All students must ask themselves the question: What do I want out of music and where do I want to go with it? Do you want to be a professional studio musician or play in an orchestra? Most of us just want to know as much as we need to play in cover bands and write a few original songs. Your approach to music determines how far you need to go in learning music theory. Learning the language does not make one a writer. Creativity, passion and feel is what makes a writer. Learning theory won't make a musician out of a person who has no love for music or passion for expression.
1. Learn the notes on the neck. 2. Learn key signatures and which notes are sharp and flat. Look at sheet music staffs to help understand this. 3. Learn the scales/modes in the key of c, all over the neck. 4. Learn how not only are the scales/modes derived from each note in the key, but so are the chords. 5. Learn how all other keys are relative. Do this if you want to know the theory and unlock the fretboard. You can also do what's described in this video for a shortcut that will work some of the time. I'm not knocking the video, it's cool it was posted. But, the theory isn't that hard and well worth to learn as it will open everything up.
Unfortunately Music theory broke it's connection with simple mathematics. It's clock arithmetic, base 12. Assign numbers to each note as number of half steps. As a guitar player I start with E=0, F=1, G=3, A = 5, B=7, C=8,D=10,E=12=0. Now everything is intervals henceforth. All major chords have the pattern 0,4,7. 0,4,7 is E. To get A, add 5 modulo 12 (clock arithmetic) to get 5, 9, 0. All minor chords have the interval pattern, 0, 3, 7. Pentatonic scale in the key of G has the notes 3,5,7,10,0, which includes all the open strings. Transpose to the key of A by adding 2 to this etc. Map the numbers to key position on the fretboard and voila!, instant lead patterns.
Yeah thanks for the chronology but while it may seem easy to you cause you ben there and done that, it is actually kind of discouraging, from a novices perspective.
Dude, I think you have done this video on purpose for me! After 23 years of playing guitar, you probably changed my way of looking at a guitar neck! Big thanks 👍🏼
Learning guitar chords VASTLY improved my bass playing skills. I'm primarily a bassist and got stuck in the rut of the normal scale playing. Switched to guitar, learned a lot of jazz chords, and BAM. Picked up bass after being discouraged for a while and immediately saw improvement.
For everyone saying you must learn scales, I agree. But that's not what he is getting at. Yes, chords are built diatonically from scale degrees. But when you make a melody, in most cases you are effectively "framing" the chord by using more chord tones than not as well as putting those chord tones on strong beats. So the important notes of that scale DURING that chord mostly belong to the chord itself. Let me give you a couple of quick examples of why melodically the chord tones are more important than the scales overall in general. FIRST EXAMPLE: Let's say we have a chord movement in the key of C (C, D, E, F, G, A, B, C) that is C to Em. C has C, E, G. Em has E, G, B (or B, E, G in second inversion) Notice how there is only one note difference between those chords. That note becomes VERY VERY important once you hit Em. The reason is because if you play a C note (still in key and scale) that is long and on a strong beat, you effectively "take over" the chord's quality and it actually CHANGES the chord and the tonality. It is no longer even an Em chord, but becomes a Cmaj7! In C though, if you hang on a B note, it does NOT take over the chord and simply makes it a Cmaj7. In other words E, G, B, C always makes a C chord and never an Em chord. Yes, you can still use the C note playing a melody over Em, but it usually has to be a scale tone over a weak beat to work. SECOND EXAMPLE: There's the guitar line in the Offspring's "Come Out and Play" that goes B, C, D#, E, F#, E, D#, C, B, B, B, C, B. And yet, there is no C natural in the key that they are playing in. Yet, it just works. The C is a non scale tone that is played quickly on a weak part of the beat. And actually, they could have used C#, or Cx (same as D) and gotten the same melodic function, but a different sound. All the chord tones are played on down beats - B, D# and F#. Even the great session bassist Carol Kaye said that the key to soloing (even in jazz) was learning the chord tones. All the notes between them were just "flavoring." Where you get into trouble ONLY learning your scales is when playing over chords and missing putting the chord tones in places that make more melodic and musical sense because you simply don't know what scale tones belong to that chord. Many times, it can end up sounding like unfocused (or "lost") noodling.
your comment just made me realise why sometimes at concerts when someone is soloing it doesnt sound quite right. they are playing in the right key but the satisfaction never arrives (even though they are aiming for that) and then you hear someone like john frusciante and nearly every single note he plays resloves.
@Master Exploder yes there is such a chord. You have to consider that you can harmonize infinite scales or at least an incredibly high number (AKA modal harmony) and by the way 9ths 7ths 11ths and 13ths are chord tones in jazz. If those tensions are available in that particular chord, that is. Chords are not only just your triads or triads with your sevenths. What about suspended chords for Example? Wouldn't it be the 4th a chord tone there? Melody and harmony are not detached one from the others. If you ask me it all comes down to voices. Counterpoint for instance, even if you build chords with melodies and such, you just don't see them as chords and melody. They are an integrated thing that just amalgamates and becomes a bigger, more beautiful thing.
My name is David also. I used to play music since I was 5yrs old. I played with some great musicians in the late sixties and played in some great shows. Played the Spectrum in Philly, Civic Center in Baltimore the National Armory in DC. I was pretty good guitarist back then. I quit playing in 1981. I got an guitar a few months ago and have got the bug to play again. I went to U Tube to see what was happening. I have met you and several other mentors. This is so different than sitting by a 45 record player and tryin to figure out how some player was doin what they were doing. You have inspired me so much that I had to say thank you. I am remembering things that I learned in college music classes ect. You are an inspiration to me and I am sure to thousands. Thank You. David Padilla
Good point David, plus, if you learn your chord inversions all over the neck, it's easy to reference the prevailing chord tones, making your solos more melodic. Also you can add chord or double stop hits, which break up the soloing and stop us rambling on, as we guitarists are prone to doing.
So, let's summarize the scenario: I don't know chords, I don't know scales, and therefore I actually don't know shit on the guitar but for whatever reason I agreed to become the lead guitarist of that band? Sounds good. Continue...
This is so much more intuitive than figuring out what the root is and figuring out what each chord is relative to that root and then that give you the scale. This is awesome!!! Great vid.
Wow! The light came on after all this time. Dugh! my improvisation skills have changed so much after this video. I have been overthinking greatly! Thanks bro
As a jazz saxophonist I've always preferred on line piano tutorials for new ideas (Aimee Nolte is number one imo) regarding melody/harmony improv. You're the first guitarist I've found who's incredibly useful in this respect. Clear and concise explanations with excellent examples to get across the concepts you're explaining. From the simple concept in this video to other, more 'advanced' ideas of yours that I've watched today, I've always come away with something useful to work with. Great channel. Thanks :)
This concept is absolutely essential also because you'll know how to harmonize your notes within the current chord since using the belonging chord tones are going to be very expressive and will feel much more "thoughtful" than just going up and down the scale all the time.
After all it turns out that there is no real difference between chords and scales. It is just two different views on the same thing. Just look at a chord arpeggio: Add some option tones (7th and stuff) and some passing tones. What do you get? A scale!
Yes,..Fully EXTENDED CHORDS are the SAMETHING as MODES You still need to know the MODES so you'll know which notes are in what mode...not just retarded dot patterns on the fretboard The INTERVALS...The modes names are retarded...but they actaully tell you the intervals.... So you can modulated....via...VAMP/sub chords or Axis pitch MODES such as Mix is just ionian with b7 lydian is just ionian with #4 aeo...= b3, b6, b7 dorian = aeo with Maj6 phrygain = aeo with b2 locrain = aeo b2, b5 lydian augmented is ....ionian with #4, #5 Lydian dominant is ....lydian with b7 or ionian #4, b7 Example...Hungarian MAJOR = mix #2, #4 or Lydian dominant with #2 R.........#2 3...........#45.........6........b7.......R 1, 3, 5 = Maj 1,3, 5, b7 = dominant 1 #2, 5 = min 1, #2, 5 b7 = min7 1. #2, #4 - dim 1, #2, #4, 6 = FULL diminished 1, #2, #4, b7 = Half diiminished... You'll get used to it..... There's 5 basic diatonic scale so you're NOT just GUESSING....You'll know where the MODES/CHORDS came from...not just out of your ass...that you think you made up. People created these scales a long time ago. It gives you almost every possible diatonic interval combination within the chromatic scale. Dorian b2 = II mode of melodic minor dorian #4 = IV mode of harmonic minor Dorian b2, #4 =IV mode of Harmonic minor b5 or VI mode Hungarian Major dorian b5 = II mode of Hamonic MAJOR natural minor harmonic minor melodic minor Lydian b3 ( IV mode of Harmonic MAJOR) Harmonic minor b5 ( III mode of Hangarian MAJOR) 7 modes/chords each = 35
i didnt list eveything...just the none clustered diatonics ( 7 notes scales) There's the Neepoltian aka ( N6)...They're term EGMATIC scales becuase there 3 notes cluster together. Harmonic minor b2 or Melodic minor and also the double Harmonic minor...aka Hungarian minor Harmonic minor #4..... it fills the gaps even more...gives you more OPTIONS You can play the Maj. maj7. aug dominant or diminished from the b II position.....it's be as if you;re play the lydian to help you cycle down to the 4th..... If you were in the Key of A minor..it'll help you modulate to the key of D minor....simply play Bb maj or maj7 i listed the F Hungarian or A harmonic minor b5 for a reason. so you'll see the ( vi) F lydian or F lydian #2...as a possible DOMINANT. If you play the Hungarian major or minor. I hope that makes sense..becuase when you play the b II a dominant you'll know or be familar with changing the lydian to a dominant... It you play the b ii as augmented...it's help you modulated to G melodic . harmonic minor , lydian b3...then into G minor it'll be as if you're playing the III chord ( from minor count) The Harmonic minor. Harmonic Major, and Hungarian Major.. all have FULL diminished in them. That's why I showed it in F hungerian Major... or overlap the A Harmonic minor...4 possible FULL diminised chords F...G#...B.....D If you play F lydian b3 or C Harmonic MAJOR...it''ll over lap. later no if you get into WHOLE TONE . FULL Diminised (WH/HW) or the Messiani Modes....you'll be sort of familar with symmetrical scales...You can even make more cool sounds or different chords options... I showed the A lydian b3,...this way you'll know you can play the II or B as B7...( Mix b2) Sort of like the double harmonic minor #4. The #4 acts like a LEADING TONE into E or circling Up to the 5th..... You'll get used to changing a diminished chord to DOMINANT or augment....it's common in JAZZ The Locrian b4 gets Alter to a dominant sort of sound or it'll get played over a dominant chord The Phrygian b4 is the VII of Lydian b3 You can play it as Maj, Dominant, aug min..min7 This mode gives you 1, 3, 5, b7....if you need to play the 5th The VII and II chords of Harmonic MAJOR and minor are both Diminised....in other words into MAJOR or MINOR as the new TONIC.....you'll get used to it if it's too harsh...simply play a sus 2 or 4 to makes it less stress then establish the 3rd as Major or minor. It depends if you're ascending or descending and how you strike the chord....
You really have a knack for simplifying and clarifying what I've thought other "instructors" are trying to say or teach, but wind up obscuring, instead, Dave. :)
I have always used lead licks within chord formations myself and your lesson will help a lot of pickers. Basically learning the chromatic scale solves a lot of problems with minimal effort and goes hand in hand with your lesson.
Thanks for the really relaxed and creative approach to improvising. Scales and modes alone can turn out really clinical, but you talk about telling a story using chordal notes for a basis to work from. Thanks for your lesson David....
Great video. Its a simple idea but its one that doesn't occur to a lot of people right away. If you spend any time producing music, especially if you are using a hybrid setup which incorporates a DAW you end up realizing very quickly that almost all melodies fit very well into the chords which harmonize it. Also you shouldnt limit your self to just playing the notes within the chord but think would the 7th 9th 11th ect work here.could I use a diminished here or there. Also something that is rather obvious but some may not consider to play are different octaves of some notes which would be the same chord but an inversion of it.
Let’s face it we are all not the same mentality.. so for my self simplification keeps my mind expanding.. Great job.. 45 years playing guitar And a crap load of teachers.. Your excellent.. And I can relate to the way you explain things.. Yes .... I’m a simple man....lol..
yes it's possible to strum chords even without to know to read the score - but it helps much in understanding if you know the scales and how to read scores to understand the building of chords if you know how the chords are buildt - you can build finger-settings for chords that you don't know yet
WOW you have such a great way of stripping it down to the bare basics and explaining it in such a common way the most anyone can understand it. Thank you for your teaching spirit.
Great concept and way of looking at it. (I have to admit your F major isn't one that I would have found for that zone, as I don't use that particular combination). But, your information and lessons are always really good. I bought several lessons at Guitar Playback and found the videos and PDFs great resources. Keep it up man!
I could never finger the C shape until I realised the thumb-over technique gives a better angle for finger 4. Now I get it, how that shape makes an arpeggio octave. and that comes from understanding the chord, not a scale, as David says.
ur by far the best teacher ive found but i still cannot learn anything hardly. short story: long time ago i decided i didnt need to learn scales. i didnt even know theory existed until recently. what it caused is ive hit every note combination possible and cam up with all my own chords that my fingers cud reach that i liked the sound of. now everything i play is just pure musical and not just practice sounding. im able to almost instantly play things i hear. i can even listen to john mayer stuff and play along in my own unique way. super glad i never learned anything. i figured why i get bored so easy learning anything cuz i instantly just start thinking well why cant i hit this note as well. i had gotten bored and wanted to learn theory n stuff but now ive been able to just play every note with meaning and soul and i have found that to be more for me. not that one cant play each note of a scale with soul. just 4 me im over 40 and its too late for theory. finally being musical playing stuff. instead of just going through the motions of stuff. well im sure none of this made sense but every time i watch one of ur vids i steal a little lick or 2 and fuse it into my own patters of stuff. ive found u i play anything in any note as long as i accentuate notes that are in sync with whatever. if i land on something that is not i can slide into or bend to the right note and if one is being musical it sounds really cool. thx man ur the best
Great, informative video David, the thumbnail drew me in and it was totally relevant. I've just had a go with this concept and I've found it to be addictive, it sounds and feels great too. You rock.
David, I've been playing for about 17 years now and have been sort of been stuck on a plateau when it comes to scales, be it having time or just learning them. Simply moving the chords to make the scale is quite brilliant I'm excited to try this out :) Good video and I subscribed
It's exactly what I teach my students! However, I do ask them to know the names of those notes as well as it helps understand what you're playing and why it sounds the way it does. Good video!
I'm lost with too much thinking! However I ((do)) strive to think arriving at the chords is the final part of the journey to being a well rounded lead guitarist. It's slowly coming together after several years. I know only one scale but since I lean towards syncopation, (playing open air as much as I can), I'm finding plenty of time to think the most complementary answers to fit within the cadence of a song. I trust my "EAR" - - that's where the arranger in me lives.
Thank you for putting forward another perspective on this subject. As a newbie, the more I hear about this the better off I am. BTW, your explanation is arguably the most practical I’ve ever heard on matching chords with lead improvisation. Not saying I’ll be shredding anytime soon, but it’s another step forward.
I learned or discovered this on my own long ago. Thank you for practically being the only one on the internet to document it for us all. This is how to play fluid natural and not stiff. Great stuff. Will follow for more advice.
Very helpful video thank you!! I really appreciate the organization and presentations of your lessons they've inspired me a lot. Have you already done a lesson speaking to the specific qualities of the chord tones when playing over a given progression. Like the (R,3, 5 or 7)? If so Id love some direction in that area. Thanks
Why have I been tormented by almost all of my teachers my whole life.. when I see what you are teaching it pisses me off.. ...they could not give me what you give me in 10 minutes.. You my friend are a great teacher.. and wish I had your knowledge 45 years ago.. I was always told if you can’t read music you will never be a real guitar player.. WRONG...... I I’m what I am... but still I search.. Hmmm that’s a good idea for a song lol.. Steven jewett Singer of sorts and song writer and... Guitar player...
Please, make more videos to Begginer Lead Guitar players, and how to improve as a lead guitar player :) Thanks for the video! (I'm about to get in a church band, and I'd like to know how can I contribute in the band as a lead guitar player)
Eventhough this was posted awhile ago I'll still comment. I enjoyed your different Approach. As for me I feel it was not hard to learn 5-7 Scale Patterns depending on what scale you chose to learn then wahala now you'll know how to play every note on any guitar forever. I would suggest to study pentatonic scale first then learn blues scale next, then Major scale & so forth, it really doesn't take long at all to memorize them. Once you know your scales then I would suggest for someone to add your approach to strengthen there knowledge. Thanks for sharing I could see how it would help someone who doesn't already know there Scales but I would not ignore learning the scale patterns this would create A crutch in someones Studies.
Excellent! The old saying applies “why reinvent the wheel?” The scale that builds the chord doesn’t also need to be used to determine the soloing piece. Just leverage the chord. Play smart play natural by ear. The theory just documents the natural outcome. 🤣
Good perspective on the relationship of chords and scales. Understanding the theory might help but applying the theory is another skill that takes a lot of practice. Thank you for the video.
This video helped aaaaa lot. Joined a band as there lead guitarist and having to come up with my own stuff for there songs that are complete is a challenge
In short, if you don't know the applicable scale "in the moment" just remember that all chord tones contained in a progression belonging to the same key contain the "safe" source material for a melodic solo. Love your stuff, man ; always enlightening and respectful towards your audience's varying level of skill, ability and development.
Great video. Been playing for years but only learning riffs ect. I'm at a point where I can play anything from tab but when I improvise I just get lost and can't figure out where I need to go to next to get the sounds I want Or how to get up and down the neck. It's videos like this that are defiantly helping me along. Forget the nitpickers who try to just look for things to complain about. your video defiantly helped me today so I subscribed. Thanks. Will be lookin forward to more content
I know this isn't the video's topic, but one thing that doesn't seem to have been discussed in this comment thread is the fact that, from a compositional point of view, knowing both your scales and your triads down cold is immensely useful for purposes of melody harmonization. In other words, if you have a tune (melody) and want to know the harmonic options available to you that can serve as the background to that tune, a superficial understanding of functional harmony (what is a chord's function within a key) isn't always enough...You don't just want to blindly know that you can harmonize a particular degree of the melody with, say, three different chords (with differing chord functions)...You want to know which of these three harmonic options fit with the next set of harmonic options in the possible progression.
Hey David i am enjoying your you tube video"s GREAT STUFF I like that you explain the theory of your lessons! I have learned already in a few video's and practicing your stuff. Thanks keep doing what you do and how you do it ROCK ON
I watched an interview with one of my favorite guitarists Eric Gales the other day and he stated "I'm a chord freak". He then went on to demonstrate how he creates his solos around chords, just like what you'r speaking about. Here is a link to the interview, you can skip to 32:30 to hear him speak and demo his approach. th-cam.com/video/LLM_V5HXoLA/w-d-xo.html I just found your channel today, it's great. Thank You.
Hello Mr. Walliman. Just an small request, and I appreciate what you do and the time you kindly use to show us these videos. This is my request, from a beginner: You should do a music video, with these chord progressions to get a deeper idea. Unless you have one already. Thanks!
That was the most helpful thing I have ever heard. Of course, I don't have my guitar anymore but that was the one thing I could never get through my head. I could never understand what key the song was in. I could usually pick out the cords to a song by ear, but I never understood what key I was playing in. It's terrible to overthink something instead of just trying to play. It robs you of your creativity and the fun of playing lead.
Amazing. I've always struggled with theory and staying motivated, however this explanation is such a useful, yet simple, way in. I'll definitely be learning more chord shapes, starting with the CAGED system, which I assume would be pretty useful. Thanks man.
Brilliant video! New sub here. The way I learned the melody of the standard "All of me" was to take the major triad (descending with connecting tones) of the two leading chord shapes G major and b major.. With that you can play the entire beginning of the melody which also is the framework for the entire song!
Looks good. Currently, I'm working my way through Guitar Infusion Curriculum. I understand all of this stuff in principle and on the guitar. My problem is performing it in real time. Suggestions?
Thanks! I wonder if it might be a mental state of mind thing. Maybe try not playing anything for the first 30 seconds or so and breathe and imagine what you are about to play before playing it?
David Wallimann sir pls I been playing the guitar for almost 2 yrs by myself I know these chords G A E D C F B , am ,bm, em, pls what should I learn? I want to know more .thanks
That's fair, David. I've heard you talk about listening first in other videos. I will try it. I think it's also an ear training issue. For example, I know the music theory part. I know that a C chord has a C,E,G in it. I know where those notes are on guitar. But, if you asked me to hum or sing a third above C, even though I know it's E, I'd be hard pressed to do it. When you play, are you hearing what you want to play first?
I find learning both (having connecting scales and chords) to be most effective for everyone I have met. Your way could be just as effective if not better but I haven't met anyone who has had a better learning pace / experience doing so.
First time to listen and I really got a lot from this. I truly appreciate your style of explaining this concept. I’m definitely going to work on it. Thanks so much. I subscribed 👍
Scales are useful more when you are trying to find those transition notes from chord shape to chord shape. Chords are useful for everything (building scales from them, arrpegios, and chords themselves)
Thanks for a fun advice :D .. i dont really know scales yet so this gives me a fun starting point to play some melodies and stuff without having to know everything :) ..
All students must ask themselves the question: What do I want out of music and where do I want to go with it? Do you want to be a professional studio musician or play in an orchestra?
Most of us just want to know as much as we need to play in cover bands and write a few original songs. Your approach to music determines how far you need to go in learning music theory.
Learning the language does not make one a writer. Creativity, passion and feel is what makes a writer. Learning theory won't make a musician out of a person who has no love for music or passion for expression.
Great point. I think of guys like Kurt Cobain who demonstrate exactly what you are saying.
1. Learn the notes on the neck. 2. Learn key signatures and which notes are sharp and flat. Look at sheet music staffs to help understand this. 3. Learn the scales/modes in the key of c, all over the neck. 4. Learn how not only are the scales/modes derived from each note in the key, but so are the chords. 5. Learn how all other keys are relative.
Do this if you want to know the theory and unlock the fretboard. You can also do what's described in this video for a shortcut that will work some of the time. I'm not knocking the video, it's cool it was posted. But, the theory isn't that hard and well worth to learn as it will open everything up.
+Jeff Green Agreed! :)
i dont understand
Unfortunately Music theory broke it's connection with simple mathematics. It's clock arithmetic, base 12. Assign numbers to each note as number of half steps. As a guitar player I start with E=0, F=1, G=3, A = 5, B=7, C=8,D=10,E=12=0. Now everything is intervals henceforth. All major chords have the pattern 0,4,7. 0,4,7 is E. To get A, add 5 modulo 12 (clock arithmetic) to get 5, 9, 0. All minor chords have the interval pattern, 0, 3, 7.
Pentatonic scale in the key of G has the notes 3,5,7,10,0, which includes all the open strings. Transpose to the key of A by adding 2 to this etc. Map the numbers to key position on the fretboard and voila!, instant lead patterns.
Yeah thanks for the chronology but while it may seem easy to you cause you ben there and done that, it is actually kind of discouraging, from a novices perspective.
Dude, I think you have done this video on purpose for me!
After 23 years of playing guitar, you probably changed my way of looking at a guitar neck!
Big thanks 👍🏼
Learning guitar chords VASTLY improved my bass playing skills. I'm primarily a bassist and got stuck in the rut of the normal scale playing. Switched to guitar, learned a lot of jazz chords, and BAM. Picked up bass after being discouraged for a while and immediately saw improvement.
Easiest explanation I've heard without getting confused about minor vs major scales and when to play them. Makes complete sense. Thanks David!
Ignore confusion if your life isn't in jeopardy. It makes it that much more satisfying when you do have an epiphany.
Every note on the guitar can work wonderfully with every chord if you know what you're doing. Tension is a powerful tool.
For everyone saying you must learn scales, I agree. But that's not what he is getting at. Yes, chords are built diatonically from scale degrees. But when you make a melody, in most cases you are effectively "framing" the chord by using more chord tones than not as well as putting those chord tones on strong beats. So the important notes of that scale DURING that chord mostly belong to the chord itself.
Let me give you a couple of quick examples of why melodically the chord tones are more important than the scales overall in general.
FIRST EXAMPLE: Let's say we have a chord movement in the key of C (C, D, E, F, G, A, B, C) that is C to Em. C has C, E, G. Em has E, G, B (or B, E, G in second inversion) Notice how there is only one note difference between those chords. That note becomes VERY VERY important once you hit Em. The reason is because if you play a C note (still in key and scale) that is long and on a strong beat, you effectively "take over" the chord's quality and it actually CHANGES the chord and the tonality. It is no longer even an Em chord, but becomes a Cmaj7! In C though, if you hang on a B note, it does NOT take over the chord and simply makes it a Cmaj7. In other words E, G, B, C always makes a C chord and never an Em chord. Yes, you can still use the C note playing a melody over Em, but it usually has to be a scale tone over a weak beat to work.
SECOND EXAMPLE: There's the guitar line in the Offspring's "Come Out and Play" that goes B, C, D#, E, F#, E, D#, C, B, B, B, C, B. And yet, there is no C natural in the key that they are playing in. Yet, it just works. The C is a non scale tone that is played quickly on a weak part of the beat. And actually, they could have used C#, or Cx (same as D) and gotten the same melodic function, but a different sound. All the chord tones are played on down beats - B, D# and F#.
Even the great session bassist Carol Kaye said that the key to soloing (even in jazz) was learning the chord tones. All the notes between them were just "flavoring." Where you get into trouble ONLY learning your scales is when playing over chords and missing putting the chord tones in places that make more melodic and musical sense because you simply don't know what scale tones belong to that chord. Many times, it can end up sounding like unfocused (or "lost") noodling.
your comment just made me realise why sometimes at concerts when someone is soloing it doesnt sound quite right. they are playing in the right key but the satisfaction never arrives (even though they are aiming for that) and then you hear someone like john frusciante and nearly every single note he plays resloves.
You are soooooo right
@Master Exploder yes there is such a chord. You have to consider that you can harmonize infinite scales or at least an incredibly high number (AKA modal harmony) and by the way 9ths 7ths 11ths and 13ths are chord tones in jazz. If those tensions are available in that particular chord, that is. Chords are not only just your triads or triads with your sevenths. What about suspended chords for Example? Wouldn't it be the 4th a chord tone there? Melody and harmony are not detached one from the others. If you ask me it all comes down to voices. Counterpoint for instance, even if you build chords with melodies and such, you just don't see them as chords and melody. They are an integrated thing that just amalgamates and becomes a bigger, more beautiful thing.
My name is David also. I used to play music since I was 5yrs old. I played with some great musicians in the late sixties and played in some great shows. Played the Spectrum in Philly, Civic Center in Baltimore the National Armory in DC. I was pretty good guitarist back then. I quit playing in 1981.
I got an guitar a few months ago and have got the bug to play again. I went to U Tube to see what was happening. I have met you and several other mentors. This is so different than sitting by a 45 record player and tryin to figure out how some player was doin what they were doing.
You have inspired me so much that I had to say thank you. I am remembering things that I learned in college music classes ect. You are an inspiration to me and I am sure to thousands.
Thank You.
David Padilla
Good point David, plus, if you learn your chord inversions all over the neck, it's easy to reference the prevailing chord tones, making your solos more melodic. Also you can add chord or double stop hits, which break up the soloing and stop us rambling on, as we guitarists are prone to doing.
"Chords are frozen arpeggios...arpeggios come from scales" - George Van Epps
You can see things as just a bunch of Big chords, many different voices, or something in between. It all depends on the approach
I've been playing on and off for 30+ year and never looked at soling quite this way. This was a big help. Thanks bro!
So, let's summarize the scenario: I don't know chords, I don't know scales, and therefore I actually don't know shit on the guitar but for whatever reason I agreed to become the lead guitarist of that band?
Sounds good. Continue...
This is so much more intuitive than figuring out what the root is and figuring out what each chord is relative to that root and then that give you the scale. This is awesome!!! Great vid.
Wow! The light came on after all this time. Dugh! my improvisation skills have changed so much after this video. I have been overthinking greatly! Thanks bro
Damn! thanks for your comment cause I'm going to rewatch this video after I sober up.
As a jazz saxophonist I've always preferred on line piano tutorials for new ideas (Aimee Nolte is number one imo) regarding melody/harmony improv. You're the first guitarist I've found who's incredibly useful in this respect. Clear and concise explanations with excellent examples to get across the concepts you're explaining. From the simple concept in this video to other, more 'advanced' ideas of yours that I've watched today, I've always come away with something useful to work with. Great channel. Thanks :)
I've got 20 years playing, and this has been the best way to teach how to improvise! and I mean it! more than improsing, composing! excellent video!
Very much agree with you.I learned guitar by just listening and follow instructions on where to place my fingers.Not knowing which cords are used.
This concept is absolutely essential also because you'll know how to harmonize your notes within the current chord since using the belonging chord tones are going to be very expressive and will feel much more "thoughtful" than just going up and down the scale all the time.
I agree, learning knowing naming notes, knowing root, third, fifth, seventh, is much more helpful in order to understand music and be more creative
After all it turns out that there is no real difference between chords and scales. It is just two different views on the same thing. Just look at a chord arpeggio: Add some option tones (7th and stuff) and some passing tones. What do you get? A scale!
Yes,..Fully EXTENDED CHORDS are the SAMETHING as MODES
You still need to know the MODES so you'll know which notes
are in what mode...not just retarded dot patterns on the fretboard
The INTERVALS...The modes names are retarded...but they
actaully tell you the intervals....
So you can modulated....via...VAMP/sub chords or Axis pitch MODES
such as Mix is just ionian with b7
lydian is just ionian with #4
aeo...= b3, b6, b7
dorian = aeo with Maj6
phrygain = aeo with b2
locrain = aeo b2, b5
lydian augmented is ....ionian with #4, #5
Lydian dominant is ....lydian with b7 or ionian #4, b7
Example...Hungarian MAJOR = mix #2, #4 or Lydian dominant with #2
R.........#2 3...........#45.........6........b7.......R
1, 3, 5 = Maj
1,3, 5, b7 = dominant
1 #2, 5 = min
1, #2, 5 b7 = min7
1. #2, #4 - dim
1, #2, #4, 6 = FULL diminished
1, #2, #4, b7 = Half diiminished...
You'll get used to it.....
There's 5 basic diatonic scale
so you're NOT just GUESSING....You'll know where the MODES/CHORDS
came from...not just out of your ass...that you think you made up.
People created these scales a long time ago.
It gives you almost every possible diatonic interval combination
within the chromatic scale.
Dorian b2 = II mode of melodic minor
dorian #4 = IV mode of harmonic minor
Dorian b2, #4 =IV mode of Harmonic minor b5 or VI mode Hungarian Major
dorian b5 = II mode of Hamonic MAJOR
natural minor
harmonic minor
melodic minor
Lydian b3 ( IV mode of Harmonic MAJOR)
Harmonic minor b5 ( III mode of Hangarian MAJOR)
7 modes/chords each = 35
in your anger (he's right btw) you give a great music theory lesson in one comment.
i didnt list eveything...just the none clustered diatonics ( 7 notes scales)
There's the Neepoltian aka ( N6)...They're term EGMATIC scales
becuase there 3 notes cluster together.
Harmonic minor b2 or Melodic minor
and also the double Harmonic minor...aka Hungarian minor
Harmonic minor #4.....
it fills the gaps even more...gives you more OPTIONS
You can play the Maj. maj7. aug dominant or diminished from the
b II position.....it's be as if you;re play the lydian to help you
cycle down to the 4th.....
If you were in the Key of A minor..it'll help you modulate
to the key of D minor....simply play Bb maj or maj7
i listed the F Hungarian or A harmonic minor b5 for a reason.
so you'll see the ( vi) F lydian or F lydian #2...as a possible DOMINANT.
If you play the Hungarian major or minor.
I hope that makes sense..becuase when you play the b II
a dominant you'll know or be familar with changing the lydian
to a dominant...
It you play the b ii as augmented...it's help you modulated
to G melodic . harmonic minor , lydian b3...then into G minor
it'll be as if you're playing the III chord ( from minor count)
The Harmonic minor. Harmonic Major, and Hungarian Major..
all have FULL diminished in them.
That's why I showed it in F hungerian Major...
or overlap the A Harmonic minor...4 possible FULL diminised chords
F...G#...B.....D
If you play F lydian b3 or C Harmonic MAJOR...it''ll over lap.
later no if you get into WHOLE TONE . FULL Diminised (WH/HW)
or the Messiani Modes....you'll be sort of familar with
symmetrical scales...You can even make more cool sounds
or different chords options...
I showed the A lydian b3,...this way you'll know you can
play the II or B as B7...( Mix b2)
Sort of like the double harmonic minor #4.
The #4 acts like a LEADING TONE into E or circling Up to the
5th.....
You'll get used to changing a diminished chord to DOMINANT
or augment....it's common in JAZZ
The Locrian b4 gets Alter to a dominant sort of sound
or it'll get played over a dominant chord
The Phrygian b4 is the VII of Lydian b3
You can play it as Maj, Dominant, aug min..min7
This mode gives you 1, 3, 5, b7....if you need to play the 5th
The VII and II chords of Harmonic MAJOR and minor are both
Diminised....in other words into MAJOR or MINOR as the new
TONIC.....you'll get used to it
if it's too harsh...simply play a sus 2 or 4 to makes it less stress
then establish the 3rd as Major or minor.
It depends if you're ascending or descending and how you strike
the chord....
cdreid99999 So tru tho.
yep. like the cap of a tic tac box.. it's like ohhhhhhh woooooooow
You really have a knack for simplifying and clarifying what I've thought other "instructors" are trying to say or teach, but wind up obscuring, instead, Dave. :)
Don't learn the Alphabet - Learn Words Instead!
+Sean Jamieson , jackass _______but funny , that ones good for a laugh
Everybody learns many words first and alphabet later. That's how it works.
Alexandre Ferreira ergon Correct. I was just making fun of the title. They're both as important as each other. You can't have one without the other.
You nailed it lol
And then someday you can do poetry, or write a novel.
I have always used lead licks within chord formations myself and your lesson will help a lot of pickers. Basically learning the chromatic scale solves a lot of problems with minimal effort and goes hand in hand with your lesson.
Thanks for the really relaxed and creative approach to improvising. Scales and modes alone can turn out really clinical, but you talk about telling a story using chordal notes for a basis to work from. Thanks for your lesson David....
Great video. Its a simple idea but its one that doesn't occur to a lot of people right away. If you spend any time producing music, especially if you are using a hybrid setup which incorporates a DAW you end up realizing very quickly that almost all melodies fit very well into the chords which harmonize it. Also you shouldnt limit your self to just playing the notes within the chord but think would the 7th 9th 11th ect work here.could I use a diminished here or there. Also something that is rather obvious but some may not consider to play are different octaves of some notes which would be the same chord but an inversion of it.
Let’s face it we are all not the same mentality.. so for my self simplification keeps my
mind expanding..
Great job..
45 years playing guitar
And a crap load of teachers..
Your excellent..
And I can relate to the way you explain things..
Yes .... I’m a simple man....lol..
A whole new perspective - really helpful! Thank you!
yes it's possible to strum chords even without to know to read the score - but it helps much in understanding if you know the scales and how to read scores to understand the building of chords
if you know how the chords are buildt - you can build finger-settings for chords that you don't know yet
This video was useful!! First video and Im subscribed! Congratulations and thanks! Greetings from Spain
WOW you have such a great way of stripping it down to the bare basics and explaining it in such a common way the most anyone can understand it. Thank you for your teaching spirit.
Thank you for opening my mined,I never thought of looking at chords as scales,
it all makes sense now.
Nice video man, making people think about how to approach things from more than one angle. Always enjoy your content.
RNA MUSIC
A good place to start... some great players do not even know scales but have a musical ear. You can't learn all at beginning... development is key.
Great concept and way of looking at it. (I have to admit your F major isn't one that I would have found for that zone, as I don't use that particular combination). But, your information and lessons are always really good. I bought several lessons at Guitar Playback and found the videos and PDFs great resources. Keep it up man!
I could never finger the C shape until I realised the thumb-over technique gives a better angle for finger 4.
Now I get it, how that shape makes an arpeggio octave.
and that comes from understanding the chord, not a scale, as David says.
ur by far the best teacher ive found but i still cannot learn anything hardly. short story: long time ago i decided i didnt need to learn scales. i didnt even know theory existed until recently. what it caused is ive hit every note combination possible and cam up with all my own chords that my fingers cud reach that i liked the sound of. now everything i play is just pure musical and not just practice sounding. im able to almost instantly play things i hear. i can even listen to john mayer stuff and play along in my own unique way. super glad i never learned anything. i figured why i get bored so easy learning anything cuz i instantly just start thinking well why cant i hit this note as well. i had gotten bored and wanted to learn theory n stuff but now ive been able to just play every note with meaning and soul and i have found that to be more for me. not that one cant play each note of a scale with soul. just 4 me im over 40 and its too late for theory. finally being musical playing stuff. instead of just going through the motions of stuff. well im sure none of this made sense but every time i watch one of ur vids i steal a little lick or 2 and fuse it into my own patters of stuff. ive found u
i play anything in any note as long as i accentuate notes that are in sync with whatever. if i land on something that is not i can slide into or bend to the right note and if one is being musical it sounds really cool. thx man ur the best
OMG ! this will make me play my guitar again ! your method of teaching is so clear ...
Great, informative video David, the thumbnail drew me in and it was totally relevant. I've just had a go with this concept and I've found it to be addictive, it sounds and feels great too. You rock.
Great idea Mr. Wallimann! I've been playing for 40 yrs. and never heard of it. Thanks!
David, I've been playing for about 17 years now and have been sort of been stuck on a plateau when it comes to scales, be it having time or just learning them. Simply moving the chords to make the scale is quite brilliant I'm excited to try this out :) Good video and I subscribed
It's exactly what I teach my students! However, I do ask them to know the names of those notes as well as it helps understand what you're playing and why it sounds the way it does.
Good video!
Definitely a great way to look at building a solo or counter melody ideas David! Cheers bro!!
I'm lost with too much thinking! However I ((do)) strive to think arriving at the chords is the final part of the journey to being a well rounded lead guitarist. It's slowly coming together after several years. I know only one scale but since I lean towards syncopation, (playing open air as much as I can), I'm finding plenty of time to think the most complementary answers to fit within the cadence of a song. I trust my "EAR" - - that's where the arranger in me lives.
Thank you for putting forward another perspective on this subject. As a newbie, the more I hear about this the better off I am. BTW, your explanation is arguably the most practical I’ve ever heard on matching chords with lead improvisation. Not saying I’ll be shredding anytime soon, but it’s another step forward.
It's a pretty neat little hack. If only to help get by in jams, til having properly learnt the scales and modes.
I learned or discovered this on my own long ago. Thank you for practically being the only one on the internet to document it for us all. This is how to play fluid natural and not stiff. Great stuff. Will follow for more advice.
Very helpful video thank you!! I really appreciate the organization and presentations of your lessons they've inspired me a lot. Have you already done a lesson speaking to the specific qualities of the chord tones when playing over a given progression. Like the (R,3, 5 or 7)? If so Id love some direction in that area. Thanks
Interesting piece of artwork behind you. The big blue oval. Thanks for the video!
It’s a backdrop for photography/filming they fold down and pop up
Why have I been tormented by almost all of my teachers my whole life.. when I see what you are teaching it pisses me off.. ...they could not give me what you give me in 10 minutes..
You my friend are a great teacher.. and wish I had your knowledge 45 years ago.. I was always told if you can’t read music you will never be a real guitar player..
WRONG...... I I’m what I am... but still I search..
Hmmm that’s a good idea for a song lol..
Steven jewett
Singer of sorts and song writer and...
Guitar player...
Please, make more videos to Begginer Lead Guitar players, and how to improve as a lead guitar player :) Thanks for the video! (I'm about to get in a church band, and I'd like to know how can I contribute in the band as a lead guitar player)
Eventhough this was posted awhile ago I'll still comment. I enjoyed your different Approach. As for me I feel it was not hard to learn 5-7 Scale Patterns depending on what scale you chose to learn then wahala now you'll know how to play every note on any guitar forever. I would suggest to study pentatonic scale first then learn blues scale next, then Major scale & so forth, it really doesn't take long at all to memorize them. Once you know your scales then I would suggest for someone to add your approach to strengthen there knowledge. Thanks for sharing I could see how it would help someone who doesn't already know there Scales but I would not ignore learning the scale patterns this would create A crutch in someones Studies.
Excellent! The old saying applies “why reinvent the wheel?” The scale that builds the chord doesn’t also need to be used to determine the soloing piece. Just leverage the chord. Play smart play natural by ear. The theory just documents the natural outcome. 🤣
Good perspective on the relationship of chords and scales. Understanding the theory might help but applying the theory is another skill that takes a lot of practice. Thank you for the video.
This video helped aaaaa lot. Joined a band as there lead guitarist and having to come up with my own stuff for there songs that are complete is a challenge
David. You opened up another door. Thanks man. I appreciate it... Phil
In short, if you don't know the applicable scale "in the moment" just remember that all chord tones contained in a progression belonging to the same key contain the "safe" source material for a melodic solo. Love your stuff, man ; always enlightening and respectful towards your audience's varying level of skill, ability and development.
Great video. Been playing for years but only learning riffs ect. I'm at a point where I can play anything from tab but when I improvise I just get lost and can't figure out where I need to go to next to get the sounds I want Or how to get up and down the neck. It's videos like this that are defiantly helping me along. Forget the nitpickers who try to just look for things to complain about. your video defiantly helped me today so I subscribed. Thanks. Will be lookin forward to more content
What I like most while watching your videos is, that you don't "overcut" your course. That's what most of the youtubers do, which kinda sucks
Thanks man!
Thank you mate - you are the best teacher on youtube .
I know this isn't the video's topic, but one thing that doesn't seem to have been discussed in this comment thread is the fact that, from a compositional point of view, knowing both your scales and your triads down cold is immensely useful for purposes of melody harmonization. In other words, if you have a tune (melody) and want to know the harmonic options available to you that can serve as the background to that tune, a superficial understanding of functional harmony (what is a chord's function within a key) isn't always enough...You don't just want to blindly know that you can harmonize a particular degree of the melody with, say, three different chords (with differing chord functions)...You want to know which of these three harmonic options fit with the next set of harmonic options in the possible progression.
I could listen to the first 55 seconds of this video all day. I don't know if I've ever heard a more expressive player.
+Nomolos Thank you!!
Hey David i am enjoying your you tube video"s GREAT STUFF I like that you explain the theory of your lessons! I have learned already in a few video's and practicing your stuff. Thanks keep doing what you do and how you do it ROCK ON
Really COOL! and smart perspective. Thank you David.
This, my friend is GOLD!! Great job ONCE AGAIN!!
It is a vast world to explore and learn the musical language on the guitar. I greatly appreciate your sharing your knowledge.
Great video I think... very calm and focused. Humble and not flashy. Good stuff.
Great point about the chord changes. When I was first playing bass in a band I would look to the rhythm player to follow the chord changes.
I watched an interview with one of my favorite guitarists Eric Gales the other day and he stated "I'm a chord freak". He then went on to demonstrate how he creates his solos around chords, just like what you'r speaking about.
Here is a link to the interview, you can skip to 32:30 to hear him speak and demo his approach. th-cam.com/video/LLM_V5HXoLA/w-d-xo.html
I just found your channel today, it's great. Thank You.
Brilliant video you shared! I just watched it. Thank you for sharing and providing link. Eric Gales is so cool and chill.
Cheers!
Hello Mr. Walliman. Just an small request, and I appreciate what you do and the time you kindly use to show us these videos.
This is my request, from a beginner: You should do a music video, with these chord progressions to get a deeper idea. Unless you have one already. Thanks!
That was the most helpful thing I have ever heard. Of course, I don't have my guitar anymore but that was the one thing I could never get through my head. I could never understand what key the song was in. I could usually pick out the cords to a song by ear, but I never understood what key I was playing in. It's terrible to overthink something instead of just trying to play. It robs you of your creativity and the fun of playing lead.
Just starting out and found this video very insightful. I only started playing to find my own sounds and this is a big help. Thanks
Charlie Parker said you reach a point when you have to forget the scales, modes, chords, arpeggios, and just play music.
I appreciate this instruction. I'm learning pentatonic but this really helps and ties it all together. Exactly what I needed!
Thank you very much mate!!! It's something that I was doing instinctively, I'll focus on this technique from now on! Great channel
Amazing. I've always struggled with theory and staying motivated, however this explanation is such a useful, yet simple, way in. I'll definitely be learning more chord shapes, starting with the CAGED system, which I assume would be pretty useful. Thanks man.
@@oktayx189 It s better to use the CAGED idea but on focus in tonal grades
now this is a very good lesson..the key, the chords, the scale all in one hit , and more importantly working it out for oneself
Brilliant video! New sub here. The way I learned the melody of the standard "All of me" was to take the major triad (descending with connecting tones) of the two leading chord shapes G major and b major.. With that you can play the entire beginning of the melody which also is the framework for the entire song!
Great lesson David, Thank you!
Looks good. Currently, I'm working my way through Guitar Infusion Curriculum. I understand all of this stuff in principle and on the guitar. My problem is performing it in real time. Suggestions?
Thanks! I wonder if it might be a mental state of mind thing. Maybe try not playing anything for the first 30 seconds or so and breathe and imagine what you are about to play before playing it?
David Wallimann sir pls I been playing the guitar for almost 2 yrs by myself I know these chords G A E D C F B , am ,bm, em, pls what should I learn? I want to know more .thanks
So many possible routes!
Maybe learn the minor pentatonic scale?
That's fair, David. I've heard you talk about listening first in other videos. I will try it. I think it's also an ear training issue. For example, I know the music theory part. I know that a C chord has a C,E,G in it. I know where those notes are on guitar. But, if you asked me to hum or sing a third above C, even though I know it's E, I'd be hard pressed to do it. When you play, are you hearing what you want to play first?
+Phil Fox Most of the times but my fingers also surprise me sometimes. :)
I find learning both (having connecting scales and chords) to be most effective for everyone I have met. Your way could be just as effective if not better but I haven't met anyone who has had a better learning pace / experience doing so.
Thanks David. Really enjoyed this video - great food for thought / practicing.
Well done, simple and elegant-thanks for sharing
Welcome to chord-scale-theory , baffles me all the time.
Nice work
First time to listen and I really got a lot from this. I truly appreciate your style of explaining this concept. I’m definitely going to work on it.
Thanks so much. I subscribed 👍
superb advice and actually made the concept of modes much more of a bite size chunk thanks ..really, thank you
Give thanks very much for the work you do to share an understanding of music on the guitar. I appreciate it all
Scales are useful more when you are trying to find those transition notes from chord shape to chord shape. Chords are useful for everything (building scales from them, arrpegios, and chords themselves)
Brilliant way of finding the scales you need.👍👍
Excellent! Very helpful! Thank you very much David!
I LOVE this! A different way for me to approach lead ideas for songs I write.
This is very helpful and easy to understand. Thanks.
Interesting and useful concept, as always !
Mannnn I really love the content you share. Clear and applicable
Thanks Panu!
I am 100% of your opinion! I had also written with some other guitarists here on TH-cam but no feedback.
Yo. The intro made me subscribe. You're dope! Thanks for this vid!
Thanks!!
Great video, thanks for the encouragement!
good stuff you are showing ,very practical and user friendly ,thanks
Simple mais tellement efficace ! Merci David, au top comme toujours !
Merci mon pote!
Excellent video and musicianship! Question: what rig are you using between the guitar and final amplification? Thanks,
Thanks! I'm not using any amps, just straight into the Axe FX II
I'll have to check when I get in the office. I'll try to remember tomorrow. :)
Thanks for a fun advice :D .. i dont really know scales yet so this gives me a fun starting point to play some melodies and stuff without having to know everything :) ..