This sample vid is chock full of juicy
tidbits of info.
So just imagine how
much you’re going to learn
from the DVDs and tabs!
Get ready to get your soloing
into the smooth pro zone and add
tons of flavor to your playing.
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You know, when you move from the neck
to the middle and to the last fret,
it’s different sizes so that your left
finger can be able to adapt to each fret.
That is why you need to play all these
exercises in different positions on the guitar.
As far as the right hand is concerned, you’re
telling your hand. You’re telling your hand
what to do. So all these exercises will help
in building your hands so that your hand can
move from one string to the other.
You need to listen to what you’re doing; listen
to yourself. And then, the way to do it, I showed
it to you earlier on, play the notes while the —
maybe you have a track that you made yourself.
You can play each note to listen to while it’s
playing in the background. You can have the feel,
the flavor of how each note sounds under each chord.
What feelings does it create? You have to listen.
For example, the first note, which is C, makes the
sound settle down, like feel her home. Like sounds
like home. If you go to the next one, which is D,
it’s a bit shakey compared to the sound. So it needs
somewhere to resolve to. That’s the feeling I get
from the note. Now, if you go to the third one,
which is E, yeah. It’s home. It feels home.
Listen to the sound.
Then we go to the one which is F, it’s like tension
and it somewhat resolved too quickly. We move to
the next one, which is G. It feels home. Then the
next one, which is A, it’s a little bit like one
leg home, one leg out. You know what I’m saying?
So we get to the next one which is D. It feels
like something is about to happen.
Using the D-minor-7-5-5 over the C-major chord.
The D-minor-7-5-5, you can find it in the
[unintelligible – 03:50] scale. It’s part of
the [unintelligible – 03:53] scale, like the
tones, B, D, F and A. So this creates a kind
of effect that sounds not in the — that is
out of the tone of the chord which actually
makes it more colorful. I’m going to show
it to you right now.
You have to be organized. You have to pick
one thing at a time. For example, playing
the C major scale, try to improvise. Two
to string four, from three to string five,
and then from string four to six. This is
how you can do it using the C major pentatonic.
You see the way I’m moving it? I’m not staying
in one position. I move from the 5th fret all
the way to the 14th fret.
A lot of times when you play, it may not call,
for example, if you play C minor 7th chord, you
can also use phrygian for your solo instead of
using dorian. Dorian and phrygian kind of walk
hand-in-hand, like you can use in place of each
other. Sometimes you solo and you get bored using
dorian, you can actually use phrygian.
Now, this mode thing is very important, but it’s
not like the mode itself; it’s about what you
feel about the music that is being played. All
the modes, you don’t have to play everything at
once. You don’t have to play all the scale.
Just pick two or even one note. Play the A minor
and then the C minor chord. You see how it feels,
the A minor? And then for these two chords, what
I’m going to be doing is, when I’m on the A minor,
I’m going to be using the C major scale. When I’m
on the C minor, I’m going to be using the E-flat
major scale.
