Melodic Control - Pt.1 - Following the Chords

Full video: • Marty Friedman Melodic...
Melodic Control - Minor Keys
Marty Friedman shows you his skillz.

[@yavartoghrol]

gotta be my favorite improviser ever...he's melodic interpretation is unreal...i have never heard another guitar player play like this...techniqually there's a lot of great players out there but no one's improv drips of melody like marty's does..simply unreal

[@TheHolyLoomis]

These videos of Marty are probably the best instructional videos I've ever watched.

[@BloodBerth]

Marty Friedman : "The More you think, the better you are going to play" Kirk Hammett : "The more you wah, the better you are going to wah"

[@blakelindley641]

greatest comment ever

[@Boons___1]

阿马德乌斯爱德华 This made me geniunely lol

[@WilliamSlaght]

阿马德乌斯爱德华 The more you feel, the best will come out of you.

[@moonshinehotelsuites6109]

:):):):)

[@Kr3gg]

hahaha

[@gordontubbs]

You know what Marty said at the very start of "being able to hear chords that aren't there" and being able to solo over them... that's some real shit right there because all my fellow rockers will know at every show you don't always get the best stage sound setup and you can't hear shit but yourself. That's when being able to "hear" what's not there becomes crucial.

[@MsDavo123]

Great point deserves a joint

[@luthiervandros]

The. By the time you’re good enough to get a good sound guy, your hearing has been damaged to the point you have to quit music.

[@JohanMadsenMusic]

One of the best guitar player, a very very talented one

[@Hellsiiing]

3:17 "You're probably wondering . . . what's going on through my mind besides . . . probably food or something like that . . . while I'm soloing like that . . . and you have to consciously think of . . . the chords . . . really hard." Hahahahaha! I fucking love Marty Friedman!

[@S1MN05]

jeez, Its still friedman, just without the distortion... simply beautiful

[@HyrulianWarlord]

@Matheus222 I study jazz at a berklee network school, and im 99% sure he uses the same method jazz guitarist use, which is knowing how an arppegio of every single chord type and in all 12 keys looks like in every section of the guitars, and yeah, he does go like "here comes a D" but since he can already knows the arpeggio he can quickly change, i mean he says it himself, the best tip for playing this kind of stuff is playing jazz, it involves so much more complexity, thus making this easier

[@vidmohit4684]

He is a truly gifted musician and fantastic teacher!

[@stekmundjacobson9298]

Best guitarist ever

[@asherasator]

Sounds nice. It's a southern classic rock style with all the Major chords. I'm glad someone is showing the basics of classic rock & teaching how to understand soloing over real 'full' chords (2+octave) & not just 2 note powerchords (4th & 5th). The basic concept of this is what all complex soloing & harmony is about.

[@allahajen]

marty really has got the ability to choose what i think is the perfect notes at the perfect time. the stuff that he plays just sound really good and he's one the most underrated guitarists i believe

[@metalhead3913]

how i wish i can be his student! great guitarist and he teach so well, and he's telling you all the secret that other top guitarist probably wouldn't tell

[@hybris159]

Wah Lee for me, he is the best ever. Tons of style, very unique, a true star ;-)

[@yasirujayasuriya7026]

Well Now You Can! With the Marty Friedman Instructional Video Tape showing key guitar concepts.

[@canuckz]

3:17 HAHAHAHAHAHAHA

[@akidk1499]

4:27 - 4:40 Sublime

[@Death8498]

he does, he's not a metal player, he's hard rock, he just played metal with megadeth, but cacophony was metal and neo classical so he can easily play this style just from his rock background, but at the same time marty has so much knowledge that i'm sure he could play any style he wants with ease.

[@mauricehiraheta]

Thanks Marty, I started doing this on my own a little bit I wasn't sure why it worked, but now I think I get it. Thanks your teaching is simple and powerful.

[@briangriffin74]

is it me? or is Marty the fucking bob ross of guitar instructors, in another video in his mellow soft spoken voice he was all "thats a mode, modes are just a group scales, like a bunch of friends hanging out, everyone likes to hang out." im over here like "this guy understands me yo"

[@yasirujayasuriya7026]

He looks high AF and that is hilarious

[@aarorissanen930]

@@yasirujayasuriya7026 Just bored, as he said in another inteview.

[@maniez1334]

He's the best teacher ever

[@GanjaPharmzor]

He transferred all of his voice feeling to his guitar, hence his epic playing.

[@1madaboutguitar]

Anyone can make something simple sound complicated... but it takes a real genius to make somthing comlpicated sound simple. Thanks marty!

[@techniqueswithtodd]

Marty is waaaaaay right on this. Once you know a given scale, you can predict a chord progression and know what's coming and be able to solo over it. This is a great video. Well done on selecting it. T

[@epigib1]

but as marty sais in this dvd, you can use the relative minor arppegio in the major chord, because the notes of the relative minor belong to the major chord too. so in Emaj you can use a Dflat arppegio, the feeling is different but it works very well

[@wellington66440]

4:27 aeeeita luiz gonzaga ficaria orgulhoso! rumbora, bichin!

[@MitjaShi]

I can't believe it, he really is like no one else... when he gives us an "obvious" example it sounds more awesome than most other music ever.

[@minddistortionTM]

7:41 Marty: "...people are gonna think you're a genious". Yeah, that's right, you're obviously a genious Marty.

[@Jaimealonsoreyes]

7:41

[@antonharjerud5378]

He is not only one of the worlds great guitarists, but a holl of a teacher as well

[@ivyhallquist3159]

Marty Friedman can truly play anything.

[@Desimodontidae]

"The more you think, the better you're gonna play." I'm putting that on a t-shirt.

[@deviltriggerinc]

the most influencial player ever...what a great player and teacher...

[@pepas346]

i just keep on playing this and im still learning something new!

[@Evraem]

A fellow student of music. Cheers, mate!

[@asherasator]

You're describing what comprises 1 type of power chord: the root/tonic & the 5th. Look at the note E (tonic) & B (5th), Now go from B as the tonic the higher E, it's now a "4th" because it's 4 notes up the scale. Same notes just placed different, 4th & 5th chords are both "powerchords".

[@marcdavis2745]

Brilliant Artist Awesome Teacher

[@karwash2011]

@maxdread666 1:51 is one example of where he deviates from the regular scale, and it's the most pronounced. Most of the time he chooses to hammer-on from a dissonant note into something that resolves it, which gives it much more of an exotic tone. I'm not very good at throwing that into my own solos yet :/

[@t1n_0men]

I love Marty - always have. And on first impressions I thought this would be a really helpful tutorial. But after analsying it a little further I realised that: - it does not use the E maj but rather the E Mixolydian scale (D instead of D#). - D maj has the same notes as E Mixolydian aside from a G instead of G#. But the G note is never played throughout the pieces. - A maj has exactly the same notes as E Mixolydian....

[@fnm1991]

this is how music is made lol he just gave a good lesson on it. hes an amazing guitarist

[@HyrulianWarlord]

@Matheus222 oh, and to answer the first question is yes and no, technically the scale he was using over that was E mixolydian, but if you just think of it as E mixolydian you arent doing the excercise. just listen to the solo without the chords being played, you can hear the chord changes without the chords being there, meanwhile, if he had just used mixolydian and generalized over the whole form, yoy wouldnt have been able to hear the changes.

[@PRCpower]

Best lesson eva!!

[@Justanotherguy43]

This guy looks so stoned

[@demonslayer7811]

Fun fact marty never smoked or drank

[@josephappleton1061]

JorLen rightist is was stonewalling on guitar 🎸

[@BlGGESTBROTHER]

Magneto Bullets he did party when he was younger but he quit everything when he turned 17 so that he could focus on music.

[@giannistsimihodimos7331]

@@demonslayer7811 well he smoked a bit. In an interview he said something about lots of places in Japan smelling like Marijuana and he mentioned that he doesn't do that stuff ANY MORE

[@dimeghost243]

I think he was hella hungry here 🤣

[@ali965]

This man is a genius

[@westjt17]

marty and jason give the best lessons, bc they give u crazy good ideas u normally wouldnt think about....check out the full jason becker aim lesson

[@PsyMongazoid]

This is excellent. I wish I'd seen this video 25 years ago.

[@Arct22]

And... that's all that you have to know to start soloing. Awesome!

[@wadesharp11]

The man! Amazing feel..Unique indeed

[@fadetoblack1290]

@Matheus222 When you think "here comes the D" you don't HAVE to play the D note, but play something that fits well with D (the 3rd, 5th, 7th,) but D IS the obvious answer. You don't have to do an arpeggio over it, but it does sound nice, but it is kind of cliche in a way. Just do what you want, experiment, and follow them chords!

[@Evraem]

Scale refers for going from one point (tonic) to another (subtonic and then octave). Because you're not going to be spamming scales but rather using the notes in said scales, it is not absolutely 100% necessary to learn the scales. But you need to have a good ear to distinguish one from another. What you want to do is know which notes are in which scale, those are the notes you can play (in layman's terms). Practicing scales is just the practical way of learning which notes to tie to a chord.

[@Fenghorn_Zob]

3:17 Funniest thing I've heard him say

[@5t3Maiden]

man martys vibrato rocks

[@JD-hq1kn]

You only need to listen to this man.

[@ducky811]

Such tasteful playing and well taught by Marty. I still trip out over his picking hand form. It works for him greatly just looks weird. I really learned alot from Marty here.

[@dengdeng80]

@Matheus222 Not always you arpeggiated the chords beneath it...what marty trying to say was,by arpeggiating the chords which is (1,3,5) will open the doors to you on thinking the creative way to make a solo...and as what he said,you cant go wrong with arpeggio...not to say to play sweep all the time,but its the safest and melodic way to follow the chords.hope it hepls

[@shenfernandez9669]

Pay attention people, this is one of the crucial steps on how to make a legendary solo 🤘🤘🤘

[@Kizales]

"Now you have to wonder what's going on in my mind other than food or something like that." This guy thinks like me when I play guitar....

[@tashig2232]

I love marty.

[@potchonk]

if the chord are E, D, and A then the solo is in the key of A? no. It still resolve when it hit the E chord, not A. Usually alot of guitarist will play in E minor blues scale (E,G,A,B,D) over that chord progression. But in the style of playing follow the chord, you can hear F# and C when it hit the D chord, and C# when it hit the A chord. Good example for this style is "the wind cries mary" by Jimi Hendrix.

[@holylucretia5849]

unbeliveable...

[@SpawnofHastur]

If the chords are E, D and A (and I'm going to assume that all of the chords are major, because he doesn't say otherwise), the solo is in the key of A Major. The progressions is V-IV-I. Hear how the progression seems to resolve when it hits the A chord? That's because it's returning to the root, like a cadence. If you wanted to use a 1 scale approach, you'd use the A major scale. A B C# D E F# G#. Let's organize those into chords. E- E, G#, B. D- D, F# A. A- A, C#, E.

[@epigib1]

chromatisms are used to reach a certain note, to be more exact, a note of the chord (of the arppegio). for example, you're soloing in E, the A's coming up soon, so before it reaches A, you do a chromatic to reach Csharp or E, the 3rd and the 5th of A major of course. so basically the chromatic notes are passage notes, you musn't entonate them, the note that should be more clear and with more duration is the last, a note of the chord you're soloing over

[@Jagguar20]

There's a tab from the first chord progression over the net, search for "melodic control first solo".

[@CoversOfTheBeast]

@Matheus222 No he's saying that you gotta aim "target notes" that you can find in a D Chord (D-F#-A or D-F#-A-C (D7) or D-F#-A-C# (DMaj7)... etc. But I gotta say... record yourself playing 2 chords (2 bar each) and try to experiment not choices... and you'll what you prefer . As Exemple, on a minor chord I really like the major 9th, b7 and obviously the minor 3rd ! But if you wanna be safe check the notes you have in your chord (1-3-5,1b3-5, etc.). Hope that helps !

[@wrigleyx]

fun how to see Jason and Marty have played so many hours together , so that we can defenitly hear that when Marty play :)

[@xOWNAGEx1]

Marty has always been able to play this way, it's actually Jason who learned how to play with "more soul" from Marty.

[@uchihaitachidan]

I agree. to me jason's early stuff's were more shreddy and that because of marty's influence. jason manage to notjust become another yngwie copy thats just faster or technically better than yngwie. but he manage to be better when it comes to choices of notes.

[@mayanktrakru]

xOWNAGEx1 maybe that’s why perpetual Burn is the greatest album ever recorded? I love Marty and he is one of my greatest inspirations, but just don’t disrespect becker cuz he definitely could play with feel (listen to altitudes) ‭

[@guitarbattleslive1274]

of course he could, but jason says so so himself that marty thaught him pretty much everything he knows besides the technical aspect of playing. he even goes as far as to say "marty is my musical muse and i was lucky to study at his feet". if you listen to the demoes of jason's playing before and after meeting marty, you will definently hear the massive influence marty had on him.

[@cryan5280]

@Matheus222 each chord has a linked triad with a root, 3rd, and 5th. For example, on an A chord, you would try to land on A, C, or E.

[@aarb17]

great lesson

[@Elintasokas]

Scale: E mixolydian. It's the same as E major, but you lower the 7th scale degree (D#) by a semitone, so that it becomes a D. E G# A# B C# D E.

[@renatosantos23]

Well, no? Mixolydian has a Major 3rd not a minor 3, plus you would most likely used it over E7 rather than E minor.

[@Elintasokas]

Oh, that's exactly what I meant to say. As you can see, I even wrote a G# there. :D Brain fart.

[@renatosantos23]

It happens to the best. You are right didn't pay attention to the G# :p

[@aryinc]

even if you dont want to mute the strings you just put you pal above or on the brige you easely can avoid muting easely,i like resonatin to but also easy mutes wihotu wreird hand shapes but okay works for him.

[@dongypooh]

He cracks me up.

[@epigib1]

exactly, and in jazz they are thought to not use scales, but to see in the guitar just notes, not the scale boxes we are used to

[@gero8909]

BRAVO! hail Friedman!

[@thecurse23]

all soul... no personality.

[@drums5050]

Ryan K hahahhahahahahahhahahahahahahahhahahahahah

[@lipaslipas30]

marty + dave + ellefson = masterpiece.

[@luthiervandros]

He can hardly contain himself

[@rickdelpino472]

He is a genius... because he has a lot of common sense.....

[@potchonk]

@xUnrealTx Have you ever heard about mother chord? Chord progession in a song always have mother chord. Usually you play melody in the scale of mother chord in a whole song even if the chord are changing. Playing follow the chord changes is quite new, usually used in progressive rock and fusion, that's what Marty teach here.

[@TheRealKirkHammett]

As a self taught guitarist that has been playing for 25 years, I just don't get the mechanics of this. I don't understand what he means by "chord progression" or what he means by "solo over the chords", I get it that he played a single "E" chord in part of this, but then he also played like 3 other chords, so we're those "other" "E" chords, or were they different chords? And just because you played an "E" chord once, how does he know where to go from there, how does he know what the next notes he will play in his solo will be? I know not all of the notes that he played were "E" notes, so how does he know where to go? And does he know what each and every note is on the fretboard so well that he just knows every single note that he landed on without thinking about it? And did he plan out this solo in advance? I want to know how someone gets to this point and has a map in their head of where to go? As a person who taught myself, if I "improvise", I just play what I think "sounds good" to me. How can I get to the point where I know what notes and locations on the guitar are "supposed" to go together?

[@RSCao]

it depends what chord it is. if its an e min chord then it has to be an e min arpeggio, if its an e maj chord then it has to be an e maj arpeggio

[@OneCrazyMuthaFucka]

Just kidding, awesome talent dude. Thank you for helping my bro play like a true beast :')

[@t1n_0men]

CONTINUED: Guitarists often mute these strings in the studio with a cloth or something wedged between strings and fretboard (or a sweatband etc if not playing open strings). The other technique of course is to use the palm of your picking hand to do the muting. My point is that because of his technique, Marty is not able to use his palm in this way and the "drone" is therefore audible in the background.

[@dimeghost243]

Search youtube mate. "No palm muting, no problem" once you see it, you'll never unsee it

[@bagussamudra7747]

Siap yo! Kamera siap, eksien! Yok wes siap iki.

[@eNnI088]

Marty just can't be human

[@t1n_0men]

CONTINUED: So the idea of playing the notes from the chords I don't think is hugely demonstrated. To me he's doing more or less the same as you do when blues jamming.... IE - bringing out the changes in the rhythm change from root to IV and V. And this is mainly achieved by hitting the right note when the change happens. Of course, Marty emphasises this by often sticking to the arpeggio of the relevant chard. But he does play notes beyond the arpeggio. And it's worth remembering he....

[@musiciohann]

What a great little tip.

[@tavicotavio]

Im just gonna go Kerry King 00000 and whammy bar style

[@Dr.KermitPeterson]

6:57 THE NOTES GODDAMNIT

[@TheMegadave90]

6:57-7:57 = BEST ADVICE EVER

[@Mcrapansel]

0:54 tibet/angel ;) love that SOOOONG

[@keithw096]

I also think he tuned up for the progression, and then tuned down to D standard somewhere in between takes? you see him playing in standard tuning for the progression, but at 6:55, the note he is hitting is down a whole step. He should be playing that note on the 7th fret not the 5th fret.

[@HaxellMence]

For anyone wondering, it's in A major. Or if you wanna get modal, E mixolydian.

[@TheArrangment]

On the contrary, I see and hear this in A major, so the tonality is in A major. The problem is that there are too many chords involved and not enough E notes in order to sustain a Mixolydian tonality. If there was an E note in the bass of each chord, Mixolydian would be heard. Modal accompaniments are static by using a drone, slash chords and so on. A chord progression is what you call functional harmony and it is the opposite of modal music or static harmony.

[@HaxellMence]

Not really, you're pretty much starting on the E major and working around it. You can use two chords to make an E mixolydian progression, just focus on the E as the tonic and use chords that are only found in E mixo, like D major, which is the minor 7th of E major, and is exclusive to dominant chords and the mixolidyan mode, and it's also not found in either E ionian or lydian, so it implies E mixolydian. If I play an E major followed by an F# major, I'm implying an E lydian progression, since the F# major is the raised 4th in lydian and is only found in E lydian. Sure, you could always keep an E on the bass but it just helps to bring out the sound of the mode and establish the tonic of the progression, but it's not strictly necessary. PLEASE, Try to solo over Marty's progression ( E - D - A ) and resolve a lick or a phrase...Pretty sure you'l resolve to an E, since it is the root tone/tonic of the progression, making it mode of A major -> E mixolydian.

[@TheArrangment]

HaxellMence Without doubt, a basic knowledge of modal harmony is had by you, but it is slightly diluted. The progression clearly resolves to A major. E-D-A is a V IV I turnaround in A Major. For example, if the progression maintained a bass note of E under the whole progression, a Mixolydian tonality would be heard, but it's not, so the progression evidently resolves back to A major. Therefore, it's basically a turnaround in A major. Excluding the aforementioned chord progression, the utilization of more chords with specific modes is evident. For example, the Dorian mode is capable of sustaining its tonality with only three chords without a drone, whereas the lydian mode would need a drone to sustain its tonality if it exceeded two chords. In any event, modal music does not place such a strong emphasis on tonal chord progressions. Instead, the emphasis lies on melody and color, while the harmony is more or less static.

[@chinkilla666]

thanks for the tip about the full video being on google. i downloaded it :)

[@SpawnofHastur]

Those three chords show all the notes in the A major scale. So, yeah. Outlining the harmony like this is found in a lot of genres- jazz after Charlie Parker is pretty much nothing else. And if you do an analysis of the solo from Comfortably Numb, you'll see that most of what David Gilmour is doing is playing the notes of the chords.

[@Skater901]

Obviously not. Marty Friedman is like God. His playing is just so good it's amazing. Well that was insane. His playing is just so melodic. Although I would like a bit more of an insight as to what he decides to play over the chords. For example, E is E G# and B, so he uses those three notes, plus some others, but what degrees does he use?

[@88res]

damn this video takes me back...

[@Adriantsowa]

He looks like hes reading everything he says. LOL

[@dirtyoliver1180]

Marty looks like he's being brainwashed in an MK-Ultra program

[@asherasator]

& it's also great for beginners

[@TapYouOut81]

Marty is amazing! Very helpful videos... thanks!!

[@jahrojasexqsys5238]

The majic of synchronicity...i was looking for tutorial on melodic approach to soloing the other day...cause jerry garcia lol....couldnt find exactly what i was looking for. Then today i was watching the 89 alpine valley dead show 3rd night (a great night especially jerry garcias playing) and this video showed up in the suggestions....and what did the chord progression tech thrash master marty freidman of megadeth fame sound extremely reminiscent of???? Why Jack Straw of course...perfect.

[@ashishshakya5107]

this really helped a lot man thanx for uploading

[@johnmalcolm4822]

Melody in one's speaking voice also adds interest. Monotone is, well, monotonous.

[@BannerOfBlasfemy]

now this is MUSIC!