Amazing! been practicing triads from your country books as thirds and sixth progressions but I'm sounding country... more of a blues player though try to add a sweet major sounding to it ;-) so this was really helpful!
I love this lesson, I am working on my fretboard knowledge really hard these days. I need to find a lesson on knowing which Pentatonic pattern to play over each chord form. I'm not sure if Levi has covered this in a lesson. I'm not sure, but I believe its got something to do with where the root note is within the pentatonic pattern I play.Does this even make any sense? I would say, I want to learn to solo within a zone for say the I IV V progression without skipping aroung to all my pent shapes . Its starting to come into view but still foggy. Anyway, cant get enough of Levi Clay.
If the chord progression is in A maj play the A maj pentatonic scale. if the progression is A minor play the A minor pentatonic scale. You only need one scale. You don't have to skip around.
This lesson hints at an answer to your question. He’s talking about using the notes from an A major triad over the I chord in the key of A, and the G as well. So by logical extension, you can use the A and G major pentatonic scales. It may be easier to go down to the relative minor pentatonics instead, if you are more familiar with them. So you can mess around with those as a starting point. A couple of problems… - the G major (E minor) pentatonic has a D in it, which I personally try to avoid using over an A chord. - these two scales overlook the minor third, which is integral to the blues sound, especially when used before or after a C# - the b5 is also missing, since neither A and G chords have a D# So there’s a lot to process on the fly, but hopefully this helps. Also, I’m responding two years later, so who knows what stage you’re at now on the guitar.
My band used to host a blues jam, so we'd have to make sure each group stuck to 3 tunes so the next group could get up. We'd always loose track, the Stevie Rays all kind of blurred together, lol. but no one ever took this approach, pretty interesting! The blues can be way more versatile than a lot of people think
An alternative to chord scales, blues and pentatonic scale. A dry scalar way of playing is taught everywhere, leading to nothing but playing scales!!! I like triad pair because they immediately give you the real feeling of music and how to instantly express it with not too much guesswork. Thanks.
Great idea Levi, thanks, but I'm finding it difficult to fit into a blues. There's not much time before the next chord change, 4 bars at the most. Have you done a video of applying this idea to a 12 bar blues?
I quite liked your first video about triads. I'm referring to the one that you show how they are great at outlining chords. You also demonstrate your tendency to include the movement of a half step between the minor and major third resolving to the tonic. The sort of country cliche riff is nice in that as well. You really emphasized that musical phrasing with the triad works very well, as opposed to "meandering" in scalar fashion. However, I think with this one you've kind of left that. Case in point, your choice of the triad pair of A major and G major against an A7 harmony; I think this pair does not work well (IMHO) due to the D in the G major triad. This is kind of telling in one of the comments, (that I could certainly be misinterpreting), "......little to no resolution." Anyway, just an observation, I do enjoy your videos especially the live transcriptions.
Note Amaj and Gmaj are both in the key of D major, where A7 is the V7 chord. So it's a mixolydian sound here. It might be interesting to try some other more bluesy sounds, with triads from A Dorian (G maj) or A Aeolian (C maj). Or just throwing in more blue notes (b3, b5?) might be cool.
SRHmusic my point was that playing A major and G major triads (sort of sequentially) over a static A7 harmony yields a kind of aimless sensibility, especially with the arguably ugly 4th of A7 contained in the G major triad. It’s no big deal for a person who can make a phrase out of those six notes. I just think A major and B major might be a better starting point, as an example.
@@glguitarman Yes, good point. There are always some notes that really "work" and others that seem better to "be careful with." I'm still surprised by which those are, though really experienced players have figured it out. No shortage of musical things to try, eh? Cheers.
The crapman army went at your boy I guess ?? He took the vid down of the one he did on Chapman? That’s really sad ..... I really couldn’t believe Rob would use his subs to come at an up and coming you tuber of any type. What a freaking d bag!!!!! I really hate that kind of mentality and I though his vid was really good. Thanks for all u do man
Great follow up man Very useful Was jamming a load of lydian stuff over the first lesson Hours of little to no resolution Great fun glad to see you in the studio
I wanna see Levi analyze SWYBRYD picking ala Marshall Harrison. Or maybe even analyzing Troy Grady analysis videos. Applying his notation and transcription skills to some of these modern monsters
Amazing! been practicing triads from your country books as thirds and sixth progressions but I'm sounding country... more of a blues player though try to add a sweet major sounding to it ;-) so this was really helpful!
Nice playing
what an ace lesson! really showed how to add some musicality to the blues to help break out of the blues box. Plus the resolution. :D
Quality as always Levi! This is a topic I've been enjoying and delving into.
Molto utile. Grazie
I love this lesson, I am working on my fretboard knowledge really hard these days. I need to find a lesson on knowing which Pentatonic pattern to play over each chord form. I'm not sure if Levi has covered this in a lesson. I'm not sure, but I believe its got something to do with where the root note is within the pentatonic pattern I play.Does this even make any sense? I would say, I want to learn to solo within a zone for say the I IV V progression without skipping aroung to all my pent shapes . Its starting to come into view but still foggy. Anyway, cant get enough of Levi Clay.
If the chord progression is in A maj play the A maj pentatonic scale. if the progression is A minor play the A minor pentatonic scale. You only need one scale. You don't have to skip around.
This lesson hints at an answer to your question. He’s talking about using the notes from an A major triad over the I chord in the key of A, and the G as well.
So by logical extension, you can use the A and G major pentatonic scales. It may be easier to go down to the relative minor pentatonics instead, if you are more familiar with them. So you can mess around with those as a starting point.
A couple of problems…
- the G major (E minor) pentatonic has a D in it, which I personally try to avoid using over an A chord.
- these two scales overlook the minor third, which is integral to the blues sound, especially when used before or after a C#
- the b5 is also missing, since neither A and G chords have a D#
So there’s a lot to process on the fly, but hopefully this helps.
Also, I’m responding two years later, so who knows what stage you’re at now on the guitar.
My band used to host a blues jam, so we'd have to make sure each group stuck to 3 tunes so the next group could get up. We'd always loose track, the Stevie Rays all kind of blurred together, lol. but no one ever took this approach, pretty interesting! The blues can be way more versatile than a lot of people think
what's the effect called on guitar ?
Thank you for the great lesson
Definitely something I should use more. Awesome!
Love your ideas and teaching. True gift!!!
Thank you, thank and thank you!
And thank you
An alternative to chord scales, blues and pentatonic scale. A dry scalar way of playing is taught everywhere, leading to nothing but playing scales!!! I like triad pair because they immediately give you the real feeling of music and how to instantly express it with not too much guesswork. Thanks.
Cool, never seen this concept before...time to practice.
You learned your skills from the Illuminati huh
Nice video on Triad Pairs over blues. Rich
Nice...I know what I'll be trying out this evening!
Where IS Guitar for this lesson?
I love this it reminds me of don mock a little. but it is different thanks
I really gotta spend some time on this and get some vamp back
Very useful stuff
Brilliant. Thanks
Great idea Levi, thanks, but I'm finding it difficult to fit into a blues. There's not much time before the next chord change, 4 bars at the most. Have you done a video of applying this idea to a 12 bar blues?
4 bars is a WORLD of time!!
You should try improvising over a bluegrass tune. They’ve switched chords 30 times in the time it takes to get through 4 bars of a blues.
I quite liked your first video about triads. I'm referring to the one that you show how they are great at outlining chords. You also demonstrate your tendency to include the movement of a half step between the minor and major third resolving to the tonic. The sort of country cliche riff is nice in that as well. You really emphasized that musical phrasing with the triad works very well, as opposed to "meandering" in scalar fashion. However, I think with this one you've kind of left that. Case in point, your choice of the triad pair of A major and G major against an A7 harmony; I think this pair does not work well (IMHO) due to the D in the G major triad. This is kind of telling in one of the comments, (that I could certainly be misinterpreting), "......little to no resolution." Anyway, just an observation, I do enjoy your videos especially the live transcriptions.
Note Amaj and Gmaj are both in the key of D major, where A7 is the V7 chord. So it's a mixolydian sound here. It might be interesting to try some other more bluesy sounds, with triads from A Dorian (G maj) or A Aeolian (C maj). Or just throwing in more blue notes (b3, b5?) might be cool.
SRHmusic my point was that playing A major and G major triads (sort of sequentially) over a static A7 harmony yields a kind of aimless sensibility, especially with the arguably ugly 4th of A7 contained in the G major triad. It’s no big deal for a person who can make a phrase out of those six notes. I just think A major and B major might be a better starting point, as an example.
@@glguitarman Yes, good point. There are always some notes that really "work" and others that seem better to "be careful with." I'm still surprised by which those are, though really experienced players have figured it out. No shortage of musical things to try, eh? Cheers.
So good
Love the lesson
yo, that tele is mint
Every time you go down a tone all I hear is this:
:D
th-cam.com/video/fIqKWLkm2-g/w-d-xo.html
haha close! That's Dmaj and Am, but Am is ALMOST Cmaj
@@LeviClay my mind must have implied the low C!
I Like how y have been using the tele so often. I know u always have one around but great to see it so much !!!! F Dog Crapman u owned that d bag
This tele has been my #1 for a LONG time :)
The crapman army went at your boy I guess ?? He took the vid down of the one he did on Chapman? That’s really sad ..... I really couldn’t believe Rob would use his subs to come at an up and coming you tuber of any type. What a freaking d bag!!!!! I really hate that kind of mentality and I though his vid was really good. Thanks for all u do man
Great follow up man
Very useful
Was jamming a load of lydian stuff over the first lesson
Hours of little to no resolution
Great fun
glad to see you in the studio
Where IS Guitar tab for this lesson ? What a Pitt lll
I wanna see Levi analyze SWYBRYD picking ala Marshall Harrison. Or maybe even analyzing Troy Grady analysis videos. Applying his notation and transcription skills to some of these modern monsters
I've done most of the tabs for Troy... soooo hahaha
@@LeviClay ayyyy well there ya go m8 I'll go and preach the merits of Levi Clay brotha