THANK YOU! I've been thinking that jazz and metal has a lot in common for a long time now, what with the focus on things like dissonance and improvised soloing. I'm just glad I'm not alone in my madness.
Always use "just enough" gain. Over saturation, too much bass, and scooping mids turns chords to mush. This comes from 20 years of playing proggy death metal. Though these days I write more Lydian riffs and melodies; unless I am feeling particularly metal that day. Lol Great advice as always, Tommaso!
This is what drop D is very useful for, adding punchier low while still accessing melodic voicings underneath which are not possible in standard tuning.
Must be monday! My favorite teacher! Yaaaay! Although youre lovely "Hello!" that I look forward to is only a b5 today?Feeling a little blue?Seeing the title I thought of Holdsworth's Song Metal Fatigue right away.
You can also use the same technique to just add extensions to the power chord, skipping the 3rd. I've found that often going from just power chords to added thirds feels a bit off, I suspect because suddenly hearing major and minor makes us reinterpret the chords as happy and sad, but just adding extensions sounds fine.
Anecdotally, I have always noticed a close relationship between metal (guitarists) and classical guitarists. I only have one jazz playing friend who was also a metal head. This video has really sparked some ideas- I had always wondered how I could get away with some additional tonality once distortion comes in. I think that there is a lot of fuel for me for some song ideas here- Thanks!
I was just thinking about another day why certain intervals sound dissonant in one context and consonant in another context. Like why does Ammaj7 sound so dissonant while Amaj7 sounds so natural and calm. I realized that the dissonant note sounds consonant if it's supported by a consonant interval. In a maj7 chord there's a 5th interval between the 3rd and 7th notes, while in the mmaj7 chord there's an augmented 5th. I'm sure this is taught in music theory books but I guess I've never read those. Sounds like this same principle applies with distortion too. I've played some jazz chords with distortion and I don't think they sound mushy in my ears. Maybe it's best if you don't play too many strings at the same time. The root, the 3rd and the 7th are enough.
I disagree that M3 and m3 intervals sound too dissonant to be used with distortion. Metallica uses 3rds, 6tgs, tritones... Doesn't sound bad to me... So long as you stick with two notes per instrument. If you want to explore fuller or jazzier chords in metal, add more instruments or overdubs. As long as each layer is at most two simultaneous notes going through an fx loop, you're golden. So, have a second guitar play the 3rd/7th of a chord. Sure, maybe it's a tritone. It can still work. Or maybe the 2nd guitar finds some other doublestop that serves as tensions or suspensions to the original power chord. The bassist can explore inversions. The vocalist can reinforce suspensions and tensions played by 2nd guitar, or explore higher tensions. You can get both *really jazzy and *really heavy this way. And, to me, it gives a more gestalt approach to music. Everyone is contributing to the sound, but no single instrument is absolutely defining the tones. In fact in a lot of jazz the root and 5th are often omitted, since they are strong enough to be implied be the 3rd/7th within the context of the music. Far too little music explores this.
I actually agree with you, and indeed in the video I just say that distortion makes dissonant intervals sound 'more dissonant', but I do not give (IIRC) any judgment value. Any interval is acceptable if it suits your artistic purpose. I'm just showing a way to get complex chords using only of perfect intervals, for people who prefer that sound.
Tell me Tommaso, all the concepts, ideas and tricks that you have been explaining here since the beginning, do we also find all this in your video course about chords mastery ? (maybe even more ?) - Thank you.
Some you do and some you don't. The videos are NOT taken from the courses. The courses are much more detailed and with exercises. If you have any questions, please write me at tommaso@musictheoryforguitar.com and I'll be happy to help.
I think general rule of thumb-whether people know it or not when composing-is low interval limit and good tone. Keep the consonances low and the dissonance high and have a tone with a lot of clarity.
@@borisgut559 I totally agree with you. I just suggested these names sticking to the Prog Metal scene... however, I disagree with you on the power chord part. Most of their songs are waaayyy more than power chords...
Also Revocation. David Davidson studied jazz and add lots of jazz chords on their music and he is the only guitar player in the band and it doesn't sound mushy at all.
Even though, I don't like jazz or heavy metal I found the video interesting. Now how about equal time for bluegrass i.e. Tony Rice and jazz chords and perhaps Billy Strings? Why is it we never see you with an acoustic guitar? Do you have one?
(1) Two words: Hex Fuzz. (You need a guitar synthesizer for this ... It distorts each string separately, then combines them into one sound, so you're not even playing a power chord.) (2) "Imagine this with distortion" ... Why didn't you include it in the video with the distortion already in it? (3) "Wanted: 12 Guitarists for Metal Band. Only need to know how to play one power chord." (One guitarist per chromatic note, who only play at their designated moments.)
![This Is Why MODES Are So Confusing To Guitar Players [Music Theory]](http://i.ytimg.com/vi/8z_MwotLh1M/mqdefault.jpg)
![This Is Why MODES Are So Confusing To Guitar Players [Music Theory]](/img/tr.png)
add9 (stacked fifths) is the chord of my soul
THANK YOU!
I've been thinking that jazz and metal has a lot in common for a long time now, what with the focus on things like dissonance and improvised soloing. I'm just glad I'm not alone in my madness.
Jazz + classical = great metal.
Always use "just enough" gain. Over saturation, too much bass, and scooping mids turns chords to mush. This comes from 20 years of playing proggy death metal. Though these days I write more Lydian riffs and melodies; unless I am feeling particularly metal that day. Lol
Great advice as always, Tommaso!
Too much bass is especially bad. 2 7 or 8 string guitars plus a bass guitar is so so much smushed together
It’s easier to try yourself with a looping pedal. But more than metal i see juicy sonic harmonic clashes to shoegaze.
Use drop D tuning with the E and A strings forming the lower power chord and experiment with higher power chords on the D and G strings 👌🏻
This is what drop D is very useful for, adding punchier low while still accessing melodic voicings underneath which are not possible in standard tuning.
Tune a 7 string like a 6 string and use the highest string as an extra high note
Robert conti and george van eps are two jazz, 7 string guitarists
Not a jazz or metal player (yet), but this was super useful and instructive. Thanks!
Must be monday! My favorite teacher! Yaaaay! Although youre lovely "Hello!" that I look forward to is only a b5 today?Feeling a little blue?Seeing the title I thought of Holdsworth's Song Metal Fatigue right away.
I hear Captain Beefheart. Now with distortion. Genius! :-)
5:36 well that sounds like intro to Opeth's "Drapery Falls" :)
That's the same exact chord :)
I love your informative, easy to understand, charming and funny videos! Please never stop!
Please make a video on "How to compose a Catchy melody"
You can also use the same technique to just add extensions to the power chord, skipping the 3rd. I've found that often going from just power chords to added thirds feels a bit off, I suspect because suddenly hearing major and minor makes us reinterpret the chords as happy and sad, but just adding extensions sounds fine.
This video is so refreshing, thank you!! 😊
I like it ! Great Video, Tommaso !
Anecdotally, I have always noticed a close relationship between metal (guitarists) and classical guitarists. I only have one jazz playing friend who was also a metal head.
This video has really sparked some ideas- I had always wondered how I could get away with some additional tonality once distortion comes in.
I think that there is a lot of fuel for me for some song ideas here- Thanks!
Bands like Revocation do this very well.
This is the first band that came to my mind!!
I like it already just by looking at the title of this video
This is such a great tip!!!
Fascinating take!
I love your channel. Very helpful. Thanx.
Very cool idea! Thanks!
That E5 over Eb5 at the end sounded amazing.
Yes :)
Inspiring, i will try, thanks.
Wow man this is such an awesome topic right here I love it.😃👍
I was expecting a demonstration with a looper or a quick recording.
Simple but genial! Grazie mille 🙏
I was just thinking about another day why certain intervals sound dissonant in one context and consonant in another context. Like why does Ammaj7 sound so dissonant while Amaj7 sounds so natural and calm. I realized that the dissonant note sounds consonant if it's supported by a consonant interval. In a maj7 chord there's a 5th interval between the 3rd and 7th notes, while in the mmaj7 chord there's an augmented 5th. I'm sure this is taught in music theory books but I guess I've never read those. Sounds like this same principle applies with distortion too. I've played some jazz chords with distortion and I don't think they sound mushy in my ears. Maybe it's best if you don't play too many strings at the same time. The root, the 3rd and the 7th are enough.
The first words in this video are SO TRUE
Please, please listen to Revocation if you want to hear this done in a top tier recording!
Awesome!
Is it bad that at 2:30 I thought it sounded good?
Legit just sounded like a Deathspell Omega riff lol
I disagree that M3 and m3 intervals sound too dissonant to be used with distortion. Metallica uses 3rds, 6tgs, tritones... Doesn't sound bad to me... So long as you stick with two notes per instrument.
If you want to explore fuller or jazzier chords in metal, add more instruments or overdubs. As long as each layer is at most two simultaneous notes going through an fx loop, you're golden.
So, have a second guitar play the 3rd/7th of a chord. Sure, maybe it's a tritone. It can still work. Or maybe the 2nd guitar finds some other doublestop that serves as tensions or suspensions to the original power chord. The bassist can explore inversions. The vocalist can reinforce suspensions and tensions played by 2nd guitar, or explore higher tensions.
You can get both *really jazzy and *really heavy this way. And, to me, it gives a more gestalt approach to music. Everyone is contributing to the sound, but no single instrument is absolutely defining the tones.
In fact in a lot of jazz the root and 5th are often omitted, since they are strong enough to be implied be the 3rd/7th within the context of the music.
Far too little music explores this.
I actually agree with you, and indeed in the video I just say that distortion makes dissonant intervals sound 'more dissonant', but I do not give (IIRC) any judgment value.
Any interval is acceptable if it suits your artistic purpose. I'm just showing a way to get complex chords using only of perfect intervals, for people who prefer that sound.
Tell me Tommaso, all the concepts, ideas and tricks that you have been explaining here since the beginning, do we also find all this in your video course about chords mastery ? (maybe even more ?) - Thank you.
Some you do and some you don't. The videos are NOT taken from the courses. The courses are much more detailed and with exercises. If you have any questions, please write me at tommaso@musictheoryforguitar.com and I'll be happy to help.
@@MusicTheoryForGuitar Many thanks Tommaso.
Rush - Alex Lifeson. 'Nuff said.
That's kinda a good idea. I don't know why I didn't think about it before 😂🤷🏻♂️
I think general rule of thumb-whether people know it or not when composing-is low interval limit and good tone. Keep the consonances low and the dissonance high and have a tone with a lot of clarity.
Play a mix for example
And then there's Opeth
Tool and Dream Theatre too...
@@vernondsa I've never seen Tool using more harmonically advanced thing than powerchord, give me tip where I can find chord as in Opeth's music
@@borisgut559 I totally agree with you. I just suggested these names sticking to the Prog Metal scene... however, I disagree with you on the power chord part. Most of their songs are waaayyy more than power chords...
@@borisgut559 btw even Thank You Scientist are pretty good. They're not as heavy, but they've got some great pieces...
Also Revocation. David Davidson studied jazz and add lots of jazz chords on their music and he is the only guitar player in the band and it doesn't sound mushy at all.
Press your distortion pedal!:)
This guy basically just told you to Drop D tune ROFLMAO
2 guitarists to play a 7th chord? My god! And the chord progressions? 3 chords (i VI VII).
At least we are not sax players. Then it will take 4 of us...
Even though, I don't like jazz or heavy metal I found the video interesting.
Now how about equal time for bluegrass i.e. Tony Rice and jazz chords and perhaps Billy Strings?
Why is it we never see you with an acoustic guitar? Do you have one?
(1) Two words: Hex Fuzz. (You need a guitar synthesizer for this ... It distorts each string separately, then combines them into one sound, so you're not even playing a power chord.)
(2) "Imagine this with distortion" ... Why didn't you include it in the video with the distortion already in it?
(3) "Wanted: 12 Guitarists for Metal Band. Only need to know how to play one power chord." (One guitarist per chromatic note, who only play at their designated moments.)
Cmon man, at least show some examples of it!
Too much talking. Just play and show how it sounds.