Hope you enjoy this one! If you think my work here on the channel might be worth supporting, I’d really appreciate it! Check out my Patreon for exclusive music, content and rewards bit.ly/Patreonnow Grab my full discography with well over 400 tracks here elevatedjamtracks.bandcamp.com Thanks for stopping by and happy jamming people! 🤘🎸
Sorry to be off topic but does any of you know of a method to log back into an Instagram account..? I stupidly forgot the login password. I appreciate any tips you can give me!
Literally in this moment by watching your video I have transitioned into a phase of being able to understand music a little better. Today is a benchmark in my quest to become greater at guitar every day. I am slowly teaching myself to identify a note by muscle memory. It will finally open up my eyes musically to be able top play while reading music.
Just want to let you know that I really, really enjoy it. This is probably the 10th time I've hit play, turned on my amp, and poured out my soul to this one in particular :) Thank you so much for sharing this with the world - you fxckin rock!!
Білемін сенсіз Өмір суре алмаймын Өйткені сен маган оте катты унайсын Неге тағдыр сени Менен тартып алды Енди мени сенсиз жалгыз калдырды Күні түні сені ойлаймын Сені іздеуді мен қоймаймын жарығым менің Сені ғана армандаймын Сенсіз жалғыз қалгандаймын жарығым менің
Your assumption is correct. Basically it IS "D-minor" ! The name just derives from a composing technique and thinking. Here's the explaination in 3 Steps and one "very essential" hint for shredding over this backingtrack: Why the hint? Well, it's not the "D7sus2" that gives issues, it's the "E7" !!! ======== =1. Theory= ========
============================================== Chordview 1.0 (In Piano's natural Voicing, 1-3-5-7): ============================================== In "A Aeolian", the iv-chord is a "minor-chord" Dm = (D-F-A,1-b3-5) (respectively a "min7th-chord" Dm7 = (D-F-A-C,1-b3-5-b7) or a "min9th-chord" Dm9 = (D-F-A-C-E, 1-b3-5-b7-9), depending on how many notes you are using from the scale to build the chord. All'll suit perfectly) ========================================================== ===================================================================== Scaleview 1.1 (Stufentheorie, by Jacob Gottfried Weber (1779-1839)): ===================================================================== "A aeolian" aka."A natural minor" = A-H-C-D-E-F-G, 1-2-b3-4-5-b6-b7, (only white keys at piano), gives you the chordtypes you probably know (always think of 7th-chords), stacking every second note (s.above): chordtypes = A min7, H m7b5, C maj7, D min7, E min7, F maj7, G dom7 if you raise the 7th note of this scale G->G# you'll get the "A harmonic minor"-scale. "A harmonic minor" = A-H-C-D-E-F-G#, 1-2-b3-4-5-b6-7, wich then creates different chordtypes on each 2nd scalestep. step = i ii* III iv V VI vii** chordtypes = A mMaj7, H m7b5, C maj7#5, D min7, E dom7, F Maj7, G# dim7 ---------- ------------ --------- ---------- those become different in hm. if you now raise the 6th note additionally F->F# you'll get the "A melodic minor"-scale. A melodic minor = A-H-C-D-E-F#-G#, 1-2-b3-4-5-6-7, wich again creates different chordqualities on each 2nd scalestep. step = i ii III IV V vi* vii* chordtypes = A mMaj7, H min7, C maj7#5, D dom7, E dom7, F# m7b5, G# m7b5 -------- --------- ----------- ----------- those become different additionally in mm. ====================================================================== ====================================================================== Scaleview 1.2 (Modaltheory, by the christ. church and greeks (early middleages -16.centuary/(+variations in 17.-18.c.)): ====================================================================== A "major-scale" and a "minor-scale" is, as you probably know, just a different mode of the same scale and its same notes, simply beginning with another root. That's why major is also called "C ionian" and the "A minor"-scale aeolian, named by some greek regions in today's turkey. The other steps of the scale are called: Root: A H C D E F G Mode: aeolian lokrian ionian dorian phrygian lydian mixolydian quality: minor minor major minor minor major major (because of the 3rd or b3rd) This provides different flavours because the halfsteps (the missing black keys at piano) appear at different places. I.e.: Ionian at 3-4 and 7-8, Aeolian at 2-b3 and 5-b6, but the notes are absolutely the same, just in different order, following the church's tones (Ambitus, Finalis, Repercussa, differentiation authentic/plagal). This is the first kind of funcionality of tones, later expanded to functionality of chords build by the stufentheorie and described in the functiontheory. ================================================================== ======================================= Scaleview 1.3 (Functiontheory, by Hugo Riemann (1849-1919)): ======================================= Following this theory scalechords have special functions within a chord progression with a basic idea of so called dominant and resolutionary chords. This only means that some chords lead naturally to another one by certain dissonant intervalls. These intervalls are mainly found in halfdiminished and dominant 7th chordqualities while leading to the rootchords (tonic or tonicparallel) of the scale. Major mode: C D E F G A H Functions: Tonic Subdominant- Dominant- Subdominant Dominant Tonic- no function parallel parallel parallel for easiness As written down here, functions referr to the "major scale" and NOT to its "modes" including the "minor modes" (dorian,phrygian,aeolian) The purpose why you are altering the 6th and the 7th note from a "natural minor"-scale in order to create a "harmonic-" or "melodic-" one is to bring them closer to the functionality of the chords that derive from the major scale !!! (1-2-b3-4-5-b6-b7) -> (1-2-b3-4-5-b6-7) -> (1-2-b3-4-5-6-7) -> (1-2-3-4-5-6-7) nat. minor harm. minor mel.minor major These are actually not modes, 'cause they consist of new tones outside the natural scale (non-diatonic) but concerning to composer-techniques you can handle them with the same functionality as a major scale, more clearly, within the "natural minor". I.e.: If you build cadences that are based on these major functions, like the authentic (strongest) resolution from V(G7)-I(Cmaj7) or the plagal (less stronger) IV(Fmaj7)-I(Cmaj7) or the plagal minor "iv m (Fm7) - I (Cmaj7), like in smp's-creep (a dramatically sad resolution)", you' ll get the fundamentals of composing and western music in general. Nearly every song is based on a fundamental structure like I-IV-V-I, T-S-D-T. All other inclusions to this progression just give more color and kind of stretching deviations to the song. This backing track here provides a structure of: step: i v VI (iv) to i ... () means borrowed, actually it is Dm chorus: Am Em F D7sus2 Am ... function: T D Sp (Sp) T step: VI (iv) VI i VII VI (iv) VII (V) to i ... verse: F D7sus2 F Am G F D7sus2 G E7 Am ... function: Tp (Sp) Tp T (chromatic effct.) Tp (Sp) (nat. tension of "maj.", D borrowed tension from "harm.min.", D) that functions as dominant back to the root Am =========================================
================================================================== =2. Composing Techniques (Modal Interchange, that means borrowed chords from another scale, in general)= ================================================================== When you are composing chordprogressions you CAN'T do anything wrong as long as you are using the so called "diatonic" chords. This means, as long as you use the scale's chords derived from the stufentheorie, every, really every chord, fits over each other. Same with Solos that use the 7 diatonic notes. The author here has used a technique that is called modal interchange. That means he has borrowed some chords from another scale to achieve clearer functionality in minor. Presumably he was thinking in harmonic and melodic minor to reach much more major feeling. Despite this technique is called "modal interchange" he borrowed only chords from the more major-like scales, mel./harm. minor. ================================================================== =========== =3. Explaination= =========== Ok, now comes the answer to your question: if you think of a D dom7 chord, wich derives as a borrowed chord from the "A melodic minor"-scale to achieve the functionality of a dominant chord that leads back to the root, the "i", "Am", you would have a "D dominant 7th". chordview (In guitar's natural voicing, 1-5-7-3): D7 = D-A-C-F#, 1-5-b7-3, 5th fret A-string Sus 2, only means that you replace the 3 with the 2. So its just the second note of the scale wich replaces the major3 in this dominant chord. so the "F#" gets replaced by the "E". The resulting chord is: D-A-C-E, wich is nothing but the Dm7 as expected from the nat. minor scale.(or a dominant 9th chord without the third). So it's a very confusing naming that derives from the "composing thinking" of a borrowed chord from another scale and replacing its characteristic 3rd. The result is that still all the notes of aeolian are used, so you dont have any problems to improvise and shred over this chord in aeolian. ==========
================= =4. Tipps for Improvisation= ================= focus on roots focus on thirds focus on seventh are typical suggestions, but her is ONE obstacle in this backing track. It's the E7 at the end of the verse leading to the chorus (Am) or the repetition of the verse (F). Realise the exception on E7 and follow the "harmonic minor" scale for this particular measure. if you stay in aeolian you suck! but luckyly this is the only exception :-) ================= I hope it helps. i was bored, so it has became a little bit too complex as an answer, sry. greetings Jazzaruz =========== =Post scriptum:= =========== In summary the "D dom7sus2" (1-5-b7-2, D-A-C-E) is the same chord as the "D dom9(no3rd)" without the 3rd (1-5-b7-9, D-A-C-E) wich is nothing more than a D minor chord because of the flat 7. If the major 3rd (F#) is played too, you need to improvise in melodic minor here, NOT aeolian! But that's not the case, so better keep an eye on the "E dom7" part. You HAVE TO play in harmonic minor here when you focus on a scale approach !!! The E dom7 consists of the notes (E-H-D-G#, 1-5-b7-3) and the G# is non-diatonic to the aeolian scale. So be aware to switch here in this measure to "harmonic" or well, the "melodic minor" too. but stay focused on the major3rd, G#, that defines the "harmonic minor" scale.
This was soo good. Anyone here make guitar loops? I make and lease beats for artists and need 8 - 16 bar loops for trap/hiphop beats. I can pay you a percentage of sales and credit you in my videos/ shout you out in my descriptions ect.
I am not a total newb, not too experienced either. You show A minor for this entire progression, and somethings not right. I dont think you know either TBH. Computer writes this for you?
You can't really play just Am pentatonic entire progression, that is true, but you should explore what notes from that penta work the best. Also you should listen to chord changes. For example, if you have heard by now about modes, you can play on C Ionian which is the relative major of A Aeolian (Am pentatonic if you are stripping down the scale). Try to attack A, C, F, G notes....either by bending/sliding/hammering, backing track is really awesome, also what someone showed me, exploded my mind. Turn the speed of the backing track to 0.75 and build up with melodic lines towards a 16th note pattern/riff that you might like from other artists, it will blow your mind how well it sounds.
@@RazvanStefan that's crazy! I'm new to scales and theory in general and I've heard that this scale/scale shapes can be transposed into different keys so all of this is really blowing my mind. Any advice on a really new beginner in music theory?
@@davisjdiaz yes it is crazy indeed! :) I am glad that you have finally reached a point where your needs pushed towards a bit of music theory. I strummed guitar for 8 years, without any real purpose (the core song was wonderwall because it was impressive for girls), just for fun, and I have almost 2 years in practicing (couple of hours / week don't imagine I am good, still a newbie too) with a purpose. How I started was quite straight forward, found a teacher capable to provide me knowledge but also technique improvements (alternate picking, sweeping, decent legato, decent bending, hammer-on/pull-offs, slides) we started with key of C and all modes in the key of C (C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, B Locrian - this Locrian mode is not very commonly used, so I would ignore it until you find a real usage of it). Once I knew the SHAPES (which are literally 3 patterns that your fingers must get comfortable with) I started to learn the sound of each note and intervals in the most commonly used modes (in my case is Ionian and Aeolian - basically meaning major and the relative minor - that is essentially ALL you need to build up melodic solos). The key is to just study 30 minutes - 1 hour per day and play with the modes that sound the best for you and your purpose. HINT: If you find yourself the root note of a major scale (Ionian mode), count 3 frets down and that would be your natural minor in that key :), similarly, if you play for example the Em pentatonic (E to e -> 12 15, 12 14, 12 14, 12 14, 12 15, 12 15) counting 3 frets up, you will find your G note :) which in this case is G Ionian (in other words, you found yourself that Em pentatonic is the stripped version of the natural minor in the key of G). You can do this trick anywhere, with every note. Another tip, learn the notes on the fretboard, easiest exercise is to find for example all A on the freboard, and just play them (no speed required, just awareness). Next level would be to improve your alternate picking (trust me, you feel so good when it gets in your hand), easiest way is 3 notes per string, go through the modes in any key (whichever is comfy for you), use metronome, start with the boring 8th notes at 80-90 bpm, even lower if you find it hard to keep up, develop good habits and small movements with your fingers/picking hand, then increase bit by bit.. I hope it helps what I shared with you, good luck and enjoy
@@RazvanStefan thanks so much man :) I'm gonna take that knowledge and study and do some more research on lonians, major and minors. I really appreciate that you've shared your experience and knowledge with me I cant wait to get it down and actually know what I'm doing instead of just learning and not knowing what's goin on.
@@davisjdiaz I am even more happy that you understood what I shared, usually I get lost in my own thoughts while typing, looks like this time I stayed on topic :) glad that i could help. you can view my channel, i have couple of recordings, i like to keep my progress in recordings from time to time, now is the time of the year when I am working on something so I can compare (musicality/composition/phrasing/dynamics/mixing capabilities) with what I was like 1-2 years ago for example. Also I have another youtube channel of one of my projects, it's a pop rock band No Fingerprints - he likes to watch, you can check that as well, is one of our latest creations.
![[LIVE] : ONE ลุมพินี 87 วันนี้!! คู่เอก "ก้องชัย vs โชคปรีชา"](http://i.ytimg.com/vi/YN6e7HVnekw/mqdefault.jpg)
Hope you enjoy this one! If you think my work here on the channel might be worth supporting, I’d really appreciate it!
Check out my Patreon for exclusive music, content and rewards bit.ly/Patreonnow
Grab my full discography with well over 400 tracks here elevatedjamtracks.bandcamp.com
Thanks for stopping by and happy jamming people! 🤘🎸
I recorded a one go impro over this at
soundcloud.com/nibal-sawaya/deep-atmospheric-ballad-a-minor-1
thx a lot
I could not find this track on Dark elevated album vol.1. Where it sits?
greetings! awesome track. where can i download just this track? or is that possible? keep up the good work!
Sorry to be off topic but does any of you know of a method to log back into an Instagram account..?
I stupidly forgot the login password. I appreciate any tips you can give me!
@Decker Emerson Instablaster ;)
When I'm having a bad day, I always come to this backing track. Playing along with it always helps me feel much better. Thank you for this!
Same
god bless u
Channel has become a game-changer for me. Struggled for years to break out of pentatonic boxes, and finally (slowly) learning to play the changes. 🍻
Literally in this moment by watching your video I have transitioned into a phase of being able to understand music a little better. Today is a benchmark in my quest to become greater at guitar every day. I am slowly teaching myself to identify a note by muscle memory. It will finally open up my eyes musically to be able top play while reading music.
Just want to let you know that I really, really enjoy it. This is probably the 10th time I've hit play, turned on my amp, and poured out my soul to this one in particular :) Thank you so much for sharing this with the world - you fxckin rock!!
Thank you for posting such a brilliant track. I'm having such fun (and learning) playing along to this.
Just jammed to this with my guitar teacher, it was dope
This is a particularly good one, to my tastes. I think it lends itself to a bit of modal interchange
Yea, and then he leaves the wrong scale up there. He doesnt know, a computer writes it for him imo.
Easiest sub I've ever given. This was fun to play with, an the chart made experimenting easier as a lesser trained player
I just been shredding a pentatonic over this and it rules! Nice work ejt
nice; I'd like to see more like this in Aminor, using those not-so used-chrords...
I have the guitar in the thumbnail in my hands right now, gonna enjoy this backing track
One of my fav jam tracks
🤘🤘🤘atmospheric🤘🤘🤘
fantastic jam👍👏🎸🎼🎼🎼
You can apply C major scales to this. Just so you know! Only when context calls for it though. Depends on when!
This stimulates creative juice ... ✌️🤘👍
I seriously use this track to practice my improvisation in my daily guitar practice routine. Good stuff man.
You can apply C major scales to this. Just so you know!
my lead guitar journey starts with this..
WOW! That was incredible! I traveled in my thoughts while playing here!
I have jammed with this track like I've never jammed before . Please keep up the good work
You can apply C major scales to this. Just so you know!
Love you.. Thanks 4 your work.. I learn so much because of you thanks again
Leaves much room to add own phrases, thank you so much for the chord progression !
I really frickin' like this one!
great track to jam on
Thanks!
A minor is my favorite key
Actually a fun way to practice and learn different scales! Appreciate it!!
Really cool!
Very good! Thumbs up!
Great track ! Thanks!
a harmonic minor sounds good here too esp with the e7 and other extended chords
Enjoyed it!
This is great!!! Thanks!
My favorite jam track,,Thanks EJT to make it happen,,
Thats my guitar 😍😍
Just discovered this. Awesome work. Will come find you on patreon. Cheers.
Good stuff
Awesome channel!
Good one
j'adore
AMAZING
Білемін сенсіз
Өмір суре алмаймын
Өйткені сен маган оте катты унайсын
Неге тағдыр сени
Менен тартып алды
Енди мени сенсиз жалгыз калдырды
Күні түні сені ойлаймын
Сені іздеуді мен қоймаймын жарығым менің
Сені ғана армандаймын
Сенсіз жалғыз қалгандаймын жарығым менің
good music
Beautiful...
very nice
love it
Nice job, I'll be back!
I was looking for this track on your bandcamp and can't find it. Can you help me find it? Please and thaks. Love your work
Holy shit, that was intense
1.25x littttttt 🔥
Thank you good sir.
A MINOR:THE SCALE WHICH ALWAYS INVITES ASMODEUS...
sublime
all i know is the a minor scale, and i fully enjoyed myself XD
❤️❤️❤️❤️❤️
Anyone know any backing tracks progressions
in C harmonic Major and his modes?
sweet!
Seems like everything is free once you pay!
👍
Using the guitar from the thumbnail to practice this on hehe
What can this backing track be used for? Do you sell backing tracks for recording sessions?
Mega!"
🤘😎🤘
☮️🎸⚡︎🎸☮️ 🤘
Hello!! Can I use your backing tracks for my gear review videos ???
I´m looking to get this song on bandcamp but I cannot find it. Could you please help me?
62 bpm/125 bpm
D minor 7 - D minor 9 :)
0:29
theorically speaking..how can a D7sus 2 fit here? wouldnt it supposedly be Dm?? thank you guys
Your assumption is correct. Basically it IS "D-minor" ! The name just derives from a composing technique and thinking.
Here's the explaination in 3 Steps and one "very essential" hint for shredding over this backingtrack:
Why the hint? Well, it's not the "D7sus2" that gives issues, it's the "E7" !!!
========
=1. Theory=
========
==============================================
Chordview 1.0 (In Piano's natural Voicing, 1-3-5-7):
==============================================
In "A Aeolian", the iv-chord is a "minor-chord"
Dm = (D-F-A,1-b3-5)
(respectively a "min7th-chord"
Dm7 = (D-F-A-C,1-b3-5-b7)
or a "min9th-chord"
Dm9 = (D-F-A-C-E, 1-b3-5-b7-9),
depending on how many notes you are using from the scale to build the chord. All'll suit perfectly)
==========================================================
=====================================================================
Scaleview 1.1 (Stufentheorie, by Jacob Gottfried Weber (1779-1839)):
=====================================================================
"A aeolian" aka."A natural minor" = A-H-C-D-E-F-G, 1-2-b3-4-5-b6-b7, (only white keys at piano),
gives you the chordtypes you probably know (always think of 7th-chords), stacking every second note (s.above):
chordtypes = A min7, H m7b5, C maj7, D min7, E min7, F maj7, G dom7
if you raise the 7th note of this scale G->G# you'll get the "A harmonic minor"-scale.
"A harmonic minor" = A-H-C-D-E-F-G#, 1-2-b3-4-5-b6-7, wich then creates different chordtypes on each 2nd scalestep.
step = i ii* III iv V VI vii**
chordtypes = A mMaj7, H m7b5, C maj7#5, D min7, E dom7, F Maj7, G# dim7
---------- ------------ --------- ---------- those become different in hm.
if you now raise the 6th note additionally F->F# you'll get the "A melodic minor"-scale.
A melodic minor = A-H-C-D-E-F#-G#, 1-2-b3-4-5-6-7, wich again creates different chordqualities on each 2nd scalestep.
step = i ii III IV V vi* vii*
chordtypes = A mMaj7, H min7, C maj7#5, D dom7, E dom7, F# m7b5, G# m7b5
-------- --------- ----------- ----------- those become different additionally in mm.
======================================================================
======================================================================
Scaleview 1.2 (Modaltheory, by the christ. church and greeks (early middleages -16.centuary/(+variations in 17.-18.c.)):
======================================================================
A "major-scale" and a "minor-scale" is, as you probably know, just a different mode of the same scale and its same notes, simply beginning with another root.
That's why major is also called "C ionian" and the "A minor"-scale aeolian, named by some greek regions in today's turkey. The other steps of the scale are called:
Root: A H C D E F G
Mode: aeolian lokrian ionian dorian phrygian lydian mixolydian
quality: minor minor major minor minor major major (because of the 3rd or b3rd)
This provides different flavours because the halfsteps (the missing black keys at piano) appear at different places. I.e.: Ionian at 3-4 and 7-8, Aeolian at 2-b3 and 5-b6, but the notes are absolutely the same, just in different order, following the church's tones (Ambitus, Finalis, Repercussa, differentiation authentic/plagal). This is the first kind of funcionality of tones, later expanded to functionality of chords build by the stufentheorie and described in the functiontheory.
==================================================================
=======================================
Scaleview 1.3 (Functiontheory, by Hugo Riemann (1849-1919)):
=======================================
Following this theory scalechords have special functions within a chord progression with a basic idea of so called dominant and resolutionary chords. This only means that some chords lead naturally to another one by certain dissonant intervalls. These intervalls are mainly found in halfdiminished and dominant 7th chordqualities while leading to the rootchords (tonic or tonicparallel) of the scale.
Major mode: C D E F G A H
Functions: Tonic Subdominant- Dominant- Subdominant Dominant Tonic- no function
parallel parallel parallel for easiness
As written down here, functions referr to the "major scale" and NOT to its "modes" including the "minor modes" (dorian,phrygian,aeolian)
The purpose why you are altering the 6th and the 7th note from a "natural minor"-scale in order to create a "harmonic-" or "melodic-" one is to bring them closer to the functionality of the chords that derive from the major scale !!!
(1-2-b3-4-5-b6-b7) -> (1-2-b3-4-5-b6-7) -> (1-2-b3-4-5-6-7) -> (1-2-3-4-5-6-7)
nat. minor harm. minor mel.minor major
These are actually not modes, 'cause they consist of new tones outside the natural scale (non-diatonic) but concerning to composer-techniques you can handle them with the same functionality as a major scale, more clearly, within the "natural minor".
I.e.: If you build cadences that are based on these major functions, like the authentic (strongest) resolution from V(G7)-I(Cmaj7) or the plagal (less stronger) IV(Fmaj7)-I(Cmaj7) or the plagal minor "iv m (Fm7) - I (Cmaj7), like in smp's-creep (a dramatically sad resolution)", you' ll get the fundamentals of composing and western music in general. Nearly every song is based on a fundamental structure like I-IV-V-I, T-S-D-T. All other inclusions to this progression just give more color and kind of stretching deviations to the song. This backing track here provides a structure of:
step: i v VI (iv) to i ... () means borrowed, actually it is Dm
chorus: Am Em F D7sus2 Am ...
function: T D Sp (Sp) T
step: VI (iv) VI i VII VI (iv) VII (V) to i ...
verse: F D7sus2 F Am G F D7sus2 G E7 Am ...
function: Tp (Sp) Tp T (chromatic effct.) Tp (Sp) (nat. tension of "maj.", D
borrowed tension from "harm.min.", D) that functions as dominant back to the root Am
=========================================
==================================================================
=2. Composing Techniques (Modal Interchange, that means borrowed chords from another scale, in general)=
==================================================================
When you are composing chordprogressions you CAN'T do anything wrong as long as you are using the so called "diatonic" chords. This means, as long as you use the scale's chords derived from the stufentheorie, every, really every chord, fits over each other. Same with Solos that use the 7 diatonic notes. The author here has used a technique that is called modal interchange. That means he has borrowed some chords from another scale to achieve clearer functionality in minor. Presumably he was thinking in harmonic and melodic minor to reach much more major feeling. Despite this technique is called "modal interchange" he borrowed only chords from the more major-like scales, mel./harm. minor.
==================================================================
===========
=3. Explaination=
===========
Ok, now comes the answer to your question: if you think of a D dom7 chord, wich derives as a borrowed chord from the "A melodic minor"-scale to achieve the functionality of a dominant chord that leads back to the root, the "i", "Am", you would have a "D dominant 7th".
chordview (In guitar's natural voicing, 1-5-7-3):
D7 = D-A-C-F#, 1-5-b7-3, 5th fret A-string
Sus 2, only means that you replace the 3 with the 2. So its just the second note of the scale wich replaces the major3 in this dominant chord. so the "F#" gets replaced by the "E". The resulting chord is: D-A-C-E, wich is nothing but the Dm7 as expected from the nat. minor scale.(or a dominant 9th chord without the third). So it's a very confusing naming that derives from the "composing thinking" of a borrowed chord from another scale and replacing its characteristic 3rd. The result is that still all the notes of aeolian are used, so you dont have any problems to improvise and shred over this chord in aeolian.
==========
=================
=4. Tipps for Improvisation=
=================
focus on roots
focus on thirds
focus on seventh are typical suggestions, but her is ONE obstacle in this backing track. It's the E7 at the end of the verse leading to the chorus (Am) or the repetition of the verse (F).
Realise the exception on E7 and follow the "harmonic minor" scale for this particular measure. if you stay in aeolian you suck! but luckyly this is the only exception :-)
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I hope it helps. i was bored, so it has became a little bit too complex as an answer, sry.
greetings
Jazzaruz
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=Post scriptum:=
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In summary the "D dom7sus2" (1-5-b7-2, D-A-C-E) is the same chord as the "D dom9(no3rd)" without the 3rd (1-5-b7-9, D-A-C-E) wich is nothing more than a D minor chord because of the flat 7. If the major 3rd (F#) is played too, you need to improvise in melodic minor here, NOT aeolian! But that's not the case, so better keep an eye on the "E dom7" part. You HAVE TO play in harmonic minor here when you focus on a scale approach !!! The E dom7 consists of the notes (E-H-D-G#, 1-5-b7-3) and the G# is non-diatonic to the aeolian scale. So be aware to switch here in this measure to "harmonic" or well, the "melodic minor" too. but stay focused on the major3rd, G#, that defines the "harmonic minor" scale.
First like
a little advide, for the chords reading is better write "Dsus2/7" instead of "D7sus2" ;)
CAUTION: Side effects may include suddenly becoming a guitar god. Use wisely
imagine using this and not even liking, smh
This was soo good. Anyone here make guitar loops? I make and lease beats for artists and need 8 - 16 bar loops for trap/hiphop beats. I can pay you a percentage of sales and credit you in my videos/ shout you out in my descriptions ect.
Everything you out is the same. Too much iv chord. Boring.
Your songs all sound the same
I am not a total newb, not too experienced either. You show A minor for this entire progression, and somethings not right. I dont think you know either TBH. Computer writes this for you?
You can't really play just Am pentatonic entire progression, that is true, but you should explore what notes from that penta work the best. Also you should listen to chord changes. For example, if you have heard by now about modes, you can play on C Ionian which is the relative major of A Aeolian (Am pentatonic if you are stripping down the scale). Try to attack A, C, F, G notes....either by bending/sliding/hammering, backing track is really awesome, also what someone showed me, exploded my mind. Turn the speed of the backing track to 0.75 and build up with melodic lines towards a 16th note pattern/riff that you might like from other artists, it will blow your mind how well it sounds.
@@RazvanStefan that's crazy! I'm new to scales and theory in general and I've heard that this scale/scale shapes can be transposed into different keys so all of this is really blowing my mind. Any advice on a really new beginner in music theory?
@@davisjdiaz yes it is crazy indeed! :) I am glad that you have finally reached a point where your needs pushed towards a bit of music theory. I strummed guitar for 8 years, without any real purpose (the core song was wonderwall because it was impressive for girls), just for fun, and I have almost 2 years in practicing (couple of hours / week don't imagine I am good, still a newbie too) with a purpose. How I started was quite straight forward, found a teacher capable to provide me knowledge but also technique improvements (alternate picking, sweeping, decent legato, decent bending, hammer-on/pull-offs, slides) we started with key of C and all modes in the key of C (C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, B Locrian - this Locrian mode is not very commonly used, so I would ignore it until you find a real usage of it). Once I knew the SHAPES (which are literally 3 patterns that your fingers must get comfortable with) I started to learn the sound of each note and intervals in the most commonly used modes (in my case is Ionian and Aeolian - basically meaning major and the relative minor - that is essentially ALL you need to build up melodic solos). The key is to just study 30 minutes - 1 hour per day and play with the modes that sound the best for you and your purpose. HINT: If you find yourself the root note of a major scale (Ionian mode), count 3 frets down and that would be your natural minor in that key :), similarly, if you play for example the Em pentatonic (E to e -> 12 15, 12 14, 12 14, 12 14, 12 15, 12 15) counting 3 frets up, you will find your G note :) which in this case is G Ionian (in other words, you found yourself that Em pentatonic is the stripped version of the natural minor in the key of G). You can do this trick anywhere, with every note. Another tip, learn the notes on the fretboard, easiest exercise is to find for example all A on the freboard, and just play them (no speed required, just awareness). Next level would be to improve your alternate picking (trust me, you feel so good when it gets in your hand), easiest way is 3 notes per string, go through the modes in any key (whichever is comfy for you), use metronome, start with the boring 8th notes at 80-90 bpm, even lower if you find it hard to keep up, develop good habits and small movements with your fingers/picking hand, then increase bit by bit.. I hope it helps what I shared with you, good luck and enjoy
@@RazvanStefan thanks so much man :) I'm gonna take that knowledge and study and do some more research on lonians, major and minors. I really appreciate that you've shared your experience and knowledge with me I cant wait to get it down and actually know what I'm doing instead of just learning and not knowing what's goin on.
@@davisjdiaz I am even more happy that you understood what I shared, usually I get lost in my own thoughts while typing, looks like this time I stayed on topic :) glad that i could help. you can view my channel, i have couple of recordings, i like to keep my progress in recordings from time to time, now is the time of the year when I am working on something so I can compare (musicality/composition/phrasing/dynamics/mixing capabilities) with what I was like 1-2 years ago for example. Also I have another youtube channel of one of my projects, it's a pop rock band No Fingerprints - he likes to watch, you can check that as well, is one of our latest creations.