For a while there I was worried you were never going to upload again. I love this channel. Simple, straight-forward, to the point. No obnoxious personality talking over a lesson for 20+ minutes. And I like the subtle humor as well. Keep uploading, man. Your licks are tasty and I need them in my life.
+SoCalTrevor94 Thank you! That is exactly what I'm trying to do with this channel. I think a lot of people are making long-winded videos just because the longer a video is watched, the higher it ranks on TH-cam. The way I see it is I'd rather do useful videos for a small group of people than to compromise quality just for views. Makes me happy to see people appreciate that.
I hope this channel builds fast, lot of good information coming from a great guitarist, keep up the awesome work man. I've been away from guitar for a while and am slowly getting back into it, just happened to stumble on your channel
It's excellent, and your other videos too. You help people like me to create new forms to do a solo, and to see the theory from other view. And you're a great player too. Sorry for my English, im from Argentina, you're great man!
Dude, please don't stop making these videos. I honestly believe that If you could make one video per week of this quality, you could quit your day job in the near future. Excuse my English, it is not my mother tongue.
Omg I actually came up with one of the scales a while back by trying to see what works well with an arpeggio that Marty Friedman plays, I never mapped it out across the entire fret board just in one or two positions, but still really cool.
Your videos are just as fantastic and helpful as your playing and tone are excellent! Thanks for sharing these! It's quite a bit beyond where I am right now but I'll just keep going over it until I get it, however long it takes. Thanks again for these videos! \m/
Do you have any music released? Would love to hear it. Me and one of my friends suspect that you're Marty Friedman. :D The video was helpful, thank you for keeping things simple and straightforward. Keep up the good work!
I'm constantly writing music so hopefully I'll have an album or two out there some day. I'm a big fan of Marty Friedman so it's easy for me to take that as a huge compliment. Glad you like the video!
The name "minor pentatonic b5" is used for a minor pentatonic scale with a flat 5th (it's a bit confusing since it's the 5th note in a *minor* scale, not the actual 5th note in the *minor pentatonic* scale). For an example, regular F# minor pentatonic scale: *F# A B C# E* F minor pentatonic b5: *F# A B C E* (C instead of C#) You'll get the 3rd mode of that scale by starting with the 3rd note: *B C E F# A* ...which would be 3rd mode of minor pentatonic b5 in B. There might be other names for that scale but I'm pretty familiar with minor pentatonic b5 patterns so for me that's the most natural way of thinking about it. You could also think of it as Phrygian without the 3rd and the 6th for example.
Glad you like it! This is the kind of stuff I really like myself a lot and it has been well received, so I think there will be similar videos in the future as well.
Great lesson! Could you please clarify naming used in lick #9 (6:50), you say "3rd mode of minor pentatonic b5". You're playing B Phrygian. It would be the 3rd mode of G major scale. Do you call it the 3rd mode of Em? Why pentatonic in particular? Also what is 'b5' in this case? Flat 5 or chord B5? What is b5 referring to? Thanks!
+highcreator The notes can be found in B Phrygian. However, if you think of it as Phrygian you'll notice that I'm skipping the 3rd and the 6th so I'm really using a pentatonic scale. You could of course play the whole Phrygian over the V chord but personally I prefer smaller groups of notes (often pentatonics). Pretty weird to leave the 3rd out but that's the kind of stuff that makes your phrases unique. Minor pentatonic b5 is a common name for a minor pentatonic scale with a flat 5th. This can be a little bit confusing since it's actually the 4th note of the scale that's flat because of the "missing" 2nd but if it was a diatonic scale it would be the 5th note that's flat, hence the name. For example, F# minor pentatonic b5 is F#, A, B, C, E (notice the C instead of C#), so the 3rd mode of that in B is B, C, E, F#, A and that's what I'm playing here. To me it makes sense to think of it as a mode of minor pentatonic b5 because that's a very familiar scale to me. You could of course think of it as Phrygian without the 3rd and the 6th. Glad you like the lesson!
+Bad Guitar Thanks a lot for your reply. I think I got it, the '3rd mode of minor pentatonic b5' is the name of this specific scale: 1 b2 4 5 b7. In order to find it we need to start with the minor scale which has a b5 in it. In the key of E minor it would be F# Locrian (F# G A B C D E), we remove b2 and b6 (G&D) from it to turn it into 'minor pentatonic b5' (F#, A, B, C, E) and then we take the 3d mode which is B, C, E, F#, A. Is that right? I think the confusing part for me was the fact that we need to start with F#. I was trying to look at it as the E minor pentatonic with a flatten 5. Please make more lessons :)
Not sure if I have particular favorites but the Megadeth stuff is definitely the most influential to me. That said, I like his Cacophony/solo stuff as well. Scenes is such a beautiful album and the more recent stuff shows that he just keeps getting better.
Counting starts from the root when forming a chord. If you mean actual playing, you don't have to start with or end on root notes. Actually sometimes it can be cool to avoid playing root notes too much.
Hello again :) I need help and advice. What kind of progresions they are 1- images76.fotosik.pl/700/81a26af7e9c0cdf6.jpg 2- zapisz.net/images/391_be.jpg 3- zapisz.net/images/651_awa.png (which chord is I,which V etc)and which scale/scales I should chose for them?
If you are new to this I suggest taking very simple progressions to practise on at first. Something like | am dm em am |. Stuff that is strictly in one diatonic scale is fairly easy. Also, keep in mind that it's a matter of taste so there really isn't right answers. I'm not great at music theory but here's my first reactions to the progressions: 1. Difficult to say a lot without a context. What I would do, and I'm certainly not great at stuff like this so bear that in mind, is to try to figure out the tonic chord (which in this case could be C major considering the signature) and concentrating on hitting the chord tones and playing my ear. It will be a little bit complicated because it's not diatonic (unless you think of it as modulating thing where the key changes constantly). So in short, if it was me, I would get familiar with the progression, concentrate on chord tones and maybe throw in some odd notes (9ths, 7ths etc.) just by ear. If you really want to get theoretical with this example you should ask someone who has a lot of knowledge in harmony. 2. This one is more simple. It's in C major (listen to how it resolves to C). The progression is: C D# | dm G#7 | G7 | C (left bass tones unmarked for simplicity) Again, this has couple of "odd" chords out of the scale (D# and G#7). I'm not quite sure what is the official way (if there is one) to use roman numerals for these kind of odd chords (I've seen different methods used) but what I do is something like this I bIII | ii #V7 | V7 | I However, being a rock/metal guitar player who plays 99 % of his time in minor keys, I tend to think about major scale as a mode of a natural minor scale so when soloing over it, I would personally think of A minor so I'd think something like: III bV | iv #VII7 | VII7 | III I'd probably play major pentatonic over the bV and maybe turn the harmony into maj7 by throwing D in there also. Over #VII7 I might play major pentatonic or maybe even some diminished thing. Like said on the video, it really is a matter of taste. See the video about other scales I'd use. 3. This one already has a lot of harmony going on, so I'd mainly go with the chord tones. You could just write down the notes of the chords and choose from there.
Hmmm...so,in brief: I could play any major scale for every major chord,any minor scale for every minor chord,any diminished scale for every diminished chord and any augmented scale for every augmented chords?For example,in C major progression C,F,G7 ,I dont need play ionian for C,lydian for F and mixolydian for G7,I could also play mixolydian for all chords or ionian for C and F chord or...wait,I have idea, if we combine three scales in one, we get a nine notes major scale for all major chords :>> ?? Let's kill diatonic!! ;D
_For example,in C major progression C,F,G7 ,I dont need play ionian for C,lydian for F and mixolydian for G7,I could also play mixolydian for all chords or ionian for C and F chord or..._ Yes if it sounds what you'd like it to sound in the context but the point I was trying to make is that you don't have to necessarily change your *thinking* into another mode whenever there's a chord change (nothing wrong with thinking like that though, lots of players do it). You could just think about the C ionian alone because all the chord tones in C, F, G7 (c-e-g, f-a-c, g-b-d-f) are notes of the C ionian. But you should be conscious about the chord tones so you know what is going on as far as the overall harmony goes and which notes are consonant and which are dissonant with the chords etc. This is where it becomes useful to think about scale degrees because when you learn what notes you like over each degree, then you don't have go "what are the notes in this chord and what can I add" every time there's a chord-change, instead, you just learn visual patterns on the instrument for each scale degree so that you have different patterns for those chords. You can build these patterns by starting with the chord tones (so basically you visualize chord shapes on the fretboard) and then adding other notes and paying attention to what kind of harmony you like for each degree. For instance, in a major key, I, like many people, like to have more notes and more complex harmony when playing over the ii-chord than vi-chord. That said, all this is difficult if the progression isn't diatonic in the first place and in those cases it might be easier to concentrate on hitting the chord tones or figure out the possible harmony chord by chord.
You could just think about the C ionian alone because all the chord tones in C, F, G7 (c-e-g, f-a-c, g-b-d-f) Yes but we can play also fis (from C lydian) and cis(from G lydian) and ais (from C mixolydian) and dis (from F mixolydian) :)
Good question. I don't know and hopefully someone else can give you a better answer but here's my theory. A 9th is an octave higher than a 2nd and in this context of soloing it doesn't really matter because I'm talking about all the octave equivalents. So I could be talking about seconds just as well (and I see how that would make more sense). However, to my experience, people often talk about ninths instead of seconds probably because of familiar chord voicings. When adding a 2nd or a 9th in a close position voicing of a root position triad chord (simply meaning the most basic voicing of a triad you can think of) add9 seems to be the popular choice instead of the more dissonant add2. So basically I think it's just common practice (at least among us guitar players) to talk about ninths in a context of soloing like this even though it would probably make more sense to talk about seconds. Maybe someone has a better explanation?
Try pausing, taking notes and drawing the patterns. It might actually be more beneficial in terms of learning. That said, it's not a bad idea turning this into a printable format, maybe I'll do that some day. Thanks for the feedback!
![The SMART Way To Think About Chord Names and Labels [+FREE PDF] [MUSIC THEORY LESSON]](http://i.ytimg.com/vi/2SeN9W1CIrI/mqdefault.jpg)
This is one of the best explanations on playing over chords I've ever seen!
Happy to hear that!
For a while there I was worried you were never going to upload again. I love this channel. Simple, straight-forward, to the point. No obnoxious personality talking over a lesson for 20+ minutes. And I like the subtle humor as well. Keep uploading, man. Your licks are tasty and I need them in my life.
+SoCalTrevor94 Thank you! That is exactly what I'm trying to do with this channel. I think a lot of people are making long-winded videos just because the longer a video is watched, the higher it ranks on TH-cam. The way I see it is I'd rather do useful videos for a small group of people than to compromise quality just for views. Makes me happy to see people appreciate that.
Man! This video opened my eyes and blew my mind in ways I couldn't imagine! Thank you so much for sharing your knowledge!
Happy to hear that!
This is one of the rare videos about soloing over chords and triads, that I find extremely interesting and useful!
Fantastic job! ^^
Happy to hear you find it useful!
I hope this channel builds fast, lot of good information coming from a great guitarist, keep up the awesome work man. I've been away from guitar for a while and am slowly getting back into it, just happened to stumble on your channel
Thank you!
I'm really digging the tone for both rhythm and leads, lots of power and bite. Awesome lesson man!
Thank you!
It's excellent, and your other videos too. You help people like me to create new forms to do a solo, and to see the theory from other view. And you're a great player too. Sorry for my English, im from Argentina, you're great man!
+Enzo Villar Thank you, I appreciate it!
You have a very fine vibrato... it's musical, not too wide or too fast.
+Learner-Learns Thank you!
can we get some more lessons like this? it's really helped me.
again I saw your videos in the past but i didn"t see how good the content itself is , keep up the good work! :)
Glad you like it and thanks for the sub!
Dude, please don't stop making these videos. I honestly believe that If you could make one video per week of this quality, you could quit your day job in the near future. Excuse my English, it is not my mother tongue.
Omg I actually came up with one of the scales a while back by trying to see what works well with an arpeggio that Marty Friedman plays, I never mapped it out across the entire fret board just in one or two positions, but still really cool.
I can definitely hear some Marty Friedman. It means, I'm sold. :)
Good stuff and a massive amount of information to digest in such a short video . TY for your efforts
Glad you like it!
Very insightful! Got some new perspective on how to(properly) add more flavor to my soloing. Thanks!
Glad to hear that!
That IV6add9 sounds very Marty Friedman.
Overall, me gusta.
Yeah,thats a lick from Symphony of Destruction
Your videos are just as fantastic and helpful as your playing and tone are excellent! Thanks for sharing these! It's quite a bit beyond where I am right now but I'll just keep going over it until I get it, however long it takes. Thanks again for these videos! \m/
Thanks for the kind words! Glad you like the videos!
Cheers!
Very informative and great sounding
Glad you like it!
Man, this is AWESOME!!! Thank you for putting this together and sharing!!! Subscribed!!!
Glad you like it! Thanks for the sub!
This helps. My friend asked me to teach him, now I only have to see that stubborn bastard this amazing tutorial. Thanks!
+Fadhil Nugraha Glad you found it helpful!
This was actually helpful. Thanks for the work put into it.
+Milton Huang Glad you found it useful!
you are a great teacher i wish this was a music theory channel
Thank you! I appreciate that!
Bad Guitar you should think about doing a music theory channel i mean do what you want but yeah
Sir, you are my true guitar hero!
Very interesting
wow dude, you are not from this world! Amazing lessons!
+Lyon.exe [RevFb] Thank you! Glad you like the lessons!
you are an inspiration bro! I love your channel, keep it up!
Thank you!
this video has helped me alot...please can u make a second part for this???explaining further more ideas :) :)
No promises but I'll think about it. Glad to hear it has helped you!
you, i like you
Well done video, learning new stuff all the time and this blew my mind. Thanks and keep up the goodness! Subbed.
Glad you like it!
Great video. Subscribed and keep them coming.
Thank you!
this is exactly what I was looking for ! great lesson!! keep rocking ;)
Happy to hear that!
un estudio brutal, gran masterclass!
great job, thank you very much for this work!!
+El Rincón del Sonido Thank you, I appreciate it!
Do you have any music released? Would love to hear it. Me and one of my friends suspect that you're Marty Friedman. :D The video was helpful, thank you for keeping things simple and straightforward. Keep up the good work!
I'm constantly writing music so hopefully I'll have an album or two out there some day. I'm a big fan of Marty Friedman so it's easy for me to take that as a huge compliment. Glad you like the video!
This is right what I needed. Thank you :)
I'm glad you find it useful, thanks for watching!
I really have to get moving and learn all the notes on the fretboard...
At the beginning I thought you would start playing Symphony of destruction
Haha, yeah similar lick!
That was very helpful thanks man
+Boum Chakalaka Glad you like it!
Short but Very informative....want more videos like this.Thanks so much.
Can u explain what is the 3rd mode of minor pentatonic b5?
The name "minor pentatonic b5" is used for a minor pentatonic scale with a flat 5th (it's a bit confusing since it's the 5th note in a *minor* scale, not the actual 5th note in the *minor pentatonic* scale).
For an example, regular F# minor pentatonic scale:
*F# A B C# E*
F minor pentatonic b5:
*F# A B C E* (C instead of C#)
You'll get the 3rd mode of that scale by starting with the 3rd note:
*B C E F# A*
...which would be 3rd mode of minor pentatonic b5 in B.
There might be other names for that scale but I'm pretty familiar with minor pentatonic b5 patterns so for me that's the most natural way of thinking about it. You could also think of it as Phrygian without the 3rd and the 6th for example.
Thanks So much for the help.Looking for more videos like this.
more this kind of video please! helps me alot!!!!!!!! :) thank you! :)
Glad you like it! This is the kind of stuff I really like myself a lot and it has been well received, so I think there will be similar videos in the future as well.
Superb.
subscribed..👍 seriously tasty licks
Awesome, thanks for the sub!
Great lesson! Could you please clarify naming used in lick #9 (6:50), you say "3rd mode of minor pentatonic b5". You're playing B Phrygian. It would be the 3rd mode of G major scale. Do you call it the 3rd mode of Em? Why pentatonic in particular? Also what is 'b5' in this case? Flat 5 or chord B5? What is b5 referring to? Thanks!
+highcreator The notes can be found in B Phrygian. However, if you think of it as Phrygian you'll notice that I'm skipping the 3rd and the 6th so I'm really using a pentatonic scale. You could of course play the whole Phrygian over the V chord but personally I prefer smaller groups of notes (often pentatonics). Pretty weird to leave the 3rd out but that's the kind of stuff that makes your phrases unique.
Minor pentatonic b5 is a common name for a minor pentatonic scale with a flat 5th. This can be a little bit confusing since it's actually the 4th note of the scale that's flat because of the "missing" 2nd but if it was a diatonic scale it would be the 5th note that's flat, hence the name. For example, F# minor pentatonic b5 is F#, A, B, C, E (notice the C instead of C#), so the 3rd mode of that in B is B, C, E, F#, A and that's what I'm playing here.
To me it makes sense to think of it as a mode of minor pentatonic b5 because that's a very familiar scale to me. You could of course think of it as Phrygian without the 3rd and the 6th. Glad you like the lesson!
+Bad Guitar Thanks a lot for your reply. I think I got it, the '3rd mode of minor pentatonic b5' is the name of this specific scale: 1 b2 4 5 b7. In order to find it we need to start with the minor scale which has a b5 in it. In the key of E minor it would be F# Locrian (F# G A B C D E), we remove b2 and b6 (G&D) from it to turn it into 'minor pentatonic b5' (F#, A, B, C, E) and then we take the 3d mode which is B, C, E, F#, A. Is that right? I think the confusing part for me was the fact that we need to start with F#. I was trying to look at it as the E minor pentatonic with a flatten 5.
Please make more lessons :)
+highcreator Yeah, that's a valid way to look at it.
holy shit this look useful!!!!!!
iv6add9 = Symphony of Destruction solo 👀🤘🏻🎸
Holy smokes... Is this my mum?
Thanks.
Very cool
Awesome!
Glad you like it!
cool .. nice..
This is so Friedman style I love it!! :D
Glad you like it! I pretty much started playing electric guitar because of Friedman so he's a huuuge influence to me.
That's great! I started listening to his music just 1 year ago and he is a big influence to me already. What are your favorite songs of his?
Not sure if I have particular favorites but the Megadeth stuff is definitely the most influential to me. That said, I like his Cacophony/solo stuff as well. Scenes is such a beautiful album and the more recent stuff shows that he just keeps getting better.
Definitely the best guitarist Megadeth ever had! I wish he'll tour europe again and visits Greece. Have you seen him ever live?
Only once with Megadeth. 1999 I think. They played and sounded great.
that first solo reminded me of Marty friedman
I love this, it sound like marty frieed man's.
Wow . I feel like im on a math class
Friedman style
really like to get hang this stuff or maybe stick to de blues
amazing lick man.
thanks.😁
I from Thailand. ✌✌
+Mr. Big Gamecasting Glad you like it!
+Brandon J. LePage Yeah, too bad Ibanez discontinued the SZ series. Great guitars for the price.
should i start with root note ?
like starting with e root note and ending with again e root note and and starting with a5 root note?
Counting starts from the root when forming a chord. If you mean actual playing, you don't have to start with or end on root notes. Actually sometimes it can be cool to avoid playing root notes too much.
Hello again :) I need help and advice.
What kind of progresions they are
1- images76.fotosik.pl/700/81a26af7e9c0cdf6.jpg
2- zapisz.net/images/391_be.jpg
3- zapisz.net/images/651_awa.png
(which chord is I,which V etc)and which scale/scales I should chose for them?
If you are new to this I suggest taking very simple progressions to practise on at first. Something like | am dm em am |. Stuff that is strictly in one diatonic scale is fairly easy. Also, keep in mind that it's a matter of taste so there really isn't right answers.
I'm not great at music theory but here's my first reactions to the progressions:
1. Difficult to say a lot without a context. What I would do, and I'm certainly not great at stuff like this so bear that in mind, is to try to figure out the tonic chord (which in this case could be C major considering the signature) and concentrating on hitting the chord tones and playing my ear. It will be a little bit complicated because it's not diatonic (unless you think of it as modulating thing where the key changes constantly). So in short, if it was me, I would get familiar with the progression, concentrate on chord tones and maybe throw in some odd notes (9ths, 7ths etc.) just by ear. If you really want to get theoretical with this example you should ask someone who has a lot of knowledge in harmony.
2. This one is more simple. It's in C major (listen to how it resolves to C). The progression is:
C D# | dm G#7 | G7 | C (left bass tones unmarked for simplicity)
Again, this has couple of "odd" chords out of the scale (D# and G#7).
I'm not quite sure what is the official way (if there is one) to use roman numerals for these kind of odd chords (I've seen different methods used) but what I do is something like this
I bIII | ii #V7 | V7 | I
However, being a rock/metal guitar player who plays 99 % of his time in minor keys, I tend to think about major scale as a mode of a natural minor scale so when soloing over it, I would personally think of A minor so I'd think something like:
III bV | iv #VII7 | VII7 | III
I'd probably play major pentatonic over the bV and maybe turn the harmony into maj7 by throwing D in there also. Over #VII7 I might play major pentatonic or maybe even some diminished thing. Like said on the video, it really is a matter of taste. See the video about other scales I'd use.
3. This one already has a lot of harmony going on, so I'd mainly go with the chord tones. You could just write down the notes of the chords and choose from there.
Hmmm...so,in brief: I could play any major scale for every major chord,any minor scale for every minor chord,any diminished scale for every diminished chord and any augmented scale for every augmented chords?For example,in C major progression C,F,G7 ,I dont need play ionian for C,lydian for F and mixolydian for G7,I could also play mixolydian for all chords or ionian for C and F chord or...wait,I have idea,
if we combine three scales in one, we get a nine notes major scale for all major chords :>> ?? Let's kill diatonic!! ;D
_For example,in C major progression C,F,G7 ,I dont need play ionian for C,lydian for F and mixolydian for G7,I could also play mixolydian for all chords or ionian for C and F chord or..._
Yes if it sounds what you'd like it to sound in the context but the point I was trying to make is that you don't have to necessarily change your *thinking* into another mode whenever there's a chord change (nothing wrong with thinking like that though, lots of players do it). You could just think about the C ionian alone because all the chord tones in C, F, G7 (c-e-g, f-a-c, g-b-d-f) are notes of the C ionian. But you should be conscious about the chord tones so you know what is going on as far as the overall harmony goes and which notes are consonant and which are dissonant with the chords etc.
This is where it becomes useful to think about scale degrees because when you learn what notes you like over each degree, then you don't have go "what are the notes in this chord and what can I add" every time there's a chord-change, instead, you just learn visual patterns on the instrument for each scale degree so that you have different patterns for those chords. You can build these patterns by starting with the chord tones (so basically you visualize chord shapes on the fretboard) and then adding other notes and paying attention to what kind of harmony you like for each degree. For instance, in a major key, I, like many people, like to have more notes and more complex harmony when playing over the ii-chord than vi-chord.
That said, all this is difficult if the progression isn't diatonic in the first place and in those cases it might be easier to concentrate on hitting the chord tones or figure out the possible harmony chord by chord.
You could just think about the C ionian alone because all the chord tones in C, F, G7 (c-e-g, f-a-c, g-b-d-f)
Yes but we can play also fis (from C lydian) and cis(from G lydian) and ais (from C mixolydian) and dis (from F mixolydian) :)
In 4:09 why is it F#°? What does that mean? Minor?
Alex Curtis Thanks!
is that jared dines' guitar
+timothy sastra I believe it's the same model, Ibanez SZ520QM. Mr. Dines has a good taste.
Hahahahah
What about your Album?
+John Triggerfinger Coming out in summer 2050.
+Bad Guitar hehehe I'll be waiting xd
why is it called a 'ninth', not a 'second'
Good question. I don't know and hopefully someone else can give you a better answer but here's my theory.
A 9th is an octave higher than a 2nd and in this context of soloing it doesn't really matter because I'm talking about all the octave equivalents. So I could be talking about seconds just as well (and I see how that would make more sense).
However, to my experience, people often talk about ninths instead of seconds probably because of familiar chord voicings. When adding a 2nd or a 9th in a close position voicing of a root position triad chord (simply meaning the most basic voicing of a triad you can think of) add9 seems to be the popular choice instead of the more dissonant add2.
So basically I think it's just common practice (at least among us guitar players) to talk about ninths in a context of soloing like this even though it would probably make more sense to talk about seconds.
Maybe someone has a better explanation?
thank you for your reply, this makes sense indeed ;)
its too fast I wish I could print the vid onto paper
Try pausing, taking notes and drawing the patterns. It might actually be more beneficial in terms of learning. That said, it's not a bad idea turning this into a printable format, maybe I'll do that some day. Thanks for the feedback!
มีคนไทยดูคลิปพี่เค้ามั้ยนิ55
Your guitar is realy BAD :)
nice video
Glad you like it!
666th like :D
\m/