Mr. Z. is a great teacher. Wonderfully clear. I messed with guitar 40 years before realizing playing a chord doesn't require using all 5 or 6 strings, just the 2- or 3-note "shell."
You're welcome. Thanks for your kind comment. BTW, I actually do have a Master Black Belt - but in Six Sigma, not karate ... which maybe means I can beat people in an Excel Spreadsheet fight! LOL!! Thanks again!
Really nicely explained. A long time ago my teacher taught me this with reference to the rhythm playing of the great Freddie Green (Count Basie's guitar player for many years). The 3 and 7 define the chord, and so this approach can be used with ANY chord in ANY song. Great in jazz standards. If there is no bassist, you can usually add rgw root or 5 in the bass easily, and it is also the basis of walking bassline guitar comping - similar to what you say about embellishing the chords, just in the bass. As soon as you know the 3 and 7 define the chord it really frees your playing.
I used to play a lot with bands and solos using chord melody style. I haven’t played in years and now have guitar playing friends. They like to jam to warm up. I’d forgotten these “broken chord forms”. Like you said, it allows the other guitar players, including bass, an opening to be creative. Also horns and keyboards can be heard and allowed to open up and fill up any blank spaces. Thanks!
Hey Mark- this is for your reference. There's another guitar player very similar to DANNY GATTON that nobody knows about. If you're looking for additional material to break down and teach... check out "STEVE TROVATO." There's a video of him playing with ALBERT LEE... and when STEVE solos, it's fairly obvious who was the runner up. JAZZ, COUNTRY, BLUE, ROCK, ETC. He doesn't really teach on Utube... just has a few videos up. Last I knee he was teaching at USC, but he could've retired. He's definitely another "HUMBLER." Helluva guy too!!
Yeah, Steve Trovato ... great player for sure. I think I've got some of his stuff playing with John Jorgenson, another fantastic player. Good to know he's a good guy as well!
I discovered this a number of years ago when I began using three-note “Freddie Green” chords. Cool as hell. And with a tritone inversion, e.g., that two-note G7 is also a Db7.
Exactly so. I see the tritone as a chromatic from the iim chord rather than going to the V7 before the I. It's "just" a chromatic line. (But oh so neat sounding!)
I was taking a class in improvisation on the guitar. I was really starting to hear my notes blend with and accent the background music. My ear was getting better and better. Then one day my teacher told me that I was ready to start making sure my improv notes included the root of each chord. I quit my lessons the next day. I felt like someone put a straight jacket on me. Thank you for this lesson. Thank you very much.
Talking about playing a Tele, brings back good & sad memories. In 1968, I had a 1951 Tele. That was the same year I was born, so I figured it was made for me! Wish I still had it!
Always appreciate taking a pause to stand back and learn simpler tricks capable of conveying my emotions. What I love about this so much is that while it is so classicly elegant on its own, it remains a great platform to build from and make one's own. Thank you for this tip. Been playing for years but it's always nice to be humbly reminded of little nuances such as this and their roots. 🙏🎶🤘
Thank you for sharing this! (It also works great as a Chromatic 3-6-2-5-1 , where G (1) is on the 3rd fret, up to B on the 7th fret (3) down one fret E (6), down one more A (2), down one more, D(5), down one more G (1)...)
Yes, exactly - typical jazz blues turnaround sort of thing. And works with the tritone sub versions too. I didn't want to complicate this video with that, so I kept it short and just mentioned it near the end. Thanks for pointing it out!
"DANNY GATTON" - the MOZART of guitar! I have a bunch of his tutorial discs. If Ur without a tuner and need 2 tune 2 pitch, pick up a land-line phone... the dial tone is "F"- Always "F." He was on stage tuning 3 guitars simultaneously AND, pointing to all the other musicians who were out of tune, then telling them whether they were high or low and by how much. INCREDIBLE PERFECT PITCH!! Could listen to anything and immediately reproduce it, then play it better. "LES PAUL" was impressed by how GREAT he was. DANNY also built HOT RODS... engine and all- from the bottom up. Man was a GENIUS- RIP.
Holy hell. My son bought me a guitar for Christmas last year. I'm starting to play at 60. Needless to say I know nothing of music... But tonight I'm going to become a 2 note wonder! THANK YOU, THANK YOU, THANK YOU.
As an old (66) self taught bass player recently turned to 6 string, my musical theory understanding is rather quite limited. You were making my brain hurt with all the 1's 3rds 5th jargon. But when you played it I totally got it. Thanks for the tips !!!
This use to make my brain hurt too- now it's easy. Simply count to 7- that is all the degrees of the major scale. 8 is back to the root or tonic note only one octave higher. The way the notes are in order is called steps that follow a formula. For the major scale it is simply this. *W W H W W W H.* It never changes. W or Whole step like C to D is 2 steps, H or half like B to C is 1. So in C Major, it is ---*C(1)*--- D (2) E(3) ---*F(4)*--- ---*G(5)*--- A(6) AND FINALLY B (7.) That's it. Eight would start over at C. These are the *DEGREES of the scale.* Most progressions are I, IV, V so in C that is simply C, F, G. They are all major. There are also 3 minor. It's really very simple once it clicks. I, IV, V are always major in the major scale. Recall, the musical alphabet is e.g., C, *C#/Db, D, D#/Eb, E, F, F#/Gb, A, A#/Bb, B*, (12 notes aka Chromatic) and back to C- that is it. This is what you apply the formula to. That is exactly where the numbers are coming from. Most chords are triads (3 notes) so the 1-3-5 of that major scale. So in C it is simple C, E, G. To make a MINOR C chord, simple FLAT (or go down a Half step on the 3rd) and that's it. So C, D#/Eb, G are the notes there. Print this out so you have a reference. You will find this formula and the musical alphabet (chromatic- 12 notes) very useful. This works in any key. Learn one, you have them all! Also, 66 is not old- I skied everyday with 70+ year old's at Vail, Co/ who skied great. Many better than me and I was an instructor. They skied 100 days a season. I hope this helps. Even it it is confusing at first glance, re-read it 10 times over as many days. One day, it will click I promise. That will be a very happy day for you my friend. 😀
It never ceases to amaze me how a guitar fret board works. 6 strings and 12 notes and how in standard tuning everything just repeats fret by fret. And then it works in open tunings as well...Same applies to other stringed instruments...and probably all of them one way or another. Totally agree with the keeping it simple comment..I was once asked a question or two by a fella I met who played..(I knew that because he had a guitar case with him) so I got me coffee and sat down...I was a bit of a beginner back then. We got chatting as you do. Any way he asked me how many strings does a violin have..? How long is a violin neck? And how much music can you NOT play on a violin..or fiddle if you're a fiddler.... Have a think he said as he left. So I did..I'll leave the same questions with you. You might look at a violin bridge as well, the way it's built. Doesn't look like you can bow more than 1 or 2 strings at a time.. Once I realised what he was telling me...and I still see a fret board the same way now. Or the part I'm looking at...at any given time. This video..2 strings and how much fret board..? Just thought I'd pass that thought on. I think Mark will know what I'm saying as others will.
Hi Ian! Definitely appreciate this. I'm always amazed by the often very simple and unique ways the greats do what they do. Lenny Breau, for example, could do wondrous things with only 2 notes. I find going back to basics and learning a subject "I already know" in a different way often enables me to see things differently as well. Happens all the time in music! Thanks so much for the story. A fun read!
@@MarkZabel Hi Mark. Again I agree with the idea of going back to basics. Many start with open chords..or "Cowboy" chords as they're often called. So they learn them, or a number of them but then want to move on up the neck. Because who wants to be playing those ..cowboy chords? But should they have spent more time on those supposedly simple chords? Do they discover all the ways we can embellish them? Many discover the often used and very popular D sus 2 and D sus 4 trick, and maybe one or two others. But there's a lot of music in those open chords..They are part of where your fret board begins, those "cowboy chords or at least 5 of them are the basis of your CAGED system..10 if we look at the minor version. More when we think about Dom 7 chords for instance and other variations. Each of those CAGED chords contains one of the 5 patterns of your pentatonic scales. Your Pentatonic begins in open E..C Majors Phrygian mode. All 5 pentatonics exist in the open position. The more you learn in the open position the better as it all simply moves up the fretboard fret by fret. Barre chords are great things but a little limiting, which is where your capo comes in, now all those little embellishments can be played in any key all the way up the fret board. Bit so many are in such a hurry to move away from the open position and then can so easily become confused as they do so. It makes things that much more difficult. IF you did this even if you are a good player going back to these basics can be useful because as ..simple as they are you might just find something you missed. Going back to other things you might think you learned the same applies. We tend to practice things and learn them, or think we have. Thinking we have learned something and moving on means your brain moves on, so now we don't think so much about what we think we have learned. Like this video I learned this little trick some years ago, but I watched it because you might have thought of using it in a way I had not. If so then yes I learned it, but not everything I might be able to do with it. We can add more notes in different ways from the scale...or maybe a note from a different scale..like adding a Major 3rd into a minor pentatonic, or a borrowed chord that doesn't belong in the chord progression. There are so many tricks like these, little nuances we don't think of but someone else does. Two notes can be more than just 2 notes. Django Reinhardt could only use 2 fingers but boy could he do a lot with those 2 fingers. The rest of us have 2 more...usually anyway. So what can we get from those 2 extra digits? Or more to the point what can we do if we just used 2..? Challenging maybe but that's how we can discover new things. Limiting ourselves to just 4 notes, as with the famous 4 note box, challenges us to play more with less. Similar to the violin question, more fret board is not necessarily better than just using a small chunk of it. The violin idea is what eventually led me to understanding how and why a 6 string guitar works, and it never ceases to amaze me you can actually play the thing. Again when you think about it most stringed instruments only have 4 strings. On a guitar we get 2 extra ones. A bit spoilt then, aren't we. Or are we?
it took me all of 3 minutes to subscribe! No flash! No drone speech about this/that or whatever! Clear Concise and down to earth! I salute you and thank you! Subscribed!!
That's the most I've ever learned in that short a time. I use the 3-b7 on bass sometimes, but never made this connection on guitar. I hope something brightens your day like you just did mine!
What he's really talking about is what is called a 'shell voicing' for chords. You can look it up, I'm sure, but, essentially, it stems from the Root & 5th contributing the least to a chord's 'color', timbre, whatever term you want to use. So a jazz guy will build things around 1 - (b)3 - 7 AND drop the Root for 'busy' constructions. *Example:* the Root is very often omitted from a ninth (a true ninth, not add9).
@@JESL_TheOnlyOne - True. Especially on guitar -just try to get a voicing for all the notes in a 13th chord! Hey, here's a trick I discovered for blues chords. I voice them 1-V-b7, which leaves the third ambiguous, giving the singer or soloist room to play with that M-m dichotomy. Keep playing, brother.
In the summer of 2019 I had a lesson with Will Ray and one of the things he showed me was this exact lick, and I've been using it ever since! Great lesson Mark!
No doubt. What Danny G was doing was really cool. Honestly, I think that's such a key insight into how the greats play - they keep it simple, but know it like the back of their hands. Thanks for watching!
I got the same thing years ago from Rock and Roll by Led Zep. It blew my mind because it looks so wrong that it should work. It blew my mind even more when I took the time to work out why it worked! Nice one.
This is an important lesson. Can’t recall now where I first heard about it. (I’m old…) An important thing to take from this is that you can find other two-note shapes on the D and G strings that give the “essence” of a chord (M7, m7, Don 7) and use them for comping. The bass player handles the root and 5th, the melody line is above, and the rhythm guitar cuts through without muddying up anyone else’s part. 😊
That charvel Tele is awesome ! I just recently got the gateway guitar of shred guitars,a Randy Rhoades Jackson V and realized real fast that shred guitars can have good comfortable necks if they added a little roundness to them but the fret board is great and turned me on to a Jackson Dinky Floyd rose tremolo guitar and it's also awesome so yeah agreed shred guitars can be awesome for everything !
Kind of a funky jazz electric piano sound played on the guitar, very cool... Sped up it would sound like the main riff in "Jeff's Boogie" by The Yardbirds.
I’m pretty sure this was used in Bill Haley and the Comets “rock around the clock.” I know other guys from that era knew it as it shows up here and there. Anyway, it’s a great little trick to keep in your pocket. Also a great way to ground yourself when you lose your place.
Mark, you look nothing like a guitar monster, but you are. Love your vibe and you're teaching this aging dog some great new tricks.. And Danny Gatton!! Just wow.
Ah yeah thee old Tritone! Did you ever see Danny Gatton plays slide with a full bottle of an open beer. Awesome stuff. Mr. Gatton takes a back seat to no one. 🎸☮️
Just found this channel. Liking it a lot. So far it seems like clearly presented information with realistic perspective to make it possible to quickly put things into practice. Just enough theory to provide context without obscuring the point of the lesson. Thank You!
Thanks so much! I work very hard to keep the lessons short and tight, and to not try to put too much into any one lesson. Don't be shy about letting me know what else you'd like to see!
Thanks man!!! now to practice and not confusion. Danny WAS & Still is the best. saw him from his time with Liz Myers on., We always talked cars he dug his classic ford almost as much as his tele
Excellent, excellent, excellent! Makes me aware of and think of the different inversions of those chords and the placement of the all the chord tones in the 7th chord, be it I, IV or V. Thanks for the enlightenment Mark!
3th and 7th: the boss notes in all chords! 3th defines the mode is major ou minor. If the 3th is major and 7th flat, there are 3 tones between them, therefore the chor is dominant.
Man this just blew my mind. I've been trying to teach myself some theory and basic rhythm concepts after just playing by ear for years and this is a huge help. Thanks!
Thats what i've known as the " jazz power chord" for over 50 years. Jimmy page did it in rock and roll. Its not as exotic as it may seem, but its crazy useful. You can also bend either of the two notes to suggest 1/4 cadences and stuff. When i took a jazz theory course, they taught us the harmonic series created by the 3 and 7 fill out the rest of the notes in the chord. Its straight up thonious monk stuff. Cool video man thanks for helping the world out. Righteous
@@beaud4474 hahaha dude, lets me bs my way thru jazz stuff i have no idea what the chords are for...lol. its super-duper handy, for sure. but yeah, i bet that was a lot of our first exposure to it, pagey in rock n roll ;) AWESOME. rock on, brother
if x•x=2 its x . b is one , f is x , the next b is two , the next f is two times x and the next b is four ... . f to b is one to x and b to f also is one to x . Also is f÷x=b and b÷x=f . Or you can say : 3 to b7 is the same intervall like b7 to 3 (and looks the same on the guitar if you dont use the b string) .This is the two - note wonder . I think its called the square root . Its the most dissonant intervall and the chromatic scale is based on it . I am german and dont know the right words but i try : A half step is the twelfth root of two .
There is a video of Danny Gatton on you tube with him playing slide with an open beer bottle and then he keeps right on playing while using a towel to clean the beer off of his guitar. Some of the best and entertaining playing I have ever seen.
My eyes glaze over when people explain music theory. Kind of like math used to when I was a kid. But that example... WOW, man!!! So simple and so much you can do with it like mixing a lead along with it!
Wow. I've watched countless theory "explanations" on YT but this is the first one where I light bulb went on for me. Music is so much like learning a foreign language where fluency means more than knowing unconnected phrases, it's knowing how/why a phrase is constructed. I love the 2-note method, and now can see how learning triads can take me to a different level as well.
Glad you enjoyed the video! I do a lot of work with triads and "partial chords" on my channel, along with lots of other things. I didn't go to music school, so my "models" are often a bit different from others. Thanks for checking out my video and for the kind comment!
Freddy King did that for years, as did many others. Interestingly, though, there was a lot of tension between Roy and Gatton. Both met early callings, cheers Mark . Thanks for the reminder
Yes, certainly known for many years before Danny Gatton. I'd bet Charlie Christian and Django and even earlier players knew it. Sad what came of both Danny and Roy. Thanks for watching!
Didn't know they knew each other. Was Roy B. an influence of Danny's or did they come up at the Same Time? I always thought that....while it was a ways in coming, DG was 'due' some REAL exposure when he passed. Maybe he couldn't wait any longer. Reminds me of Sean Chambers. Too soon. -A
@@allenmcdaniel1470 RB influenced Danny some, particularly in how he set up his guitar (relatively high action). As far as play goes, Danny supposedly wasn't much influenced by Roy ... not from the book I read on Danny's life. Probably the biggest reason Danny was unknown in his time is that he didn't leave the Washington DC area. He had a strong following in the capital region.
Seems I heard Jesse Ed Davis using this too (early 70's in Ottawa Canada) with Taj Mahall. Still listen to the great Danny Gatton with awe and humility!
No doubt Danny was amazing. If you get a chance to see the creative way he uses this simple structure in "Strictly Rhythm", make sure you check it out!
Mark, Love that reverse headstock..... very cool looking.... This same pattern can be taken up to G and B strings to do the "skynyrd" style articulated bend.....by bending the G while also hitting the b string.
Cool idea, thanks! It actually works on every adjacent string pair - E/A, A/D, D/G, G/B, B/E. Best on the "bread and butter" or guitar IMHO - the D, G, and B strings.
A really good example of this in practical use is the Led Zeppelin classic 'Rock and Roll' at the beginning these are used to accentuate the changes with the riff A7-D7-E7.. I don't quite know how to explain it musically but if you listen hard you will pick it up.
Very very cool. I don't own an electric guitar and probably never will, but this still impresses me. I doubt it would sound great on acoustic, but I still appreciate this video and how much it must help electric guitar players!
Don't discount this if you're an acoustic player... I haven't tried it, but I would think the over simplified two-string approach along with the "Percussion" you get from palm slapping your guitar would get you that front porch delta blues sound that many old bluesmen had when they didn't even know proper chords, but just played notes that accompanied their singing ( usually, the root note)... This was literally made for an acoustic and probably originated among the Mississippi bluesmen... A slightly out of tune $10.00 flea-market special with a string or two missing might even sound better than a freshly strung D-28 if you're looking to lure the gators our of the swamp.😉
Hi Kelly. It totally depends upon the style of acoustic you play. If you play swing-era tunes like "All of Me" or anything with so-called "Four to the floor" rhythm, this concept is used all of the time. As Common Logic noted, in more percussive styles this works quite well, for example as a change of pace in a turnaround. Thanks for watching!
Amazing... thank you so much for showing me that... I will definitely learn and keep that for future use... its so stupid easy, that even I can sound good! 🙂
A Great one, Mark. Danny Gatton was definitely in a league of his own. Thanks for sharing! I came back for a refresher. I enjoy your videos and your laid back easy to understand teaching method. The 3 & flat 7 is also why Tri-tone Subs work so well. They are the same 2 notes again that switch places, without moving. So A flat 7 can sub for D7.
That's right. An Ab7 is basically a D7 with the bass note changed. If one leaves out the bass note ... well, you already told me the answer! Thanks for watching!
@@MarkZabel Thanks for responding. I just love talking about music and sharing little tidbits with each other. I've learned a lot that way. I hope I didn't come across as pushy or anything. I never mean to. I'd love to be able to Jam with you sometime. Your the kind of guy that I would enjoy just jamming with. Thanks again.
Needs Training as ever, but have a great smile on my face, thanks. Your calm and kind presenting puts the cherry on the cake. Relaxing by watching it. Kudos
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Mr. Z. is a great teacher. Wonderfully clear. I messed with guitar 40 years before realizing playing a chord doesn't require using all 5 or 6 strings, just the 2- or 3-note "shell."
Thanks! Yes, I did the same ... I'm a slow learner, LOL!
You teach so much in 5 minutes. Never disappoint. Thanks
Thanks Garry!
Mark …Thanks for all that you do for the guitar community 😊
My pleasure!
And just like that I'm a white belt again. Thank you sensei
You're welcome. Thanks for your kind comment. BTW, I actually do have a Master Black Belt - but in Six Sigma, not karate ... which maybe means I can beat people in an Excel Spreadsheet fight! LOL!! Thanks again!
By your belt turning white again is the essence of Bruce Lee's "Jeet Kune Do" 🎸☮️
@@MarkZabel Thanks for the lesson. I'm a Lean Enterprise guy. Love Process Improvement. Not much Muda here. Great Cpk!!!
@@jimtessin4130 LOL! Thanks!!
Being humble and smart enough to restart learning, is a tremendous gift
Really nicely explained. A long time ago my teacher taught me this with reference to the rhythm playing of the great Freddie Green (Count Basie's guitar player for many years). The 3 and 7 define the chord, and so this approach can be used with ANY chord in ANY song. Great in jazz standards. If there is no bassist, you can usually add rgw root or 5 in the bass easily, and it is also the basis of walking bassline guitar comping - similar to what you say about embellishing the chords, just in the bass. As soon as you know the 3 and 7 define the chord it really frees your playing.
Thanks! Well said.
I used to play a lot with bands and solos using chord melody style. I haven’t played in years and now have guitar playing friends. They like to jam to warm up. I’d forgotten these “broken chord forms”. Like you said, it allows the other guitar players, including bass, an opening to be creative. Also horns and keyboards can be heard and allowed to open up and fill up any blank spaces. Thanks!
Sure thing. Glad you enjoyed the video.
Real Magic! 2notes in 2 minutes of music theory just changed Everything!!
Hey Mark- this is for your reference. There's another guitar player very similar to DANNY GATTON that nobody knows about. If you're looking for additional material to break down and teach... check out "STEVE TROVATO." There's a video of him playing with ALBERT LEE... and when STEVE solos, it's fairly obvious who was the runner up. JAZZ, COUNTRY, BLUE, ROCK, ETC. He doesn't really teach on Utube... just has a few videos up. Last I knee he was teaching at USC, but he could've retired. He's definitely another "HUMBLER." Helluva guy too!!
Yeah, Steve Trovato ... great player for sure. I think I've got some of his stuff playing with John Jorgenson, another fantastic player. Good to know he's a good guy as well!
Steve T. did a GREAT dvd on playing like Chuck Berry. Highly recommended...
I must check out Steve Trovato... I mean, anyone who tops Albert Lee has to be seriously good.
@@MarkZabel
So easy and elegant. Gatton, the one and only!
Gatton was amazing. I don't know that he was the one who first saw it, but he certainly used it to great effect!
I discovered this a number of years ago when I began using three-note “Freddie Green” chords. Cool as hell. And with a tritone inversion, e.g., that two-note G7 is also a Db7.
Exactly so. I see the tritone as a chromatic from the iim chord rather than going to the V7 before the I. It's "just" a chromatic line. (But oh so neat sounding!)
I was taking a class in improvisation on the guitar. I was really starting to hear my notes blend with and accent the background music. My ear was getting better and better. Then one day my teacher told me that I was ready to start making sure my improv notes included the root of each chord. I quit my lessons the next day. I felt like someone put a straight jacket on me. Thank you for this lesson. Thank you very much.
You're very welcome. Thanks for watching!
Talking about playing a Tele, brings back good & sad memories. In 1968, I had a 1951 Tele. That was the same year I was born, so I figured it was made for me! Wish I still had it!
Always appreciate taking a pause to stand back and learn simpler tricks capable of conveying my emotions. What I love about this so much is that while it is so classicly elegant on its own, it remains a great platform to build from and make one's own. Thank you for this tip. Been playing for years but it's always nice to be humbly reminded of little nuances such as this and their roots. 🙏🎶🤘
My pleasure Will. Thanks for watching!
I just bought my first guitar 2 weeks ago you are my new hero
LOL! Thanks. Rock on!!
Thank you for sharing this! (It also works great as a Chromatic 3-6-2-5-1 , where G (1) is on the 3rd fret, up to B on the 7th fret (3) down one fret E (6), down one more A (2), down one more, D(5), down one more G (1)...)
Yes, exactly - typical jazz blues turnaround sort of thing. And works with the tritone sub versions too. I didn't want to complicate this video with that, so I kept it short and just mentioned it near the end. Thanks for pointing it out!
@@MarkZabel Thank you! I like your teaching style.
"DANNY GATTON" - the MOZART of guitar! I have a bunch of his tutorial discs. If Ur without a tuner and need 2 tune 2 pitch, pick up a land-line phone... the dial tone is "F"- Always "F." He was on stage tuning 3 guitars simultaneously AND, pointing to all the other musicians who were out of tune, then telling them whether they were high or low and by how much. INCREDIBLE PERFECT PITCH!! Could listen to anything and immediately reproduce it, then play it better. "LES PAUL" was impressed by how GREAT he was. DANNY also built HOT RODS... engine and all- from the bottom up. Man was a GENIUS- RIP.
I loved Danny Gatton and his fantastic playing. One of my all time favorite guitarists.
No doubt an all-time great!
Love Danny! Had the chance to catch a show and meet him. A true tele magician.
One guy to check out if you never hear of him: Scotty Anderson
Jimmy Page does just this in the intro and elsewhere in “Rock n Roll” up at the 12th fret on the D and G strings
Holy hell. My son bought me a guitar for Christmas last year. I'm starting to play at 60. Needless to say I know nothing of music... But tonight I'm going to become a 2 note wonder! THANK YOU, THANK YOU, THANK YOU.
That is awesome!
I learned this two note trick playing blues on mandolin years ago but never applied the concept to guitar. Now I will. Thanks!
Happy to help!
Mark is my favourite teacher hands down
Thank you so much!!
I'm familiar with Danny Gatton, but never thought I could play any of his stuff. Thanks Mark.
You're welcome. Thanks for watching!
Dude. You never disappoint. Thank you 🙏
Thanks so much!
As an old (66) self taught bass player recently turned to 6 string, my musical theory understanding is rather quite limited. You were making my brain hurt with all the 1's 3rds 5th jargon. But when you played it I totally got it. Thanks for the tips !!!
Glad it came into place.
Yeah, it is based on triads, and fragments, you would have all of that from your bass playing
This use to make my brain hurt too- now it's easy. Simply count to 7- that is all the degrees of the major scale. 8 is back to the root or tonic note only one octave higher. The way the notes are in order is called steps that follow a formula. For the major scale it is simply this. *W W H W W W H.* It never changes. W or Whole step like C to D is 2 steps, H or half like B to C is 1. So in C Major, it is ---*C(1)*--- D (2) E(3) ---*F(4)*--- ---*G(5)*--- A(6) AND FINALLY B (7.) That's it. Eight would start over at C. These are the *DEGREES of the scale.* Most progressions are I, IV, V so in C that is simply C, F, G. They are all major. There are also 3 minor. It's really very simple once it clicks. I, IV, V are always major in the major scale.
Recall, the musical alphabet is e.g., C, *C#/Db, D, D#/Eb, E, F, F#/Gb, A, A#/Bb, B*, (12 notes aka Chromatic) and back to C- that is it. This is what you apply the formula to. That is exactly where the numbers are coming from. Most chords are triads (3 notes) so the 1-3-5 of that major scale. So in C it is simple C, E, G. To make a MINOR C chord, simple FLAT (or go down a Half step on the 3rd) and that's it. So C, D#/Eb, G are the notes there.
Print this out so you have a reference. You will find this formula and the musical alphabet (chromatic- 12 notes) very useful. This works in any key. Learn one, you have them all!
Also, 66 is not old- I skied everyday with 70+ year old's at Vail, Co/ who skied great. Many better than me and I was an instructor. They skied 100 days a season.
I hope this helps. Even it it is confusing at first glance, re-read it 10 times over as many days. One day, it will click I promise. That will be a very happy day for you my friend.
😀
Now blues makes more sense and why those weird shapes sound so cool
Great!
It never ceases to amaze me how a guitar fret board works. 6 strings and 12 notes and how in standard tuning everything just repeats fret by fret. And then it works in open tunings as well...Same applies to other stringed instruments...and probably all of them one way or another.
Totally agree with the keeping it simple comment..I was once asked a question or two by a fella I met who played..(I knew that because he had a guitar case with him) so I got me coffee and sat down...I was a bit of a beginner back then. We got chatting as you do.
Any way he asked me how many strings does a violin have..? How long is a violin neck? And how much music can you NOT play on a violin..or fiddle if you're a fiddler.... Have a think he said as he left. So I did..I'll leave the same questions with you.
You might look at a violin bridge as well, the way it's built. Doesn't look like you can bow more than 1 or 2 strings at a time..
Once I realised what he was telling me...and I still see a fret board the same way now. Or the part I'm looking at...at any given time.
This video..2 strings and how much fret board..?
Just thought I'd pass that thought on. I think Mark will know what I'm saying as others will.
Hi Ian! Definitely appreciate this. I'm always amazed by the often very simple and unique ways the greats do what they do. Lenny Breau, for example, could do wondrous things with only 2 notes. I find going back to basics and learning a subject "I already know" in a different way often enables me to see things differently as well. Happens all the time in music!
Thanks so much for the story. A fun read!
@@MarkZabel Hi Mark. Again I agree with the idea of going back to basics. Many start with open chords..or "Cowboy" chords as they're often called. So they learn them, or a number of them but then want to move on up the neck. Because who wants to be playing those ..cowboy chords? But should they have spent more time on those supposedly simple chords? Do they discover all the ways we can embellish them? Many discover the often used and very popular D sus 2 and D sus 4 trick, and maybe one or two others. But there's a lot of music in those open chords..They are part of where your fret board begins, those "cowboy chords or at least 5 of them are the basis of your CAGED system..10 if we look at the minor version. More when we think about Dom 7 chords for instance and other variations. Each of those CAGED chords contains one of the 5 patterns of your pentatonic scales. Your Pentatonic begins in open E..C Majors Phrygian mode. All 5 pentatonics exist in the open position. The more you learn in the open position the better as it all simply moves up the fretboard fret by fret. Barre chords are great things but a little limiting, which is where your capo comes in, now all those little embellishments can be played in any key all the way up the fret board.
Bit so many are in such a hurry to move away from the open position and then can so easily become confused as they do so. It makes things that much more difficult. IF you did this even if you are a good player going back to these basics can be useful because as ..simple as they are you might just find something you missed.
Going back to other things you might think you learned the same applies. We tend to practice things and learn them, or think we have. Thinking we have learned something and moving on means your brain moves on, so now we don't think so much about what we think we have learned. Like this video I learned this little trick some years ago, but I watched it because you might have thought of using it in a way I had not. If so then yes I learned it, but not everything I might be able to do with it. We can add more notes in different ways from the scale...or maybe a note from a different scale..like adding a Major 3rd into a minor pentatonic, or a borrowed chord that doesn't belong in the chord progression. There are so many tricks like these, little nuances we don't think of but someone else does.
Two notes can be more than just 2 notes. Django Reinhardt could only use 2 fingers but boy could he do a lot with those 2 fingers. The rest of us have 2 more...usually anyway. So what can we get from those 2 extra digits? Or more to the point what can we do if we just used 2..? Challenging maybe but that's how we can discover new things. Limiting ourselves to just 4 notes, as with the famous 4 note box, challenges us to play more with less. Similar to the violin question, more fret board is not necessarily better than just using a small chunk of it.
The violin idea is what eventually led me to understanding how and why a 6 string guitar works, and it never ceases to amaze me you can actually play the thing. Again when you think about it most stringed instruments only have 4 strings.
On a guitar we get 2 extra ones. A bit spoilt then, aren't we. Or are we?
I've been using this as long as I can remember. Never thought of the theory behind it or why it works.
it took me all of 3 minutes to subscribe! No flash! No drone speech about this/that or whatever! Clear Concise and down to earth! I salute you and thank you! Subscribed!!
Thanks a ton Michael!
That's the most I've ever learned in that short a time. I use the 3-b7 on bass sometimes, but never made this connection on guitar. I hope something brightens your day like you just did mine!
Wow, you totally made my day! Thanks so much!!
What he's really talking about is what is called a 'shell voicing' for chords.
You can look it up, I'm sure, but, essentially, it stems from the Root & 5th contributing the least to a chord's 'color', timbre, whatever term you want to use. So a jazz guy will build things around 1 - (b)3 - 7 AND drop the Root for 'busy' constructions. *Example:* the Root is very often omitted from a ninth (a true ninth, not add9).
@@JESL_TheOnlyOne - True. Especially on guitar -just try to get a voicing for all the notes in a 13th chord! Hey, here's a trick I discovered for blues chords. I voice them 1-V-b7, which leaves the third ambiguous, giving the singer or soloist room to play with that M-m dichotomy. Keep playing, brother.
@@onlyrick Look up Drop 2, Drop 3, Drop 4 voicings - most useful for guitar grips.
@@onlyrick Omitting the Fifth very often makes a 'power chord' (q. v.).
In the summer of 2019 I had a lesson with Will Ray and one of the things he showed me was this exact lick, and I've been using it ever since! Great lesson Mark!
Thanks so much!!
This channel imparts some of the best musical knowledge
Thanks Paul!!
This is really simple but clever. You can build round this in so many ways.
No doubt. What Danny G was doing was really cool. Honestly, I think that's such a key insight into how the greats play - they keep it simple, but know it like the back of their hands. Thanks for watching!
YES!! Danny G is one of my favorites!
Mine too!
ZZ Top stuff has lots of the "lazy" chords that sound so amazing but its very very easy to play.
I got the same thing years ago from Rock and Roll by Led Zep. It blew my mind because it looks so wrong that it should work. It blew my mind even more when I took the time to work out why it worked! Nice one.
Thanks man! Yep, Rock and Roll by Zep uses this - exactly!
Excellent discussion of blues theory illustrated brilliantly visually, verbally, and sonically.
Thanks!
This is an important lesson. Can’t recall now where I first heard about it. (I’m old…) An important thing to take from this is that you can find other two-note shapes on the D and G strings that give the “essence” of a chord (M7, m7, Don 7) and use them for comping. The bass player handles the root and 5th, the melody line is above, and the rhythm guitar cuts through without muddying up anyone else’s part. 😊
Thanks Mark (and Avery)!!
Lol I'm old too! This just made my playing easier@ thanks
I watch a lot of guitar tutorials on TH-cam. You are an exceptional teacher
Thank you so much!
I agree! Mark is a really great teacher (and player)!
That charvel Tele is awesome !
I just recently got the gateway guitar of shred guitars,a Randy Rhoades Jackson V and realized real fast that shred guitars can have good comfortable necks if they added a little roundness to them but the fret board is great and turned me on to a Jackson Dinky Floyd rose tremolo guitar and it's also awesome so yeah agreed shred guitars can be awesome for everything !
I like it! I wish they didn't always look so wild though! :) This one is pretty traditional looking, so I went for it.
Kind of a funky jazz electric piano sound played on the guitar, very cool... Sped up it would sound like the main riff in "Jeff's Boogie" by The Yardbirds.
I’m pretty sure this was used in Bill Haley and the Comets “rock around the clock.” I know other guys from that era knew it as it shows up here and there. Anyway, it’s a great little trick to keep in your pocket. Also a great way to ground yourself when you lose your place.
Mark, you look nothing like a guitar monster, but you are. Love your vibe and you're teaching this aging dog some great new tricks.. And Danny Gatton!! Just wow.
Thanks!
Ah yeah thee old Tritone! Did you ever see Danny Gatton plays slide with a full bottle of an open beer. Awesome stuff. Mr. Gatton takes a back seat to no one. 🎸☮️
Yes, one of his many tricks and amazing guitar acrobatic feats!
Thank you 😊 for your knowledge and explaining slowly for a beginner like me.
Glad you enjoyed it!
Just found this channel. Liking it a lot. So far it seems like clearly presented information with realistic perspective to make it possible to quickly put things into practice. Just enough theory to provide context without obscuring the point of the lesson.
Thank You!
Thanks so much! I work very hard to keep the lessons short and tight, and to not try to put too much into any one lesson. Don't be shy about letting me know what else you'd like to see!
Nice! Super simple, super useful. Thanks for giving me another tool for the guitar trick bag.
Happy to help!
Amazing. Thank you.
Glad you liked it!
Very nice! Thank you for keeping Danny Gatton in our lives.
Glad you enjoyed it. Danny was truly amazing!
That is really a simple 2 note to get yourself playing all over the neck. I will have to watch this again tomorrow. Thanks
You bet. Thanks for watching!
Thanks man!!! now to practice and not confusion. Danny WAS & Still is the best. saw him from his time with Liz Myers on., We always talked cars he dug his classic ford almost as much as his tele
Glad you enjoyed it. Danny was the best!
Always thought Gatton was very under rated.
And he's super-highly rated!
Excellent, excellent, excellent! Makes me aware of and think of the different inversions of those chords and the placement of the all the chord tones in the 7th chord, be it I, IV or V. Thanks for the enlightenment Mark!
My pleasure Doug!
3th and 7th: the boss notes in all chords! 3th defines the mode is major ou minor. If the 3th is major and 7th flat, there are 3 tones between them, therefore the chor is dominant.
Yep. The icing for the blues is that each of these 3/7 pairs is just one fret away.
This is awesome thank you! 😀
Glad you like it!
Sweet - Bruce Conte taught me this easy and simple comp a few years ago
Works!!
Man this just blew my mind. I've been trying to teach myself some theory and basic rhythm concepts after just playing by ear for years and this is a huge help. Thanks!
Glad I could help! Thanks for watching!
Two most important notes in a seventh chord. Three determines major or minor and seventh is the leading tone for the tonic.
Yes, the 7th of the V chord is 1/2 step above the 3rd of the I, so it's good voice leading.
Thats what i've known as the " jazz power chord" for over 50 years. Jimmy page did it in rock and roll. Its not as exotic as it may seem, but its crazy useful. You can also bend either of the two notes to suggest 1/4 cadences and stuff. When i took a jazz theory course, they taught us the harmonic series created by the 3 and 7 fill out the rest of the notes in the chord. Its straight up thonious monk stuff. Cool video man thanks for helping the world out. Righteous
TheLonious. Damn phone
Thanks Jimi P!! And LOL on the auto-correct on the phone. I've had some crazy bad misspellings myself. Rock on!
First thing i thought was page and rock n roll . Haha
@@beaud4474 hahaha dude, lets me bs my way thru jazz stuff i have no idea what the chords are for...lol. its super-duper handy, for sure. but yeah, i bet that was a lot of our first exposure to it, pagey in rock n roll ;)
AWESOME. rock on, brother
@@666pinkster Don't you mean the loneliest monk? 🙂
Great explanation and formatted for beginner to skilled player !
Glad it was helpful!
The guitar is amazingly symmetrical.
Until you reach the B-string!
if x•x=2 its x . b is one , f is x , the next b is two , the next f is two times x and the next b is four ... . f to b is one to x and b to f also is one to x . Also is f÷x=b and b÷x=f . Or you can say : 3 to b7 is the same intervall like b7 to 3 (and looks the same on the guitar if you dont use the b string) .This is the two - note wonder . I think its called the square root . Its the most dissonant intervall and the chromatic scale is based on it . I am german and dont know the right words but i try : A half step is the twelfth root of two .
Elvis Presley's guitar man Scotty Moore used those very shapes in many of his solos. Thanks for the memories 🎸
You bet!
Love this for jamming the blues.
Great for it definitely
There is a video of Danny Gatton on you tube with him playing slide with an open beer bottle and then he keeps right on playing while using a towel to clean the beer off of his guitar. Some of the best and entertaining playing I have ever seen.
He was amazing.
I found that out myself and use it all the time in some variations. :) Feeling good.
Awesome!
it works because the flat fifth (tri-tone) is its own inversion
I use that lick but i didn’t know why it worked so well. Now i can apply it more
Awesome!
You really make clear how these tricks hang together - learning new stuff from you and I’ve been playing for a long time 😎🎸👍
Great to hear!
Wow, so simple even though it sounds super cool. Thank you so much for sharing this!
You're very welcome!
Greatest musician ever born.
Thank you for sharing! Keep spreading the blues
You bet! Thanks for watching!
Best thing I'll watch today!!! Thanks Mark.
Thanks so much Phil! You're too kind.
The third is either major or minor, and the 6th, 7th, or 9th makes a sophisticated chord. The bass provides the fundamental.
Mindblowingly simple. Kudos to you Sir!
Thank you so much 😀
My eyes glaze over when people explain music theory. Kind of like math used to when I was a kid. But that example... WOW, man!!! So simple and so much you can do with it like mixing a lead along with it!
I hear you!
Wow. I've watched countless theory "explanations" on YT but this is the first one where I light bulb went on for me. Music is so much like learning a foreign language where fluency means more than knowing unconnected phrases, it's knowing how/why a phrase is constructed. I love the 2-note method, and now can see how learning triads can take me to a different level as well.
Glad you enjoyed the video! I do a lot of work with triads and "partial chords" on my channel, along with lots of other things. I didn't go to music school, so my "models" are often a bit different from others. Thanks for checking out my video and for the kind comment!
Freddy King did that for years, as did many others. Interestingly, though, there was a lot of tension between Roy and Gatton. Both met early callings, cheers Mark . Thanks for the reminder
Yes, certainly known for many years before Danny Gatton. I'd bet Charlie Christian and Django and even earlier players knew it. Sad what came of both Danny and Roy.
Thanks for watching!
Didn't know they knew each other. Was Roy B. an influence of Danny's or did they come up at the Same Time? I always thought that....while it was a ways in coming, DG was 'due' some REAL exposure when he passed. Maybe he couldn't wait any longer. Reminds me of Sean Chambers. Too soon. -A
@@allenmcdaniel1470 RB influenced Danny some, particularly in how he set up his guitar (relatively high action). As far as play goes, Danny supposedly wasn't much influenced by Roy ... not from the book I read on Danny's life.
Probably the biggest reason Danny was unknown in his time is that he didn't leave the Washington DC area. He had a strong following in the capital region.
Seems I heard Jesse Ed Davis using this too (early 70's in Ottawa Canada) with Taj Mahall. Still listen to the great Danny Gatton with awe and humility!
No doubt Danny was amazing. If you get a chance to see the creative way he uses this simple structure in "Strictly Rhythm", make sure you check it out!
Shapes don’t get much easier than that! Thanks also for just enough theory to understand why the shape works.
You bet. Thanks for watching!
Mark,
Love that reverse headstock..... very cool looking.... This same pattern can be taken up to G and B strings to do the "skynyrd" style articulated bend.....by bending the G while also hitting the b string.
Cool idea, thanks! It actually works on every adjacent string pair - E/A, A/D, D/G, G/B, B/E. Best on the "bread and butter" or guitar IMHO - the D, G, and B strings.
@@MarkZabel
Yep. For a 3-note thing, the D,G & B in the Hendrix E7#9, A13 & B13 and easy enough to add the 6 string root.
Great tutorial. Many Thanks
Glad you liked it!
Mark this is deffinetly up my allie .. iv played pices like this be for like 50 yr's ago but some how forgot that .... thank you so much
My pleasure. Thanks for watching!
I learned that "two note wonder" from watching Angus Young. I use it all the time in blues progressions, especially a little half step slide up.
Great! Amazing how easy it makes jazz blues.
A really good example of this in practical use is the Led Zeppelin classic 'Rock and Roll' at the beginning these are used to accentuate the changes with the riff A7-D7-E7.. I don't quite know how to explain it musically but if you listen hard you will pick it up.
Yes, I know the lines you're talking about. That's exactly right.
I love this thank you and being able to learn this great trick I’m 6 and a half minutes was a amazing
You're so welcome!
This is exactly how i need to learn. Via two notes & triads cause that's where i'm behind. This is a really neat trick to use. Love it. 👍
Very very cool. I don't own an electric guitar and probably never will, but this still impresses me. I doubt it would sound great on acoustic, but I still appreciate this video and how much it must help electric guitar players!
Don't discount this if you're an acoustic player... I haven't tried it, but I would think the over simplified two-string approach along with the "Percussion" you get from palm slapping your guitar would get you that front porch delta blues sound that many old bluesmen had when they didn't even know proper chords, but just played notes that accompanied their singing ( usually, the root note)...
This was literally made for an acoustic and probably originated among the Mississippi bluesmen... A slightly out of tune $10.00 flea-market special with a string or two missing might even sound better than a freshly strung D-28 if you're looking to lure the gators our of the swamp.😉
Hi Kelly. It totally depends upon the style of acoustic you play. If you play swing-era tunes like "All of Me" or anything with so-called "Four to the floor" rhythm, this concept is used all of the time.
As Common Logic noted, in more percussive styles this works quite well, for example as a change of pace in a turnaround.
Thanks for watching!
@@_Common_Logic_ very cool, thanks for the reply!
How smooth and appropriate
Thx man
Sure thing brother! Thanks for watching.
Brilliant! And I don’t have to learn a dozen scales! Thanks!
Happy to help!
Amazing... thank you so much for showing me that... I will definitely learn and keep that for future use... its so stupid easy, that even I can sound good! 🙂
Glad it was helpful!
Man that's freaking cool thanks for the video!
Glad you liked it!
Really useful information. Thanks
Glad it was helpful!
A Great one, Mark. Danny Gatton was definitely in a league of his own. Thanks for sharing! I came back for a refresher. I enjoy your videos and your laid back easy to understand teaching method.
The 3 & flat 7 is also why Tri-tone Subs work so well. They are the same 2 notes again that switch places, without moving.
So A flat 7 can sub for D7.
That's right. An Ab7 is basically a D7 with the bass note changed. If one leaves out the bass note ... well, you already told me the answer! Thanks for watching!
@@MarkZabel Thanks for responding. I just love talking about music and sharing little tidbits with each other. I've learned a lot that way. I hope I didn't come across as pushy or anything. I never mean to. I'd love to be able to Jam with you sometime. Your the kind of guy that I would enjoy just jamming with. Thanks again.
This is essential. I first learned it from Robben Ford, who (as I recall) got it from Freddie Green.
I saw Robben do this is an old video too. Don't remember the Freddie Green connection,but Freddie certainly used it too. Thanks for the comment!
A great hack! I’ve been using this one for years
Awesome!
I have the Danny Gatton, Guitar Player cover, March 89, Unknown Greats on the wall, near my guitars.
Awesome!
Needs Training as ever, but have a great smile on my face, thanks. Your calm and kind presenting puts the cherry on the cake. Relaxing by watching it. Kudos
So glad you enjoyed it! Your comment put a big smile on my face too!
Wow! Gatton was great! Thanks for pointing him out! :)
My pleasure. He was truly amazing!
Great lesson, thank you❤🙏
Glad it was helpful!
Thanks Mark you are great.
You're welcome. Thanks for watching!