@@paulpeters5993 oh wow, you're stoked! haven't seen him play in over a year, Dick's last year, far too long, hoping they come to Austin in the spring. Have a blast tonight!
Those roots that you are showing in green on the d mixolydian scale are C notes right (10th fret of the d string and 13th fret a string) in standard tuning those are c notees not d right?
The notes in green are the flatted 7th notes, yes, C being the flatted 7th in the D Mixolydian scale, which I use often for this chord progression. A good tell on when to use the Mixolydian scale is when the chord progression has 2 major chords, a whole step apart, in this case D to C, and then on to G. Another good example, Franklin's Tower, the chord progression is A to G to D. The A to G tells me that A Mixolydian will likely work well over this chord progression. I hope this helps. Thanks for watching and commenting David!
Other things I looked up told me to solo in G which never sounded right to me, so I used D mix, your video confirmed it for me and I like how you end the chord progression better than the way I was. Appreciate the vid
G Ionian (major) and D Mixolydian are the same scale, exact same notes. Because of their layout on the neck, they'll likely sound slightly different due to one's start and stopping points / phrasing, but they will work equally as well, as they are the exact same notes. Knowing this and being fluid in the different modes enables one to express their melodic idea, using the same scale notes, but in a variety of places across the neck. Hope this helps:)
@@JoshPearson I was going to respond to this comment and state the same thing you just said. Personally, i feel the song is in the key of G, not D and that is why the G ionian works so well. The reason i dont think the song is in the key of D is because there is no C chord in the key of D. Not even in a substitution form. D,Emin,F#min,G,A,Bmin,C#minb5. I ran into the same thing with Franklins Tower by the Dead several years ago. Chords are A,G,D starting on A but the song is actually in D. Anyway, great video man.
@@danparker4772 this is spot on! Yes, it technically is in the key of G. Like you mention, D being the V, C being the IV and G being the I. Ultimately, we should understand this, in every key, and it will help our playing/expression. That being said, when jamming with people, I do my best to find that note that feels like "home." That one note that seems to resolve, and feel the most comfortable, the most at home, with the chord progression. In my sense of feeling/hearing, that to me, becomes the I. In this song, D feels like home to me, and is what I build my movements around. Go big, and go home:) Thanks for chiming in. Love this stuff.
I'd be interested in a lesson on practicing scales in a way that will result in the command you have of them, both in speed and smooth slides and licks. The way you play through the scale is so musical! Thank you so much for the lesson!
Thanks Webster! I did a video on the Major & Minor scales, which I encourage students to learn early on, inside and out. It really comes down to the amount of time practicing, and practicing to a metronome helps, tremendously. Keep it up!
This was just what I needed! And thanks so much for the lessons in general! I've subbed as well! Been half following since you posted the Hood lesson a few years ago, but just discovered your performance videos as well-- I mean, just stellar playing. Ok, I'm going to go see what I can nick off your 'Paug live video now! (Oh man, and that band has some HEAT!)
Hey dude, so I am getting a custom built hollow body guitar, yes I’m a huge phish fan and am hoping you could help me out in choosing what pickups to order for my build? It’s a koa top, curly maple sides and back. What would you suggest for my 2 pickups? Thank you!
@@ItisTripp Hey Andrew, I got a Forshage, full hollow body, no bracing of any kind inside of it, built about 4 years ago. I had it built with Seymour Duncan Stag Mag pickups. It fed back so bad, I couldn't use it. I did about 15 shows with it, battling with it, to get it to stop feeding back uncontrollably. It was terrible, didn't work well at all. So, I decided to swap them out with Seymour Duncan 59's, which is what Paul Languedoc supposedly uses for his hollow body's, and I had read in an interview with him, he said, "because they just work." Sure, enough they worked! The feedback became much more controllable and much more musical. So, I have never tried any other pickups. I hope this helps. Good luck!
@@auralign hey dude thank you! I just saw this! I didn’t get notified. I’d love link up and do some Skype lessons. Can your shoot me an email about how to get that set up? Am14nd14@yahoo.com Also, I am looking for a delay petal, do you have any recs? When I look into what trey uses they describe it as analog? What’s the difference between that and any other delay?
@@ItisTripp guitarlessonswithjosh.com is where to sign up for Zoom or Skype lessons. Appreciate it! I recently owned the Keeley Eccos, amazing delay pedal! It's a very warm, beautiful sounding delay, that sits in the mix very nicely. I recently went back to the Line 6 HX Stomp (transistor tape & elephant man) model delays, which sound really nice as well. I've been using Line 6 (helix, HX effect & HS stomp) for several years now. Their models are really good and the extensive ability to tweak them is very useful. The Strymon El Capistan is probably my favorite sounding delay and the Strymon Dig is very nice as well. I've been an avid user of the MXR Carbon Copy as well, over the years. Good luck!
I don't think I ever watched how Trey played it, or maybe he's adjusted his fingering over the years. I went back and watched one from 12/30/2015 and noticed he's playing the G chord inversion, low B with the 2nd finger, differently from how I'm playing it. If I could post a video reply, I would. Thanks for noticing and commenting Dan!
