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For sure! After all, melodies are mostly made of chord tones, just listen to nearly any vocal melody. It's really the way guitar has been traditionally taught, with an emphasis on scales and scale shapes, that has made people forget that chord tones are the literal answer for creating melodies. For EVERY genre as well.

Fabio it is when he is literally playing the notes in the chord.

Chords are a guitar-based advancement of what Bach tried to do when he invented scales.

I'm glad to hear it. That is my goal!

I'm glad to hear that, I appreciate it! Let me know if you have any suggestions for future videos.

Thanks for the comment. For sure, all good stuff. I somewhat disagree with the 3 to b3 sounding wrong, I've been leaning towards it lately for some reason! I think the main thing people have issues with however is the actual act of changing chords. Playing and learning all 12 notes over a single chord I think is pretty doable, it's being able to look at those notes over the chord, but then also over the next chord in real time. So what's even better in my opinion (what I'm getting into with this series) is looking at C7 and memorizing the root (C) is the same as the 5th of F7 (the next chord in a standard blues). Or C7's 3rd will move back a fret and become F7's b7, etc. These are the types connections I find most valuable as it's a clear path through the changes.

Totally agree. Someone once said, “you never really understand a subject until you can explain it to another person so that they understand it.” LoG is the Jedi Master!

Glad you think so!

Thanks for sticking around and watching!

Correct!

Of course. However this is for the people that only play scales and never think about chords whatsoever in their lead/melodies. In my experience whenever you first introduce the concept of chord tones to someone who has never considered them, you have to force them to only play those tones. Otherwise they fall back into their habits of running scales and not paying attention. The ideal setup is to play whatever you want, literally all 12 notes, while always understanding what any given note will be on top of the chord you are playing. The problem is guitar players often don't do this because they're so reliant on patterns that they don't really think about the notes under their fingers.

The "how to think about chords" would definitely help. Really anything that will get you thinking about the individual notes and chord shapes. We'll be doing that in this series as well however. In case you need the link: how you should think about chords - Full series: kzfaq.info/sun/PL1HaLokJCJ6JBA9DFWZG8iZyR4SdUP_Yr

possibly in the future. Closest thing I have for that would be this series: kzfaq.info/sun/PL1HaLokJCJ6Io8GBa9d7aANeSXBPofr7e

All of the small chord shapes I'm playing off of are basic triads of each chord. When you play small chord shapes like these on groups of three strings, the order is pretty much always the same. When you have the root (1) as the lowest note (lowest in pitch) The order will always be 1 3 5, so 1 on the G string, 3 on the B string, 5 on the high E string. When you have the next note, the 3rd as the lowest note, The order will always be the same but starting with 3, so 3 5 1. 3 on the G string, 5 on the B string, 1 on the high E. And finally when you have the next note, the 5th as the lowest note, The order will again be the same but starting on 5, so 5 1 3. 5 on the G string, 1 on the B string, 3 on the high E string. Using small chord shapes like these to navigate through leads is incredibly valuable, as it maps out with very easily digestible shapes where all of the chord tones are. Hope that makes sense.

Thanks for the comment. To achieve the sound you're describing you *target* chord tones, you do not *only* play them. If you only play chord tones you will be simply playing the notes that are already happening behind you all the time, which can give a somewhat plain sound. This is the problem people usually get when they only play arpeggios, you're not really getting any other colors other than what are already happening in the chord. However If you utilize the other notes to help emphasize those chord tones, that is where the color comes from. And in fact as you experiment you might start to prefer certain non-chord tones, like landing on the 2 of a minor chord. It's all about learning the flavors of each note available in the general chord sound, which include the normal chord tones but also every other note. However regardless of what you do, it's always important to have the chord tones highlighted in your mind, as that will give you the notes that lock perfectly into the chord, allowing you to plan ahead as you play through the changes. This is all something you will see as you continue through the series, Thanks for watching!

@@LoGsounds Thank you so much for your response, really appreciate it ❤️

It's actually even easier to do this strategy over a drone, because you can come up with your own chord progressions in your lead as long as the drone works with the chords. Some very cool sounds are possible with this, and many people have done this sound in the past.