SEBASTIEN ZUNINO - GUITAR BLOG
Hello everyone, I'm happy to meet you here for this reflection on the use of arpeggios and triads in improvisation.
How to use arpeggios and triads positions to improvise ?
That's the big question ... I think we all find ourselves learning our positions and trying to improvise ... and that's the drama ... It seems like nothing works, we do the same things all the time, we go round and round, we re-engage the distorsion and we play the same things because we have fun!
This is quite legitimate because the guitar is made to be for pleasure.
In this video I will try to give you some tracks to practice triads and arpeggios but especially to make music with.
This is, of course, only a tiny sample of what can be done. In addition, I invite you to create your own exercises.
The most important thing is to give you some tips for adding phrases to your music.
Hello everyone, today we're going to work a little on a grid of a solo by Pat Metheny.
The song is called "Have you heard" and the version I found is from the video of Pat Metheny Group.
This is for me a masterful solo! A course of improvisation and good taste all by itself!
What a killing !!! Everything is magic, architecture, discourse, rhythm, style, sound ALL!
We will look together what is happening
Hello friends, today I will try to give us some practice tracks on major chords 7.
I remind you briefly that a Major 7 agreement is composed of:
- Major third
- Just right
- Major seventh
As I show very partially in the video there are thousands of ways to treat a chord, whatever it is, on the guitar. There are hundreds of possible reversals more or less functional in game context. Unfortunately for me, the ones I prefer are the most complicated to do, especially because of the extensions ...
We must also take into account the contexts ... We do not use the same reversals according to the style of music that we play. If you play bebop or fusion or variety you will not use the same reversals.
Personally my goal is to arrive to be as effective as possible in any context and at the same time to find my own way. For example when I work "my own style" I try to make sure not to really use the common reversals but to rethink my agreement.
For example in the video we are on EΔ or E major7: the notes that make up the chord are Mi-Sol # -Si-D #, so we have 2 triads present in the basic chord: a triad of E major (Mid-Sol # -SI) and a triad of minor G # (Sol # -Si-D #).
We could use a triad of major B to also resort to the 9th or a triad of C # minor to bring the sixth ... And the possibilities are many
Hello everyone I'm happy to meet you here for this "thorny" subject that blocks many people on the guitar.
It is true that it is not so easy to learn the name of the notes on the guitar as on the piano.
Despite this small difficulty is by no means insurmountable, far from it.
In the video and the article below I will explain why I think it is essential to learn the name of the notes on the guitar, especially if you make improvised music.
Hello everyone and welcome to this article,
I'm happy to meet you here. I thought it would be really cool to do a little animation around my YouTube channel.
The principle is simple, you learn the main riff, you fuse and post it on your social networks with Hashtag #lebluesdespotes.
It's a style of blues in A minor with some small variations, questions, answers, double stop, hammer on and pulling off, appoggiaturas ...
I tried to find a bluesy original riff in the style of Stevie Ray Vaughan.
You will find below the link of the lesson and the backing track that I made with.
We'll see that together.
Hello friends, I'm happy to meet you here for this little tutorial intro Lucille intro of the big BB king.
I really think it's the typical blues solo "roots." And those who want to do without the pentatonic scale will surely agree that when a guitarist like BB king or Stevie Ray Vaughn plays the pentatonic range it hurts a lot!
It's extremely hard limit to play! Why ? Because he plays the guitar as he sings and it's very difficult to find his groove and his instinct.
I did not want to capture the song so I played it myself and it was not easy.
Indeed, it was not long before I started blues. I was rocked by my father's records, Led Zeppelin, The Beatles, Santana, Police, Tears for Fears, Van Halen etc ...
After that I went straight to hard rock, then progressive metal and Guitar Heroes, then Jazz Fusion and Jazz without going through the blues box.
Today we are going to have a little fun doing ear training.
Developing your musical ear is essential when you are a musician. Many people think that they are not talented but one must not be fatalistic, the ear is educated.
Do not be frustrated to have zero music dictation when you've never done it!
In today's quiz we will focus on 2 intervals only: unison or octave and fifth.
I am preparing a training ear training for very soon.
The answers to the questions asked in the video are further down in the article.
Today I'm going to demo the Yellow Q from Usound.
Visit their website: http://www.u-sound.net/
The Yellow Q is one of my favorite pedals. It is a filter envelope ie a kind of auto wah wah.
Ideal for Funk rhythm and Psychedelic Blues riffs as well as for typical scofield solos ...
I let you discover in the video.
Today we are going to play a little Funk Blues with Hendrix sauce.
It's pretty easy to play and you can easily jam with this kind of riff.
I have fun doing this kind of riff blues rock since I was very young and it seemed pretty innocuous and banal, until the day when I repeat it to test my sound and the singer told me - "Ho c 's awesome this thing ... "since I do backing tracks with (hahaha).
Gone, I explain everything in the video.
I'm happy to see you in this article about improvisation.
It is not a pure improvisation course but rather some tracks to exploit to stimulate the creativity and the understanding of the musical modes.
Thanks to these few tracks of work I hope that you will begin to diferentiate musical thought and the straitjacket of ranges and arpeggios.
I'm not saying that you do not have to work with his scales and arpeggios, far from it, but I think that when you start from a melody to develop your improvisation, you really start to improvise. We are guided by the musical idea and no longer by plans.
Moreover thanks to all this material you will begin to better understand the articulation of modes.
I'm happy to meet you for this little tutorial of a plan from Sultans of Swing by Dire Straits.
I had already done the complete tutorial of solos of Sultans of swing, I put them in link and I will do again a blog post for tablatures.
I'm happy to meet you here for a blog - vlog on one of my favorite topics: the triads !!!
I know a lot of people are wondering: - "What's the use of the triads?"
It is true that according to the style of music we play we use more or less of the form in which I describe them.
However everyone plays triads, even without knowing it.
When you learn to play your favorite songs using chords with empty chords, you use triads.
The chord of G (G major) is a major triad, ie it consists of 3 notes (you will tell me, - "but no there are not 3 notes, I scratch the 6 strings "... In fact in this case you repeat the same notes: G (G major) from low to high is Sol Si Ré Sol Ré Sol.)
Hello everyone, like every day I'm happy to find you here!
Today we are going to work on a very simple but not so easy return exercise.
When working back and forth on the guitar, the fewer notes per string, the harder it is.
That's why we will use this little plan to torment your right wrist.
As I said very often in "guitar Vlog", if we had to work a single thing every day, for me it would be the rhythm.
Indeed whether it is my students or the guitarists whose videos I can see on Facebook or youtube what is most lacking to Western musicians is the rhythm ...
What is the common element of any great musician of all styles and instruments? It's a good sense of rhythm.
I think the question came up very often in the comments of Guitar Vlog.
And it is true that there are finally few people who really know how to play modal and even fewer people who know how to explain it, even in some well-known music schools.
I spent a lot of time understanding how to improvise with the modes simply because there is nothing to understand but to hear!
Notes are like words, it is the way of arranging them that makes sentences make sense or not.
I see myself a teacher in a school in my area that has a very famous name that told us to play melodic Ab minor on an altered G chord (because Ab minor melodic and G superlocrian are composed of the same notes) it is SHIT to think like that !!! And that's why the students do not understand anything and they can not speak.
Here is one of the most frequently asked questions in the comments of youtube videos of guitar Vlog or by live students.
Some will tell me that there is no technique but "techniques". False
Another comment from a person who learned in a compartmentalized way and too academic.
For me the technique is not necessarily play fast or tapping like a patient on the guitar and I'll even say that some very fast people on the guitar with tapping shots to the eye and a sound with 2 tons of distortion and 3 tons of stereo delay do not necessarily have a good technique.
Today I wanted to talk to you about the right hand guitar and its importance in the development of the game.
I see little jokers coming with "the right hand of the right-handed or left-handed?" Or "yes, but I am left-handed". Finally, jokes of the level "your range Neapolitan you take it with olives and parmesan? ...".
In short, you have all understood that it was the hand gripping the ropes or holding the pick or both.
Even in the case of a majority use of the legato game, the right hand remains essential. If we observe the game of Allan Holdworth, who is for me the undisputed master of the legato, we can notice that there is a real strategic use of mediator shots.
For my part, I use the legato game a lot but I nevertheless attack many strings as in the video "mix back and legato". Indeed it gives a lot of dynamics to the game. We can accentuate some notes in the case of swing for example.
There are some guitarists who do not play us at all with "the right hand" in the case of exclusive 2 hands tapping like TJ Elmerich or Stanley Jordan. These two great guitarists are immediately recognizable by their games and the sound induced by this 2-handed tapping technique. Although they are monsters, I much prefer many other guitarists.
Those who follow Guitar Vlog know how much I value triad practice. Indeed as I often say to students with the triads we have oil in the garden.
Many people tell me - "yes, but I know the triads" and when I show them what I mean by that they are often surprised.
Often people only think about tight positions without trying too hard. But a simple triad of C major (do mi sol) can be played with no less than 27 different rollovers. (see the videos of guitar Vlog)
If we consider a C we have 27 rollovers with tight and open positions.
If we consider that a C maj7 is a lower minor E triad of C, we will have to develop the triads of C and Em.
If we consider that a C6 is a triad of Am bass of do we will have to develop the triads of C and Am ...
And believe me the list is long.
In this article I will give you some tips to practice the guitar.
- Practice and / or play
There is a difference between playing and practicing. We can spend hours "playing" without progress or at least progress little.
Attention I do not say that we should not play, besides I often recommend to my students to practice really only if they have time: if you have 1 hour to play guitar, try to play 40 minutes and practice a concentrated 20 Minutes.
The ideal is to find a balance between playfulness and rigor.