triads of the chord or the pentatonic will work but nothing beyond that?
Great lesson as usual Steve. the link to the pdf is down any updates ?
That was a fascinating tutorial. I understood the music theory concepts from another source, but seeing it demonstrated as a practical application really tied the whole idea together.
Tomorrow, when my music group meets I'm going to try this over a blues progression and see how it works. I'm thinking over A-D-E (chords), I would use something like C,F,G (minor chords)?
Anybody got any last-minute tips or suggestions?
Edit: OR...now that I'm noodling around with it, would it be C#, F#, G#? 🤔
Wow!
Can this be applied to bass? Seems like a great way to create some melodic bass lines
I'm confused about the Bm7(b5). All the other chords on page 3 are composed of alternating 3rd's and flat 3rd's, but Bm7 (b5) has 2 flat 3rd's in a row. I understand that the F natural sounds better, but why does this one chord seem to break the rule? Is it because the base chord is dominant? If so, does this rule extend to all keys - in other words, if the base chord is dominant, then the chord built on the 3rd will have a flat 5 while if the base chord is a maj 7, the chord built on the 3rd will not have a flat 5?
Can you play a G Major Scale over that C major Chord? It has that F# in there....
Ok so but isn't the 4th triad in major going to have a b5 as it would then be locrian? and yes that's definitely going to sound off.
Holy crap. Ty