Highly underrated lesson i really thank u for this lesson cuz it opened my mind to try things other than running endlessly on scales. It also helped me immensely improve my fretboard knowledge
Great exercises! Will definitely have some use of this. Came up with a followup challenge: play 1-3-5 in that order of every voicing. Really frustrating in the beginning, haha. But it helps to learn to see where the root, third, and fifth are in every voicing!
I am always feeding myself with all the exercises I can, no matter if I already know it or not, since I am an eternal student of the instrument. In fact, I love this device when I improvise, but I need to retake my study, since I am taking it serious again. I do like the elaborate theory involved so I can understand it and apply it, so thank you for mentioning it!
Good job. It's good to take one small 2 chord progression and show all the different ways you can play it. Some people show you one thing and then move on. This is very effective. Thanks, keep it coming!
Recently I bumped into a similar on piano and I always wondered how it would be on guitar. Wow, I like what you're doing with these triad pairs because my research at the moment is based on them. Thanks.
as a self tought somewhat decent guitar player who lacks a little of theory this so great. I'm sure that this will get me even further. You earned a sub. Not one to brag but I'm still the best guitar player in the whole living room.
Cool- makes sense- D Dorian is the minor and the second mode- F and G would be the fourth and fifth which are major so you can play f and g major- Lydian/ Mixolydian- works in the scale! Thanks for the lesson- good way to grasp the concept...
Damn Levi, that final open triad sequence gave me chills. Great lesson. going to start experimenting with this... curious about adding in 7ths and quintuplets. Exciting grounds for exploration.
Nice lesson but really caught my attention when you mentioned open voiced triads. I use em harmonicly all the time; the closed tho good for a for arppegios etc harmonicly seen too muddy to me. Triad pairs, a deep sweet well! Many thnks!
Hi! Lavi clay how much do you charge for the piece of Michael Angelo batio call intro, is the first song of the no boundaries album. I’m very interested
at 02:12:00 there's a pad that starts playing... how is this done, is it post production or is there some fancy pedal that will play a pad based on a chord you play?
Hi Levi, love your content. I really like your approach to using triads. What would you recommend I can buy, course or book, in which you cover your approach?
While I cover my application of triads in my books, really all these soloing school videos are your best bet, and then if you want a lesson do that - that way I can address your personal needs :)
@@LeviClay Thanks for such a speedy reply, I'll check them out! It's such a sensible approach and I can see how useful a teaching tool this would be, it is definitely an area I will be looking into deeper than I have in the past for my own development. Awesome stuff 🙂
I suppose they don't necessarily have to be 3-string chord shapes tho. I imagine you could also perform the triads with 2-3 notes per string (assuming you can reach the frets). As someone who likes metal, hammer-ons and pull-offs tend to sound better with high gain distortion that 3 ringing strings with high gain distortion to me. What's your opinion on using notes outside of the triads? Or is that advanced enough to be another video?
Yeah man, you can play these any way! As for adding other notes - well then you’re getting into a different concept. The reason I like this is because you’re using 2 really focused sounds over the chord - the more you add, the less focused the idea becomes.
superimposing feels weird to me, in the first example, when I play a G triad over F, my ear is screaming at me 2nd, sharp 4, 6th, and then my brain gets confused as I'm making a root/third/fifth shape haha. Probably why I never do this sorta thing but I see the value in it and gotta practice it
@@TheJuggernautv2 Ritchie was fantastic, in a was Ygnwies dad, lol! Have you seen the last live stuff Rainbow did(before last years comeback) it was on a Rockpalast '95 DVD. it's great
@@LeviClay something about tri-tone scales and 2 triad melodies? haha i'm onto the next lesson. this one was a banger though, great set of exercises. you're a great teacher
I dont understand how someone can be against the caged system.. It's one thing of many that will help you a lot, just take it all in and keep learning! Its amazing :)
I don’t think anyone can be “against” the ideas of CAGED patterns unless they’re trying to be contrarian. It’s just an illustration of how the notes are organized. If someone dislikes it they’re probably trying to pigeonhole it as a pedagogical system which it’s not.
I played without CAGED for probably 10 years, then I properly learnt it recently and my god, it's changed my playing for the better so much. It's all about the visualisation and fretboard knowledge/organisation, not necessarily the patterns themselves, and people don't seem to get this and that's why they don't like it.
Someone help the dummy here. So FG first he says over the F gives a Lydian feel - ok cool. But then he says in this case D Dorian. Ok - so I know the FG are the 4 and 5 of C and D is the ii- I know the notes are the same as the d Dorian scale but I don’t get what gives it that Dorian sound. Be gentle - o stopped at 9:22 and I’m still working on not being a dummy on these things. It’s a long process. Great lesson and exercise - I just want to make sure I understand
Each mode has a signature ‘interval’ that is the unique fingerprint that gives it that sound. For Lydian it is the #4 so F maj normally has a Bb as the 4th. Move this up 1 fret and you have B F major triad has FAC and G major has GBD when if we’re in the key of F should be Bb and be a Gminor triad. The reason you get the Dorian sound is the natural 6th instead of the b6 in the natural minor scale. FAC and GBD In Dm you should have that Bb again but it’s missing. Dm is the relative minor as Fmajor. Both scales contain the same notes.
Collins Studios definitely understanding what it is that makes the characteristic tone of a particular mode, that’s very helpful. I made a Dm pedal synth chord in Logic and tried to play over it just for a few seconds but I still struggle to creat Dorian tonality with these arps but in fairness- I’m such a noob when it comes to these things that it didn’t count. For now - the raised 6 is useful enough and highlighting that I this case it’s the B. I do know that D doroan and all the modes of C major share the same notes.
It’s about painting colours F and G contain F A C, and G B D But obviously I think in terms of intervals So over D they become b3 5 b7, and 4 6 R So one triad sounds like a Dm7 and one gives you that Dorian 6.
12:45 Economy picking causes your rhythm to fall apart. ... Unless you're Frank Gambale: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-PpQnEa1729Q.html
Speaking as Frank’s… ACTAUL TRANSCRIBER… Frank rushes his long 16th note runs, and there’s a reason he doesn’t swing them. His technique forms his sound.
@@LeviClay I'm sure you're right. It doesn't bother me, though. The imperfection adds character. I hear the inconsistencies more in articulations -- repeating 3-note sweeps are often long-long-short, long-long-short. Here's Matteo Mancuso explaining why his finger picking is better than sweeping because it allows better rhythmic control: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xdJI6LrAvGI.html
Know what drives me insane? People talk about 3nps and CAGED like you have to choose. Learn both and utilize both when you need them. Fast legato scale run? 3nps! Mindless shred? 3nps! Anything else where you want to play some melody, visualize chords and arpeggios or play anything other than shred? CAGED!
@@collinsstudios7098 thanks for that insight. I know basically no theory and have been playing 3NP stuff since listening to AL DiMeola around the age of 16. I took a lesson recently and was introduced to CAGED. My question is why no mention of B or F in caged?
youKnowWho3311 the fretboard can be dissected into 5 boxes or shapes. C A G E D If you look at an F chord, it’s actually an ‘E’ chord shape moved up one fret (with the open strings moved too.) Same for a B chord. It’s an ‘A’ chord moved up two frets. This is powerful as the seemingly endless learning of chords can usually be boiled down to 5 building blocks. CAGED is just a map for the fretboard
Come on my friend this lessen is already taught by Morten Faerestrand,I have already bought this lesson from Morten .You are just coping from him.Shame on you.
Literally no idea who you’re talking about. You’ll find the same stuff in Gary Campbell’s publications from decades ago. Or at any music school too. But I’m glad you paid for them and now believe you found the inventor of triad pairs because of it 😂
I had never heard of Morten, so I went looking for his video on Triad Pairs. Didn't find any with that title, but plenty of solid info and seems to be a good player. Did find a lesson from 2011 (Before Morten's first video on his account) on this exact concept, even in this key, from Premier Guitar... so if you're accusing Levi of stealing the idea, one must imagine you've also accused Morten of stealing the idea as well? Of course, I think they both stole the major scale from Bob Major and the idea of playing the guitar from Joe Guitar. Unoriginal, the lot of em'! Of course, the alternative is that this language is so fundamental to improvisation, that we all end up working on it sooner or later. You hear it ALL OVER the most important 70's and 80's jazz guitar albums, for example... unavoidable. At least the (useful, well presented) lessons (by all) are free. Doesn't that make you happy? Cheer folks on, rather than breaking them down, Suria. Don't worry, that will be my first and last RU-vid comment for 2020. :)
