The FASTEST Way To Amazing Solos! (Everyone Should Know This) 

Hi! Is it possible to precise somewhere in youtube description the lesson number to be able to find it easily in patreon. TVM Amazing channel!

Can you teach how to use the whammy bar? I'm trying to do it but its sounds terrible 😂

He makes us fell ashamed we are not in his patreon page every week... I ll be joining it as soon as the currency exchange rate drops a little bit

well there is also Synysters Guitar School that has been free since it got made

That was extremely helpful! The most important lesson I’ve seen in a long time, if the the most important I’ve ever watched. Thank you, Bernth!!!

@@brunosarue so Why don't you marry him?..

@@novembro7603 ????

I almost made the same comment! An awesome share with the community! Satch never fails to impress and inspire! 🎸🤘

I never saw that but thanks for sharing dude! I'll definitely keep that in mind while improvising

I wrote this comment down. Thanks

We've all been there. Keep going!

this he truely is a great teacher but having to rewatch something ten times cause its backwards compared to how ive been learning everywhere else can get frustraing

Could also be, and I'm not trying to imply this, but a lot of people learn modes incorrectly/get confused with them. Without googling or checking, type out the notes of the D phrygian, and then, the D mixolydian scale. Indulge me, I want to help. You can either write them out with the name of the key and mode, then the notes like D E F G etc or by string, like 5 7 8 a string, 5 7 9 d string etc

@@JTisOneCrazyMan20 i have a notebook where i write every scale I'm studying, with a fretboard diagram, every note goes in the right fret and i also have them color coded (so the root is always red, second is blue and so on)

@@antoniotrapani2617 that's great! So, I want to know, what are the notes of a D phrygian mode? Tell me. And also the D mixolydian. Write them out for me.

@@JTisOneCrazyMan20 the d phrigian is the fifth mode of the g minor scale, so it is D, E flat, F#, G, A, B flat, C and the d mixolydian is the same as the D major but the seventh note is a semitone lower so it is D, E, F#, G , A, B, C

@@antoniotrapani2617 @Antonio Trapani @Antonio Trapani perfect, ya got em down. Keep practicing them and practicing what makes each mode what they are in relation to the major or minor scales, like you just said with the mixolydian being the same as the major scale with a flat 7th, phrygian is a minor scale with a minor 2nd and major 3rd, etc. Once you remember how all 7 modes are constructed, all you really need is to know your major and minor scales, and you can switch into whatever modes you need to on the spot!

Just like u said yes. Pick a chord tone (R 3 5) or extension (9, 11, 13) and play that note (9th for example) over each respective chord. Then you can slowly change up your "target notes" and add short/long phrases, sequences etc. and then finally chain them together. Don't forget to add some rests and always with a metronome !

I try playing with the changes over the II/V back to the root. If that doesn't sound good (even if it's musically correct), I'll play off the tonic. George Lynch and Steve Lukather are big on emphasizing the 6th when soloing, which gives a cool flavor. MK

Creating licks and phrases in the same way you create and use chord progressions. The note choices reflect chord progressions, there is just less harmonic information. So, go from the third to the seventh, down to the fifth and then resolve on the one - works for both melodies and chords. Listen to any ambient guitars in the background of a song, or lead guitar melodies in the background. They either reflect vocal melodies (which can sound really good on any instrument as well) and/or the chords in the song. That's what I've found works anyhow.

If I understand you correctly, for this example he's already using in Dm, you are using the intervals based around the Dm chord. Knowing that from the D note on the a string, that the perfect fifth is right below the root on the e string or 2 frets ahead on the d string, the perfect fourth being above the root on the d string, the minor 3rd being three frets ahead on the a string or two frets behind on the d string, etc. When it's comes to the key/chord progression, if we take all the chords in the key of D minor ( D minor, E diminished, F major, G minor, A minor, Bb major, C major dominant, back to D minor), The D minor scale will sound fine being played over all of these chords, so play it over all of them! The real trick and goal is to be able to know what chord you're playing on top of in the chord progression, and kind of highlighting the chord tones of each chord as you're playing over each chord. As in, if your chord progression is, let's say, D minor, F major, G minor, C major, you'll be playing and applying these intervals on top of the D minor chord/scale/root note, and then when switching to F major, applying these intervals over the F chord, which you could either keep playing the D major scale over but kind of focus around the chord tones of F major (F A C are your root, major third and fifth), or you could also play around the F major scale while also focusing on these chord tones and even your perfect fourth Bb ( which is in both the D minor scale and F major scale), your sixth which is D minor, etc. All these intervals are notes that are in BOTH your F major and D minor scales, so they are all the same notes, thus why the Dminor scale works being played over them both. Now when you switch to the G minor chord in our chord progression, again, you can play in your D minor scale, or your G minor scale. Now here's where the juicy part comes in. You can play your G minor scale, and the intervals around that G minor. So your root, G, the fifth, A, the minor third, Bb, the perfect fourth, C. But your sixth is a D#/Eb! What a minute, Eb isn't in our D minor scale! But, since the chord we're currently playing on top of is that G minor chord, that D#/Eb is perfectly playable (and will sound really cool) being played. Now, we're on our final chord of our chord progression, C major. We can still play our D minor scale as usual. And we can play our C major scale, again highlighting our intervals, which would be root C, our fifth, G, our major third, E, perfect fourth, F, etc. Now our sixth is an A, which is fine, but let's say we want to play our major 7th... wait, that's a B...again, like our last chord, this should be a problem, as there is no B in our D minor scale..but since it's in our C major scale (and is also in the D dorian mode, but that's a whole other story) so it works. This is what this all comes together as in the end. You can play your D minor scale and by highlighting those intervals, and your solo will sound fine. But if you also pay attention to and know and highlight the chord tones and intervals of each chord in your progression as those chords are being played, this will sound even better, and add a lot more variety to your solos! I hope this helps, it's been years since I've taught anyone so I'm a bit rusty, so I hope this wasn't confusing, and hope it helped!! If you have any questions, ask away!! I'll answer them the best I can.

@@JTisOneCrazyMan20 You could do that, and it would be perfectly fine over that chord progression of Dm, F, Gm, and C, (a vi, I, ii, V progression), but you could stay in key better by playing the notes from the corresponding mode for each chord. For instance, Dm would have the notes from D aeolian (the minor scale), F the notes from F ionian (the major scale), Gm notes from G dorian (minor scale with raised 6th), and C the notes from C mixolydian (major scale with a minor 7th). This would be the harmonically "correct" way instead of just playing the major scale over major chords, and minor scale over minor chords approach. It works, but there's more sophisticated and interesting ways to approach harmony. In theory there are no "wrong" notes if you consider the chromatic scale and its intervals. In practice however some are going to sound better than others because some will harmonize better with your tonal center while others may sound dissonant to it. Basically for each chord you have 12 half steps from root to octave. Finding the ones that are in perfect harmony is great, but can get stale after a while. Don't be afraid of those "outside" notes. They add tension and excitement, and can create some great melodies. Rock on!

@@EarthAltar oh yea of course, I just stayed with the major/minor scales for him so I don't confuse him too much by throwing modes in as well.

@@JTisOneCrazyMan20 I hear ya. It can get confusing real quick for someone starting to learn this stuff.

Thank you for the explanation. It was very helpful. Perhaps the take away is, i should focus first being in the scale of the key. The others are just adding unique flavor to the chord but should always keep in mind that the i am in the key of Dm.

Kemper for this one :)

Basically, you seem to need more ear training. You seem to be hearing the cadence of the mechanical movement, but not the variation in pitches as well. I'd suggest practicing the intervals and intently listening to the differences, as opposed to learning the shapes/distances mechanically. You're not alone in having trouble with the "hearing it" part. I'm very left brained and I struggle with hearing the music, even though I understand the shapes and theory quite well. It comes with time and practice though. Good luck!

@@EclecticEssentric I can get that, I know I struggle with hearing things, but the problem was that he asked me for an opinion on a solo he was working on and he wanted some input. He has this bad habit of doing the same thing for most of his songs. I said, "do a different sweep," and he makes a sweep that sounds identical to the other one. I watched him change the notes (or at least his finger positions) and still manage to make a nearly identical sweep. He can't read music by the way, he plays by ear and feel and didn't know or understand why the notes he played had names (ABCDEFG), so I suspect he naturally picked the same set of notes when he moved the sweep. Even so, I hear sweeps from all kinds of artists in the music I listen to or from videos. One thing I've noticed is the only artists I can hear a difference in sweeping usually comes from very highly skilled guitar players like Andy James. I wasn't much better about knowing scales and theory at the time either, but I still want to know if and when a string of notes becomes identical or indistinguishable at a certain speed.

@@ravvij9643 Oh, okay. A string of different notes should never sound identical no matter the speed. C note hit 1000 times per minute should never sound like C# hit 1000 times in a minute. This is true for arpeggios too. If I wire a machine to play arpeggios quickly, CEG arp will never sound like DFA arp, no matter how fast the machine plays them. They will each turn into a drone or hum, one with a C maj feel and one with a D min feel. (Note that if you record them on tape and then speed up the tape, then the pitches will change. But by mechanically playing the notes, they will never sound the same regardless of speed). The only caveat to this is that some share notes, so CEG (C maj) and EGB (E min) share 2 notes, but they should still be distinguishable even at high mechanical speed. So he might have played the same notes in a different position. Like playing ACE arpeggio in 2 different locations will still sound like A minor, because it is. And if he simply played them as 'unison notes', then he essentially played them as the same exact octaves too, just with slightly different timbre (pronounced tamber). Timbre is the individual sound caused by the material of the instrument/strings/whatever, like open E on first (high) string and E on second string fret 5 are the same octave, and therefor unison notes, but they have slightly different timbre. Does this help? (High E string and arp clarification).

@@EclecticEssentric More or less, yeah. I already knew about timbre and tape speeds and that, it's moreso the intervals that got me thinking about the way his sweeps sounded. Other than the pitch, the sweeps sounded the same, like you said. There wasn't any real distinguishable difference in how it sounded either. I think part of the problem is he tended to play them "in a box" rather than varying them too much. Also the number of notes in the sweep didn't change much either, now that I'm thinking about it more. So yeah! This helped out a lot. Thanks!

Sim cara, a melhor forma de fazer um solo bonita é seguir os acordes