Thank you Mr. Andrew this was very insightful. I like how, by playing a scale and speaking at the same time, you pretty much said "Yeah you should be practicing them until you can do this". xP
Great lesson. I want to ask you a question. I can’t exploit the pentatonic boxes as they should, I can only improvise always the same melodic lines and this make my improvisation boring. How can I exploit it better?
GREAT LESSONS, ALL OF THEM. COULD YOU PLEASE POST SOMETHING ABOUT CHORDS / SCALES RELATIONSHIP, ESPECIALLY MINOR HARMONIC AND MINOR MELODIC, IN A JAZZ CONTEXT. THANKS A LOT.
xX0Joata0Xx I now that you know the blues progression which is !, IV, V. When playin in the I part of the song, use major sounding scales/modes mixed with minor. Example Dorian, Mixolydian, and a 1,2,b3,3,5,6, scale are good. When in the IV part of the song use minor pentetonic & blues scale. The IV you can use either one. The guy in the vid is showing you major/minor sounding licks but he isn't directing where to place them. Just practice these licks and place them in the progressions I told :)
I think Andrew is one of the best teachers on the internet, but you are right, he didn't quite bring it all home, by showing where to place the licks, and the backing track was hard to hear. It's good to see comments that are constructive and helpful.
@hotlinklarry Wow, I posted this almost a year ago. Thanks for responding. Atleast someone will respond to my comments and actually make me feel like I have a voice in this big thing called YouTube.
laying the chord shapes over the pentatonic scale is a trick, the chords contain notes not in the pentatonic, some are much better than others but the pentatonic by itself eventually gets boring mixing major and minor and "playing the changes" is a whole other level.
It is a little different; he is thinking from a scale of notes to play up and down the fretboard. You are thinking of arpeggios/triads which are just 3 notes. If you want to combine them, think of the notes in the chord. Ex. A7 has A, C, E in it. You can use the blues scale and string bending to highlight or dance around those notes in the A7 chord. Another way you could it is play the arppegio and the note that you end on, use that to start a lick. Hope that this helps.
wonderful ...
glad you mention mixing both scales in solo.
been searching for this
mrmontreemtx 5 months ago
Thank you Mr. Andrew this was very insightful. I like how, by playing a scale and speaking at the same time, you pretty much said "Yeah you should be practicing them until you can do this". xP
MrFlyingVguitarist 10 months ago
can you do a vdeo on effects and pedals,,,
ShubhamMishra1989 1 year ago
Great lesson. I want to ask you a question. I can’t exploit the pentatonic boxes as they should, I can only improvise always the same melodic lines and this make my improvisation boring. How can I exploit it better?
davidtheguitarman 1 year ago
im a newb... how do you write a major and a minor? is for example F#m minor or major?
xXSYCADELICXx 1 year ago
@xXSYCADELICXx lowercase "m" is minor.
DeeDubStyle619 11 months ago
GREAT LESSONS, ALL OF THEM. COULD YOU PLEASE POST SOMETHING ABOUT CHORDS / SCALES RELATIONSHIP, ESPECIALLY MINOR HARMONIC AND MINOR MELODIC, IN A JAZZ CONTEXT. THANKS A LOT.
bluejazzcat 1 year ago
You're an incredible player and teacher.
razorslice17 1 year ago
i don't understand when you can use chromatic notes
xX0Jota0Xx 2 years ago
w/e they sound good
nicodemus95 2 years ago
yeah but it's not like you use them whenever you want
xX0Jota0Xx 2 years ago
Use them as passing notes.
XDSocks 2 years ago 4
xX0Joata0Xx I now that you know the blues progression which is !, IV, V. When playin in the I part of the song, use major sounding scales/modes mixed with minor. Example Dorian, Mixolydian, and a 1,2,b3,3,5,6, scale are good. When in the IV part of the song use minor pentetonic & blues scale. The IV you can use either one. The guy in the vid is showing you major/minor sounding licks but he isn't directing where to place them. Just practice these licks and place them in the progressions I told :)
kyotzo 2 years ago
@kyotzo
I think Andrew is one of the best teachers on the internet, but you are right, he didn't quite bring it all home, by showing where to place the licks, and the backing track was hard to hear. It's good to see comments that are constructive and helpful.
hotlinklarry 1 year ago
@hotlinklarry Wow, I posted this almost a year ago. Thanks for responding. Atleast someone will respond to my comments and actually make me feel like I have a voice in this big thing called YouTube.
kyotzo 1 year ago
u make blues so easy!! thnks :)
neeraj1786 2 years ago
nice video
blackblood123456 2 years ago
nice one.
Jed9133 2 years ago
andrew you rock!
derdude 2 years ago 7
Is this approach fundamentally different than targeting chord tones using arpeggios? Any suggestions about how to combine the scales and arpeggios?
stsgabe 2 years ago
Arpeggios are chords. Chords can be derived from scales. I'm not sure what exactly you're asking?
D0g63rt 2 years ago
laying the chord shapes over the pentatonic scale is a trick, the chords contain notes not in the pentatonic, some are much better than others but the pentatonic by itself eventually gets boring mixing major and minor and "playing the changes" is a whole other level.
stsgabe 2 years ago
It is a little different; he is thinking from a scale of notes to play up and down the fretboard. You are thinking of arpeggios/triads which are just 3 notes. If you want to combine them, think of the notes in the chord. Ex. A7 has A, C, E in it. You can use the blues scale and string bending to highlight or dance around those notes in the A7 chord. Another way you could it is play the arppegio and the note that you end on, use that to start a lick. Hope that this helps.
kyotzo 2 years ago
that is a good idea never heard that like that, use the arpeggio to "lead into" a lick, of course in blues I would use the 7th arpeggios too, cool
stsgabe 2 years ago
Ooh first to watch hot off the press!
gooney0 2 years ago