Blues Tempo And Feel in A then a second take in E.
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Guitar
2003 PRS McCarty Hollowbody II, 1992 PRS Artist 1, Scott Walker Guitars, Two Rock TS1, et. al.
Favorite music
βGood music is good no matter what kind of music it is.β Miles Davis
Biography
Hereβs a short list of my favorite guitar players: Jerry Garcia, Bob Weir, Steve Kimock, Mick Taylor, Jorma Kaukonen, Derek Trucks, and Bill Frisell.
Posts
1
8 Bar Blues in B7
1
12 Bar Blues in B7
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Lydian Dominant Part 2
E7 to D7
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D9 vamp with Lydian Dominant scale. Yikes! No animals were intentionally harmed in the recording of this video.
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Prince at his finest!
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Nobody Knows You When Your Down and Out is a good example of a song with dominant chord progressions.
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Melodic Minor
Am - D7 - Bm - E7
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Harmonic Minor - love the exotic flavor of this scale!
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Am -> C -> D
Am -> F -> E
It took me a while to wrap my head around this. Hope I got it right. Once I started recognizing non-diatonic chord changes, they started popping out in songs quite often.
Michael, please correct me if I'm wrong on this score.
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654 Strings - 1 4 5 Progression | Using The Diminished Triad in A
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543 Strings - 1 4 5 Progression | Using The Diminished Triad in A
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432 Strings Final - 1 4 5 Progression | Using The Diminished Triad in A
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321 Strings 1 4 5 Progression | Using The Diminished Triad in A
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What a great course! I bought a lifetime membership to GuitarGate because of this course. I quickly watched all the videos and then went back and forced myself to make a video for each lesson - that was not an easy thing for me to do but I'm grateful I took the time to do it. It was a great learning experience and it got me out of my comfort zone. Dyads focused on the thirds are more second nature to me now. I still have a long way to go and I will probably watch the course again. Thanks, Michael.
This last segment of the course is a nice wrap-up of applying everything we learned in the course: key centered scale soloing, melodic chord tone soloing. As stated, mixing and matching these is how you find your voice.
In this video, I started by playing the vamp chords, then triads on strings 1, 2, 3 and then 2, 3, 4.
Then came simple pentatonic melodies starting with 1, 2, 3 then adding the other two pentatonic notes β the 5 and 6. Then I mixed melodies and chord tones using dyads with focus on 3rds, vamping and connecting in the different positions throughout neck.
For color I used chromatic blue notes and dyad slides, string bends, double stops, diatonic runs, trills on the 7 and 9 with the 5 chord (E) and then the 6 and the root with the 4 chord (D). Starting with the 3rd I created a short melody from Fire on the Mountain using octaves.
It was a fun exercise and Iβm starting to feel more comfortable with it all. Thanks again, Michael!
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Chromatics & Blue Notes In Melodies: A to G
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Pro Tip: The 9 & 7 Are Your 5 Chord: Am to E7
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Pro Tip: 9 & 7 Are Your 5 Chord: A to E
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Pro Tip: The 6 Is Your 4 Chord; A to D, Am Dm
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1 Minor To V7 Progression - Dm to A7
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1 Minor to b7 Major Progression: Em to D
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Minor 2 to 3 Progression F#m to Em
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Minor 1 to 5 Progression in Bm
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Minor 1 to 4 Progression in Bm
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The Major 5 to 4 Progression from A to G
1
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