|What you learn:
Licks & Scales|
|Michael: Michael Johnson|
Michael: Welcome to the interactive lesson on the style for Carlos Santana.
Carlos has and very lyrical guitar style, you can actually hum or sing his lead
solos, much in the way David Gilmour of Pink Floyd does. You basically take the
scale add simple but clean melodies and add the licks and runs in between them.
Check out licks you will learn in the
Michael: That's a relative mode of the scale I'm
using, you're actually going to use the A Dorian mode. Here's the scale pattern.
Notice it has A, B, C, D, E, F# G. Here's a jam track to practice the scales and
Michael: It will take some practice, but this lesson will help
you get the Dorian down though. The progression has Am, F and G. Here's our
first lick using the Dorian:
Rooted on A?... rooted on G would be G major, that's why you
need to establish A as the root.
Correct BluesJedi, G Ionian (Major) is the first mode, then you have A Dorian, B Phrygian, C
Lydian, D Mixolydian, E Aeolian (Minor), F# Locrian.
BluesJedi: Yea... E Aeolian (Minor) is also the same,
which is why I thought it sounded like E Minor... Dorian mode generally sounds
Michael: Correct BluesJedi, the Aeolian (Minor),
Dorian and Phrygian all have a 1, b3, & 5, these are the key notes for the minor
sound. Carlos's sound comes from using the
Dorian mode, notice the lick has a melodic feel to it using the notes of the
Dorian, simple lines, but effective. Carlos will set up the theme of a solo
with a melody like this and then improvise in the scale, try playing over
the jam track. Now this next section takes advantage of
the box section of the Dorian.
Michael: See the pattern used in the scale based between the 5th and 7th frets, you
hammer ascending the pattern and jump to a pull-off on the 1st (E)
string. So basically you have a simple melody (lick 1) and jump to a run in
the A Dorian (lick 2).
BluesJedi: Can A Dorian be played over any A Minor
Michael: It sure can, most modes that share a 1, b3
& 5, now you can descend in note sequences in the pattern as well, here's
Michael: See how this run jumps within the pattern.
Towards the end of the lick you
jump in an arpeggio that's in the next pattern. At the end of the lick you have
a classic Santana type hammer-on, it's actually broken down into 3 sets of
triads if you want to look at it like that. Many of these licks will have
triads in them, that is what helps to give it a melodic sound. You can also use
the unison bends that jump with in the key as well. Here's one
awkward to play, what scale is that from?
Michael: It's in the A Dorian on the 1st
BluesJedi: Gotta have a strong pinky, ha, got it to be
unison, it's tough.
Michael: Use your 3rd finger to bend, and the 2nd
finger to support it.
BluesJedi: Ah, easier that way...
Here's the A Dorian on the 1st (E) string,
getting the pitch on the second string is a challenge let alone using it within
a sequence. Now we can jump into other patterns as well, you'll see the shift of
patterns in the next lick:
Michael: In this lick you'll notice a sequence of descending triads and then you jump back
into the A Dorian pattern on the 5th fret. You'll notice that you jump to lick 2 at the end of the phrase.
Here's a sample of just
the sequence of triads and then you can jump to the lower octave on in the open
Here's the last lick, you basically follow the chord progression during F, G and
Am using arpeggios.
Michael: Notice the B Diminished gives the lick a classical type sound.
Well time to go, I
look forward to seeing you all next
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