It's a flat 7 in the mixolydian scale why do you say flaten the 6th ???? Im trying to teach myself theory and that flaten the 6th statement I've definitely heard before because I had it written down are you not counting the route note for some reason or what ??? Someone anyone please respond, lol
Great lesson, thanks Rick! My first Guitar Tutor used to hammer this concept at me all the time. Used to scare the shit out of me, still does sometimes, but it is essential like you say!
So how I always look at this- moving through the Blues Changes in a dominant key- is the tonic is mixolydian- the subdominant (IV) is Dorian of the Tonic- the Dominant (V) is Ionian of the Tonic- so in G you play G Mixolydian- then G Dorian- then G major (Ionian) and you get all the proper scales- just land on the notes of the chord that's being played. If you know your intervals- you should be able to figure out what the 1,3,5,7 are of each chord as you change scales pretty easily. That's essentially what Rick is doing here- playing Mixolydian of each chord- G Mixolydian, C Mixolydian and D Mixolydian- which works out in G as the above "G" related scales relative to G as the tonic. Helped me to figure that out several years ago.- The cool thing about this approach is without playing the chords you can hear the chord changes through a solo as you move from one scale to another.
I feel like you already knew this concept. Rick just made it easier to practice it and apply it. He took what you already know and enhanced it. Now thats a teacher!
Hello Rick. So, how did you find out what scales to play with each chord? I get why you play G Mixolydian over the I chord. But how did you figure out the other ones for the C (IV) and the D (V)?
@@Various_Artist oh ok.. because usually we guitarists are wrongly taught the modes.. most teachers teach the modes using 3NPS system and applying to G Mayor for example, and then relating each of G modes with specific patterns, rather than explaining the specific interval relations that make up a certain mode in a musical context. In the end, do I only need to find the right scale mode that fits the chord that im playing right?
@@CarlosFlores-ty7dy Yes but you can use several diatonic modes over the dom7th. It's all about chords and the changes. What you actually decide to use depends on the music, the tempo, the style, lots of things. Dominant chords are ambiguous so you can make various scales work, mixolydian contains the b7 and is the actual scale for the job but you only really have to consider the 4 triads and the dominant 7th. So maj, min, aug and dim triads, and dom7. Learn the modes and the triads they work with and off you go! I dont really see the point of caged, just learn all the modes of C major in every key and you end up with the same outcome.
You shouldn't be teaching people chord shapes. I suspect you haven't practiced enough on a single string beacause if you had done that, you wouldn't be teaching shapes. Teach people rather how to search for various functions and note names on the guitar neck and let them create their own shapes. If they want to, that is, not all wants to create shapes, they would rather want to see the fretboard as a whole.
Great lesson man!!! Next time, could we see you playing over the chord changes in the way you explained in the lesson? Like next time you do a lesson for example, so we can hear how that sounds. Or maby you do something related to this one...
G Mixolydian makes the most sense of the three because it has a major third and a flat 7th, just like the chord you're playing over. The major seventh in both of the scales you mentioned would rub the flat seven in the chord the "wrong" way (if you like that sound, by all means play it! There's no real right or wrong, just what you like.) Lydian dominant would actually be a cool sound over it too (like lydian, but with a flat seven). As a rule of thumb, it's nice to grab a scale that has the chord tones, and then you can raise or lower the other notes of the scale however you like. I hope this helps, and have a good one!
Sweet Rick! I always loved play chords and improvising solos staying at the same fretboard area using the CAGED system as base for it. This guitar lesson is extreeeeeeeeeeeeeeeemelly perfect! Thanks a lot. Cheers!
This is where knowing your theory comes in. If you know how the chord is constructed (the intervals that make up the chord) and you know your scales the same way, then you'll know which are compatible, because the intervals found in the chord will match those in the scale. In this video, all the chords are dominant 7 chords, common in blues. A dominant 7 chord is a major triad (root, major third, perfect fifth) with an added flat 7 interval. This makes the mixolydian mode the scale of choice, since it is a major scale (has a major 3rd) and also a flat 7 as opposed to the major scale with its major 7. Doing this means you are changing keys with each chord change. G mixolydian is the key of C, D mixolydian is the key of G, etc. Hope this helped!
@@tom434911 I do know how chords are constructed and how scales are constructed. However, when it comes to playing the correlating scales from different chords from different starting notes. I get very confused very fast. If i sit with it long enough, i will figure it out. But it would be nice to know how Rick looks at it to figure out the proper shapes.
@@tom434911 I guess where i am getting lost is because these are all 7th chords. I am more used to the Major scales and the minor scale. So starting as your 5 as your 1 is where i'm getting confused with the rest of the shapes. Because with the G being the 1 chord. Since its a 7th chord, we are using the 5 shape (Mixolydian). So you have to correspond all the other shapes using the MIxolydian as your 1 chord and scale. Thats where i am getting confused anyway. Its like a mind bender for me.
Excellent lesson. I'd love more of the same with other common chord progressions, as it's often difficult (for me) to work out voicings that sound good for each chord when staying in one position.
Amazing lesson! Thanks for the knowledge, your insane talent (which is both awe inspiring and frustrating at times, hahaha), and non stop inspiration!! Cheers bro! PS: Who in the FUCK are the 15 "Dislike" turds?!?!
You like to name things properly because your parents were too lazy to name you so they just took the first part of your last name? Childhood trauma does strange things to us all. ;)
All I'm searching for is a way to find out how you can actually get sound holding the pick like that. I can jack hammer my guitar, but if I'm holding the pick like you are it's just a horrifying scraping sound. I need to hold it flat or angle it up or it just won't work. How/why?
Fantastic my friend I can't wait to try everything out I had a bad accident a few months ago to my left hand and this left me unable to play. I hope the surgeon will be able to repair the tendon in my ring finger so I'm able to use it again. Your lessons have given me the inspiration to get back to playing again. Thank you for sharing your talent with all of us...
you clickbaiting bastard! I thought it would be the best lesson of my life and was not. Cheers for the free lesson as always, lovely interesting stuff.
I discovered this idea years ago- it makes perfect sense but it's taken me an insane amount of hours of work - but it's slowly now beginning to bear fruit although it still takes me full on concentration to not get lost in the myriad different fingering as the carousel of chord changes swing round and round in real time ..!!! The icing on the cake is to always be targeting the root 3rd or 5th on each chord - .. Thanks Rick - brilliant lesson
