This is the alternative rock Jam track before we just focused on pentatonic minor and the minor scale but that can get kind of boring and there is way more cool stuff we can do with just that power cord track.
Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful.
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Alright, so this is a follow up to the last lesson on the same Jam track. It's an alternative rock Jam track before we just focused on pentatonic minor and the minor scale but that can get kind of boring and is way more cool stuff we can do with just that power cord track.
Here's what's important power cords are not major or minor.
They're just power chords you as a lead guitar player can make them major or minor depending on what note you're playing. So what I want to do is instead of it. Just feeling like an a power cord. I want to make it feel like an a major chord and then instead of it being a Jima.
G power chord, I want to make it feel like a G major.
Now. You might know it might be tricky to figure this out. But A and G are both major chords in the key of D major. All right, that's the fourth chord on the fifth chord in the key of D major.
So really what I can do is I can use all the notes of D major but it's going to feel kind of funny because I'm not in the key of D major really what I'm going to be it is I'm going to be in the fifth mode of D major and that means I'm using the D major scale. I'm using the D major chords, but my home base is indeed. Home base is the fifth note of D. Which happens to be a in this case. So here's our home. We're playing a major the cord, but we're really in the key of D major. Here's G major the chord, but we're really in the key of D. So we're focusing on a but we're using everything from the and that's working modally. So the mode we need is mixolydian and we're going to play a mixolydian find a on the low string of the fifth fret definitely get used to memorizing that and the shape is pretty simple at five seven nine five seven times 5/6 Seven eight ten seven nine three notes per string shape. So the first thing I'm gonna do is I'm gonna press play and I'm literally just going to play up and down the scale. That's it. And you're going to hear at least what this does to the Jam track. So before it sounded like really grunge Rock and just rock it out like Pentatonix out then attacks always feel like that. Mixolydian is going to sound totally different and I just want you to take a listen here.
Now compare that to pentatonic it's way more interesting way more color way brighter, too. I mean you might want that. I feel to really just get some nasty emotion in there. But I think this is more enjoyable. I think it's more Progressive.
It reminds me more of like that solo guitar work. You normally hear guys like Joe Satriani and John Petrucci.
So the mixolydian scale would definitely an excellent choice here for this Jam track, but I want to go a step further. I want to talk about some specific things we can do. I told you we're turning a into a major chord by playing that extra note and this case it's going to be a C sharp.
So I'm going to try and make it a point when whenever my a power cord comes I really want to play.
Have C sharp to just accept the fact that I'm making it a major chord to The Listener then when a g comes up, I'm going to be playing a b which would be right here and that will help kind of reinforce. The fact that my G is not just a power cord, but it's a G major instead. So here's the ideas when a comes up. I play this note when she comes up. I play this note.
That's the only thing I have to worry about for my first for the next solo. I'm going to play here now in between I get to do whatever I want. So I'm going to play my C sharp and then I'm going to just kind of do something in the Shape that I'm playing that I'm going to end up eventually back down on a b then I can do whatever I want and then I'll end up back on a C sharp. So I only have two landmarks to hit. I only have my C sharp and my B those are the only two notes that I really have to think about playing in between those two notes. I get to go crazy as long as it's in the shape. And as long as it's on time, I can just kind of do whatever so let's try that out and see what happens.
Now that is extremely melodic. All right, it sounds very very good.
It's right there with the chords. You can hear the fact that we're playing a major G major, you know, that court has never actually being played you're implying that is a lead player. Now this kind of thing is going to work for the next section of the song because the next section is just E.G.
A those notes will all still work in mixolydian, but for the bridge section, we're not going to be able to get away with lying mixolydian because there's enough power cord in there and there's no F in our mixolydian scale.
So it's really important when you get to that bridge section of the song comes up twice.
You'll have to go back to a minor or back to a pentatonic minor. But if you try to continue playing mixolydian over that F power chord, you're going to have a lot of trouble. So there is a way to accommodate that there's actually ways to slip in mixolydian, but I don't necessarily want to go into that just yet. I might do a video on that later. So here's the last step here. The last Advanced thing. You don't have to play the entire mixolydian scale. There's a shape called mixolydian pentatonic, which is actually easier than playing the entire mixolydian shape and I just want to show it to you here really quick because Basically, like a distilled version of mixolydian.
So you get all the flavor out of the mixolydian scale and just five notes by playing this one shade It's a Wonderful State you can start right on the 6th string wherever whatever key your insert your D mixolydian started on the 10th fret and then play the trailer if your name is we're going to do today or just start on the 5th.
Listen to what this sounds like. It's just all the good parts of base of mixolydian basically, and I'm going to use this to describe Kind of rock out over the top and you'll hear what it sounds like.
So try and remember that shape because it's a very very quick and easy way to get a nice tone out of something that to do anything complicated with it. You can see most of the moves on playing are simple. I'm letting notes ring out for a long time. I'm bending them.
Hopefully the idea here was to kind of show you how you can analyze the chord progression to go past. Just what most people would assume, you know, the average guitar player is going to hear that chord progression think oh, I'm in the key of you know a I don't know what to do. Box guitar players would say then the more educated guitar player says, oh I see in a power cord. I'll play a pentatonic minor if they're more advanced. They might recognize that it's a minor but you know, you take it up a notch here is I don't have to be in those keys because there's nothing holding me into the key of A minor all I was in a and I could pretend that's an a major in a G major and the scale that would work great for that would be a mixolydian and then of course what we just did is just chopped mixolydian down to mixolydian pentatonic to get more of a I don't know a refined tone out of it. So that's Basically what I wanted to kind of get the point across here, so I'm going to be doing a few more of these lessons on different styles. So I think the next one might be like a minor blues kind of like a BB King Santana style. I think that's overdone, but I'll give it a try. Anyway something. We'll see if anybody likes it. Thanks for watching.