The lush chord guitar loop you NEED to know

[00:00:04]four chords.

[00:00:06]D minor five and six here. D flat 4 and six. The same string set. G minor 10 11.

[00:00:16]A flat 11 and 13. So we have four chords. And I'm a huge fan of that sound of the lowfi new soul jazzy kind of chords. And what I want to do is see how we can embellish this, make it sound a little bit bigger with a couple cool shapes that really are beautiful for guitar music. And then also soloing on that and seeing how we can find a common denominator, if you will, so we can sol something simple, which would be this pentatonic sound. Check this out. Here we go. Uh, so I'll add a couple more shapes here. I'll start with B flat over D.

[00:00:53]Uh to D flat major 7 G minor F on top and A flat with F on top. So I'm going to add the bass a little bit as well.

[00:01:09]But before I do that, um notice that I played this note F on top of every note, every chord here. And what's interesting about it is it gives me this common ground, right? There's there are things that move But some things stay constant which is beautiful kind of sound.

[00:01:34]There's something relaxing about.

[00:01:39]So I'm going to add the bass here.

[00:01:57]So what I did right, I play B flat to D flat. It's a little soft G and A flat. Now we can hear the note F and how it changes the color. So what happens here is the relationship between the notes is changing. Right? So, it's the five of B flat.

[00:02:22]It's a three of D flat major. It's a flat 7 of G minor. And it's the six of A flat. I'm going to add one more kind of layer.

[00:02:35]I'll do this up here. One second. I'll just need loop to finish.

[00:02:41]Here we go.

[00:02:59]Okay.

[00:03:04]So, sometimes it's nice to have a couple layers just to give it kind of like this lushness. What I did here, I played basically kind of triads except this G minor first inversion to A flat. So I played D flat, B flat major, played D flat major, and I played G minor first inversion and then I played A flat major.

[00:03:30]I'll do one more round of these kind of lashier chords.

[00:03:42]Let me try to do it here. So, put on the first loop. Here we go.

[00:03:52]Now, play the same the shape the first shape twice. Check this out. So, B flat and the D flat the same. And now G minor 7 here.

[00:04:06]And the A flat major 7 here.

[00:04:10]Hopefully it worked.

[00:04:17]Okay. So it's somewhere in the background.

[00:04:20]Cool. So now what do we do for soloing?

[00:04:23]Right. So when I'm thinking about the sound, right, there's a lot of kind of like colors happening, but remember we kind of started from this kind of place.

[00:04:36]Way way more simple.

[00:04:40]See some stuff.

[00:04:43]But here we added more and more things.

[00:04:50]So, I'm going to play and hear how the C minor pentatonic going to sound on everything. So, now they're going to be some clashes a little bit because it's not perfect, but it's going to work with everything. So, check this out.

[00:05:35]So, what I did here was very mechanic. I only played the scale. I basically played quarters. I didn't do any soloing, any any tricks, anything. I'm just trying to see the position here.

[00:05:46]I'm trying to notice how it sounds with the chords. Now, without these chords, it's sort of like clashing in a beautiful way, but definitely there's some tension there. So, I'm embracing that for the moment. I'm not going to articulate each chord at this moment.

[00:06:00]I'm going to use a C minor pentatonic, but I'm also still aware and raising my awareness that that there is some tension, right? So, I'm trying to see the position, trying to see the fingerings and trying to hear how it sounds and feels on all these chords.

[00:06:14]So, again, one more time, just the eight notes. Check this out. Two, three. Here we go. If you have a guitar, play with me. If not, listen.

[00:06:27]I know the D flat. It's kind of funky.

[00:06:36]So I want to talk about it for a second.

[00:06:38]So check check this out. I'll just keep the pulse in the background. So when you have the chord D flat 7 and you are playing the C minor, right? What is happening here? I'm getting the major 7, the nine, the three, which is great, the the the five, but I'm also getting the six here and and and uh sorry, and the major 7. So there is some, you know, there there are some, sorry, the flat five. So we're getting the major 7, the nine, the three, the flat five, and the six, which is beautiful. But definitely the flat 5 is an intense kind of moment, right?

[00:07:21]Check this out.

[00:07:26]Kind of cool, but definitely intense.

[00:07:27]I'm saying it because that's one of the clashes that we kind of hear if we choose this one general color. And again, I'm supporting this this notion for now, but I do want to notice the colors and and and and feel them as much as possible. So, I'm going to play the scale one more time with eight notes.

[00:07:47]I'll play uh sorry, I'll play chords. Uh cool. So definitely a little clashy but still beautiful. Before I go into kind of solo mode and I want to talk about a few things there. I do want to try and hear this scale not in a position but sort of like on one string. So I'll take the B string just to kind of orient myself with these sounds.

[00:08:23]Right. And this is a beginning of kind of like okay I'm starting to hear the sound of this and make choices. I'm trying to see the pentatonic scale on this B string.

[00:08:42]One more time. Just kind of ascending.

[00:08:54]Let's try it on the E string as well.

[00:08:55]The same idea.

[00:09:11]Okay. So, I'm starting to understand the colors better and how they feel against these chords. So, this is the beginning of me again connecting the idea of those five notes, the pentatonic into a position, into a sound color, and into these changes.

[00:09:27]Okay. So now if I want to try and start building a solo or trying to think about how to solo. So you know a good idea is to try and repeat something. Now one of the notes that that keep kind of circling here is the note F because it works with all the chords. So that's a not not a bad note to kind of linger on.

[00:09:47]The cool thing with music is you know even if you're not doing anything it sounds good like you know you can just listen to it. But if we add one thing doesn't have to be a lot. It can be very simple, but it still really helps us feel the song or the loop. Now, I'm going to try do two notes. I'll choose the note F and the note C.

[00:10:21]Here we go.

[00:10:37]Now what I'm trying to do here is picking two notes that work with all these sound part of the Sop pentatonic.

[00:10:44]And also I'm trying to repeat rhythmically what I did this like little slide. I'm trying to think how I can make it sound better. How I can make these two notes pop more. What can I do?

[00:11:10]So, I'm trying to think about that. Now, my loop is not perfect. So, that's also a little harder to work with because the time is not perfect. It wasn't imaginal.

[00:11:18]like you saw how I was setting it up.

[00:11:20]So, it's fine. It's it's it's usable, but it's not perfect. So, it's like it has like a little fluctuation that we need to pretend. So, I'll do it again with two different ideas um rhythmically.

[00:11:46]Now this was maybe a little complex rhythmically. So when you are playing something uh you need to remember it. So I'm going to ask myself to play something easier. So it's harder easier for me and for everybody to remember on the first shot. So I'll play something like this.

[00:12:09]Uh uh.

[00:12:16]Try to play it again. I'll try to be more accurate.

[00:12:19]Here we go.

[00:12:28]I can make a decision if this last note is a long note or kind of short. for example, right? All these decisions, all these thoughts make a huge difference in the way we approach a solo or loop or creation. Now, let's listen again to the basic shapes.

[00:12:57]So, we start here with four simple shapes, right? These are the shapes we start with. This is D minor.

[00:13:05]This D flat and G minor.

[00:13:12]Then we call this D minor. We change it to B flat major 7. First inversion with D in the bass.

[00:13:18]D flat major 7. So now we had the F on top. G minor with F on top. And A flat with F on top. And then we kind of loop that.

[00:13:28]I did also this variation here. You remember this G minor here?

[00:13:39]This was the root and the core of the progression. And then we added the bass that is in there softly.

[00:13:48]So the bass here is B flat, D flat, G.

[00:14:00]And the reason I'm saying because I want to hear that melody against it and in the solo section as well. I want to hear how the chords kind of change in the best possible way so we can articulate them. Thanks so much for watching. I'll see you soon.