Hi Tomo.
I would like to know if you ever visualise/see practicing/playing over chords in this way:
Say we have I IV V in C, so C,F,G progression.
Are they ever 1 3 5, 4 6 1, 5 7 2 of C major in your mind/ear or always 1 3 5 from their corresponding roots?
Thanks so much for writing here!
1) I listen music and I have learned any sound that I like... I enjoy... all from real old records.
2) Once I visualized shapes of scales & arpeggios... It did not make my playing freely except " Correct Sound "
So I tried to away from any time of visualization.
3) Even I IV V chord progression... all depends on each chord progressions from songs.. I can hear things totally different way.
Slow funky groove or Two beats Country Song...my approach can be different.
4) I studied those triads when I practice them... then when I play them... I try not to think too much.
The way you describe them above... too much thinking for playing to me.
Tempo, feel, chord progressions... I could hear simple 5 6 R ... bend from M2 to M3... then all of sudden playing minor pentatonic R b3 4 5 ... etc. Then I can hear Major 3rd of V chord a lot.
I hear all triads on each chord... As you describe 1 3 5, 4 6 1, 5 7 2 then you are hearing just C Major scale and not hearing chords.
Thank you.
Tomo
Thank you for the reply.
I understand when playing no thinking. This was more when practice think everything question. Also I understand that over each of those chords their chord tones are "home base". But we want to play non-chord tones too. There we could adopt (like it is sometimes explained) C ionian over C, F lydian over F, G mixolydian over G where the soundscape with this is C major scale throughout all but just focused on different "home base". So if i understood you correctly over each chord while it is playing you are hearing non-chord tones as "colors" over that one chord regardless of "bigger picture" of full progression? so we could use non-chord tones to outline C mixolydian over C, then F mixolydian over F then G mixolydian over G or any other combination, effectively changing "key" on each chord. Maybe this is overthinking it all even for practice session where we should think of everything as you say :) In any case love learning from you. Thank you.
You're very welcome! Thanks for your reply!
Good job! Practice thinking.
I don't think modes that much... I hear all intervals according each chord so
I am following each chords and I play that key tonality by feeling. (blues)
I only think Major scale or chord tone, maybe a little 7th arpeggios etc.
Non diatonic tone, whatever you heard before, whatever you like, you can play.
But if you can hear it... then put your guitar down and go for listening session.
I don't even think Mixolydian. That type phrasing I feel & I think...
I just post my Instagram LIVE now. Please check it.
Playing C7 groove & soloing.
The way you describe... that's way too much!
When I play blues, I never ever thought... Okay G Mixo for (. then C Mixo for IV...
I can do that... but that case... I play all in 3rds or 6ths going thought G7 to C7.
Try this chord changes G7 G7 C7 G7 " I can't stand the Rain" groove. More effective than a regular blues 145 (too long!)
Thank you!
Tomo
Thank you. I believe i understand, over a chord think that triad chord tones and be free in playing anything else that sounds good/feels adequate to style and emotion you would like to convey through playing phrases.
For now i practice simplest possible. Trying to play over just one chord backing track and listening to what "feels" good and "bluesy". Then i will try and follow chord changes in the future.
You're very welcome! Think more about chords rather than thinking about Mixolydian scale.
Maybe you should think about phrasing rather than scale name.
More transcribe authentic blues & jazz.
Thank you!
Tomo
YES! Simplicity is the key.
If you play A blues... Stay only top 123 strings mostly ... but highest note is maybe 10th fret or 12th fret.
Same way, when you play E blues... top note is 12th fret so you cannot play 12-14,15 fret minor pentatonic shape!
Thank you.
Tomo
It took me a long while to realise that the way you teach makes a lot of sense. I first encountered something similar when learning from Pebber Brown who sadly passed away 2 years ago. Happy to have found you in the vast sea of internet (it is hard to filter out quality). So in 2024 i focus on blues playing, but with a sense of what phrasing actually involves. So a lot of bending of 4 to 5, bending b7 to 1, playing in between b3 of blues scale and 3 of corresponding dom7 chord etc. Biggest obstacle, having weak ears and weak ear training. Trying to work on it. :) Thank you for your teaching. Makes very much sense to me.
Thank you for sharing! RIP to Pebber Brown~
I've been using some ear training tools/websites while I'm in the subway or similar, hehe.
Thank you for sharing. I try to simplify everything I could.
So sorry to hear that. Let's play more blues! Do you listen BB King " Live at the Regal " and " Blues is King "
Do this... Learn BB King solo intro on Blind Love.
I teach that solo to all my private students. Like that example..
When you solo... focus on top 123 strings and don't touch 6th & 5th strings and
first set a range.. Low note to high note so you limit yourself first before you practice!
Thank you.
Tomo
Thank you. I did listen. Will listen more.
Thank You Tomo . Iām a beginner too and your advice and guitar wisdom and the advice and support of others here is a big help to me !!! Thanks Everyone .
These threads are like mini masterclasses. š
You're very welcome Frank.
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Tomo
Thank you. I try and listen more with concentration. Hobby player, regular job and family commitments, 1hr a day for practice, trying to use time i have the best i can following your advice, moving away from tab/shape, focusing on musicality etc. Thank you.