How to Solo on Guitar with Common Tones Video Lecture | Guitar: Become a Pro (English) - Music

you know this is just something that's a
lot of fun about identifying things that
you know unless you're in a coroner's
office but today we are going to talk
about identifying root notes of course
you already know and kind of string them
together with maybe a scale that you
know to kind of create some cool playing
possibilities and options and navigate
through the fretboard to kind of help
memorize different spots in relation to
each other to make it really easy all
right
so kind of the example that we're going
to use is going to sound something like
this
[Music]
so basically I'm just kind of jumping
around to G major chord pieces alright
so what do i mean by that is let's start
with just a regular genome you have the
third fret on the low E string so we're
going to kind of think of like a G major
type vibe here but we're gonna be able
to move this around to play at any one
of the twelve notes okay so I think it
would you major chord I think of a root
note G and its major third of the second
ratha on the a string you can can t to
start with a little - note kind of
couple there a G and a B now if you're
thinking of a scale you can play a G and
a be kind of like a three note per
string major scale I feel we're going to
talk about this G it's a major third
being down a string and then back a fret
so three E is to a now we're going to
use this is kind of like a touchstone to
jump to other G notes over the fret
board so the first one we're going to go
to is going to be the regular octave G
which we can get from like the major
scale G a B C D F sharp G and I man I
end up on the fifth fret on the D string
so there's a G and there's G now if I
played it in like a chord position like
in C this major third I can go to this
sheet and its range
okay so I'm just going to press higher
two strings down that'll always give me
the same note that I'm starting with
whether it's an a a B it's always going
to be something that you can kind of
like see in relation to each other all
right and now we're going to go beyond
that one more octave now exact quite as
easy is just going down another true
pressing down another three two strings
you have to compensate for the way the B
string is tuned so if we were to take
this gene and this show you we have to
go down two strings and refresh higher
okay so the eighth fret on the B string
is also but luckily its major third is
the same rule down a string back refresh
so I've got a G's and its third another
G and its third another genius third so
maybe you can kind of start thinking of
kind of just repeating one after another
to kind of get the intervals and
distances down between those and again
that works for absolutely any any note
that you wanna do and you can always
play these over a major chord or the
major key that you're in right now I
want to talk a little bit about this
octave the highest G and its major third
that we've done right here I've got the
eighth fret with my middle finger and
seventh fret on the high E string my
pointer finger now this is probably
already actually familiar with you if
you ever played a D major chord okay
just like that
there's my root note third fret on the B
string this might be the F sharp its
major third is right here so added like
bare minimum just wanna play the one and
the three of a chord weave out so five
right the five again all these are
triads a major quarter triad needs a 1 a
3 and a 5 what I mean by that is I think
the first note of the major scale third
note of the major scale
fifth note of the major scale and that
gives us a major chord a major triad so
and this
kind of representative of like a bigger
chord right here you're gonna look at a
decoy right here so if we think of this
D shaped chord by the time we get to
that right here we end up the G chord
looks like this so I'm thinking of a D
shape but I'm in the yielding a G
because my root note is here on a press
on that string now this kind of opens up
a lot of possibilities because if you
ever played a song with a DN a lot of
times you get a suspension here like
it'd be suspended for when you kind of
put your pinkie on the 3rd fret that's
fair game for any of you major chords
right this is Jesus alright so we have a
gene to another G to a higher G and then
we can defend that as part of a bigger
chord and then way actually is even more
useful than that it's thinking that okay
so this is a root note a third and then
we can grab our fifth right here the
fifth is always going to be one step
higher two frets higher than a fourth a
suspended fourth okay so if you're with
me so far you don't have to necessarily
know the numbers that we're talking
about but it's really helpful and I
think the main lesson here is to think
of this arpeggio okay i pair you play
chord 100 time we have a G a B a and
Aditya so we have a runo a major third
four frets higher than its main you're
flirted it is it's fit okay and maybe
you already know that you can kind of
put those you have to make a power chord
but what I think is really important
when we're talking about navigating
through the fretboard is finding a scale
that we're really familiar with and a
lot of people use the pentatonic scale
as something that they're really
familiar with because they just kind of
grill it maybe you even start drilling
before you even know how to use it but
this is going to be a great practical
application because the pen tonic the
minor pentatonic will start on these six
notes and any key so in the eg we have g
a b c d e f sharp teeth one two three
four five six that e g a b c d e the six
note is where that pentatonic scale lies
okay so we need to find a spot
that is an E okay to kind of start tying
these little cord grouping together and
one way that I like to think of that I
like to think of this kind of D shaped
cord and then once I inflect it to its
sis going a step higher than that it's
always going to give you the six the
relative minor which is really important
because that's where that pentatonic
skill is going to sound the best in any
key right so again this is a full-body
acoustic guitar there's no cutaway but I
need this stuff will work with the
cutaway with an electric guitar anything
like that but this is a great way to
kind of find your way to the minor
pentatonic scale the minor scale same
difference however you want to kind of
play however you want to perceive it but
we're just going to jump from this low
voicing to the designed a middle voicing
because it's kind of high voicing that
we can replace walk up to that minor
pentatonic shape and then you can do all
the kind of blues would you know from
that pentatonic thing because come on
you gotta learn a couple phrases or lips
from the minor pentatonic scale there's
a million videos on the internet by
everybody and their sister teaching kind
of like different minor pentatonic licks
right so again this can be totally moved
to anything let's do it in the key of a
so we'll start with that a and fifth
fret on the low E string which again
it's why it's great to at least know a
couple of strings as far as where the
root notes are the names of the notes
like okay seventh fret the B it's great
to know stuff because then you can kind
of use those like I said it's
touchstones to jump to other ones I know
this is an a I grabbed it major third
whatever that is
c-sharp you don't have to know it all
you have to know is this is going to
give you a major third I can run that
into my next octave and its major third
and then I can run that into it a and
its major third I guess I get a t-shape
I can maybe take that up to the fifth
and then one more and then there's that
minor pentatonic and now this is going
to kind of put me in no-man's land as
far as like an acoustic guitar without a
cutaway but the beauty of that is now I
can Mir this an octave lower I'm two
frets higher than the twelfth fret so
this is giving me an F sharp which is a
relative minor of a I don't even have to
think of that I didn't have to think of
the theory behind it all I need to know
is that this is 12th fret sanella music
I can jump 12 frets backwards I kind of
bring me into the minor scale duh -
scale minor pentatonic however I want to
look at it on f-sharp and then I can
start tying these chord voicings into a
scale shape right so aside from just
kind of being a good way to kind of
start moving around that's kind of
impressive looking where it seems like
you're jumping around the guitar it
seems like you're doing a lot more than
you really are but you're really just
kind of octave jumping and then into a
scale whether you do a higher or lower
those really matter but I think it's
just a good way to start thinking of
different octaves different touchstone
notes as you can jump to from each other
and maybe the last thing we'll talk
about is maybe just connecting these
instead of doing like a jump like that
like a G and B is the next highest G and
here is maybe connecting them with an
arpeggio like when we've done before is
like a 1 2 3 5 8 like that so that's
just kind of like in our patio run into
my next octave I do the same thing and
that kind of lead me into that chord -
however you get there is up to you
that's just kind of like your own style
you might want to start developing do
you like the sound the kind of first
sound of jump are you kind of like the
smoothness that in our
Ezio will kind of bring into a scale but
I think it's really important to start
thinking of arpeggios chord voicings and
scales in relation to each other because
that's how you can start putting it all
together
so definitely few have any questions or
comments hit me up in the comment
section section on Instagram Twitter and
website and I will talk to you guys soon
thanks a lot