[Kirk Lorange]

Please note that the movie is a 4 Mb download ... it may take a while.

I thought I'd do a quick demo of the power of knowing the chords to a piece of music ... knowing then inside and out, all over the fretboard. This is the progression I used in the last fingerstyle lesson I did, in fact it's the very same mp3 of the arpeggiated chord progression.

As you must know by now, when I improvise melody over a piece of music, I don't think scales. I would have very little success creating a solo over anything thinking scales. That's not to say that others wouldn't ... but I wouldn't know where to begin thinking along those lines, especially in a piece like this that introduces a bunch of 'outside chords' into the picture -- chords not int he key of G. Once that happens, you would need to start thinking of different scales for different parts and somehow merging them into melody. Way too hard for my poor old brain. The fact is, though, the chords of the piece have already, by their very nature, selected the strongest melody notes: their chord tones ... the notes that make them up. It doesn't matter how many outside chords come into play if your tracking the music chord by chord, and you can see its tones scattered the length of the fretboard, instead of scale patterns. One way or the other, you need to think of something, and since you need to know the chords anyway, why clutter your brain with a whole other set of patterns? The other fact is that you would wind up weeding out of the 7 scale notes (of whatever scale is in play), the strong notes with which you would want to start and finish your phrases ... chord tones!

This demo is not meant to be an award winning melodic extravaganza! I purposely played only chord tones so you can hear that they work, they're right, they don't clash with anything, they fit ... I did this so you can see that it is possible to, first of all, see them there for each chord, and that once you can see them there, they can strung into melody that isn't just plucking notes from a chord. In other words, playing just chord tones needn't be boring. Most of the chords used in this have 4 or more chord tones to work with.

I used my index finger to make it a little clearer for you, and also to show that muscle memorized runs and riffs aren't coming into this particular run through. I'm hunting the chord tones down ... seeing them and stringing them together as I go, thinking a little ahead so I know which chord is coming up, hearing the evolving melody in my head, steering it to a pleasant resolve ... listening, steering, listening.

You can take my word for it that all notes played are chord tones ... or you can pick it all apart and see for yourself. If the chord is a plain old major, I use the 1-3-5 of that chord; if it's 7th, the 1-3-5-b7; 9th? 1-3-5-b7-9; minor? 1-b3-5; minor 6? 1-b3-5-6 ... etc. The melodies are simply the result of stringing those chord tones together ... timing, dynamics, taste also come into it, of course, but the choice of notes is dictated by the 'chord of the moment' ... not the 'blues scale'.

Seeing them there is the trick, and I won't tell you how I do that. My book/DVD PlaneTalk explains and demonstrates that trick ... it's very simple, but takes a lot of work putting it into practice. Once you digest it, though, you can see the entire fretboard as a chord, and no chord is trickier than any other .... they're all the same, all friendly, all familiar.

If I were playing a proper solo to this, I wouldn't restrict myself to just chord tones; you'd hear a few - and I do mean a few - non chord tones in amongst it all, adding detail to the picture. They are a piece of cake to see and use once you can see the chord tones ... they are, of course, other scale notes and chromatic scale notes (thinking 'modes' become redundant ... I'm playing all kinds of modes in this without once thinking about them) ... in other words ALL 12 notes become easy to use once you can see the CTs. They can link two CTs together, or add tension if lingered upon, generally embellish and add color to the CT melody that lies at the core of it all.

The progression is:

| G - - - | - - - - |G7 - - - | - - - - | C - - - | - - - - | Cm - - - | Cm6 - - - |
| G - - - | E7 - - - | A7 - - - | D7 - - - | G - - - | Edim - Am7-5 - | G - - - |

I hope this helps you understand the power of knowing your chords! If you know your chords well enough, you know all scales and modes also.

[randomaire]

Maybe I'm just confused with the whole 1-3-5 and all that.. ok maybe I need to back up and find out more about the I and II and IV etc.

And I would guess from what was said above that you are just using the notes on the chords in different positions of the fretboard to put together a tune.. I would guess that progression is what you're thinking of when you picked those notes, if not I apologize, I'm just not following to well... I'll have to learn more.

[Kirk Lorange]

That's cool, randomaire, no need to apologize. Yes, I'm following that progression, chord by chord.

[justinthyme]

I've played it a hundred times - still can't reconcile the BT with the chord chart ... got no hope of improvising over it if I can't hear the chord changes etc properly. Hmmm, wonder if I'd be any better at bowls? lol

[Kirk Lorange]

Originally Posted by justinthyme

I've played it a hundred times - still can't reconcile the BT with the chord chart ... got no hope of improvising over it if I can't hear the chord changes etc properly. Hmmm, wonder if I'd be any better at bowls? lol

Have you looked at the original lesson, Ian? That Cm6 is probably better written as Cm/A ... the A being the 6.

[Fretsource]

Thanks for the explanation regarding how you choose passing tones, Kirk. That makes a lot of sense. If you always see the I IV V chord notes, then you are automatically seeing the whole scale anyway, but in a more useful 'order' than simply in order of pitch as is the case with scales, because it also tells you something of their harmonic function.
Also, seeing the chords, not just as they are presented in a song but as potential extensions, gives you access to extra chord notes, all of which will be harmonically sound. I'm glad you liked my term "super chord" - I even impressed myself when I wrote it Feel free to use it.

So, I see definite and very significant advantages in your method over the more traditional scale approach. But the voice of reason within me says, there may also be certain advantages in the scale approach to improvising too, and I'll spend the next few days trying to think of some and considering some of the points raised by Bob and others.
I think we all agree that scales have other uses. They have both theoretical and technical value.
In theory: Arranging sets of notes in order of pitch according to a strict pattern of whole/half steps allows for easy comparison between other 'sets' and it makes transposing between keys simple. Referring to the major scale is also the simplest way to build chords.
Technically: Scales provide great practice material for training accurate finger placement and efficient finger movement, within a musical context. i.e., training the fingers to move in ways that will be constantly encountered in real music.

Bob - I'm not quite sure myself what I meant about my using modes differently to how they're used within major and minor keys. It's just that being stuck somewhere around the 17th century, I often hear them being talked about in rock and jazz contexts in a way that I never use them. For example, a song is in the key of C major and the current chord happens to be D minor. I will improvise using (mostly) the C major scale and my ear will guide me to emphasise the notes that work best while the D minor is sounding. Kirk will use the chord tones of D minor with passing notes as required - but there are others who'll talk about using the D dorian mode over the D minor chord. Sure, it will work, as the notes are exactly the same as C major's notes but starting on D. But it's really just the notes of the C major scale with a fancy name. Then they move on to another 'mode' when the chord changes again.
This is very different to a song which is actually written in the dorian mode such as Scarborough Fair. The minor third and raised sixth degree give a distinct flavour throughout the song, recognisable as 'dorian'. I might start a new thread on this subject as I'd like to explore it further.

[bmurnahan]

Bob - I'm not quite sure myself what I meant about my using modes differently to how they're used within major and minor keys. It's just that being stuck somewhere around the 17th century, I often hear them being talked about in rock and jazz contexts in a way that I never use them. For example, a song is in the key of C major and the current chord happens to be D minor. I will improvise using (mostly) the C major scale and my ear will guide me to emphasise the notes that work best while the D minor is sounding. Kirk will use the chord tones of D minor with passing notes as required - but there are others who'll talk about using the D dorian mode over the D minor chord. Sure, it will work, as the notes are exactly the same as C major's notes but starting on D. But it's really just the notes of the C major scale with a fancy name. Then they move on to another 'mode' when the chord changes again.

Thinking in modes as the chords change is a very clunky and ineffecient way to think about things IMHO. I have never advocated that and never will. Playing chord to chord is by far superior and easier to use. In fact, most of the players I know center around chord tones. Check out any great jazz solo and you will see that this has been going on for a long time.

In fact, check out Bach and other composers and you will see this has been going on for hundreds of years.

There are times however, in which one scale can work over a series of chords and can produce a different set of note choices. Larry Carlton does this a lot with the blues scale.

As far as modal playing goes that is a different topic altogether. You have to find ways to be interesting over one chord. If you check out some of the jazz greats you will find then implying chords where non exist as a way to create harmonic movement and interest. As you said, this is a different topic altogether.

[Fretsource]

Originally Posted by bmurnahan

In fact, check out Bach and other composers and you will see this has been going on for hundreds of years.

Good point, Bob. Bach is probably is probably the ultimate example of the power of chord tones. It also highlights the fact that in classical guitar and other instruments, arpeggios have always been considered as important as scales in the development of technique and musicianship.

[Kirk Lorange]

Originally Posted by Fretsource

... I see definite and very significant advantages in your method over the more traditional scale approach. But the voice of reason within me says, there may also be certain advantages in the scale approach to improvising too, and I'll spend the next few days trying to think of some and considering some of the points raised by Bob and others.

Whatever way gets you there is the way to go, Fretsource. All I'm doing here is showing how I go about it, and it works a treat for me ... for those who are having trouble with scales, give it a whirl. There is no one way where it comes to making music; the only thing that matters in the end is the music itself: is it nice to listen to? does it do something to you? are you moved when you hear it? do you want to hear it again? The fact is, I am playing scales! I'm just doing it from the chord out. I do wind up using all scale notes, but I'm seeing them differently ... I'm seeing them in the context of each moment. I'm also seeing and using the other notes that aren't in the scale, that are in the 'background' chromatic scale. That's why I find the idea of just scales restricting, especially the pentatonics.

I think we all agree that scales have other uses. They have both theoretical and technical value.
In theory: Arranging sets of notes in order of pitch according to a strict pattern of whole/half steps allows for easy comparison between other 'sets' and it makes transposing between keys simple. Referring to the major scale is also the simplest way to build chords.

Of course. To become proficient, you should know everything about music, and the major scale is the main blueprint. Know it and know it well. It is the master template, the reference for all notes; it is the Mother of all Music.

Technically: Scales provide great practice material for training accurate finger placement and efficient finger movement, within a musical context. i.e., training the fingers to move in ways that will be constantly encountered in real music

I personally have never practiced playing scales ... I've always preferred real music, real melody, real context. The danger, to my mind, in practicing them is that you will begin using them as improvisation, as melody. That's great in certain kinds of music, or if you like the sound of it, but not if it's melody you're seeking. Whenever I do want to play a scale based line in my improv ... I do! It's not as if it's one or the other ... I see ALL scales via chords and either use them or not.

Again though, that's just my opinion. I'm just passing on what works for me. I'm not out to debate anyone on this.

Bob, this thread is all about chord tones. I didn't go to all the trouble of making the movies and writing the explanations to have it all picked apart here. I know you like pentatonics, and that you've written a book about them, and you're free to discuss them and hopefully demonstrate them to prove your points, but start a new thread if you don't mind.

[DE_South]

Excellent stuff. A tru pro. Thanks for the insight!

[jhoita]

Hi Kirk

Great lesson on Chord Tones.

I'm waiting for delivery of PlaneTalk. Also your DVD on slide guitar.

Do you have the tune you where playing in grp tabs or the like?

Thanks for this lesson.

John Hoita

[Clancy]

Originally Posted by jhoita

Do you have the tune you where playing in grp tabs or the like?

Thanks for this lesson.

John Hoita

Hi John,

I could be wrong, but I think you'll find the TAB and a gp4 file in this lesson here - The Arpeggio Blues

Clancy

[jhoita]

Thanks Clancy

Again, you've come to my aid.

Regards
John

[djangowish]

Can you do the same for the song "all of me" For a dummy it is the leap needed from twelve bar to harmony.


br
Phil

Maybe this approach depends a little on whether you are trying to fit a solo to a chord progression or a chord progression to a melody. I would guess many melodies of songs are thought of before the supporting chord progression.

[djangowish]

Hi just want to learn " all of me" whether meolody, harmony or whatever. Primarily would like to interpret Lionel Grigsons chord substitutions book into meaningful ability to play the chords so stated in the book and some voicing of those wonderful songs of that era of "jazz classics"
Where to start ?

Would seek practical help in interpretating that chord subsitution book. Can I send you a scan of the chord sequence and you could return me tab of the first few bars ?

br
Phil