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Learn MoreShred Guitar Improvisation
Rating: 4.3 out of 54.3(32 ratings)
517 students
Shred Guitar Improvisation
Learn how to improvise for rock and heavy metal guitar
Created byChris Zoupa
Last updated 1/2020
English
What you'll learn
- How to target chord tones
- How to play over diatonic i, ii, iii, IV, V, vi and vii chords
- How to play over non-diatonic III, iv, VI and viidim7 chords
- Create interesting pentatonic, diatonic and arpeggio sequences
- Ways to make phrasing more interesting with use of outside and grace notes
- Using chords in improvised soloing
- How to structure a solo, composed or improvised
Explore related topics
Course content
13 sections • 56 lectures • 2h 14m total length
- Section 1.1 - The Diatonic Chord Structure and Targeting the Root2:59
This video includes:
*An introduction to understanding the diatonic chord structure, using the Roman Numeral system.
*How to target the root notes of a I V vi IV progression in C.
*Using Am Pentatonic and A Aeolian (or C Ionian) scale.
*Combining chord root note targeting with scales over the I V vi VI progression inC.
- Section 1.2 - Targeting the 3rd1:32
This video includes:
*How to target the major and minor 3rds of the chords I V vi IV progression in C.
*How to use targeted 3rd notes in a solo with the progression combined with the C major (Ionian) diatonic & Am Pentatonic scale
- Section 1.3 - Targeting the 5th1:17
This video includes:
*How to target the 5th of the chords I V vi IV progression in C.
*How to use targeted 5th notes in a solo with the progression combined with the C major (Ionian) diatonic & Am Pentatonic scale
- Section 1.4 - Targeting all 3 notes of the Triad1:33
This video includes:
*How to target all 3 notes of the triad in the chords I V vi IV in C.
*How to use different combinations of target notes with a progression combined with A Aeolian and Am Pentatonic scale
- Section 2.1 - Using G Ionian 3NPS and CAGED w/I Chord1:16
This video includes:
*Explanation of the I chord in the key of G major (G).
*Playing the G Ionian scale over a I chord in 3NPS & CAGED format,
*2 musical licks created from G Ionian 3NPS and CAGED scale shapes over the I chord.
- Section 2.2 - Using G major Pentatonic w/I Chord1:02
This video includes:
*Using G major pentatonic scale (shape 1) in vertical and horizontal manner over I chord.
*2 musical licks played over the I chord, created from G major pentatonic scale (shape 1) in vertical and horizontal respectively.
- Section 2.3 - Using G triad arpeggios w/I Chord1:14
This video includes:
*3 G major triad arpeggio shapes that work over the I chord.
*3 musical licks based on each shape being played over the I chord.
- Section 2.4 - Using Gmaj7 arpeggios w/I Chord1:23
This video includes:
*3 G major 7th arpeggio shapes that work over the I chord.
*3 musical licks based on each shape being played over the I chord.
- Section 3.1 - Using A Dorian 3NPS and CAGED w/ii Chord1:09
This video includes:
*Explanation of the ii chord in the key of G major (Am).
*Playing the A Dorian scale over a ii chord in 3NPS & CAGED format.
*2 musical licks created from A Dorian 3NPS and CAGED scale shapes over the ii chord.
- Section 3.2 - Using G major Pentatonic shape 2 w/ii Chord1:05
This video includes:
*Using G major pentatonic scale (shape 2) in vertical and horizontal manner over ii chord.
*2 musical licks played over the ii chord, created from G major pentatonic scale (shape 2) in vertical and horizontal respectively.
- Section 3.3 - Using Am triad arpeggios w/ii Chord1:15
This video includes:
*3 A minor triad arpeggio shapes that work over the ii chord.
*3 musical licks based on each shape being played over the ii chord.
- Section 3.4 - Using Am7 arpeggios w/ii Chord1:19
This video includes:
*3 Am7 arpeggio shapes that work over the ii chord.
*3 musical licks based on each shape being played over the ii chord.
- Section 4.1 - Using B Phrygian 3NPS and CAGED w/iii Chord1:13
This video includes:
*Explanation of the iii chord in the key of G major (Bm).
*Playing the B Phrygian scale over a iii chord in 3NPS & CAGED format.
*2 musical licks created from B Phrygian 3NPS and CAGED scale shapes over the iii chord.
- Section 4.2 - Using G major Pentatonic shape 3 w/iii Chord1:08
This video includes:
*Using G major pentatonic scale (shape 3) in vertical and horizontal manner over iii chord.
*2 musical licks played over the iii chord, created from G major pentatonic scale (shape 3) in vertical and horizontal respectively.
- Section 4.3 - Using Bm triad arpeggios w/iii Chord1:16
This video includes:
*3 B minor triad arpeggio shapes that work over the iii chord.
*3 musical licks based on each shape being played over the iii chord.
- Section 4.4 - Using Bm7 arpeggios w/iii Chord1:17
This video includes:
*3 Bm7 arpeggio shapes that work over the iii chord.
*3 musical licks based on each shape being played over the iii chord.
- Section 5.1 - Using C Lydian 3NPS and CAGED w/IV Chord1:08
This video includes:
*Explanation of the IV chord in the key of G major (C).
*Playing the C Lydian scale over a IV chord in 3NPS & CAGED format.
*2 musical licks created from C Lydian 3NPS and CAGED scale shapes over the IV chord.
- Section 5.2 - Using C Lydian Pentatonic w/IV Chord1:26
This video includes:
*C Lydian Pentatonic introduction and explanation.
*Using C Lydian pentatonic over a IV chord.
*Using C Lydian pentatonic in context over a IV as a musical lick.
- Section 5.3 - Using C major triad arpeggios w/IV Chord1:17
This video includes:
*3 C major triad arpeggio shapes that work over the IV chord.
*3 musical licks based on each shape being played over the IV chord.
- Section 5.4 - Using C major7 arpeggios w/IV Chord1:22
This video includes:
*3 C major 7th arpeggio shapes that work over the IV chord.
*3 musical licks based on each shape being played over the IV chord.
- Section 6.1 - Using D Mixolydian 3NPS and CAGED w/V Chord1:04
This video includes:
*Explanation of the V chord in the key of G major (D).
*Playing the D Mixolydian scale over a V chord in 3NPS & CAGED format.
*2 musical licks created from D Mixolydian 3NPS and CAGED scale shapes over the V chord.
- Section 6.2 - Using G major Pentatonic shape 4 w/V Chord1:17
This video includes:
*Using G major pentatonic scale (shape 4) in vertical and horizontal manner over V chord.
*2 musical licks played over the V chord, created from G major pentatonic scale (shape 4) in vertical and horizontal respectively.
- Section 6.3 - Using D Mixolydian Pentatonic w/V Chord1:02
This video includes:
*D Mixolydian Pentatonic introduction and explanation.
*Using D Mixolydian pentatonic over a V chord.
*Using D Mixolydian pentatonic in context over a V as a musical lick.
- Section 6.4 - Using D major triad arpeggios w/V Chord1:21
This video includes:
*3 D major triad arpeggio shapes that work over the V chord.
*3 musical licks based on each shape being played over the V chord.
- Section 6.5 - Using D7 arpeggios w/V Chord1:24
This video includes:
*3 D7 (dominant) arpeggio shapes that work over the V chord.
*3 musical licks based on each shape being played over the V chord.
- Section 7.1 - Using E Aeolian 3NPS and CAGED w/vi Chord1:11
This video includes:
*Explanation of the vi chord in the key of G major (Em).
*Playing the E Aeolian scale over a vi chord in 3NPS & CAGED format.
*2 musical licks created from E Aeolian 3NPS and CAGED scale shapes over the vi chord.
- Section 7.2 - Using E minor Pentatonic w/vi Chord1:15
This video includes:
*Using E minor pentatonic scale (shape 1) in vertical and horizontal manner over vi chord.
*2 musical licks played over the vi chord, created from E minor pentatonic scale (shape 1) in vertical and horizontal respectively.
- Section 7.3 - Using E Hirajoshi Scale w/vi Chord1:25
This video includes:
*E Hirajoshi (Japanese pentatonic) introduction and explanation.
*Using E Hirajoshi pentatonic over a vi chord.
*Using E Hirajoshi pentatonic in context over a vi as a musical lick.
- Section 7.4 - Using Em triad arpeggios w/vi Chord1:18
This video includes:
*3 E minor triad arpeggio shapes that work over the vi chord.
*3 musical licks based on each shape being played over the vi chord.
- Section 7.5 - Using Em7 arpeggios w/vi Chord1:22
This video includes:
*3 Em7 arpeggio shapes that work over the vi chord.
*3 musical licks based on each shape being played over the vi chord.
- Section 8.1 - Using F# Locrian 3NPS and CAGED w/vii Chord1:16
This video includes:
*Explanation of the vii chord in the key of G major (F#m7b5).
*Playing the F# Locrian scale over a vii chord in 3NPS & CAGED format.
*2 musical licks created from F# Locrian 3NPS and CAGED scale shapes over the vii chord.
- Section 8.2 - Using F# Locrian Pentatonic w/vii Chord1:25
This video includes:
*F# Locrian Pentatonic introduction and explanation.
*Using F# Locrian pentatonic over a vii chord.
*Using F# Locriian pentatonic in context over a vii as a musical lick.
- Section 8.3 - Using F#m(b5) triad arpeggio w/vii Chord1:31
This video includes:
*3 F# minor (b5) triad arpeggio shapes that work over the vii chord.
*3 musical licks based on each shape being played over the vii chord.
- Section 8.4 - Using F#m7b5 arpeggio w/vii Chord1:26
This video includes:
*3 F#m7b5 arpeggio shapes that work over the vii chord.
*3 musical licks based on each shape being played over the vii chord.
- Section 8.5 - Using Chord Numbers Together In A Progression3:06
This video includes:
*3 mini solos over 3 different chord progressions
*My approach to soloing over each individual chord number, in every progression, as well as my use of different scales and arpeggios.
- 9.1 - Introduction to Non-Diatonic Chords and the III7 chord7:56
This video includes:
*Introduction to non diatonic chords.
*Explanation of non diatonic III/III7 chord in G Major (B/B7).
*Using B Phrygian Dominant scale over III7 chord, with musical lick in context.
*Using B Mixolydian pentatonic scale over III7 chord, with musical lick in context.
*Using E Pentamonic scale (shape 4) over III7 chord, with musical lick in context.
*Using B7 (dominant) arpeggios over III7 chord, with musical lick in context.
*Using B+ (augmented) arpeggio over III7 chord, with musical lick in context.
*Chord progression and mini solo showing how to deal with non-diatonic III7 chord in context.
- 9.2 - The Non-Diatonic iv chord6:18
This video includes:
*Explanation of non diatonic iv chord in G Major (Cm).
*Using C Dorian scale over iv chord, with musical lick in context.
*Using Cm Pentatonic scale over iv chord, with musical lick in context.
*Using Cm triad arpeggios over iv chord, with musical lick in context.
*Using Cm7 arpeggios over iv chord, with musical lick in context.
*Chord progression and mini solo showing how to deal with non-diatonic iv chord in context.
- 9.3 - The Non-Diatonic VI7 chord6:51
This video includes:
*Explanation of non diatonic VI/VI7 chord in G Major (E/E7).
*Using E Hindu Mixolydian scale over VI7 chord, with musical lick in context.
*Using E Mixolydian Pentatonic scale over VI7 chord, with musical lick in context.
*Using E7 (dominant) arpeggios over VI7 chord, with musical lick in context.
*Using E whole tone scale over VI7 chord, with musical lick in context.
*Chord progression and mini solo showing how to deal with non-diatonic VI7 chord in context.
- 9.4 - The Non-Diatonic viidim7 chord6:55
This video includes:
*Explanation of non diatonic viidim7 chord in G Major (F#dim7).
*Using F#dim7 arpeggios over viidim7 chord, with musical lick in context.
*Using The F# diminished scale (1/2 whole or whole 1/2) over viidim7 chord, with musical lick in context.
*Using F# Locrian Natural 6th scale over viidim7 chord, with musical lick in context.
*Chord progression and mini solo showing how to deal with non-diatonic viidim7 chord in context.
- 10.1 - Using Major & Minor 3rd chords in solos2:05
This video includes:
*How to use major & minor 3rd chords when soloing over a G Dorian progression. (Can be moved to any key or mode when concept is understood)
- 10.2 - Using 4th chords in solos1:31
This video includes:
*How to use 4th chords when soloing over a G Dorian progression. (Can be moved to any key or mode when concept is understood)
- 10.3 - Using 5th chords in solos1:23
This video includes:
*How to use 5th/powerchords when soloing over a G Dorian progression. (Can be moved to any key or mode when concept is understood)
- 10.4 - Using Major & Minor 6th chords in solos1:39
This video includes:
*How to use major & minor 6th chords when soloing over a G Dorian progression. (Can be moved to any key or mode when concept is understood)
- 10.5 - Using Octave chords in solos1:34
This video includes:
*How to use Octave chords when soloing over a G Dorian progression. (Can be moved to any key or mode when concept is understood)
- 10.6 - Using Unison Bends in solos1:38
This video includes:
*How to use unison bend chords when soloing over a G Dorian progression. (Can be moved to any key or mode when concept is understood)
- 10.7 - Sustained arpeggiated chords in solos1:45
This video includes:
*How to use sustained/bleeding arpeggiated chords when soloing over a G Dorian progression. (Can be moved to any key or mode when concept is understood)
Requirements
- Beginner to Intermediate playing level
- Able to read tablature
- Basic dexterity to be able to cross strand and play licks and scales
Description
This course was designed to help players who’ve just started improvising or been caught in a rut for a while and need some help to get fresh approaches and ideas.
Each section is devoted to an important aspect of improvisation, whether it be targeting chord tones, addressing the Roman numeral chord number systems, some different approach to phrasing and heaps of other great tools to help out guitarists on their improvising journey. I will be providing tips, tricks, common hacks as well as extensive video explanations, coupled with guitar pro files, PDFs and backing tracks.
Who this course is for:
- Players who’ve just started improvising
- Experienced or intermediate players caught in a rut for a while and need some help to get fresh approaches and ideas.
- Guitarist that want a theoretical and practical approach to understanding improvisation to help their overall playing