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These 2 exercises will help you play the chord changes when improvising. Guitar Lesson – EP488

Description

In this week’s guitar lesson, you’ll learn 2 exercises that are designed to help you fluidly play through chord changes when improvising.

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Slow Walkthrough - Exercise 1

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Slow Walkthrough - Exercise 2

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Comments

  3. William Y says

    I’ve been trying to learn for a long time how to play over chord changes. I know the scales but cannot play them well enough over chord changes. These exercises are going to be an immense help to me. I have some work to do, but I think that I am on a good path.

  5. slk3rd says

    Brian, this is a mind blower! If I’m correct, maybe a better way of looking at it is that . . within the G Mixolydian scale, the C Major scale lives. I’m having issues processing the idea, because when I figure out the C major scale, my ear wants to resolve to a C, but when playing the G mixolydian, I resolve to a G note. I’m so confused. I need to take a cold shower.

    • michael f says

      I know my major scales pretty well and can flat the 7th but that is as far as it goes with me. This exercise is confusing because it has three major scales and their mixo modes all together. Interesting to see if this is a two or three part lesson like the previous minor scales study. This one is head scratcher

      • Mike S says

        Some confusing as he added a couple of connector notes and instead of starting D mixolydian on or near a D, He just Started near the G and used the g major notes. This to me was a great example of those scales being the same which I wasn’t seeing before having the same problem as you. The fifth chord is the Mixolydian

    • Mark C says

      This concept took me a long time to understand. It’s true that G mixolydian (with the seventh flatted, therefore no sharps in the scale) is the same as a C major scale, which also has no sharps.. The difference is which note is “home.“

      If you want to play a C scale and think of it as G mixolydian, you will start on the C, which won’t sound good over a G.

      In G mixolydian, G is home. In a C scale, C is home; scales are the same notes, but the starting places, or emphasized notes, are different. I hope that helps.

      That concept applies to all the modes. For example, A Dorian is the same notes as a G scale, but A is now home, not G.

      • Mark C says

        Think of it this way – – this helps me. A C major scale starts and ends on C, or considers those notes “Home.“

        A G mixolydian scale uses exactly the same notes, but it is a C scale from G to G, not C to C. That gives it a whole different flavor. In the same way, an A Dorian scale is a G scale from A to A. Once you have the G major scale down, play the same notes from A to A, then , and then from B to B, etc., and you will go through all the modes.

    • Mark G says

      Yes! that makes sense to me, “The G mixolydian mode lives in the C major scale.” Well said. I think we’re cut form the same cloth, because my brain also has difficulty processing this concept. When I play the C major scale over a G chord I want to resolve on the C note.

      I’ve been playing AND teaching for over 20 years and I still struggle with naturally using the same shape scale to represent a different tonal center. But, that’s why I subscribe: To have Brian assist me in slowly getting over these obstacles.

      Let me know if a cold shower helps. I think I need a Xanax. LOL

    • hankunck@gmail.com says

      I’ve been playing guitar, much of it lead guitar, since 1962, for pleasure and in bands, and I know my scales very well. But this lesson even left me scratching my head at different places along the way. In some lessons, as with this one, Brian goes off on tangents that may very well be related to the subject, but only serve to complicate the lesson. Thus, when that happens, I have to ignore what Brian says, and do what he does, not what he says. He’s a very good instructor, and even this old coot has learned valuable things from him, but sometimes too much information in too short of a timespan only leads to confusion and, unfortunately for some, simply giving up. Teaching something you know as well as the back of your hand, to people who are new to the concept, requires a graduated approach, with time for practice to reinforce it in the mind. Perhaps, instead of a new lesson every week, break more complicated lessons down over 2 or 3 three weeks, in a graduated approach, and then move onto the next lesson.

      • Brian says

        If this is the consensus of what most people want I can do it – absolutely. I’ll let folks answer in the comments if I need to make lessons stretch out over multiple weeks – resulting in 1 or 2 of them a month. I suspect most folks won’t be excited about lesson content – but I could be wrong. Also, keep in mind, it’s a video that you can watch over and over again, pause, etc.

        • rickwallenbrock says

          I too found that this lesson was good and quite valuable in getting into my head the idea that these mixolydian scales live in major scales. But I agree it would be better in this “lesson” case to do a graduated approach. I think the concepts here are enormously valuable and well worth a deep dive. For me a mix of music theory like this is well worth it. Overall, Brian, still the best instructor online. Thanks
          Rick

        • Blaine L says

          I vote for leaving it as it is. Sure, the modes are a bit confusing when you first encounter them, but it’s really not that difficult once you play around with them for awhile. I think you’ve put enough material online (yes, in different lessons) that allow folks to process at their own pace. For the record, I enjoy the “tangents”.

          • Abraham O says

            A little late to this party, but also agree to leaving it as is. I’ve found that sometimes, coming back to a lesson a couple of weeks later I’ll have a better understanding of the theory. I have to get the fingers trained and then the brain will (sometimes) follow.

            I do have a question about remembering mixolydian: I tell myself that to play the mixolydian of the root chord, play the major scale of the root chord’s IV. This is easier for me to remember than “what is this root chord the V of,” which forces my brain to do too much math. Any reason this doesn’t/wouldn’t work?

        • Leeor F says

          I respectfully disagree with Hankunck. It is the “tangents” that give me the opportunity to connect different concepts across lessons. In my humble opinion it is easy enough for a student to ignore those tangents and take from the lesson only what they want to.

  11. ron D says

    Brian , I’ve always said, “my fingers know what to do , it’s my brain that gets in the way” . I hope that this lesson helps make the connection . I like that the last few lessons seem so basic and yet are so full of information and so important . Thanks, Ron

  12. Jeff ("Jeffro ") J says

    Wow, Brian! Thank you–again! I really like this exercise! As it happens, I just started playing scales as a warm-up exercise, because I’m still having hand cramps.
    (It turns out that I still have nerve impingement, but this is slightly different–it comes from my elbow instead of my neck this time (!!!), and it’s in both forearms (but much worse in left arm) and my hands are cold like ice all the time! So I started doing scales as a warm-up before I even practice!)
    Doing these exercises is a real confidence booster. I’ve been able to play “short passages” of notes at speed for a while, but this is really helping me to play at speed continuously! And it sounds better with the “changes” in there!
    Once again, you provide just the right thing, just at the right time! (How do you do that?!)

  13. Kiwi Rowan L says

    Thanks Brian – yes a big double thumbs up as always – I loved the “Lets Do It Again! ” in the backing tracks .. … I laughed out loud with surprise .
    I have a back catlogue of about 60 of your lessons still to work through. What I’m findiing is that so many of your lessons are so pivotal or fundamental that I have been revisiting some of them from start to finish up to 20 or 30 times over a period of a few months just to really disect and understand where everything comes from .
    I almost always discover some hidden gem or another lightbulb goes off each time I re-do a lesson.
    It’s intense concentration for up to 3 hours each evening but the effort is payig off as I’m really getting familiar with all the theory and my ‘finger brains’ are starting to just know where to go as you said … I sometimes zone out and toally just lose concentration from sheer overload, but my hands just keep playing and most of it is still correct .
    Your teaching is more than I could ever have wished for in terms of qulaity and content ,but perhaps your greatest gift is that your lesons feel like you are a personal teacher in the room with me. I also enjoy the little insights like wher you grew up and teh little club you like playing at in Nashville which I googled…I’ll do a pilgrimage to Nashville one day.
    Thank you again – words can’t thank you enough.

  14. Kiwi Rowan L says

    PS – You mentioned that you’d do a video of your set up and guitars? I haven’t seen one – is there a tour of your studio and gear?
    I keep looking at what you have in the background trying to figure out what your studio layout looks like ( over the years you appear to have moved house perhaps?) and your massive vinyl collection and memorabilia are impressive.
    Just a question – do you have as many pairs of glasses as you have guitars? .. (larfin’)…. you seem to have a colour co-ordinated pair for every lesson !.

    • Brian says

      I do love glasses 🙂 as for a tour of studio / guitars – I don’t have that… but will do it. I’ve been saying that for a while, I keep meaning to create that video. I just don’t want it to look like i’m showboating guitars… my idea is to just do one at a time… release a video here and there – and then put them all up on ActiveMelody for anyone interested.

  18. W David W says

    Thanks for tackling this one, Brian. I’ve known these scales for many years without understanding the “brain” part of using them to navigate changes. Looking forward to spending some time on this one!

  21. Michael W says

    Brian, Great lesson! This lesson spans a fairly wide skill set, and yet offers a pretty “dense” look at some very useful concepts. You have a real knack for helping a player find the insights that connect the dots, in a practical way. Thanks !!

  22. Robert R says

    Great lesson. and your discussion of the ‘ science’ behind it is spot on! Every time I play guitar, which is daily, I start by playing the G major scale in the 5 positions as a warm up. I choose G but it could be any root note. The major scale is the building block and everything else can refer back. As you said, your fingers learn and play those familiar patterns. Then going to modes and such fits into what you have already been practicing.

  24. Tim Read says

    Great lesson Brian thanks…though I need to rest my brain before giving it a go…will revisit 374 as I think together they will really help my playing. This is one that might take a me a few months practice to get under my fingers so I can do it without thinking.

  26. Blaine H says

    Hi Brian… EP488… I think I get the theory on the major scale positioning and the Mixolydian mode use.

    As a point to help me understand the overall application what if I was playing this chord progression… G minor, C minor, and D7 as my five chord. Would I then follow your formula and play the A Dorian Scale over the minor chords and the D Mixolydian over the five chord…. OR do I have this mixed up when I move to a minor progression…

    As the second question that has always bothered me is can I play the G minor scale over the G minor chord, and play the C minor scale over the C minor chord, and play the G minor scale or the D major pentatonic scale over the D7 five chord…

    • Brian says

      For a G minor chord – you’d play a G minor scale – which could be the natural minor scale (Aeolian mode), Dorian mode, harmonic minor, etc. basically any of those scales w/ the flat 3.

  28. Craig S says

    Thanks for another fantastic lesson, Brian.
    Would you mind sharing what year and model the Martin is that you are playing?
    I’m sure many of your members would love to know what model guitar you play in your lessons as you keep switching them up.
    Thanks, Craig

  30. Rick C says

    This is going to be a great 16th note exercise, when I get it up to speed.

    I hope to someday play it in each CAGED set, as well. A goal. A couple of big steps ahead.
    I have the modes in my fingers, so this is shifting on the fly. Easy in concept.

    Thanks Brian.

  32. Gerald W says

    Another excellent lesson, but they should include a free aspirin!!! I am confused about playing C mixolydian. I understand that one plays F major, and one presumably uses the D chord shape. So, I am not sure why you introduced the C scale from the A chord shape at the beginning as it wasn’t used in the exercise? Am I missing something – this is usual!!

    • Brian says

      The C scale IS used in the exercise – you just flat the 7th interval. C Mixolydian is the C major scale with the flat 7. I started with the major scale of each because that’s where ALL of this comes from. I just mentioned the fact that C mixlydian and F major are the same scale as a side note – you can forget that information if that’s confusing.

  33. Bill B says

    I love the simplicity of this lesson! I have struggled for years on this concept and hope to connect the dots a little more clearly after applying this method.
    As always, thanks for another great lesson!

    Bill B

  34. jseppi says

    Nice ideas Brian! your thought processes on this lesson has opened so many ideas, theory wise. I understand a fair amount of theory, this lesson opened up practical ideas for playing and developing muscle memory with any chord changes in any mode. Slow and accurate to faster another great idea. Keep on doin what your doin. Thank you. jseppi

  37. Zach S says

    Hi Brian! Thanks again for the great lesson and this will definitely help me get to the next level beyond just playing in the same key. I have a few clarifying questions regarding your exercise PDFs: when you list “G Mixolydian (E shape)”, this means we play the C major scale in the A shape? “C Mixolydian (A shape)” means you play the F major scale (D shape)? “D Mixolydian (C shape)” means we play the G major scale ( E shape)?

  38. William H says

    Hi Brian,
    In the first exercise, is there any significance to the notes you started on and ended on as you switched from scale to scale? If I am not mistaken, when you played the G mixolydian you started and ended on a G. When you played C mixolydian you started and ended on an E, and when you played D mixolydian the first time you started on F# and ended on F#, and the last time you played D mixolydian you started and ended on G. I enjoyed this lesson very much, but I must admit I too am a bit confused as to if you are advocating for concentrating on flatting the 7th to play the mixolydian vs. thinking of 5th chord.

  39. Peter R says

    Very useful excercise Brian, thanks. Is it possible to add a lesson on how to quickly start jamming along with a track or band? I am able to recognise the key of a song as you covered in a previous lesson and add a few simple licks here and there, but how do I get to quickly recognising the chord progression and start playing along? Thanks

  42. Rickie L says

    The essence of this lesson for me is, just like when you learned your cowboy chords, is to establish “Muscle Memory” and you eliminate thinking about correct finger positions, the fingers almost do the thinking automatically. I learn from the sum of all the little things combined that I picked up from Brian since becoming a premium member….

  44. Paul V says

    Waaaaaaaaaaaaaaaay too much dialogue.

    You have so much knowledge that you share in your videos, that it becomes overwhelming and kicks in my A.D.D.

    Could you please make one of your short lessons on this exercise? All I need to know is what exercise you are teaching me. What scale and sequence descending and which for ascending. I guess I can figure that out through the pdf’s.

    Three short videos (beginner, intermediate, advanced versions) on the subject is far more effective than trying to cram information for all three levels into one 15 minute lesson.

    Short and focused beats long and expansive every time.

      • Robert G says

        Brian, I would like to see you state at the beginning of each of your 400+ lessons weather a lesson is intended for a beginner, intermediate, or advanced picker. That way we won’t have to waste our time trying to learn a lesson that we’re NOT ready for.

        • Brian says

          Ok, who defines what a “Beginner”, “Intermediate”, or “advanced” player is? I tried this very thing in the beginning and it caused WAY more frustration. What is beginner to one person, is advanced to another. etc. You should really be making the decision for what best suits your learning style.

  47. Eric v says

    Brian,
    Your last four lessons have been fantastic!

    From this lesson, is there any chance you could post another lesson playing the same chord progression in a couple more positions on the neck. It’s a fun workout!! And keep the mixolydian lessons coming they’re a lot of fun, and I love that sound. Wouldn’t mind another Garcia inspired mixo lesson.

    I think you need to catagorize all your triad & harmonized 3rds & 6th lessons in their own category on your site. Your lessons on those topics have really helped me look at the fret board in a more holistic way. So please keep posting lessons and ideas on playing Triads and harmonized 3rds and 6th.

    I downloaded a nice Dominant 7 chart on the top three strings, from your site, but I can’t find a chart for Dominant7 triads on strings 2, 3 & 4. Any chance you could you could include a chart for those triads in an up coming lesson?

    Thanks again for all that you do. You’ve helped make me a better guitar player.

    Eric

    • Bruce G says

      I totally agree. Brian has kicked in a new gear in these last four lessons. A great teacher, just made his approach much more sophisticated and deeper. I watch and re-watch these lessons and pick up something I missed each time.

      These last four are like a master class… great work Brian! Keep ’em coming!

      Bruce

  51. Ted A says

    Great lesson . . . !
    I wonder — why do so many guitar teaching methods (esp. in Jazz) advocate an exercise like this that uses arpeggios, rather than the major (or mixo) scale? For instance, they say that over the G chord, go up and down the G dom 7 arpeggio, and for over the C chord to go up and down the C dom 7 arpeggio . . . etc.
    Why did you choose the entire 7 note mixo scale, rather than the 4 note arpeggio (just the notes in the dom 7 chord — 1,3, 5 and b7)? Is there something to be gained by including the 2, 4 and 6?) (or, do Jazzers perhaps see the potential for the 2. 4 and 6 clashing with other members of the band??)
    thanks–Ted

  55. Ronald L. M says

    Hi Brain, I’ve been a fan & participant for a while but never reached out to comment, but I just have to say you are one the greatest teachers & perfomers I’ve come across. I am sure I’m one of your older students & have taken lessons for all kinds of thngs but you re exceptional! Thanks for all your dedication & great work. My pattern loving brain has been going nuts over the last 3 lessons! I’ve been introduced to all this stuff before but didn’t have enough reference for it to stick to. I can’t help notice how much I have advanced because of you, With much gratitude, Ron.

  56. Ronald L. M says

    I also notice these lesssons are a way to practice playing clear notes & more articulate changes. Simplicity is where it’s at, start w/ basics. Years ago I had a feind teach me scales & was how surprised at how creative I got. The reps led me to a whole other room!

  58. Frank D says

    Brian, at one time I felt your lessons were way over my head. I sometimes still do but lessons like these as well as the “3 neighborhoods” lessons are so good. It truly makes me understand the fret board and when I look down I actually see something instead of just having a blank stare. My wish is to expand this lesson to the other 2 neighborhoods and spread this great lesson across the fret board. Thank you for your understated yet incredibly helpful style of teaching. It really hits home.

  64. Norman A says

    Hi Brian and two year member but have never posted. Been playing for a long time but tend to either play my lead in the key of the song or move up and down the fret board when playing to the chords. Listened to this twice and getting my head around it. Love these technical lessons. They prove to me you can teach an old dog new tricks. Impressive that with almost 500 lessons under your belt you can find new material to teach. Thanks.

  65. Ned N says

    Thanks Brian. Now I finally understand the concept of modes. If I’m correct it’s the starting note that determines which mode it is based around the major scale that is being used.

  66. Geoff says

    I think it is handy being able to play 1-4-5 modes in the same position, but I think I would still face the same problem playing the chord changes. Maybe with time and experience it will develop and this is a good place to start with that, but I feel still don’t have the ear to match chord changes.

  71. Pap says

    Brian, great job on this lesson. It really makes me think about the notes I am playing, where they are on the scale and the resultant sound. I played around trying to transpose this up the fretboard. That may be an idea for a future lesson where you introduce something like this and then show the connection points up the neck and how to transpose to different patterns. Thanks for another great lesson. Pap

  72. Ian M says

    Dear Brian
    Light bulb moment! I was stumped as to how i could play the D major scale over the Key of G. Two sharps in D, one in G. But D myxolydian has a flattened 7th = G major
    I have had a guitar for 60 years and finally learning how to play.
    Thanks for all your lessons

  73. John G says

    Great Lesson Brian ! Been a premium member a long time, but this is the first time I am ever posting a comment. One missing (at least to me) but important bit of information I may may have missed in the video is: Do you play the G Myxolidian scale over the G chord, or the C chord change ?

  75. Joseph L says

    Thanks Brian, This lesson coupled with EP492 have really helped me piece the scale intervals and modes over chords understanding together. The understanding and practical applications are beginning to come in avalanches. Thanks so much!

  76. Slimpicker says

    The lightbulb moment for me :
    Ask yourself …….What is the G the fifth of ?

    “C”

    Therefore I play the major scale starting from the C note I am playing G mixolydian.

    Since I have noodled around for years with the major scale patterns my fingers just play he scale without me having to think about the flatted 7.

  77. Ricky H says

    Here is a Riddle: Since the 1 is the 5 of the 4 , it is easier for me to just go to the 4 and play the major scale and know that is going to be mixlydian of the 1.

    Everyones brain seems to work differently

  78. Jerry R says

    I became a premier member a couple of weeks ago and this is my first comment. Prior to discovering ActiveMelody I have taken online courses from many of the instructors on Truefire. They were all good and I learned a lot from each of them. So, I have nothing but praise for them. ActiveMelody, however, is unique. I accidently discovered Brian while looking at blues videos on YouTube. I really liked his low-key style. So I went to the ActiveMelody website. EP488 was the first lesson I dug into. It was a game changer. Within about an hour practicing these mixolydian exercises I was able to improvise with a freedom I never thought I would achieve. I then moved onto a couple lessons featuring the Dorian and natural minor scales (EP505, 506,463). These lessons are remarkable and provide many insights into scale theory. The way Brian has folded all of these scales into the major and pentatonic scales is simple but very clever. I actually think I get it. The improvisation contributions that are the core of the lessons are a challenge but provide many growth opportunities. Brian is a non-pretentious genius and a great educator. The good news is that I am retired and have time to take full advantage of Brian’s lessons. I am 81 years old excited to get up in the morning and did in the lessons. Many thanks, Brian

  79. tom m says

    Looking at this lesson #488 the 1st tabbed exercise G mix starts on G note on the D string fret 5 also a G note. I get that the G note is the 5th of the key of C as are all mix modes.

    When I went to the next tab, C mix which is the key of F, on the tab the first note is an E note and ends on an E note.

    Should not C mix start and end on C ??

  80. Peter C says

    Brian I have been playing 3 years now and the majority of that time has been spent trying to understand the instrument and theory in general. It has been cerebral but not much fun. In fact it has been mostly work. Interesting, but work. Watching your lessons is causing all of this time and effort I have put into this to start to bear real fruit. Thank you so much. I’m starting to get excited about playing.

  81. Timo T says

    I learned CAGED and the Circle of Fifths and the Major Scale and watched many lessons of modes on Youtube. They didn’t talk about chord progressions within modes, so I just played a flat G note as G Mixolydian and arpeggios of C and D Major as the 4th and 5th chords.
    There’s just one note difference between G Major and G Mixolydian, but they never mention that this one note difference makes chord progression quite a lot different in G Mixolydian. Watching this video finally made me google about the Mixolydian chord progression.

  82. Dennis E says

    Really good lesson Brian. Really needed to hear your encouraging words, sometimes I think I’m never going to really “get it” I guess I’m at the point where I’ve finally seen ( by watching your lesson) WHAT I have to do to get to fretboard fluency. Sometimes I think I just wanna quit but then I hear your encouraging words and it makes me want to keep going. I’m trying to memorize the major scale/CAGED Shapes. Which triads are in the top 4 strings in each one and man it’s probably the hardest thing I’ve ever had to do. Really wish my fingers would learn where to go. Thank you for the encouraging words, it means so much.

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