I love that to a neighbor this would just look like a man walking in circles in the grass having a deep conversation with himself about music theory. 10/10 great new format.
Marcel! Great to see you create lessons again! I have a question - I know you can use the b3 and b7 over a major chord and they will create some GOOD tension but what intervals give the same effect over a minor chord? I've experimented with different intervals but nothing creates the same kind of tension. Feels like the M2 and M6 don't create enough and the b2, M3, b5, b6, M7 kinda create too much tension? Am I crazy? Or am I just craving a bluesy sound that isn't achievable in the same way over a minor chord?
To be honest, I just made most of it up. Just kidding. Most of these fancy words have very simple definitions! Here's some help on the first section of the vid about "palettes". Arpeggio: the notes that make up a given chord. Pentatonic scale: a five note scale common for improv (the 'My Girl' lick and the Lester Flatt G-run being great examples). Diatonic scale: just a normal major or minor scale. Chromatic series: literally every note. Also, any words you don't understand will have easy to find definitions on Google!
@ thank you very much. I’m just trying to better my guitar playing and thought this lesson might do that. Never learned theory and trying to play guitar for 50+ years using tab has really slowed my progression down.
You don't really need any of this, you can identify all these scales and intervals by ear and get them under your fingers. At the end of the day, the only important thing is that it sounds good and you can play it as clean as possible. Trust me, this is coming from someone who knows way too much music theory, as a math geek, I was fascinated by it... Now I wish I had spent more time training my ears and fingers...
It's always a balancing act and in a lot of my private lessons students come to me very unbalanced. David, it sounds like you obsessed over theory and then worked towards an intuitive play style. Great! But I wouldn't be surprised if our original poster comes from an opposite background and is now ready to learn some of those nuts and bolts. That's also great! My hope for most of my students is that they can create freely but also understand how this stuff works, equal parts technician and artist.
And none of this is advanced theory. All pretty basic and easy to learn. Any of a trillion videos on TH-cam will get you going. Major scale and intervals mostly. Learning by ear is great, but it’s tougher to communicate with other musicians if you don’t know the language.
Marcel is out standing in his field! 😂😂
I love that to a neighbor this would just look like a man walking in circles in the grass having a deep conversation with himself about music theory. 10/10 great new format.
Your yard is so sweet Marcel you got to shoot more videos out there
I like the lesson - but can't help noticing the 5th-cup-of-coffee vibe in the delivery Marcel. :=}
Very cleverly shot! lol great job
My biggest mistake was watching this video on my lunch break instead of with guitar in hand
I'll thank you now for the extra view when you watch it again at home with your guitar.
@@LessonsWithMarcelit’s never just a 1 and done with these licks bro🤘
Classic LWM content!
tysm my hero
Great explanation. Very helpful. Would love to see a complex licks of 16th or 32nd notes explained the same way. Thank you 🙏
"You're a big boy and/or girl" thanks legend
Marcel! Great to see you create lessons again! I have a question - I know you can use the b3 and b7 over a major chord and they will create some GOOD tension but what intervals give the same effect over a minor chord? I've experimented with different intervals but nothing creates the same kind of tension. Feels like the M2 and M6 don't create enough and the b2, M3, b5, b6, M7 kinda create too much tension? Am I crazy? Or am I just craving a bluesy sound that isn't achievable in the same way over a minor chord?
Hi marcel
Thankyou now, but I will be watching & working this over a few more times before my raw potato brain absorbs it.
I much prefer the ones where you have a guitar 😂
Oh no! Hahahahaha
Unfortunately, this all sounds like a foreign language to my 67 year old brain🤨
To be honest, I just made most of it up.
Just kidding. Most of these fancy words have very simple definitions! Here's some help on the first section of the vid about "palettes".
Arpeggio: the notes that make up a given chord.
Pentatonic scale: a five note scale common for improv (the 'My Girl' lick and the Lester Flatt G-run being great examples).
Diatonic scale: just a normal major or minor scale.
Chromatic series: literally every note.
Also, any words you don't understand will have easy to find definitions on Google!
@ thank you very much. I’m just trying to better my guitar playing and thought this lesson might do that. Never learned theory and trying to play guitar for 50+ years using tab has really slowed my progression down.
You don't really need any of this, you can identify all these scales and intervals by ear and get them under your fingers. At the end of the day, the only important thing is that it sounds good and you can play it as clean as possible.
Trust me, this is coming from someone who knows way too much music theory, as a math geek, I was fascinated by it... Now I wish I had spent more time training my ears and fingers...
It's always a balancing act and in a lot of my private lessons students come to me very unbalanced. David, it sounds like you obsessed over theory and then worked towards an intuitive play style. Great! But I wouldn't be surprised if our original poster comes from an opposite background and is now ready to learn some of those nuts and bolts. That's also great! My hope for most of my students is that they can create freely but also understand how this stuff works, equal parts technician and artist.
And none of this is advanced theory. All pretty basic and easy to learn. Any of a trillion videos on TH-cam will get you going. Major scale and intervals mostly. Learning by ear is great, but it’s tougher to communicate with other musicians if you don’t know the language.
Third