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I got the theory but the problem was that I could also comprehend the amount of work involved to internalise it and it scared me.
What I didn't realise is that you don't need to know all of it!
Even just a tiny amount will take you ahead of where you are now.
I first learned the notes on the fretboard. This took about a month of 10 minutes a day. 1 string at a time going round the circle of 5ths in both directions until I could instantly to to a C or F# or whatever on any string.
From there I learned where the 3rd and 5th were in relation to that and started targeting them and at the same time being consiously aware that I was. That was quite a big deal if I'm honest but like most things got easier.
The I added more notes, one a time over a period of weeks and even months (this is ongoing for me as I'm not there yet)
But it does get easier. Once you know where you 5th is you already know where your b6 is as it's 1 fret higher. You just have to practice it until you wire it in.
For me that "I want to know it all now" mindset really did (and still does) hold me back. I guess I'd love to be a master of the modes without putting in the flying hours but sadly that approach didn't work in the last 40 or so years so I'm gradually doing the work now.
On second thoughts, I didn't think shredding met the requirements of the OP.
BUT,BUT,BUT
Once you understand song structure and your ear picks it up quick you can almost predict the next chord or sequence of chords especially as many are cliches or well known progressions ....especially in pop ,rock,country, trad Jazz
You will know quickly what key you are in ........you will know the style of music
Once your ear has been tuned in to certain sounds you will pick up on the chord extensions/complexities
Ask yourself this ;
Does your know what a Major 7 sounds like ?
Does your ear know what a Dominant 7 sounds like ?
Once heard you cannot mistake the sound of an half diminished .....
Do you recognise the sound of a simple major dropping to the minor of the same chord ie the sound of flattening a 3rd
Spend an hour strumming a 2,5,1( you already know what a 1,4,5 sounds like ) ......your ear will never forget it
it's a typical overused progression ......you will hear so many songs in your head
then see if you can arpeggiate it
Mix these in with your Pentatonics appropriately and a huge vocabulary will open up just from that
It isn't too advanced- you can do it if you approach it properly.
Start with a blues in A.
A, D and E7.
The chord tones are this:
A: A C# E
D : D F# A
E7: E G# B D
The thing to concentrate on first is the turnaround, which is a I V7.
So you are going from A C# E to E G# B D.
Play these as arpeggios to a backing track and notice how the chord changes.
Or look at a ii V I in C:
Dm7: DFAC
G7: GBDF
Cmaj7: CEGB
When playing a ii V I you break it down to two chord changes, the ii to the V and then the V to the I
So play Dm7 (DFAC) as an arpeggio (to a backing track) and transition to V (GBDF).
Notice that two of the notes are common to each chord.
Then play V I as a backing track:
G7: GBDF to Cmaj7: CEGB.
Notice that two of the notes are common to each chord too.
Think about what is the 3rd and 7th of each chord too.
G7's are B and F, Cmaj7's are E and B.
These are the important notes.
Hold on.... the B is common to both, right? Yes.
In a V I the 3rd of the V chord is the 7th of the I chord.
These are two fairly simple examples- but start there.
Once you have this down you can expand.
If you can't do this then other stuff will be too hard.
It all needs to be done very very slowly.
Half the speed you think, mostly likely.
Or slower.
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Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Auto-Bounce by Tom Salta
Dreamhost Web Hosting
Look on it as a Picture frame..
in That Frame by adding 2 notes,,
you can get Dorian ,Phrygian or Aeolian / Natural Minor
So the A Pentatonic Minor is present in A Dorian,, A Phrygian and A Aeolian..
add 2 and 6 for Dorian,,add Flat 2 and Flat 6 for Phrygian and 2 and flat 6 for Aelian..
Then Grab Yer Position 1 Major Pentatonic,,same as Position 2 Minor Pentatonic..
Look on it as a picture Frame.
Add 2 and 6 you get a Major / Ionian...From there sharpen your fourth and you get Lydian..
Or flatten the 7th in you Major you get Mixolydian..
So A Pentatonic major is present in A Major,,A Lydian and A Mixolydian..
You can play around or across chords...
So say you are playing against C A minor F G..
You can play a C Major Scale against this..
If you are Playing against C A7 F G.
You will need to depart from that..
So You can play,,
An A Bluesy Lick or an A7 Arpeggio,,
I neglected arpeggios early on..
When playing around chords they are definitely handy and worth learning..
You can do much more with them too..
There are other options for the A7,,but that might muddle you just now..
OK play a B flat Diminished 7 arpeggio on the A7..
Hopefully that will spark some interest to learn what is happening and move beyond the Major Scale....
Usually it's at the end of a verse, on a certain chord. Santana does it a lot, and the Scorpions for example (as dop many others)
also listen to Steve Hillage, often very bouncy jolly solos
try soloing in major keys as well
Dominant 7 Think of a Bluesy Southern Gospel Choir of the Non White Ethnicity..
Minor 7th a bit more Sophisticated sounding,,it is a much less intense Minor..
Make your own little picture or connection..
It's also an inversion of a Major Six Chord,,learn the Arpeggio and get 2 for 1..
Minor 7 Flat 5 ,a Darker sounding Minor,,sometimes called Half Diminished
,,also an inversion of a Minor 6th Chord..
I connect it with Autumn Leaves,,
You can use it for substitutions of other stuff too..
Why learning Arpeggios is so useful and cool..
https://www.youtube.com/channel/UCBTSHf5NqVQDz0LzW2PC1Lw
https://www.youtube.com/watch?v=0cvTD_GV99w&ab_channel=PhilXOfficialFanClub
Scales starts up at 6:40
Their latest lesson is on...
Alternate Pentatonic Scales - Phrasing Pathways
https://www.fretjam.com/different-pentatonic-scales.htmlhttps://youtu.be/RCPRqZFjML0
You can do a lot with pentatonics tbf and fill it in with colour tones here and there
https://youtu.be/00pQ4yFn0Bw
So as an example, try adding a 2 or 9 to your penta noodling, not a b9 for the time being, but a normal 9 - a B in other words. And hone in on that note while you noodle. Give it a bit of length, a bit of accentuation. Slide up to it from the A a couple of times. Try using it instead of the m3. Try using it instead of the 1. Give it some space. Taste it. In time you’ll sound a bit jazzy.
Now try a flattened 6th instead, and put the 7th back in. Now you have a more tragic scale than penta which is a bit bland. That flattened (minor) 6th imparts the most sorrow into any minor piece. A C D E F G A.
Over an A minor chord, Instead of playing Am penta around fret 5 like you normally do, move your whole hand up to fret 12 (or down to the nut), and play Em penta. That effectively adds the 2, at the expense of the 3.
(Remember that the root of the scale is still the A (fret 2 or 14 on the G string and the open A string (or fret 12 on the A))).
1) Stay pentatonic for now and concentrate on a "call and response" feel to your playing. The aimless noodling drops away, and now the music is having a conversation with itself.
2) Noodle, but as you do, throw in a real stinker of a note that "doesn't fit", then try to feel where that note wants to go. Fight your way back to the pentatonic.
Rio