Thanks so much for the feedback. I'll look into if this is possible to do!
I'm glad you look forward to the lesson! Happy practicing! :)
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Thank you for asking!
When I first learned about the altered scale, I used the concept "Melodic minor up a half step", because the melodic minor patterns were already familiar to me. So initially I used that concept, but nowadays I think in terms of the altered scale instead of thinking melodic minor.
The most important thing is to get the patterns under your fingers, and then use the scale over an altered chord resolving to its I chord of some form, to hear the notes. For instance, record yourself laying down a G7altered chord that resolves to a C minor or C major (in slow or free tempo), and use the G altered scale (Ab melodic minor) over the G7, and then resolve to C major or minor. Do this over and over and really listen to the notes within the scale relative to the G7 chord. After awhile you'll start to hear it better, cause in the beginning it can be tricky since the scale can sound almost too dissonant at times.
I have a really low action on my Maton guitar :) Daddario 12-53 but I change the 12 to a 14, so the top string is actually pretty heavy.
Hope this helps Greg!
Have a wonderful day and thanks for checking out the lesson! :)
Thank you so much for the question and sorry for the delayed reply! I’ve been away on tour and have not been able to catch up with the inbox and forum.
For me, the most important thing is to really learn the major scale in all positions. When you really have the major scale under your fingers in all positions of the guitar neck, you’ll have a much better foundation to be able to learn the most useable modes of the major scale.
Eventually you want to be able to understand the modes so that you know how they’re built.
For instance, the mixolydian mode is nothing but a major scale with a flat 7th. And it’s important to understand that, and to be able to recognize the sound of the mode.
So initially you need to practice the major scale enough so that you don’t event have to think about the fingerings. Next step is to understand each mode and how they’re built - and it’s much easier to do that once you know the major scale really well. Because the patterns are all the same, since the modes come from the major scale - just like we talk about in the video lesson.
Hope this answers your question!
Kind regards /Emil
Thanks for checking out the video! I’m a big Robben Ford fan myself :)
If you use the diminished 7th arpeggio on a diminished chord, like A dim7 arpeggio over an Adim7 chord for instance - then we start on the root of the chord (and then play the arpeggio - minor thirds on top of each other) to get the right notes and right sound over that chords. (Notes: A, C, Eb, Gb)
What I talk about a lot in this video though, is the use of the diminished 7th arpeggio over dominant 7th chords. We use that to create tension, leading to the next chord.
So if we play the diminished 7th arpeggio over a dominant chord (A7 for instance), we start on the flat9 (which is the 2nd note or the scale if you of the chord and then play the diminished arpeggio.) Because otherwise we don’t get the right notes over that chord. You can also start the arpeggio on the 3rd (C#), or the 5th (E) or the b7 (G) or the b9 (Bb) like I mentioned above.
We are treating that A7 chord as a A7(b9). That’s why we don’t start the arpeggio on the root of the A chord. Cause then we’d get the notes A, C, Eb and Gb and that won’t work over A7(b9).
Hope this makes sense! Let me know if you have any more questions!
Kind regards /E
Very very nice playing! I see that you've used ideas from my lessons and it makes me very happy to see you applying these concepts in your own work and arrangements. I truly enjoyed it very very much. I think you played it with a great feel and and tempo. Even though you might feel that you sometimes lose the tempo when practicing with a metronome etc, all that work practicing with the metronome is important even though you lose the time feel sometimes. I do that too!
And this particular song doesn't need to be played exactly to a click/metronome because it's a beautiful ballad that can be "stretched" in tempo here and there. In a song like this, the tempo should be a bit floating because you're able to be more dynamic with the melody, and it can slow down on some parts and speed up a little, but it doesn't bother the listener because the song sounds wonderful with that feel.
Great work with the harmonics as well.. you're getting a bit too good.... ;)
Very very nice work! Keep playing, you're doing great!