THE 5 STAGES OF IMPROVISATION (ft. Matteo Mancuso)
Summary
TLDRDans cette vidéo, Mato Manuso, virtuose de la guitare moderne rock et jazz, partage ses astuces pour l'improvisation. Il explique comment démarrer avec la pentatonique mineure, puis ajouter des notes de la gamme majeure pour enrichir sa musique. Il insiste sur l'importance de la maîtrise des intervalles et de la compréhension des fonctions des notes. Manuso propose également des exercices pour visualiser les arpegges et les utiliser dans l'improvisation. Il conclut en soulignant l'importance de la pratique régulière pour améliorer ses compétences.
Takeaways
- 🎸 L'improvisation sur la guitare nécessite de se baser sur des techniques de base avant de progresser vers des niveaux plus avancés.
- 👤 Mato Manu est reconnu comme un virtuose de la guitare moderne rock et jazz, apprécié pour sa technique de main droite unique.
- 🔥 La communauté de guitares a besoin d'un guide pour s'imprégner des bases de l'improvisation avant de s'élever vers des niveaux plus élevés.
- 🎵 La pentatonique mineure est souvent considérée comme la zone de sécurité pour débuter l'improvisation.
- 🔄 L'apprentissage de l'improvisation implique de se libérer des contraintes de la théorie et de s'en remettre à son instinct.
- 📈 L'amélioration de l'improvisation passe par la pratique et l'expérimentation plutôt que par la maîtrise exhaustive des échelles et des arpèges.
- 🎼 La répétition de motifs simples dans différentes octaves peut enrichir l'improvisation et créer une cohérence musicale.
- 🎹 L'ajout de notes de la gamme majeure à la pentatonique peut apporter une couche supplémentaire de complexité à l'improvisation.
- 📊 L'étude des intervalles est essentielle pour comprendre les relations entre les notes et pour construire un vocabulaire musical riche.
- 🎶 La conscience des fonctions des notes est plus importante que le nom des notes eux-mêmes lors de l'improvisation.
- 🌟 L'incorporation de chromatisme dans l'improvisation peut unifier les idées et ajouter de la profondeur au jeu, mais doit être utilisée avec soin pour maintenir la fluidité musicale.
Q & A
Qui est Mato Manuso et quel est son approche pour l'improvisation de la guitare?
-Mato Manuso est un virtuose de la guitare moderne rock et jazz, connu pour sa technique de main droite unique qui a captivé le monde. Son approche pour l'improvisation est de se laisser guider par son instinct plutôt que de vouloir connaître toutes les échelles et les arpèges théoriques.
Quel est le point de départ le plus fondamental pour l'improvisation selon Mato Manuso?
-Le point de départ le plus fondamental pour l'improvisation, selon Mato, est l'échelle pentatonique mineure, qui est considérée comme la zone de sécurité et la base de la plupart des improvisations.
Pourquoi est-il important de se concentrer sur les relations entre les notes plutôt que sur les noms des notes lors de l'improvisation?
-Il est important de se concentrer sur les relations entre les notes car cela permet de comprendre l'importance de chaque note dans la contexte de la clé dans laquelle on joue, plutôt que de se souvenir simplement des noms des notes qui peuvent sembler arbitraires.
Quels sont les avantages de l'utilisation de l'échelle pentatonique dans l'improvisation?
-L'échelle pentatonique offre une zone de sécurité pour les musiciens, permettant de créer des phrases musicales simples et accessibles. Elle est également la base de la plupart des improvisations et peut être répétée dans différentes octaves pour créer une variété de sons.
Comment Mato Manuso aborde-t-il l'utilisation de l'échelle majeure dans l'improvisation?
-Mato suggère d'ajouter des notes de l'échelle majeure à l'improvisation pour enrichir la palette sonore, en utilisant ces notes en tant que points d'atterrissage ou de destination, et en créant ainsi une variété de phrases.
Quels sont les éléments clés que Mato Manuso recommande d'ajouter après maîtriser l'usage de l'échelle pentatonique et majeure?
-Après avoir maîtrisé l'utilisation de l'échelle pentatonique et majeure, Mato recommande d'ajouter des arpèges, en harmonisant l'échelle, et d'explorer les différentes positions pour une plus grande richesse rhythmique et mélodique.
Comment Mato Manuso utilise-t-il l'arpégiation dans son improvisation?
-Mato utilise l'arpégiation en jouant des triades et en les répétant dans différentes octaves, ce qui lui permet de créer une variété de sons et de structures mélodiques dans son improvisation.
Quelle est la différence entre une note 'fausse' et une note chromatique selon Mato Manuso?
-Selon Mato, la différence entre une note 'fausse' et une note chromatique réside dans le contexte. Une note chromatique doit être utilisée comme une note de passage pour éviter de rompre le flux de la phrase musicale, tandis qu'une note 'fausse' pourrait perturber cette fluidité.
Comment Mato Manuso aborde-t-il les accords externes à l'échelle de C majeure dans son improvisation?
-Mato suggère d'abord de visualiser l'accord en question dans la position la plus proche possible sur la guitare, en utilisant les mêmes notes de l'échelle de C majeure pour créer un lien harmonieux avec le reste de l'improvisation.
Quel conseil Mato Manuso donne-t-il pour résoudre une note 'fausse' pendant l'improvisation?
-Mato conseille de toujours être capable de résoudre une note 'fausse' en la reliant à une note de l'échelle ou en la transformant en une note chromatique, pour que cela semble intentionnel et non accidentel.
Quelle est la pratique que Mato Manuso recommande pour améliorer l'improvisation sur la guitare?
-Mato recommande de pratiquer régulièrement, en passant du moins 4 heures par jour à jouer de la guitare, en explorant différentes échelles, arpèges et techniques, et en écoutant beaucoup de musique pour développer son vocabulaire musical.
Outlines
🎸 Introducing Mato Manu: The Guitar Virtuoso
Dans le premier paragraphe, nous sommes introduits à Mato Manu, un virtuose de la guitare moderne rock et jazz qui a captivé le monde entier avec sa technique de jeu unique à la main droite. Il est considéré comme l'un des plus grands guitaristes et improvisateurs. Il est question d'une collaboration avec des musiciens du monde entier et d'une piste musicale qui a été partagée avec des YouTubers et des guitaristes pour des improvisations. L'accent est mis sur l'importance de la base de l'improvisation et de la progression vers des niveaux plus élevés de jeu.
🛠️ Les bases de l'improvisation : l'échelle pentatonique mineure
Le deuxième paragraphe se concentre sur les aspects fondamentaux de l'improvisation, en particulier l'utilisation de l'échelle pentatonique mineure comme base de départ. Mato Manu partage son expérience personnelle et explique comment l'apprentissage de cette échelle peut servir de的安全垫 pour les musiciens débutants. Il propose également de commencer avec une seule case de pentatonique et de varier les approches, comme le glissando et le bending, pour créer une variété de sons et de phrases musicales.
🎼 Développement de l'improvisation avec l'échelle majeure
Dans le troisième paragraphe, Mato Manu explore l'ajout de notes de l'échelle majeure à l'improvisation pour enrichir la palette sonore au-delà de la pentatonique. Il insiste sur l'importance de l'apprentissage des positions de l'échelle majeure et de la manière de les mélanger avec l'échelle pentatonique pour créer une improvisation plus riche et moins prévisible. Il partage également des conseils sur l'utilisation de la technique de jeu à trois notes par corde pour varier la rythmique de l'improvisation.
🎹 L'importance des intervalles et des fonctions musicales
Le quatrième paragraphe met en lumière l'importance des intervalles et des fonctions musicales dans l'improvisation. Mato Manu explique qu'il est plus essentiel de comprendre les relations entre les notes plutôt que de se concentrer sur les noms des notes eux-mêmes. Il partage des astuces pour visualiser et utiliser les tiers et les sixtes dans l'improvisation, et comment cela peut aider à créer une phrase musicale plus expressive et connectée.
📘 Expérimentation avec les arpeggios et les triades
Dans le cinquième paragraphe, l'attention se tourne vers l'utilisation d'arpeggios et de triades pour ajouter de la profondeur et de la texture à l'improvisation. Mato Manu démontre comment jouer avec les différentes positions d'arpeggios de l'échelle majeure et comment intégrer des triades ouvertes pour créer un son spécifique, semblable à celui d'Eric Johnson. Il insiste sur la nécessité d'apprendre et de pratiquer ces éléments pour améliorer la fluidité et la créativité dans l'improvisation.
🛤️ Naviguant les cordes et les échelles avec aisance
Le sixième paragraphe traite de la manière de naviguer sur la guitare de manière efficace en utilisant les positions d'échelles et les cordes comme points d'ancrage pour l'improvisation. Mato Manu partage des techniques pour visualiser et se déplacer entre les différentes échelles et positions, en particulier lorsqu'il est question de jouer sur des progressions de cordes plus complexes, comme l'E7 mentionné dans la discussion. Il met en évidence l'importance de la fluidité et de l'évitement des sauts brusques sur la guitare.
🌈 L'introduction du chromatisme dans l'improvisation
Dans le septième paragraphe, Mato Manu aborde l'introduction du chromatisme dans l'improvisation, en expliquant comment les notes chromatiques peuvent être utilisées pour unifier des idées musicales et ajouter de la profondeur. Il partage des conseils sur la manière de jouer des notes chromatiques en tant que notes de passage pour éviter les notes fausses et maintenir la cohérence de la phrase musicale. Il insiste également sur l'importance de l'écoute et de l'apprentissage des grands musiciens pour assimiler ces techniques.
🎉 Synthèse des techniques d'improvisation
Le huitième et dernier paragraphe conclut la session en résumant les techniques et les conseils partagés tout au long de la vidéo. Mato Manu encourage les musiciens à pratiquer assidûment, en abordant l'ensemble des éléments discutés, y compris la pentatonique, l'échelle majeure, les arpeggios, le chromatisme et la maîtrise de la guitare. Il partage son propre régime de pratique et souligne l'importance de la pratique quotidienne pour améliorer ses compétences d'improvisation.
Mindmap
Keywords
💡Improvisation
💡Pentatonique mineur
💡Gamme majeure
💡Arpent
💡Intervalle
💡Chromatisme
💡Gamme pentatonique
💡Gamme de C majeur
💡Mélodie
💡Accords
Highlights
Mato Manu takes the world by storm with his unique right-hand guitar technique.
He is considered one of the greatest guitarists and improvisors in the modern rock and jazz scene.
Mato discusses the importance of letting go and being yourself when improvising on the guitar.
The minor pentatonic scale is highlighted as the fundamental part of guitar improvisation.
Mato shares his approach to improvisation, starting with a basic pattern and evolving it.
He emphasizes the importance of visualizing music across different parts of the fretboard.
Mato explains how to use the same pentatonic pattern in different octaves for a richer sound.
He demonstrates how to add dynamics and phrasing to make the music more coherent.
Mato introduces the concept of using all five pentatonic boxes to explore different tonalities.
The integration of the major scale into improvisation is discussed as the next step beyond pentatonic.
Mato shows how to use string skipping to vary the rhythm and create a less predictable vocabulary.
Transcripts
cool
guitar what you read
[Music]
man P yeah that's me who they're this
reading about you this is mato manuso a
modern rock and jazz guitar virtuoso
that is taken the World by store with
his unique right hand technique he's
speaking a completely unique voice and
it's not for nothing that many consider
him one of the greatest guitarists in
improvisor around these
days but uh how did you call me myor I
it was open I was thinking
improvising we need help the guitar
Community needs you because we are it's
the holy Grill but so many of us are
stuck not knowing what to do we need you
to explain the basis and then let's
gradually increase until we hit Level
Mato Mako is that okay yeah we can talk
about it let's sure let's do it let's
sit down let's grab a guitar let me grab
a guitar just for I mean I'm not I'm not
playing I'm just I need to hold the
guitar thank you so what I did I
prepared a little track okay in case
someone walked in because I just leave
my studio open and then we can on the
basis of that track sort of evolve into
to something cool and um I'm putting you
on the spot because you never heard the
track or maybe you have because I've
been doing these uh improvisation
collaborations with YouTubers and
musicians and guitarists all over the
world and this is one track that I sent
to them maybe you heard it you want to
ever listen to it and then see what
happens oh yeah sure this is
one C major um
[Music]
yeah oh yeah yeah that's the track yeah
it looks really cool I think I heard
that maybe oh it was the
first uh video that you did like with
improvising all the musicians together
10 YouTubers improvise and actually I
wanted to ask you for the new version
are you down oh yeah sure yeah cool so
we got one maybe leave your suggestions
who I else need to invite in the comment
section but for now uh let's tackle
improvisation let's see where we can go
start out with the basics so everyone
can follow along I'm sure everyone can
start with the basic what's what is sort
of the most fundamental part of
improvising where would you start there
is something about uh people that maybe
they think that before actually
improvising you need to know all the
scales on all the arpes and all the
informations available about
improvisation you know but it's not
really true because I found myself in
this Loop a little bit especially when I
was starting like before I uh um I'm
improvising I need to know everything
about the guitar and the fretboard but
uh I think the the fastest way to
improve at improvising is just to let it
go and be youris in guide you in most of
the cases cool and I I I think we can
start with our favorite scale the minor
pentatonic would be always our you know
safe Zone you know it's the skeleton of
our playing basically and very nice yeah
so since the track the track is
available for you to download it's on
patreon if you want to check it out uh
but the key of the track is C major so
what how are you thinking are you
thinking let's grab a C major pentatonic
or are you thinking maybe a minor you
can think both a minor or C major
pentatonic it depends of like you know
what visualize you the best you know
yeah we can start by using just one box
first of all and this is the I think
it's the first box that everyone
learns yeah yep yep yep so that's
usually what people would see as a minor
yeah but then you just say this is yeah
you can visualize the rot don't here or
here it's basically the notes are the
same so uh but what I learned through
you know listening to all the players
and uh also trying to mimic the first
players and the first influences you
know is that you are able to play the
same thing in a various different ways
you know let's say play this phrase
[Music]
here uh you can play with the
bending or with the
sliding yeah or micro
band ooh that was nice starting with
this note
here okay so you can have like a wide
variety of different leaks let's say by
starting with the the same pattern yeah
and just within the pentatonic skill and
just within the ponic scale you before
we continue just give me one playthrough
of pentatonics how does only using the
pentatonic skill so a skill everyone
knows you me everyone on this track how
does it sound and please keep it a
little bit simple oh yeah I will try
let's go
[Music]
a
[Music]
[Music]
yeah amazing yeah yeah I tried to use
only pentatonic but there were some uh
other notes here and there of course the
first thing I one of the first things I
learned about the pentatonic is that you
are able to repeat the same pattern on
different places you know so whenever I
have like uh
I know that I can repeat the same
pattern on this other
[Music]
octave so I have this kind of uh uh
three octave thing going on so if you
like visualize this shape or this shape
over here that's okay so three arpes of
C basically yeah yeah and I always
visualize that not only on the
pentatonic scale but on every scale
actually it's kind of a rule that I
apply on everything so when you learn
something let's say on these two
strings you can repeat it on the other
two octaves and that can expand you a
little bit Yeah so instead of moving
always
vertically with this kind of approach
you can move more diagonally on the
frontboard
nice and plus it's also really simple to
visualize because it's always the same
shape with
interesting so you divide the fretboard
basically in three sort of anchor points
like a C note over here c not over here
and c not over here and C here see here
yeah that's then you have every string
that's interesting yeah yeah basically
you have every every string of course
you need to know also the pentatonic box
yeah but that this can help you like to
repeat maybe the same phrase one octave
lower or higher if you want to go off
with the solo you know uh
and it is really good also with the
Dynamics it's something that also Joe
Mayer does for example a lot so all the
Blues Guys right all the Blu guys yeah
yeah that's very cool and also it leads
into sort of phrasing where you want to
speak sentences so everything is
coherent so we're not displaying the
scale up and
down but we're also making
music yeah it's you can do it everywhere
on the neck yeah yeah sure and
guitarists are really hard instrument
visualize actually that's why we all
struggle to improvise and sometimes yeah
but this really helps it's a great tip
those anchor points and do you really
focus on the boxes as well because you
said let's start with the box that
everyone knows over here do do you know
for example all five boxes oh yeah sure
I try to use all the five boxes because
they they let you you know explore
different things of the pentatonic you
know because a bending here bending you
know it's not something the same as here
you
know so when you have like
this
[Music]
or so you have
something you know uh diverse on every
pentatonic box so I like to explore the
various bending you can achieve for
example if we are on this box uh
[Music]
yeah you
know it's very different tonally
speaking it's also very different
from this is more Angry more like Albert
King SV
[Music]
style and here is more like this
[Music]
you know this kind of stuff amazing um
and you know you have very stuff I like
to mix because we are always used to two
not per strings for example you
know yeah to vary the rhythmic a little
bit I like to mix like three and two
notes per strings
like so you have this kind of
[Music]
shape so if you start from from here you
[Music]
have and this is another shape I use so
it's always like three and two not press
strings and then you repeat again okay
so we first need to learn The
Pentatonics to boxes and every box has
their own benefits so um in on such a
track what would be a second layer on
this second step well I think the Second
Step will be adding the not the notes of
the major scale yeah so you're not only
relying on pentatonic of course when
you're playing on these
songs and I think the The Next Step will
be adding some of the notes outside the
pentatonic try to use them yeah you know
uh as Landing notes also as Target notes
and that could be a really useful
material just the c major scale well
just the c major scale you can think
about modes of course but this beon
truck pretty much revolves around the c
major scale so um so then we're adding
two little notes to our pentatonic scale
we're basically adding two extra notes
so pentatonic five notes that means that
in order to build a scale you need two
more yeah so what's your favorite major
scale position for a track like this
well the first one I Learned was
actually this
[Music]
one and you you can also use the three
note per string kind of
stuff but I always prefer to use like
mixed positions as I said previously for
the pentatonic that that applies also on
the major scale so here you have like
three notes and then two notes on the uh
on the B string for
example and and these are the little bit
more rhythmic variety for me because
this one like it always sounds too ready
for me like
yeah and the last thing I want to is
like sound like this on a back track
okay similar you know so how would you
sound like this on a backing track do
you want to try it yeah major skill only
at least that's what he tries oh yeah
[Music]
[Music]
yeah wow wow really cool so this was an
improv essential like making trying to
use more the major scale rather than
than relying always on pentatonic there
are of course a lot of notes in common
so you can easily mix pentatonic with
major scale but you can add the major
seven for
example or you can easily mix like the
the perfect
[Music]
for and I always try Al also to use
string string keeping a little bit so
when I have like
[Music]
and this helps you to you know uh having
a vocabulary that is not really
predictable you know we are like big big
jumps from one not to another and the
thing that helped me is not actually
learning the shapes but learning more uh
uh more interval vocabulary I think
that's that's almost as important if not
more important than the scale
itself because then it's the intervals
and the
relation to the chord it's really what
what's your vocabular is all about you
know it's the emotion of the not yeah
yeah yeah so yeah let me ask you a
question how often do you think about
the note names versus thinking about Noe
functions well I don't think about note
names actually if I if I need to be like
completely honest I know the notes on
the Fret bird but when I'm actually
improvising I'm not thinking about okay
I'm playing an F Shar here no it's it's
not like that because my and my brain is
not that fast like yeah I think no one
actually thinks about it like this also
an F there's no meaning to just a note
name because there's no relation right
if you say uh the F SHP is let's say the
sharp four in the key of C yeah like
more important to like it's more
important instead of knowing that this
is a KN it's more important to know this
is the major third of the key I'm
playing on so of course you need to know
the notes on the fretboard it can be
useful but when when you are improvising
really it's all about the relation uh to
the key rather than the notes itself
yeah so you said intervals are super
important yeah and you mean uh I mean
just studying I I think the most
important ones for me melodically
speaking are thirds and six so the as I
said before we can start with thirds
like
that separated or just with small
chords ah
yeah
love
and mhm and you can use that to your
advantage you know uh
[Music]
and if you can understand like the
relation between uh you know this this
thirds and the key this will be
also uh very helpful for the
visualization of course yeah so you can
use it also same thing with the with the
major and minor six
[Music]
yeah that's you know like you play
yeah yeah I'm using string scaping of
course but um and this is a really
useful tool in order to you know uh
spice up a little bit your improvisation
stuff um yeah I believe starting with
thirds and uh six is one of the best
ways yeah I I mean I started with this
twoo and you can always use fors also
but they are a little bit more
complicated to play because they are on
the same fret you know yeah yeah you
know
[Music]
sounds more Jazzy maybe it sounds a
little bit more Jazzy
yeah so actually before we started
recording I I heard you just warm up a
little bit and you you play a lake that
really intrigued me I think it was sort
of an Eric Johnson
like something oh yeah it's something
was very beautiful yeah
um I think that was it there
yeah you can use it pretty much for the
old
skate if you have a an that is big
enough uh yeah it's something actually
that is taken from back and Eric takes
some of this kind for for this kind of
stuff for the spread Triad for example
like Eric uses a lot
of
yeah beautiful and it's it's actually a
really simple concept you you play like
a Triad here you take the major third
and you play it one octave Iger so you
obtain this yeah open open voicing
basically open yeah it's kind of an open
voicing yeah and if
you you can that's immediately Eric
Johnson yeah immediately especially with
delays yeah yeah and the suet overdrive
it's very cool um pentatonics major
scale major scale just real simple where
do we go um arpegios on the major scale
all the Aros available like oh okay you
can pretty much use a lot of
things um inside the major scale MH just
by basically harmonizing the scale and
you can do it by playing the chords like
let's say that we start from here from
this C
[Music]
major you know and you have all these
arpes available that you can really use
everywhere if you are on the c major
scale so for for example if I have to
use a passage and I'm on this side of
this area of the neck I can use like F
major 7 for
example oh wow
[Music]
yeah and this can be really useful to
you know modify a little bit the the
major scale just because I know that all
these CES available contains an arpeg
that that you can use basically it's all
notes from the c major yeah it's all
notes from the c major scale and an
exercise that I discovered long time ago
and I still do this day is this uh these
are pageo study
[Music]
here ah yeah yeah okay so what you're
doing you go up in C you go down in D
Minor you go up in E Minor and go down
in F yeah it's like ascending aredo and
descending aredo and always like that
yeah I know a sort of similar one but I
do this like up and down in the same so
I go up and down in see this go like
this oh okay
yeah that's it yeah yeah it's a bit the
same
but oh yeah okay okay yeah it's pretty
much similar but is it's a really nice
exercise to just visualize all the arpes
available in just one place cool yeah um
so that's the arpegios and how do these
arpegios sound if you use them more
freely over a track like this you want
to do it yeah yeah yeah
[Music]
[Music]
[Music]
amazing so yeah um I started out this
kind of a mix yeah yeah yeah I started
out this video I was saying don't go too
quick don't go I couldn't follow really
everything but I I heard definitely a
lot of arpeggio going on and it sounds
magical it's really cool yeah I did like
a mix of like Triad for example the A
Minor triad works really
well or even you know F major
7 or you know C major 7 also
works yeah beautiful uh so all this like
little arpes sometimes it's not even the
arpo like up and down because it can be
a little bit boring so I sometimes skip
a note for example
like you know so it can be a little bit
less predictable but yeah it's mostly a
pedes basically yeah very nice it it's
very cool that you jump such a wide
range very quickly it's always it sounds
always impressive thank you um but
there's one thing though because in this
backing track there are
notes outside of the scale of C major
for example to everyone watching uh the
first chord is C
major and the second chord is an
E7 yeah so there's a G sharp in there
and that note is not in a C major scale
so how would you approach how would you
call a cord like that an outside chord
well it's it's for sure a cord outside
the realm of C major so what I'm trying
to do is to visualize uh the scale of
relation in the close way I can so and
if I'm here for example and I know my E
major e seven here I don't want to go
immediately there yeah and I don't even
want to go here you know because I I I
see a lot of like people improvising and
maybe they they are doing a phrase
here and then
they know but it doesn't make sense
because it's such it's it's something
that is not related
uh to your phas to your first phrase
needs to be something closer similar so
um because we are building something you
know so I think the most important thing
is that the chord underneath shouldn't
break your your lyric or your phrase it
needs to be always a flow you you don't
need you need to dictate the CHT what
you are playing the not the opposite
thing like the cord that detects you
what you're playing you know oh wait
here is the E7 I know they
yeah yeah yeah yeah it this is the thing
I always want to avoid so whenever I
have like a chord progression that uh I
want to you know study a little bit I
always start with visualizing the chord
in the closest way I can so if I have
like C major and
E7 uh the closest E7 I have is this
one and I middle T have this this notes
the major third and and then I
[Music]
have I I have this like F minor um so I
try to like um visualize all the cod in
one place in order to you know don't
jump too much on the fretboard so the
vocabulary will will sound a little bit
more uh in line and a scale that I think
about when I have this E7 it's of course
uh um a armonic minor for example so in
order to play the aonic a armonic minor
a lot of people starting go
[Music]
from you know but because you are here
you need to be able to visualize it here
you know and that's when the three
octave stuff CES to Al you know because
if you if you know this
it's the same thing you know so you are
able to like connect the thing a little
bit better so you have uh C major
scale you immed hear the chord I didn't
make like a jump or you know so you need
to visualize like the all the scales
from uh from the cord progression but
just in one place and then when you when
you have this place got down like I feel
very comfortable on this place move
maybe here then when you have displays
got down you you move here or or maybe
you move and when you have all the the
position go down that means that you
know very well your C you know the neck
yeah wow how does it sound on the
backing track want to give it a try yeah
sure
[Music]
n
[Music]
[Music]
[Music]
so this can be like an example you know
and another scale that I use on this
chord progression actually there is an F
minor yeah and here I use f melodic
[Music]
minor so so what's the difference
between minor and melodic minor well uh
the difference is the color let's say so
when you use melodic minor uh you
basically have I always say it's a major
scale with the minor third I know that
it sounds strange but it's basically one
little you know
um movement
CH yeah yeah the rest you can always
think like uh sometimes they think F F
major to F minor yeah and and if you
have like
[Music]
yeah so instead of like playing like a
completely different thing on the next
scale you can always try to play the
same thing you played before with the
major scale and try to make it minor for
example ah yes yes just a minor note
just a minor note so um so this can be
helpful a little bit and just to State
the fact this is also why it's so
important that you always know the
function
oh yeah because if you want to change
one aspect of a skill let's say you want
to change the major note into a minor
note if you don't know which note the
major one is then you cannot change it
so you need to know your major thirds
yeah yeah yeah the functions are so
important um yeah it makes you just more
versatile and you can change up and
accommodate two situations way more
quickly yeah um so yeah wow super cool
and One Step left I think one step
further will be at least for me
chromaticism yeah so um because we have
all the scales and all this uh
information available our pages and
scale we talk about uh we can use some
of chromaticism to uh let's say um unify
our ideas in a way yeah okay and so I
think that I have
um we we can talk about this scale
[Music]
here so so this is
a uh modification of the major scale
basically yeah so you have the it's
basically a major scale but with the
minor six so you have you have
this you have this note here
and this one is called bbop major bbop
major scale and you can apply it
basically on a lot of things uh
especially on this B truck and you have
for example
[Music]
uh you have this kind of lck here when
um if you start on the right rhythmic
place it will sound good
because the most important thing for me
when you're playing chromatic is the
chromatic note the the the wrong note
let's say is not on the uh strong beit
ah yes yeah yeah okay for me it's really
important because if you land on on this
note it will sound bad if this note is a
passing note then it will sound uh it
will sound you know purposeful and will
sound good you know
[Music]
you know and you can use like for me
when we are talking about chromaticism
it's almost more important the rhythmic
part rather than the notes itself
because in you explained it already a
little bit but like what's the
difference between a wrong note and an
outside note or a wrong note and a
chromatic note well the short answer is
the context it needs to be in the right
context uh so if you play Everything in
the right context there are no there are
no WR okay I want to challenge you play
me a wrong note first a wrong note just
something that that would ah let's do it
again
[Music]
yeah you know this kind of stuff you can
land on a bad note
that it can happen of course it happens
to everyone the important thing is you
need to be able to resolve it you know
if you resolve the thing uh then it can
sound that oh I did it on purpose you
know and this is the this is the sharp
four you can be a little bit
intimidating at first
yeah
yeah you know yeah um so yeah in order
to be able to you know uh incorporate
chromaticism on onto your playing is of
course a lot of listening because I
listen to a lot of the guys that
incorporate this kind of stuff so you
kind of copy uh the vocabulary a little
bit and and you started to notice some
of the
rules so a rule that I follow is uh be
sure that when you are playing
chromaticism you are landing on the not
of the scale of course and all the notes
in between needs to be passage notes
passing notes basically how does it
sound if if there is no rules or we just
combine all the things that you just
explained so eloquently just in one and
just give it whatever you want to give
it yeah sure let's try yeah okay here we
go C major and just he just heard the
track for the first time so this is
already it's already blowing my mind so
far so really really amazing uh yeah
good luck here we go
[Music]
a
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oh oh
man H I don't know I'm going to recover
from that but uh I luckily now have five
things I need to practice the
pentatonics the major skill the arpegio
in the key
the uh the chromaticism
chromaticism and everything you saw in
this video I mean it just little Blown
Away thank you so much Mato thank you
man uh so everything about him can be
found in description and give him a
thumbs up a follow and just uh practice
your guitar as well because that's the
main uh message in this video I think
yeah practice practice a lot how much
did you practice well not as much as I
as I used to when I was a teenager like
back then was like 12 hours then sleep
and yeah a lot a lot and now is more
like I try to play at least 4 hours
every day uh but sometimes it's less
sometimes it's more if I'm lucky but
yeah okay well now we know what we got
to do right thank you so much and uh see
you next time guys cheers
byebye well yeah that was good I mean I
love it yeah super nice
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