This video gets better every time I watch it 😊. First you helped me a ton with the chords, now you’re helping me make sense of how the lead works. Thanks again!
I like that you use the F7 sus2 because it doesn't have A natural in it. A natural isn't in this key. If Trey is playing Ab in the lead then nobody in the band is playing A natural in the chord, so it seems unlikely (to me) that any of the chord substitutions should have A natural.
Good eye and ear Joe! I play it this way from watching Trey, which yes, he's not playing the 3 (A) in the main chord F7sus2, which then, as you mention allows him to teeter between F dorian and F mixolydian, mainly hanging out in F minor pentatonic but suggesting that major 3rd at times... I think:). Thanks for watching and commenting!
@@JoshPearson This is whats grinding my gears about theory. With Fsus2, Eb, Bb, and Ab, wouldn't it just be Ab major/F minor, so I see how would dorian would work but how would mixolydian fit in. Feel free to say I'm thinking to hard about it
@@nikvh437 I'll have to think on this more, but the lead I'm playing and explaining is when Phish is staying on the I (F7 or F7sus2). If you're soloing over the verse & chorus, yes, you might have to get creative with which mode your anchoring to, likely the F dorian, but you can suggest/tease/play the major 3rd when the chord progression is playing the F7 or F7sus2, so the F mixolydian would work there. I would avoid F minor as that flat 6 doesn't sit too well, for my ears. Also, I would use Ab major only when the chord progression is playing the F7 or F7sus2 but then moving to Ab mixolydian for the rest of the chords, possibly, I'd have to loop and experiment with it. Ultimately, I like to find what I consider the "Home" chord of a chord progression. Sometimes that "Home" moves, but in this progression, I'd say it's the F. So, then I base my modal movements around that F, using F dorian and mixolydian. Maybe this helps?
@@nikvh437 yin and yang, theory and ear, both have their place and their importance. I believe ear trumps theory, but theory has opened up a lot of ideas and helped me associate things I hear (melodies, notes outside of a scale, 3rds, 4ths, 5ths, flat 7's, etc) to the theory behind it, which then enables me to recall that sound / theoretical idea, swiftly. Regardless, yes, continue to develop that ear, it's the best way to play!
You're the man Josh!
Thanks!
This video gets better every time I watch it 😊. First you helped me a ton with the chords, now you’re helping me make sense of how the lead works. Thanks again!
Thanks Joe! I appreciate you watching the videos and I love that they're helping you!
Good stuff... thanks for sharing. You’ve got skills.
thanks IGC, appreciate you watching!
thank you very much! straight forward yet very clear tutorial
Thanks Brandon!
Thanks for the example riffs around the chord changes. This is a fun one! You rip, but your videos really help the average player like myself.
Thanks Todd! I appreciate the kind comments and I love making the tutorials, so it's really nice to hear people enjoying them!
I own the tab book for this, yet I couldn't actually make this song work until right now. TY!
That's great Phishy! In addition to tab, watching videos of Trey has been a big help. Keep rocking!
I like that you use the F7 sus2 because it doesn't have A natural in it. A natural isn't in this key. If Trey is playing Ab in the lead then nobody in the band is playing A natural in the chord, so it seems unlikely (to me) that any of the chord substitutions should have A natural.
Good eye and ear Joe! I play it this way from watching Trey, which yes, he's not playing the 3 (A) in the main chord F7sus2, which then, as you mention allows him to teeter between F dorian and F mixolydian, mainly hanging out in F minor pentatonic but suggesting that major 3rd at times... I think:). Thanks for watching and commenting!
@@JoshPearson This is whats grinding my gears about theory. With Fsus2, Eb, Bb, and Ab, wouldn't it just be Ab major/F minor, so I see how would dorian would work but how would mixolydian fit in. Feel free to say I'm thinking to hard about it
@@nikvh437 I'll have to think on this more, but the lead I'm playing and explaining is when Phish is staying on the I (F7 or F7sus2). If you're soloing over the verse & chorus, yes, you might have to get creative with which mode your anchoring to, likely the F dorian, but you can suggest/tease/play the major 3rd when the chord progression is playing the F7 or F7sus2, so the F mixolydian would work there. I would avoid F minor as that flat 6 doesn't sit too well, for my ears. Also, I would use Ab major only when the chord progression is playing the F7 or F7sus2 but then moving to Ab mixolydian for the rest of the chords, possibly, I'd have to loop and experiment with it.
Ultimately, I like to find what I consider the "Home" chord of a chord progression. Sometimes that "Home" moves, but in this progression, I'd say it's the F. So, then I base my modal movements around that F, using F dorian and mixolydian. Maybe this helps?
@@JoshPearson It does I appreciate it! I'm trying to get away from thinking like this and just use my ears haha
@@nikvh437 yin and yang, theory and ear, both have their place and their importance. I believe ear trumps theory, but theory has opened up a lot of ideas and helped me associate things I hear (melodies, notes outside of a scale, 3rds, 4ths, 5ths, flat 7's, etc) to the theory behind it, which then enables me to recall that sound / theoretical idea, swiftly. Regardless, yes, continue to develop that ear, it's the best way to play!
Can you please do a tutorial for twist? I’m been searching the depths of TH-cam and can’t find a single one. And guitar tabs doesn’t really help.
What up Michael! Here you go Bud: th-cam.com/video/lf6wpGy8qI4/w-d-xo.html Keep rocking!