THE 5 STAGES OF IMPROVISATION (ft. Matteo Mancuso)

Summary

Dans 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

00:00

🎸 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.

05:00

🛠️ 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.

10:01

🎼 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.

15:03

🎹 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.

20:03

📘 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.

25:03

🛤️ 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.

30:04

🌈 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.

35:06

🎉 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.

Keywords

💡Improvisation

L'improvisation est la capacité de jouer de la musique sans préparation ou planification précédente. Dans le contexte de cette vidéo, c'est un élément clé du jeu de guitare et est abordée comme étant un moyen d'explorer la créativité musicale. L'improvisation est mentionnée comme un défi pour de nombreux musiciens et est au cœur du dialogue entre les deux guitaristes.

💡Pentatonique mineur

Le pentatonique mineur est une gamme musicale composée de cinq notes, souvent utilisée en musique jazz et blues. Dans la vidéo, il est présenté comme une base de départ pour l'improvisation, offrant une 'zone de sécurité' pour les musiciens débutants qui apprennent à s'exprimer sur leur instrument.

💡Gamme majeure

La gamme majeure est une autre structure musicale qui est utilisée pour la composition et l'improvisation. Elle est caractérisée par la présence de sept notes distinctes. Dans le script, l'ajout de notes de la gamme majeure au pentatonique est suggéré comme un moyen d'élargir la palette de notes disponibles pour l'improvisateur.

💡Arpent

Un arpeggio est la représentation musicale des notes d'une chorde jouées séquentiellement plutôt qu'en même temps. Dans la vidéo, l'exploration d'arpegios sur la gamme majeure est discutée comme une technique pour enrichir l'improvisation et ajouter de la complexité à la performance.

💡Intervalle

Les intervalles sont les distances entre les notes dans une musique. Ils sont essentiels pour comprendre les relations entre les notes et la construction de la mélodie. Dans le script, l'importance des intervalles est soulignée comme étant cruciale pour la compréhension de la théorie musicale et pour la création de phrases expressives.

💡Chromatisme

Le chromatisme fait référence à l'utilisation de notes qui ne sont pas appartenant à la gamme diatonique de base. Dans le contexte de l'improvisation, le chromatisme est utilisé pour ajouter de la couleur et de la nuance à la performance, en créant des tensions et des résolutions intéressantes.

💡Gamme pentatonique

La gamme pentatonique est une structure de base pour de nombreux musiciens, particulièrement utilisée dans le rock, le jazz et la musique populaire. Dans la vidéo, elle est mentionnée comme un point de départ pour l'improvisation, permettant aux joueurs de créer des lignes mélodiques simples et accessibles.

💡Gamme de C majeur

La gamme de C majeur est utilisée comme exemple de base pour l'improvisation dans la vidéo. Elle est choisie pour sa simplicité et sa familiarité, offrant une plate-forme pour explorer différentes techniques d'improvisation telles que l'utilisation de la gamme pentatonique et la superposition d'arpegios.

💡Mélodie

La mélodie est la partie musicale qui consiste en une séquence de notes jouées une par une. Dans le script, la création de mélodies expressives est liée à la compréhension des intervalles et à la capacité de jouer avec les différentes gammes et arpegios pour exprimer une émotion ou raconter une histoire.

💡Accords

Les accords sont des groupes de notes jouées simultanément et forment la base de la plupart des structures musicales. Dans la vidéo, l'analyse des accords sous-jacents est discutée en relation avec l'improvisation, en particulier pour comprendre comment les notes extérieures à la gamme peuvent être intégrées de manière harmonieuse.

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

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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

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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

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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

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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

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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

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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

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n

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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

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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

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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

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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

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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

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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

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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

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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