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Get the TAB on my website. You don't have to play G Major scale note after note - try triads to break away from the scale ...
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Here is an example of how you can use triads to play it to the GMaj scale. Tonight, we are using triads. When you improvise, you get away from that note by note scale approach which gets boring instead if you go like this.
The triads covered are: G Major, A Minor, B Minor, C Major, D Major, E Minor, F#Dm, GMaj, Am, Bm, CMaj, DMaj, Em, F#Dim and back to GMaj one opts higher.
Now if you play them like that they also sound quite boring or imperative. So let us look at some ways you can tie each into with the other. One way you could do it would be to play like this. So what I am doing there is I am playing first the three notes from the GMaj triad. Then I am moving up to the next triad by starting at the top note and go down. That is the Am triad. So here it is again. GMaj, Am, Bm, CMaj, DMaj, Em, F#Dim and back to GMaj. And you can play it in opposite direction, of course. And that can open up your playing quite a bit. You can for example brief if you are playing in an Em, you can play the pentatonic scale. And now you can throw in the GMaj triad. You can see I am playing the GMaj triad here. And then going to that note which is E. And you cannot play it over an Em. Then I play an Am triad and this is the Bm triad, Em, Bm.
That is an example. This is the general idea and you can then take it further and experiment. I used this type of playing quite a bit when I improvise over lots of different styles of music. It is a good way to get away from that note after note scale approach. It gets kind of a bit boring after all or imperative. See that? It makes the notes jump farther away really quick. CMaj arpeggio then you can go back into your minor pentatonic anytime you want. You get an E for example. The pentatonic mandatory that the Bm triad here is one more variation on the same idea starting here with a GMaj triad again then go on to the top notes of the Am triad. But only play that top note and then back. So repeat that pattern for each triad. Now I do not recommend that you play every triad one by one like that throughout the scale from the GMaj scale because the sound is really up headed in two. So you just pick out some of them and get familiar with where they are on the neck.
An example of that is I start it with a Bm triad. Then get it up with just a note like ending on the note E because I am simulating Em here. And I can do the same idea. And here was DMaj triad, it is ending with a note G. Let us do it one more time, same idea now with D triad. And so long I hope I gave you some ideas.