I believe in dreams. We can reach to where we want to be or who we want to be, even if it takes time. change is always possible. I believe in humanity, love, friendships and compassion. I'm here to show we CAN do it together. Music, love, peace and compassion are all the same light in different vibrations
What helped me a lot in this regard is playing the triad arpeggios over all 6 strings. After a while you start to connect them with the scale and see the dots
Wonderful episode… I’m in the middle of watching it and I’m thinking: so.. we are in the universe and we are living here… and it constantly observes us and when we are at rest we start to observe it but it never stops observing us
I want to know more about that remarkable guitar you're playing. It looks like King David was playing that before he fought Goliath. How'd you get it? JAMES
Yeah ive NEVER heard it called the sharp 4 in a minor blues scale. Maybe Rotem has been hanging with Neely too long they are both going OTT with their philosophy of color tones, plus Rotems facials are giving that Tommy Emamnuel OTT fake-motion style
what you call it depends on the scale/mode you're using. For eg. In Lydian mode you'd call it #4 because there's no natural 4 in it, it's augmented. In blues scale guess you can call it either flat 5 or sharp 4. It's also called tritone (three tones) (one tone = 2 semitones = 2 frets on guitar) It was also called the devil's note. It's a very interesting note to say the least.
@@aryansengupta6674 Thankyou yes in Blues context Ive heard it called the flat five or the tritone, but not the #4. I agree the sharp 4 is the correct term for the note in the Lyrdian mode . and it creates a a uplifting dreamy vibe , (like the #4 whihc also is in whole tone scale 1, 2, 3, #4). but in the minor blues or pentatonic ocntext context when teh regular 4 is already in use 1 b3 4 5 b7 (and with b5) i think its best to call it the b5, the blue note or the tritone, Sometimes i think teacher/player Rotem tries to get too fancy with words and especially since English is clearly his second language it ends up being either inaccurate or unclear or pointless. . For example if i was tryng to descibe the flavors of asian food and i only spoke in english it would seem clumsy., so in conclusion i think rotem should stop trying to be the wordsmith/philosopher of tone colors' as it sounds confused/misguided anmd at times pretentious and is not helpful to ppl wanting to learn.
@@CourtWatchAu I don't think it's that important to know the accurate name of the note. Being able to use said note in appropriate and creative ways is what's important.
@@aryansengupta6674 Yes thats true, thats a good point. Another point, as well as it usually being called the b5 in a blues context, another reason to use the flat instead of sharp name is coz the b3 and b7 is also in the scale and usually its either 'use sharps' or 'use flats' for a scale. So it imo it makes sense and is more consistent to say 1 b3 4 b5 5 b7 (instead of 1 b3 4 #4 5 b7, the rotem way)
this video cured me of my pentatonicisboringitus. i think i sounded boring when I limited myself to the pentatonic because I didnt live in the music. i kind of just pushed the frets where the shape is.
I just want to know a little bit about the theory behind this,it sound great but I don't understand the theory. For what I figure out you where playing on C after A and then G, but the movement behind the triad I don't get it and I am really interested in it
Basically he is using spread triads inversions of C,G,Am,F and adding notes to connect these shapes as melody notes ,learn spread triads inversions and things will open out automatically,learn maj and minor spread triads inversions first,play them vertically and horizontally just how we practice triads on different strings sets vertical n horizontal 🙏take all c major diatonic spread triads n practice them all over fret board and always remember where your root is where is your 3rd and 5th is😊
Love J.Rockett’s The Dude Overdrive. It’s very versatile, plenty of tweak-ability. From subtle sizzle and hair, to crunchy rhythm, to searing lead. All while still being clear & transparent. It’s my fave! Also the Wampler Sovereign Distortion.
I'm able to practice triplets or 4 notes or 2 notes per beat over a metronone but in a practical jamming situation i get very scared and almost overwhelmed to freely experiment with rhythm. This is exactly the video I need.
I've been watching this video for a long time. Every time, I squeeze a bit more useable knowledge than last time. This time, it was that line cliche over the turnaround at 9:50. Absolutely beautiful and something I will be stealing.
