145 Voiceleading Pt.2

Okay, we are live. Two, Three. Happy Friday everyone. Robin, good to see you tonic. Good to see you. Dean, bill, hello from Sacramento. Hi Bill. I don't know if you've been on here before, but welcome, happy Friday to my Friday live stream. Um, so today what we're gonna do is build on last week's lesson where we talk about voice leading different triad and dyad clusters. You can do for minor one four fives. So what I was just playing right there is a minor right to a D minor or D minor seven As Your, your four chord to a five chord. E minor E minor seven, and then back to A and you got a little, you know, You get the vibe. Very fun thing. So if you have a loop pedal, see if you can fire that up. Now what we're gonna do again just like last week is try to play through the progression with our triads, our minor triad shapes. Uh, bill twice all good many to come. Love it. Okay with our minor triad shapes and then limited to a string set. And then leave out the middle note, right or the middle string to try to get those dyads. Um, hold on one second here. Let's see, let's see. Scratch that. Okay, so for a minor, let's limit ourselves to the three, two and one strings. Here's your little a minor cluster here. Why is my thing not working? It should be fine. Thought it was my phone. Oh yeah, I know. I gotta turn my thing off. Okay, so first, first part we're gonna do a minor like this. You have a minor like this and a minor like this. So you got root position first inversion and you have second inversion fish in the base and then it just repeats and so on and so forth. For D starting down here, D minor. And again, hopefully this is a review for most of you. And then for E minor of course Open Just three spots. Is that it? Repeats. There you go. So make a loop and the first thing we're gonna do is we're gonna play through those and we're gonna go up and down our 3, 2, 1 strength set playing this minor 1, 4, 5. And you start pate 'em. Let 'em ring out here. Going up to go through that. One more time. A root position. D Minor, second version E minor, open right Back to. All right, now we're gonna move up to our next spot. It's a minor first inversion right root position now for E minor go down, still staying here. Now we're gonna go pop as we increase up the net. Now up now to D up here And A, so this is our last spot. Okay, so this is our A minor second version, fifth Route Minor, third minor right here. E minor four. Now I wanna see jump for each one. Okay, A minor. Little Tricky with the fingers, Okay, hopefully again that was a little bit of a review for most of you. Gabriel, good to see you. Lefty mic, good to see you, my friend. Now let's talk again like we did last week about leaving out the middle string. And I know it might seem weird to just think, oh what, what note is it if we're just leaving out the middle string? Well, it just in practice just works out okay. It just tends to work out. If you have three notes, three strings, if you leave out the middle string, you get a perfect spread voicing for triads and you'll get overlap. So for example, if I'm in a minor like this, okay, don't play the B string. That gives you my root on the first string, minor third on the third string. All right? Now if I go up again, There's My a minor here, don't play the second string. I get my fifth on the third string and minor third on the first string. And so you get this Still just an a minor thing. Now when you go to this shape or this and you omit the middle string, what do you get? The power cord. You get the root in the fifth, no third. So you get, it doesn't sound bad, but you don't get the function of the chord or the full function 'cause you need the third for that. So you just kind of know in your brain that if there's three notes, three strings, that means three inversions. If you omit the middle one, you have two of those inversions that will make the sound of the chord because those are the ones that have the third in it. And so practice it right now just with a minor, right? You have this, I'm leaving out when it comes back around, actually I'll do it for each one. Try this with me. We're gonna switch through each chord. So fifth threat, third and first string for a, when it goes to the D, move this whole thing to the temp. Fred up two more to right back to D. All right, so now let's move up to our next spot. So here's our A like this. Omit the middle string. So fifth and minor, third, same thing for the D, Right? You can picture that D minor shape, right? That's E. Now let me see if anybody picked up on this. If you noticed, I'm just doing this right. What does that look like? What does it sound like? Sounds like A 1, 4, 5 in C. This looks like C major, right? Major third and root of C to F, major to G major. Those are just, its relative majors and minors. So what this means is, I'm sure you've picked up on this by now, that these shapes, these dyad shapes, when you leave out the middle string, they are the same. Stay with me. They're the same actual physical cluster shapes for both major and minor the same way your pentatonic shapes are the same for major and minor. You just move the root. So it doesn't matter whether you're playing a major minor chord or what the progression is. When you, when you learn your triads and you learn to break them down into dyads, you realize and you just focus on string sets. Everything kind of gets reduced to two shapes. Pretty much. It's either, it's either like this or like this, Like this Or like this. Because what's the third option? Remember? It just gives you the power cord. When we go to a and we skip the root position and we skip the middle string, you just get that power cord. So a, D, e, A, But that doesn't give us our third, right? So if you have your third in the chord and you're playing a dyad, meaning two notes, there's just gonna be two inversions. Everything gets distilled down to that. That's the beauty of this. 'cause that's what at, at its core, that's the power of voice leading, realizing that everything just gets reduced to these tiny little movements. So let's try that one more time, except now what we're gonna do, we're still gonna stay on the 3, 2, 1 strings. We're gonna mix and match all of those shapes. So we're gonna go up and down our fretboard and we're just gonna, as we go up, we're just gonna go do our closest cordone dyad. This is proper voice leading. You're just going to your closest one. I'll talk you through it To A right jump up to our next spot. Where's our, how close that is? Where's E? You can hear how that power cord one really just doesn't sell it. And that's essentially it. So again, we did it last week with major, but this week with minor start with a simple progression. 1, 4, 5 minor, one minor four, minor five, limit yourself to a string set. These are the 3, 2, 1 strings. And then you practice your closest moves as you go up and down like a piano up and down, three notes, three strings, three inversions. And then if you remove the middle string, remove the middle string, you're gonna get two inversions only that have the third in it that will properly outline the chord. And you'll see that for each chord, there's just two places on that string set for a this and this. That's it for D, that's it for E, that's it. If you go up and down like that, you won't miss any voice leads. I hope that makes sense. So now what we're gonna do is I'm gonna do the same thing like last week, only 4, 3, 2 strings. And then I'll open it up for questions. If anybody has anything you wanna drop in now, let me know. Let me just check something real quick. Oh, we're good. Okay, your minor D, minor E For this next spot, a minor B minor four. I gotta turn around last spot. Keep going. T minor. Go down like that. Up T minor D minor. Now jump around with them. All right. And then finally last step, remove the middle note. And so what do you have for a, you have that fifth and minor. Third up here is the power cord. And here you have minor, third and root. So it's just This shape And that shape. Hopefully you're picking up that this is the same shape as that every chord major minor can be reduced to those two shapes. So again, D Right, You do right up here. That's your power core. So these two, same thing with E back to, that's it. Give it a shot. And now here's the real beauty and then I'll jump into the comments here. If you put all those together, you get a roadmap of all your double stops in key with that progression. If you apply this formula to whatever progression you're working on, play the triads, remove the middle note, focus on the ones that only have the thirds, just two of them, right? You are going to get, you are going to get that harmonized in key scale in double stops. I hope that isn't lost on everybody because you might wonder, oh, I'm not always staying on the, I'm going, you know, and you're like, what is all that extra stuff? It's just the extra ones in key. It's all, it's all the same ones. And you can slide a half step below, half step behind. And it's the same with major and minor. Okay, I know that was a lot. Hopefully it was review. Um, let's see if we have any questions in the comments here and we'll see where we go. Yes, rest in peace. Dickie bets, you know, Dickie bets. Um, you know what I, I loved so many things about Dickie bets, but his, his phrasing was so jumpy and playful. Um, and so unapologetically like major and cordone center, like all those, all those major that That, what is that? Like, they're just, it's such like a happy, fun sound that Dickie always had. And, but even when he was taking long extended leads, he was, he really came from a blues background the way that he was so key centered. But he, but he, he played so major, his major phrasing was just so sunshiny and hooky all the time actually. Yeah, bluegrass country and blues. That's exactly right. Um, actually tonic or anyone out there. Do you guys have a good Dickie bets video? I should do one for YouTube. Um, I should probably do it right after this. Um, because, because why not be curious to know if you guys have a good one. I'm sure you do. Um, I will send you one. Okay, awesome. I'm sure that you have the goods. Anyone else out there? Open it up to any type of q and a. Anyone else out there have any questions about this concept or anything else you're working on? This is an open forum, my friends. And while you're typing, let me just remind everybody that perhaps didn't see it, uh, in Discord. I announced that next week I'm trying something different. Our friend Randy Adams who did the charts for the Grateful Dead Rhythm Section workshop, uh, offered to host a group Zoom lesson. So each of you will be, you know, on, you know, camera with the Zoom thing, um, to go over some of the easier dead tunes and get in detail. Um, he's a great teacher and a great player and he knows these tunes inside and out. If you didn't already and you want to be a part of that, email me at support it@target.com and say Thursday Grateful Dead lesson, something like that in the title. So I see it and I will send you all a link, a private link for the Zoom class, 'cause it won't be on guitar gate.com. We're trying out Zoom for this and we are going to give that a shot next Thursday at 8:00 PM I believe so. Um, if that interests you, please email me. Okay. Um, yeah, use double stops a ton, A ton. So like all this, you know, like all these things like that, check this out. If you're an e here's your E major. You might have a little line that goes, you know, 1, 2, 3, 2, 1, just add in the third of each one of those, right? Rooting major third root in minor third of your two chord root in minor third of your three chord, right? And then keep it going. Such a simple way to add little double stops. And if you wanna incorporate something more like we were, um, uh, learning this week, check it out. You can omit the middle string, so maybe go to e like this. So here's your e chord, right? Still going, you know, they're just adding in the double step or even that's the more complicated one because it's, you got that, that major seventh in there, but yeah. Um, tonic. Yeah. Can you demonstrate using din double stops for soloing? That's where honestly is where I would start doing it. I would give yourself a very simple progression and, and melody. So like, let me make a major one. I'll keep it in the same key or of the, of what I was just doing, you know, E major van, I do this little 1, 2, 3, 5, 6, add in pieces of the cord. Actually, lemme make sure everybody knows what I'm doing here. All I'm doing this is I'm improvising, I'm experimenting, but I'm playing the e major scale and then for each root I'm playing, its respective third, okay? Root and major third for e root rooting minor third, okay, for F sharp, rooting minor third for G sharp, rooting major third for A, and you know, so on and so forth, right? So, but what I was doing is jumping over to stay in one position. Okay? Hopefully you're staying with me. And so I'm just literally adding the next note, the next note, okay? So, and Dickie would do this all the time. And then of course, like I said before, you can spread it out, you know, and play that whole, we did it a few lessons ago that harmonized scale and leave out the middle string and you really get this melodic connection. So the way I would practice it, um, yeah, that's why I asked Dickie used this so much and sounds so tasty. What makes him so tasteful is alternating these melodic, uh, you know, these double stop lines and guitar licks, right? So he would go like, things like, if I play this, It is just over E right? You know? Now obviously I'm not sounding like him, but it's that approach, it's that approach to I'm playing a, like a guitar line to the, to like a harmonized, melodic part. That's such a cool kind of juxtaposition, right? If you, if you just focus on that and give yourself a one chord vamp to start and then practice going back and forth and back and forth between whatever your licks are, you know? Right? That's such a, it's such a cool way to think about it and practice and yeah, exactly. The guitar harmonies were just awesome in Alman Brothers band. Yeah, send me a video, I'd like to see one. All right, what else are you guys working on? Hit Me. Okay. Nothing. I have been working on Jessica with Lyle's lessons. How weird is that? Jessica's a great tune. Yeah, I don't know. Alright. Right. Well, if there are no other questions, um, again, email me if you want to be included in the Grateful Dead, um, dedicated Zoom lesson next Thursday at 8:00 PM with Randy Adams. Randy is really good teacher and player and I, I, I've said it a bunch, really has taken the time to learn these tunes in and out in a way that just only someone who's dedicated like decades would like, you know, you could ask him like, how have Bobby's parts changed in Bertha from the early, you know, from this time period to this time period, you know, or, you know, like questions like that. And it won't be, uh, like an in the Clouds answer will be like, oh yeah, he used to do this part and now he added this one little note whenever, uh, you know, whenever Brent would do this, like he'll actually have those answers, which is just, you know, I I, I've, I'm not that old. I haven't listened, I I haven't dug into it like for a lifetime like he has. So if you're into it, yeah. Um, yes, 8:00 PM Eastern is deal a good place to start in the Grateful Dead area. Uh, no, I shouldn't say no, but no, uh, deal's fast and deal is difficult. You know, this, this, You know that, that's not so hard. But what is hard is that like there's a lot in there and, and if you're talking about starting in the Grateful Dead Zone, uh, no, I, I highly recommend, you know, you know, like two, three chord super popular songs that, uh, you can start applying the things that, that you're learning here, like these triads and, and, and they're perfect for that. In fact, like it was this music and bluegrass that really got me into playing all these triads and diads, okay? Looks so fun. It is so fun. But like it, okay, listen, don't let me talk you outta it. If you can get the rhythm parts, do that. But when you go to solo over it, you know, you know, when you go to get like that C sharp that's gonna screw you up, you know, like you gotta kind of stay right on that, a major melody, and then when it starts wandering around into that d to that D sharp, just make it a minor start. Real simple like there, but then when he gets to F sharp, the third of F sharp, it's a half step above your key center, a half step B flat, my friends, right? Or a sharp. Um, everyone, everyone, again, if you're a beginner, uh, uh, improviser, I would implore you not to go back down to this land. If you are going to this part. If you're not sure how to nail that and then make some line that works, that, That connects to B, then just keep an a a major. And then when you get shoot for the root of F sharp right there, that's your sixth in the key of a right. Just stay the hell away from your As stay in F's. Um, but that's what I mean. Like, there's so many, um, pitfalls in that song where like if you're just, if you're just getting started playing the music and you want to use what we are learning about to learn the neck, your triads and your dyads, start with the two and three chord songs for real. Okay? Yes. Next Thursday, Jack P the functioning chords. Yeah. So like when it goes to F Sharp are to be, that is functioning because that's five to one cadence. Yeah. All right, anything else? Yes, Bertha is a good place to start. Bertha, you know, um, know You Rider, you know, all those, all those great songs. If you want a nice bouncy one, you know, like that you can kind of like wing and you don't have to get note for note every time, but it's just one of those, like some, so many Grateful Dead tunes are just like guitar songs. They're just funky bouncy guitar songs. Like you can just have a ball with with songs like that. Um, uh, that was Chyna by the way. Um, yeah, that's it. Fascinating. Thank you sir. You are welcome. Okay, so next week again email me. We're just doing two next week. Email me and let me know if you want to be a part of, uh, of that zoom, uh, lesson. And then I will be back on next Friday. And next Friday. Again, what I would like to do is just open it up if you'd like to join me on camera and talk about what you're working on. I'd like to help some of you individually, one-on-one and not, um, preach. So, uh, you have a week, think of something, bring it and let's get a little more. One-on-one happening. That's it, my friends. Take care. I will see you soon. Thanks for tuning in. I appreciate you all. See you.