0:36 "the Major 7 is typically the V of the relative minor chord" - Sean or anyone else, can you explain what he means? To my knowledge, a Cmaj7 chord is 1-3-5-7 aka C-E-G-B, and B is the ii of A-minor (A-minor being the relative minor of C major). I'm loving practicing these the past few weeks, and just wanna be sure I understand, thanks!
Maybe he means, it's the "five" of the iii (minor third) chord? Since he's playing an Eminor just after the Cmaj7 (just after my timestamp), to make the point that the 5 of Eminor is a B, and the B is the maj7 of C.
You, Justin, and Stitch are 3 of the best teachers I have found on youtube. You all make sense and are very down to earth. You have a knack for simplifying all this theory stuff. Glad I found your channel, and keep up the good work.
Great Video. I bought the Grimoire Exercise Book Today, so thank you for that tip. I love this playlist. I am seeing arpeggios everywhere now. I have studied two songs from Zeppelin and both have brilliant uses of arpeggios. Good Times Bad Times uses one in the killer first lick. And the Stairway solo uses a wonderful example of spelling out a chord and going straight from that into a blazing pentatonic phrase. I have studied these songs in the past but only now see the patterns. Thank you.
Thanks for the lesson. It definitely helped me think in a different way. The scales seem less scary when you know major seventh will be half step, and minor will be full. Also major and minor third intervals. Thanks so much
Ahh....mind expanded. It's nice to be at that stage now where I can just watch these vids and play along no problem and soak it in immediately. So worth the effort to just play EVERY day!
It's amazing how many songs I've stumbled upon when exploring arpeggios and scales. I just stumbled upon "Over the Rainbow" when exploring the major scale. I've also found "When Saints Come Marching In" and a few others. Thanks. Great lesson.
hello Sean thx for replying..well I do know that cmaj7=C+E+G+B...cmin7=C+Eb+G+Bb...cdom7=C+E+G+Bb. But when you asked your friend(btw he's great at teaching)something was amiss when you told him to do a recap by playing CM7,Cm7 and Cdom7 arpeggios. For cmaj7 he played C+E+G+B. Understood that part perfectly but on the first string he went on to play G to A instead of G to B
Just one thing. While navigating the fretboard it is essential to understand the semitone difference between the 2 and the 3rd string. So while playing and understanding arpeggios it would be appetizing to play these arpeggios starting from the 6th and 7th strings. That way you would unlock a better understanding of the fretboard and the instrument vertically. That where i am right now. I cannot wait to start learning the descending and horizontal layout of the fretboard now.
at the ending when playing cmaj7, noticed you added an A note on the first string and then when playing cmin7 you added A# note on the first string and also when playing Cdom7 you added a B note on the first string. why?
on the fifth string he played C to E, fourth string played G, third string played B, second string played E and finally first string played G to A, shouldn't it be G to B?. pls do check the vid again. if I'm wrong, correct me
16:21 minutes through the video.. note placement as seen in the video is correct which is in the 15th e string ( G note) but he has mentioned its the 14th note... So keep that in mind next time guys...Ne ways very helpful lesson... thanks
You know, as someone who is completely new to to all this fancy stuff, I both love and hate these videos! I kinda get what you are saying but it confuses the hell out of me lol. Awesome videos as always Sean
do you know what? this confused the hell out of me,then i remembered your video harmonising the major scale where you finished on 7th chords and i just started tracing out the notes and it all fell into place. light bulb moment
And from the Department of Music Theory One Might Have Learned But Didn't: 7th chords. Am I in the ballpark here? 1. Major (M7) is root, 3rd, 5th, plus the 7th that occurs in the major scale. 2. Minor (m7) is root, minor 3rd, 5th, plus the minor 7th, a half-step below the major scale's 7th. 3. Dominant 7 is root, 3rd, 5th, plus the minor 7th, and is the one we all just call "the seventh chord" and the only time anyone bothers to call it "dominant 7" is either during discussions of theory, to differentiate it from the M7 and m7, or if some joker brought whips and leather to the party. 4. There appear to be things called diminished and half-diminished 7ths but we're not Prokofiev fer cryin' out loud.
Right on Joel! We'll eventually get into diminished stuff in this series but I also have videos on that too if you want to go back through my playlist. Diminished being a root - minor 3rd - flat 5 etc.
So a flat 7 is only dominant if you're thinking of adding it to a major chord (like if you flatten the 7 in the major scale) But with a minor 7, it has a flat 3rd plus a flat 7, so that flat 3 makes it minor and eliminates is from 'dominant' discussion. Hope that makes sense :)
Thank you for the video, interesting! One thought that popped up was at 8:14. Sean said "You have to see it in your MIND'S EYE first". That triggered a thought, why not "in your mind's EAR?". Is there a difference between a visual player and an aural player? Or was it just a figure of speech?
That's pretty interesting actually. I think there is a difference and for me it's a combination. Like I can 'see' the shapes all through the fretboard, but a lot of time I'm not thinking that way and i'm more 'feeling' through it, which I'd equate more to the ear.
Cool, I think that's how it is for me too. Ive actually never heard any really talk about it, thanks for your insight. BTW, thanks for your channel. I've been playing some 25+ years and there's some great new ideas here that have helped me.
One minor comment at 15:35, Justin says 14th fret of the high e but means 15th fret of the high e. He explains it is a G note, so the the mistake is pretty obvious, but in case you didn't know.
And also cdom7 on the fifth string he played C-E, fourth string played G, third string played Bb, second string E nd first string G-B, shouldn't it be G-Bb?
@@seandaniel23 if i could pedantically chime in... for the dom 7th arpeggio he said he was playing 14 on the high e but it was actually the 15th fret... i think?
Video 1 : super crazy useful. Video 2 : mmm... i don't get the shape but that should come later. Video 3 : yeah ok sweeping needs efficient picking (but what the shape man!). Video 4 : i don't get it (probably comes from me at my current stage). Video 5 : i don't get it (probably comes from me at my current stage).
I think you lost me on the second video of arpeggios and friends and I’m not sure I fully understand the first video. Maybe I should look for something more for beginning theory.
@@seandaniel23 right on dude that's what's up thank you for all your help I have a serious question or video idea: since chord mediants introduce a note or more outside the key does that mean I have to alter my mode too? That would explain melodic minor modes i think
