How To Write Your Own Neo-Soul Guitar Lines

1. Writing Your Own Neo Soul Introduction: Hey guys, I'm back with a new lesson today is how to rate your own new soil links. And this lesson we're going to be delving into card fealty fretboard knowledge. We're gonna look at some analysis of some intervals. And we're also going to be doing some improvising an NSAID, all of that. So let's get to it. 2. Number System And Chord Theory: So to start with guys, we're going to learn some things we're afraid word and we're also going to learn the number system that I use all the time. So we're going to pick where one is, one is our home card as what key we're in as well. So in this case, I'm going to pick fifth fret thickest string E. I'm picking that one just because it's in the middle. We've got some space below the E and above the E. And that's going to be really important. So I'm now going to construct the one chord. The one chord is a major seven chord. It should sound can a better sweep. When you play a normal one chord. It just sounds bright and happy and done. But when you play a Major seven as sounds a little bit melancholy. I love that. So we're going to actually just move straight on and we're gonna play a two chord now. Okay, he would go to court as a minor seven chord, in this case is B minor seven. Or you can play this in a couple of different ways. I'm gonna put them both on the screen just now. This is seven Space 777, or this is space to four to three. Personally, I like the 7777 version. If you can't get your fingers into the seventh fret, all of them. Well, you need to do is approach the guitar from the sage. You can see that my hand isn't coming from here. And if it was, I would not be able to squeeze my fingers in my approach and a guitar from the seat. The next chord is our three chord. And it is also a minor seven sheep. It's going to be on the ninth fret on the thickest string, and it's gonna go name, name, name, name. Interesting thing to note here, gays. And this is super, super cool when I found the So blew my mind. These sheeps are movable. So the B minor seven looks identical to the C-sharp minor seven, except it's not on the same fret. That just means that these shapes are movable. So if I had played the sheep on phi3, it would have been an, a minor seven, D minor seven, C sharp minor seven. And once you've got that down, you realize that you only need to learn a couple of shapes and then move them around and you know, the whole threat board, which is really nice. We're going to play R for now, R four as a major seven chord. And just like I explained, it's the same shape as the imager seven, except that starts on ten thread. So it goes ten space 111110. Now, I'm actually going to show you a couple of different ways to play this. This is upon the eastern route on e. But if we played it here, that would be a string. And that goes the root, the third of the court, and then the seventh of the chord. And the frets are 546 starting on the a string. But you could also play it like this. Just a little bit brighter. And that's 5767, middle four strings. So that's your fourth chord. Now we've done 1234. We're gonna go into five now, 5s, 5s or Kelvin. So five is a dominant chord. We only have one of them in a key. And are first and the fourth courts shared tapes of courts. They were both major sevens over two and R three shared tapes, minor seven chords, both of them, this one, which was our fifth chord as a dominant chord, dominant seven was only one and a key. Sometimes if you're struggling to figure out which key a song is in, finding the one dominant chord can point you in the right direction. It's the fifth degree of the scale, and it starts on 767. Another way to play that would be 7979. The next card is going to be the sixth chord. I'm going to give you three different ways to play that actually. So our first way, nascent, easy, looks a little bit like a triangle there named seven, named staying on the a string. Alternatively, we could play Nain 11910, or we could actually take it way down here. If this was one, this is seven, and then this is six. So we can play it way down here. And that would look like another minor seven chord that we've already learned, the sheep off. And this case it's going to be two space to, to, to. So just as a little exercise to familiarize ourselves with these chords, let's play a 62 and then a three, all using the same sheep. A 6 first to a two, then to three. Back tattoo, ending on a six. Clay killed it. We now know that chord sheep as a main or seven and no matter where we move it, it's always going to be a minor seven. Now that we've done our six chord, we're going to gloss over our seventh chord because we don't use minor seven flat five chord fairly often. And they're sound, the sound Kuwait, desolate. And so instead we're just gonna look great past it and ignore it for the moment. Now that we know our number system, a great way to rate some Neil stole lanes or just to start songwriting, end General, if you're using this to help your songwriting, This is a great way to do it. As grabbed some numbers and mess around with them. I'm going to grab 4365 and I'm going to try and make that work. So that's our forecourt as our three, that's our six, and that was our five. And that can be a really, really easy way to start offering a sequence, grab some numbers, and move them around. And they don't have to be your first thing. But that was the first thing that came to me and it seemed to work out. So 4365, we can grab different sets of numbers and get different results. No, definitely drastically changed the field. So let's try something slightly different. Let's try 13641. All I'm doing there is just filling in a couple of little gaps or some melodies. So just as a little test before we move on, we want to make sure we really know where these numbers are and what they're going to be doing. So even if we just start playing around with some numbers. So playing a one, playing two or three, playing a 456. Let's go back down, but let's triangle behind the a, this thing. So 654, same string, the 321. Let's go back down to the sixth way down here. So as long as we know those numbers and what chords we can assign to them, we've got a really, really good basis of card knowledge for what's coming up. 3. Neo Soul Scales: So in this next part, we're gonna look at two skills that we can use to join those chords with some melodies. So our first scale is actually our minor pentatonic. You probably know this, it's probably drawn done to you by your first guitar teacher you've ever had. So that's actually the blues scale, but essentially means the same thing. So that is 25234242452525. Now we get that by going to our, our root or one and going downwards three friends, 123, and starting our minor pentatonic at that point. Using that skill, you could put melodies into your chords using that. So for example, I'll take my cards from previously and we'll try and put some melodies and using that boxed pentatonic shapes can be really reassuring for guitarist. Start with. But we're gonna move past that in a little while and use some major skills as well, which will probably be less familiar with, but they're very, very useful. So you're pentatonic scale will sound really, really good and between those chords. But what I don't like having to do is, for example, play my four and play my melody Don't here. And then go all the way up to three. They come all the way back down to here. So what we really need is a scale for the law shade of our, of our guitar, and then also a scale for the higher up so that when we're playing chords up here, we know what can fit, which would be like that taper thing. So we're going to learn are a major scale. Once you've got a major down, which is 5-7 main, 578679, 6-7 ln 79101710. We should have a lot more melody notes that we can draw from, from the second fret to the tenth fret and terms of trying to close gaps and between our courts. So now if I wanted to grab and some extra notes from are a major skill I could do and join them into any notes I wanted to use down here as well. So all I tried to do there was grabbed a small melody and use it repetitively in-between each chord. But because each card has a different tone, a different flavor at different character. Eight gives them melody that you're just about to play a different feel each team. Because you're changing courts often, you don't have to change the melody very often to keep it interesting, which is really cool. And you can definitely mix and match. So use your minor pentatonic sometimes. So for example. So while was trying to do there was mix and match between using my pentatonic scale down here, which gives me a really bluesy sound. And then using a slightly more melodic lain within our E major skill. But using a combination of these can really do the work out well. 4. Neo Soul Guitar Techniques: So we're then neo soul. We want to try and use lots of different techniques. We can use these in different ways as well. So for example, we'll try some Hammer ons. So homeruns you can use within your, within your cards themselves. That is just me playing 544. And then hammering to this six on the G. There's an example where you're just grabbing a note from the scale and hammering it onto a note, this NSAID, your court. You can do that essentially anywhere. Now that's an example of a hammer on NSAID, the chords. But we can also do how neurons and our melodies. We can also do cool ofs, which are the opposite of how neurons. And again, I'm just looking inside the court and can I pull off onto something that is endless skill? Or perhaps I may just want to use my pool ofs within the male of the lanes themselves and between the courts. We want to try and use slides whenever we can as well. Let me think sound a lot smoother, which is very pleasant. So you can just Slade from any note at all into a naught that is either NSAID, your scale or NSAID one of the chords and lt sound great. So we've covered how arounds, pull ofs, and slaves. We can do trills as well. I tend to use them every now and again by Dawn lake using them too often because they can feel very overused. If you use more than like two or three. You can also do slightly more slapped things when you're doing your soul. So when you're pulling your strings out, you can pull them. So they can slap onto the fretboard. And I can make a really cool effect, especially if you're wanting to be a little bit more punchy rather than smoother. And lastly, I'd like to talk about double stops. So I use these all the time. And they sound really good. High or L4, which is really nice. And essentially what you're doing is grabbing two notes from your scale. And a lot of the time you change one of them. So just in closing, we've got homeruns, pull ofs, slaves. We can do slapped notes and we got trills, we've got double stops. There's so many techniques that you can use that just make you sound a lot more sophisticated and interesting during your solos. So one thing I find AM Guitar struggling to do is switching from chord mood, entomology mode, and then back to court mode. And that can be a real issue. Something that I find really helps as really, really putting emphasis on the chords compared to the melody is much more important that you're able to hit that chord on beat one and have it land. Perfectly. Entertain that as you make the best 12-note solo and those three beats. So for example, I would much rather have this. Each chord is on the beat and entertain. And the melody Lane itself was almost nonexistent rather than because it's just out of time and it felt like it felt like I didn't know when the next card was supposed to come. 5. Alternative Harmony: The last thing we're gonna talk about today is alternative harmony. To keep things interesting, our one chord usually stays as a one. There's lots of different ways to play, or one that all just an E major seven. What we can do is if we were going to be going to the four chord, we could make the one dominant because it pushes really well into the for. Now let's talk about the two card. Usually. We want to keep the two just as normal. But if we were going to the five chord, we could make the two dominant as well. If we're going to the three chord, we can also make it dominant. So far, all we've been doing with our Alternative harmony is making things dominant and that's going to ring true for awhile. So effort going from the one to the four, you could make the one dominant ever growing from the two to the five. We can make the two dominant. And it's the same thing. If we're going from the three to the six, that we can make the three dominant. And that happens more often than the rest of them. The three is very, very often a dominant chord. With the four chord. It's one of those ones where it's very, very, very rarely made into a dominant chord. But what it is is sometimes turned into A-minor chord. So we've got our normal for and it's a major seven. What you can do to that is make a Mayner six, which looks like this. And it has a real sparkle, a real Hollywood edge to that sort of chord sequence. So the four can be turned into a main or six anytime you're going back to the one or and it has a real final edge to it, but it's also incredibly pretty and very rarely can, heartbreakingly sad as well, which is really nice for the five chord. We don't generally have that many changes to it in terms of structural harmony, you usually keep it as a five. But what you can do is add either the name, the sharpening, the flattening, the sharp five. The flat five. Especially if you are going to the one chord. Because all of those notes, the flattening, the short_name, the flat five, the sharp five, they all resolve N to the one really, really well. For example, you can hear that tension release. Another thing you can do with your alternative harmony is turn your five card into a suspended for card. That happens a lot and like movie scores. But the sauce for thing can be a little bit cheesy if you overuse it as well. The six chord doesn't get changed that often. What we usually do is just add some more intervals above it because it's a really, really pretty hard. So that's like a minor nine chord rather than just a minor seven, you can make it dominant. If you were going back to the two, It would make a lot of sense if you've done that. Now that we know some alterity of harmonies that we can use. So the one, the 23 can be turned into dominant chords, F, they're going to the 456. The four chord can be turned into a minor chord. We're going back to the one. We can make some different baselines and chord sequences and see if the workout. So for example, I could try 134 Mayner four. And then two or three made that dominant. And I usually go to a sex here, I'm gonna break my own rules and go straight to a four. And now I'm gonna go to a minor for and I'm going to go back to a one. And that's kinda flake Radiohead's creep. Now let's try 13641, just as normal three but dhamma, as done into the six and out to a four. So to recap, we've learned our fretboard and are numbered system for our courts. 1-2-3, 4-5-6, and how to construct chord sequences using them. We've learned the tapes of chords that we can use an each number and a couple of variations on each cards shape. We've learned two scales that we can use to link the cord together with, also learned some techniques that we can use with n. Those linking freezes to sound a little bit jazzy. And we've also learned, finally, some alternative harmony to keep our songwriting interesting. That's it for me guys. Thanks very much for joining me. See you next time. Bye.