hey frettjam keep doing what you are doing i really aprreciate.Also i had this question if lets say we got a melody or part of song to play lead on guitar or a solo. 1) do you listen intervals while listening to solo or melody 2)do you then try to gett it on guitar or you just play the intervals 3) when you play lead lines or solo or improv are you aware parallely like i bent from b7 to 1 and then this lick and then 3 and 4 pulloff 5 in mind and do you see iuntervals on fretboard 4 ) if yes pls tell me a roadmap to follow along so that i can reach that level
Hey there, thanks for your time! 1) Yes I try to listen to and identify the interval structure being played when I hear a melody (even chord or progression). Sometimes it's too quick for that to be realistic! But most of the time I'm listening for that "distance" between notes, which can be translated through interval knowledge and ear training (minor 3rds, major 3rds, 5ths, 6ths etc.). It's a great skill for cutting down the time it takes to pick up music by ear. The more you expose yourself to the sound of individual and then collective intervals (e.g. arpeggios and scales), the more you start to intuitively pick them out in melodic passages you hear. 2) Not sure I understand this question. If I'm translating a melody, I just translate to the best of my ability what I hear to a kind of spatial awareness that has come from studying intervals and their "distance" across frets. Finding the key (tonic chord) of the piece is fundamental as a starting point. 3) Kind of, I don't necessarily have a conversation about intervals in my head while playing, but the action does appear as a familiar spatial awareness which comes from a broader pattern on the fretboard related to the chords I'm playing over (typically an arpeggio or scale). Studying intervals is just a way of internalising the sound and visual space of a movement, so it can be replicated more intuitively as time goes on. 4) This video was one way of devising an initial roadmap over chords, between arpeggio and scale form. I'm currently redeveloping and expanding my "Ultimate Roadmap" course which is available (in current form) on Patreon. I want to include a more integrated approach for arpeggios and scales for different chords in a key. Remember this is all mostly about patterns and how we move around and integrate them seamlessly. And there is always major and minor pentatonic to fall back on and integrate, knowing where they exist within the given key.
@@fretjamdotcom when you say distance between notes dies that mean distance between adjacent notes or notes from roots .Pls clarify and thank you for answering my question
Absolutely brilliant instruction for a very complex and up to now almost impossible for me to grasp, makes it very clear and happy to have patience in waiting for your next lessons, keep it up you're great, I've gone and joined you Patreon also to learn more!
I have been playing for 45 years and dont know correct theory, I decided to change that. I have chosen you to teach it to me. thanks so much for your approach to teaching and sharing all this knowledge! Hollywood Dave.
I am mind-blown that I'm only seeing this video now...beautifully explained. I've always felt like a noob always playing open chords on my acoustic. Now I can go side to side. I want to know all the chords, but not strictly rhythm, cos I want to make my guitar cry and sing. Thanks fretjam
There isn't much sonic difference between the 7th and bII of this scale, that's probably the one hang-up I've always had about this scale, being one of my favorites. It's great to solo over because you don't really have to move around much, but you basically only get one "color" out of it if you don't have a vocabulary of inversions, extensions, etc.
That's an interesting point and my ears agree! I would say that's kind of how most modes are in terms of their harmonic potential. Modes by definition are restricted to a specific harmonic colour. That said, with phrygian dominant, I find the most striking use of it is when there is an unpredictable chord or key change. It carries a lot of tension and it can completely change the mood of a piece. But I also have a weak spot for the I7 to vii (e.g. E7 to Dm) movement. You hear this a lot in movie scores and it's very powerful. Throw this into a regular major key (e.g. C becomes C7 and then Dbmaj7 or Bbm comes into play) and you get a fresher taste of that phrygian dominant sound.
Think in terms of target notes. Typically a slide will serve to punctuate a note you want to emphasise, similar to a bend. Other than that, just go with want sounds good!
It is important for me to point out that you are a very important, serious, very professional channel, I use it quite a lot. I would like to take this opportunity to thank you for all your investment and I look forward to more interesting things in this way. thank you so much, friends !!!
Glad to see you back king. Your lessons gave me a real theory boost. And as a user requested for practice techniques, i would wish the same but i believe your lesson plans are theoreticals not practicals. But we're all open to more learning. Godspeed guitarman
Thank you that means a lot. In terms of generic lesson plans, it's difficult because lesson plans are individual (or at least should be). I would need to establish your personal goals, current ability, time availability etc. That's really something for a personal tutor to work with you on. But I hope I can at least offer some inspiration in terms of new concepts, even if you come to them later in your learning journey.
You have such a distinct guitar voice, and it’s consistent in all your videos. What guitar do you use and with what pickups? As far as effects it sounds like a bit of crunch and delay, maybe a bit of room reverb if I’m not mistaken.
Thanks! I use a Gibson Les Paul, stock 490R/498T pickups (I think!), going through a Boss GT-001 (an old desktop processor). I tend to use plugins in Audacity (post reverb, delay, compression etc.) but sometimes Guitar Rig with the Tube Screamer emulator.
