Tomo Fujita Guitar Wisdom

Hi Everyone,

Starting to try to apply some learning of triads/inversions, scales (linear and one octave), chords (like drop 2), R37 and finally had a C major blues improve actually sound... (wait for it)... like actual...music. I took Tomo's advice and really tried thinking hard about everything that I was playing. Was it the root note, 3rd, b7 etc. etc? I was hitting chord tones and doing one string solos, then moving back to one octave scales and playing within that small group and then going to different triads.

It was crazy to see that all the slow learning of notes, intervals, triads and inversions coming together to make actual music. This is so hard and so much fun when it starts coming together.

However, I have a question.

I was using a Cmajor blues backing track and at the end I noticed that I had been using the Cm pentontic on some parts, and using a C scale and triads/inversions on other parts. The most fun I had in terms of sound was I started doing a hammer on from the b3 to the M3 and it sound so good. So, the question is why does using a Cm pentatonic scale work so well with the tonality of C major for the backing track? Cmajor and Cminor together?

Thank you for sharing.

Hope you can find a few lesson videos that related your question.

Maybe type those key words to search.

Thank you.

Tomo

Thanks for the reply.

I found this one video that makes reference to relative minor/major: https://tomovhxtv.vhx.tv/videos/at03-soloing-ideas-for-minor-7th-chords but no videos about parallel key.

Can you suggest a place in your videos that didn't come up in a search? If you don't have the topic covered that is fine, too.