Doug Doppler diatonic theory & harmony. LESSON PLANs

Transcription

1 Doug Doppler diatonic theory & harmony LESSON PLANs

2 TA B L E O F C O N T E N T S Introduction Page EF / BC Note Location E xercise Page 6 Meters and Subdivisions Page 7 A lphabet of Chords Page 8 Basic Barre Chord Relay Page G Minor Pentatonic Relay Page 0 Related Modal Relay in G Page Note per String Modes in G Page Triad / Chord Relay in G Page 7 Chord Relay in G Page Mode S pelling E x. at G Page 5 Note S pelling E x. at G Page 6 G Minor Pentatonic S pelling E xercise Page 7 G Major Pentatonic S pelling E xercise Page 8 Triad Note G roup E xercise in C Page Triad Note G roup E xercise in G Page 0 Triad /A rpeggio Relay in G Page 7 A rpeggio Relay in G Page Mode Triad /A rp Triad / Chord S pelling E x. in G Page Mode 7 A rp 7 Chord S pelling E x. in G Page Basic Barre Chord S pelling E xercise Page 5 Power Chord Relay in G Page 6 Add Chord Relay in G Page 7 Sus Chord Relay in G Page 8 Sus Chord Relay in G Page Power Chord Progression Page 0 Open Position Chord Progression Page Basic Barre Chord Progression Page Triad / Chord Progression Page 7 Chord Progression Page Add Chord Progression Page 5 Sus Chord Progression Page 6 Stacked Chord Progression Page 7

3 I N T R O D U C T I O N Welcome to Diatonic Theory and Harmony. This DVD and its Lesson Plans represent 0 years of my life as a guitar instructor, as well as the / years I spent studying with Joe Satriani. It is intended to be used as a tool for you to master not only an understanding of Diatonic Theory and Harmony, but how to apply it as well. The following will give you valuable insight in how to get the most out of this program. I thank you for your trust in me as a teacher and I offer my encouragement in your interest to better yourself as a musician - ECELLENT! U S I N G T H E M AT E R I A L S Lessons Plans Each Lesson and Progression on the DVD has its own page in this PDF. They are intended to be used to support one another. Please be sure to print out your PDF of choice so you can make your practice mobile. You will probably want to keep them close by as you are watching the DVD itself as well. DVD The first time you view the DVD, I would strongly suggest watching it all the way through - without a guitar in hand. This will provide valuable insight for what we will be able to accomplish together. Our team spent a lot of time organizing the content so you can access it intuitively via the user-friendly menus. You can also jump from chapter to chapter using the appropriate button on your remote, as well as pause the DVD to look at the Lesson Plan for that chapter - this will really maximize your experience. The Progressions I purposely put the Progressions at the end of the DVD for two key reasons. First of all, each Progression makes specific references to body of knowledge presented over the course of the DVD - the further you go into the Progressions, the deeper they go into the curriculum. Secondly, I didn t want to encourage any of you to noodle without first taking advantage of the information you paid good money to learn. That said, every Chord Progression on the DVD corresponds to one of the Chord Groups I go over, and as such you can go ahead and play the related Progressions as you work through the DVD. This is how I do things at my teaching studio, and I encourage you to benefit from this tried and true process.

4 Audio CD The Audio CD is intended to give you the opportunity to make music utilizing the principles demonstrated on the DVD. The Progressions segment of the DVD correlates with the content, and in turn the Audio CD is where you can bring these ideas to life. I encourage you to use the Audio CD as it was intended - on a stereo with sufficient volume so you can turn up your amp and have some real fun. Lesson Plan PDFs As you ve most likely noticed, there are two Lesson Plan PDFs in the PDF folder on the DVD - Graph Paper Lesson Plans & Print Format Lesson Plans. I wanted to take a moment and illuminate why I chose to include both formats in v..0 of this DVD... At the time I shot Diatonic Theory and Harmony, I felt very strongly about passing on the Graph Paper Format Joe Satriani used when I studied with him - largely so other teachers could utilize it. It is both easy for teachers to use and students to read. One if its greatest assets is the ability to create a Chord or Scale Diagram anywhere on the page and in turn write directions just below. Put simply, it WORKS... In the months since I released this DVD, I have been using technology more and more at my teaching studio. My laptop is always present, and I am also using the M-Audio Black Box and Live to document the progressions and licks I create for my students. I record the rhythm once or twice through, cut and paste the best performance for minutes or so, and then overdub any licks at the beginning of the track. When the student goes home, they get a chance to play along with the rhythm track, as well as solo over it with their own licks or those that I ve shown them. I place my licks only at the top of the track so the student can have ample time to play what they want over the rest. I have also started using Sibelius G7 Music Notation program to document these chord progressions and licks, and am printing them out for students. In the backdrop of all of this, we decided to create a traditional print booklet for the Lesson Plans, and I have started printing those out as well. In combination with the Graph Paper Format this new technology is allowing me to become a better instructor, and I would be remiss in not passing these things along to you. It is clear that technology is impacting my teaching studio, and as such I hope it will impact yours - with the obvious benefits it has had for my students! In conclusion, I encourage other teachers to utilize and pass on the Graph Paper Format - it has worked so well for me over the past 0 years. In turn, I welcome the addition of technology to my teaching studio and hope that you will find a nice blend for yours.

5 Lesson Plans As noted above, these document the ideas presented for each Lesson on the DVD. If you are using the Print Format PDF, you might want to take a quick look at Pattern # for the G Minor Pentatonic Relay. Above the Scale Diagram (just to the right of the Pattern Number), there is a box with the Fret Number of the lowest Note (in terms of pitch) for that Pattern. In turn, if you look just to the left of that Diagram, you will again see the Fret Number of lowest Note of that Pattern, this time next to the finger that plays it. For the other Scale Diagrams presented in the PDF, you will only see the boxed Fret Number above each Scale Diagram. This number always refers to the location of the lowest Note of the fingering. Practicing Practicing is key to mastering the ideas presented on Diatonic Theory and Harmony. Always start off slowly and play each Exercise with an even Tempo to lock it into your memory correctly - get it right the first time. As you work further into the DVD, I encourage you to add each successive Lesson to the list of previous Lessons, and continuously cycle through that list. If you don t make it all the way through your Practice Schedule on a Practice Session, start off with the Exercise that follows the last one you played perfectly during the previous Session. If your focus on a Practice Session is to make it through all your Lesson Plans, longer Exercises like the Minor Pentatonic Relay don t have to be performed perfectly in their entirety to move on. Just make sure to play each Pattern (up and down the neck) perfectly once before moving on to the next. If the focus of your Practice Session is building speed, make sure not to speed up an Exercise like the Minor Pentatonic until you can play it through perfectly. There is little cumulative benefit in speeding up an Exercise that you can t perform perfectly and in time. The best way to learn to play fast is to learn how to PRACTICE SLOWLY. Gradually increase the Tempo with each perfect performance to lock in your improvement. You will probably also want to chart your Practice Sessions so you can monitor your progress. I would suggest documenting the Exercises in your Practice Schedule, as well as the BPM (beats per minute) you are playing them at. One size does not fit all, so don t use a common Tempo for ALL your exercises. Focus on finding the right Tempo for where you are at for EACH exercise, and in turn work on improving that. By documenting your progress you can actually see your improvement. When we are involved in the process of getting better, we can easily lose sight of how much improvement we ve actually made. It is really valuable to be reminded of our successes, as it will inspire us to work harder on the Exercises that challenge us the most. Excellent!!! 5

6 E F / B C N O T E L O C AT I O N E E R C I S E O V E R V I E W: The only natural adjacent half steps occur between E&F and B&C. All other natural adjacent notes are a whole step apart. Ascend then descend each string calling out note names while playing them Call out distances too E A M P L E : E half to F, whole to G, whole to A... etc. 6

7 M E T E R S & S U B D I V I S I O N S S U B D I V I S I O N S S Y B M O L N A M E VA L U E I N / T I M E WHOLE NOTE Four Beats HALF NOTE Two Beats QUARTER NOTE One Beat EIGHTH NOTE / of a Beat SITEENTH NOTE / of a Beat T R I P L E T S 7

8 A L P H A B E T O F C H O R D S A B C D E F G Play through the musical alphabet using the above chords Mute between chords with your picking hand, letting the pick come to rest against the bassnote (lowest string) of the next chord Call our chord name while playing each chord Cycle through with an even tempo, only speeding up on the first chord if you have played all others perfectly AND in time Watch out for unwanted open string noise. On the B, C, and F chords, mute the lower adjacent string with the tip of the finger you are using to play the root. 8

9 B A S I C B A R R E C H O R D R E L AY MAJOR MINOR MINOR 7 DOMINANT 7 7 SUS MAJOR MINOR MINOR 7 DOMINANT 7 7 SUS Play through the Basic Barre Chords for the 6th and 5th String Roots with an even tempo Call out chord type(s) while playing them Mute between chords with your picking hand, letting the pick come to rest against the bassnote of the next chord Speed up on the first chord only if you have played all others perfectly and in time On the 5th String Root Chords, use the tip of the first finger to touch up against the side of the 6th String to keep it from ringing (making sure not to barre across it).

10 G M I N O R P E N TAT O N I C R E L AY # # 6 # # 0 # 5 # Ascend then descend each pattern up and down the neck with an even tempo Repeat top notes No gaps between patterns Repeat top pattern before coming back down the neck Alternate pick To insure you do not slide from one pattern into the next, lift if the tip of the finger playing the last note of a pattern just enough to stop fretting the note as you make the transition into the next pattern. 0

11 R E L AT E D M O D A L R E L AY G MAJOR A DORIAN 5 B 7 C LYDIAN 8 D MIO- LYDIAN 0 E MINOR F # G MAJOR 5 Ascend then descend each mode up and down the neck with an eighth note feel, pausing an eighth note rest between modes Call out mode names while playing first notes Do NOT repeat top notes Do repeat top mode (G Major at the 5th fret) before coming back down the neck Alternate pick When you are memorizing the patterns, it often helps to look at the sheet and call out the finger numbers WHILE you are playing them.

12 N O T E P E R S T R I N G R E L AT E D M O D A L R E L AY G MAJOR B PHRYGIAN 7 C LYDIAN 8 D MIO- LYDIAN 0 E MINOR F # G MAJOR 5 Ascend then descend each mode up and back down the neck with a triplet feel Repeat top notes No gaps or rests between modes Alternate Pick Repeat top mode (G Major at the 5th fret ) before coming back down the neck I would strongly suggest using the EACT fingerings on this page - for a couple of key reasons. In looking at the first three notes of G Major, some people might finger them with their first, third and fourth fingers as opposed to the first, second and fourth (as written). Most people have a MUCH easier time stretching a that you think establishing a hand position for the fingers on your fretting hand from which your first finger extends out and back into position - excellent! whole step between their first and second fingers than between their third and fourth. Mentally, I would prefer

13 T R I A D / C H O R D R E L AY Ascend then descend playing the Diatonic (of the same key) Triad/Chords for G Major with an even tempo Mute between chords Repeat top chord ( G Major) before coming back down the neck Ascend then descend the neck calling out: ) Triad Chord type (M, m, m...etc.) ) Scale Degree Number of root (I, ii-, iii-...etc.) Keep in mind that the root of each of these chords is played on the fourth string, so make sure to think about playing the notes of G Major as your roots on that string and not just memorizing the fret locations. Keep in mind that the Diminished triad is fingered with the fourth finger on the root (as opposed to the third finder for the Major and Minor shapes). A common mistake people make is to play the E Minor chord and then move their hand up the neck and put the fourth finger down at G instead of F#. Conversely, when descending from G Major to F# Diminished, the roots switch from being played with the fourth finger to the third finger. To make this transition easier you can simply move your first and second fingers down the neck a whole step while switching between the third finger covering G to the fourth finger covering F# respectively.

14 7 C H O R D R E L AY Ascend then descend playing the diatonic 7 Chords for G Major with an even tempo Mute between chords Repeat top chords Call out Scale Degree Number of root ) Up and down the 6th String I up to the I, back down to the I ) Up and down the 5th String IV up to the IV, back down to the IV ) Alternate: I IV, ii- V, iii- vi-...etc. up and back down the neck Keep in mind that while you are alternating between the 6th and 5th String Root pairs (the third part of the exercise), the roots for the C Major 7 Chord and the F# Minor 7 b5 Chords are offset by a fret, while all others are played at common frets. When forming the 6th String Root Minor 7 b5 Chord, you can try fingering the chord as I have written it, or using the two following finger options for the sixth, fourth, third, and second strings respectively:,,,;,,,. When forming the 5th String Root Minor 7 b5 Chord, keep in mind that the first finger literally covers two different frets. It looks a lot harder on paper than it is to play.

15 M O D E S P E L L I N G E E R C I S E AT G Ascend then descend each mode at G while calling out Scale Degree Numbeers Compare with Major Scale to determine formulas Call out appropriate flats and sharps Use the shapes to help you memorize the Scale Degree Numbers for each mode, NOT the formulas below. Visualize each mode superimposed on top of the Major Scale. Call out flat or sharp for any note that is either higher or lower than its equivalent Scale Degree Number in the Major Scale. Remember, I provided the formulas so you can be sure that you are calling out the Scale Degree Numbers for each Mode correctly. By comparing the shape of each Mode to that of the Major Scale you will learn HOW to determine these formulas. 5

16 N O T E S P E L L I N G E E R C I S E AT G Ascend then descend each mode at G while calling out Note Names Compare with Major Scale to determine formulas Call out appropriate flats and sharps Use the shapes to help you memorize the Scale Degree Numbers for each mode, NOT the formulas below. This exercise works on the same principal as the Mode Spelling Exercise. By comparing the shape of a Mode to that of the Major Scale, you can easily determine the note names for that mode. Again, I provided the formulas so you can be sure that you are calling out the Note Names for each Mode correctly. By comparing the shape of each Mode to that of the Major Scale you will learn HOW to determine these formulas. 6

17 G M I N O R P E N TAT O N I C S P E L L I N G E E R C I S E # Ascend then descend pattern # the G Minor Pentatonic scale while calling out... ) Note Names ) Scale Degree Numbers F O R M U L A S : By having you call out the note names first, it will remind you what you learned from the Mode and Note Spelling Exercises - if G is the root, Bb functions as a b. Hence in looking at Pattern # of the G Minor Pentatonic it will be easy to see that the Bb played at the sixth fret on the Low E String is in fact a b - right?!!! More importantly it gets you used to getting comfortable in toggling / translating back and forth between Note Names and Scale Degree Numbers. 7

18 G M A J O R P E N TAT O N I C S P E L L I N G E E R C I S E # Ascend then descend the the G Major Pentatonic Scale (Pattern # of the Minor Pentatonic) while calling out... ) Note Names ) Scale Degree Numbers F O R M U L A S : Unlike the Pattern #, Pattern # of the Minor Pentatonic (also known as the Major Pentatonic) aligns directly over the G Major Scale, which makes seeing both the Note Names and the Scale Degree Numbers much easier. Again, by having you call out the note names first, it will remind you what you learned from the Mode and Note Spelling Exercises, and will help you get better at translating between Note Names and Scale Degree Numbers. 8

19 T R I A D N O T E G R O U P E E R C I S E I N C M A J O R Ascend then descend playing the Diatonic Triad Arpeggios for the Key of C Major while calling out the Triad Note Groups Play each Triad Arp two times - 5,5 Make sure to MEMORIZE the Triad Note Groups Noting that the formulas for Major, Minor, and Diminished Triads are 5, b5, and bb5 respectively, the note names for the Triad Notes Groups will always be the same, you simply add flats or sharps to support the notes of the key you are in. In case you didn t know, the Key of C Major has no Flats or Sharps, which is why it is the logical starting place to memorize the Triad Note Groups.

20 T R I A D N O T E G R O U P E E R C I S E I N G M A J O R Ascend then descend playing the Diatonic Triad Arpeggios for the Key of G Major while calling out the Triad Note Groups Play each Triad Arp two times - 5,5 In looking at the chart below, you will see that the Notes Names for each of the Triad Note Groups have remained the same, and that we have simply changed every F to an F# to reflect the notes of G Major. In turn, if you know the flats and sharps for a given key (and have memorized the Triad Note Groups), you can easily calculate the notes for each Triad by taking the Triad Note Group and adding any Flats or Sharps for that key. 0

21 T R I A D / A R P E G G I O R E L AY I N G M A J O R Ascend then descend playing the Diatonic Triad Arpeggios for the Key of G Major Play each Triad Arp two times - 5,5 Call out Scale Degree Number of Root ) Up and down the 6th String I up to the I, back down to the I ) Up and down the 5th String IV up to the IV, back down to the IV ) Alternate: I IV, ii- V, iii- vi-...etc. up and back down the neck Keep in mind that while you are alternating between the 6th and 5th String Root pairs (the third part of the exercise), the roots for the C Major and the F# Diminished Triads are offset by a fret, while all others are played at common frets. For these two Arpeggios, I would suggest using your nd and rd fingers to play the roots respectively.

22 7 A R P E G G I O R E L AY I N G M A J O R Ascend then descend playing the Diatonic 7 Arpeggios for the Key of G Major Play each 7 Arp 57, 75 Call out Scale Degree Number of Root ) Up and down the 6th String I up to the I, back down to the I ) Up and down the 5th String IV up to the IV, back down to the IV ) Alternate: I IV, ii- V, iii- vi-...etc. up and back down the neck Keep in mind that while you are alternating between the 6th and 5th String Root pairs (the third part of the exercise), the roots for the C Major 7 and the F# Minor 7 b5 Arps are offset by a fret, while all others are played at common frets. For these two Arpeggios, I would suggest using your nd and rd fingers to play the Roots respectively.

23 M O D E T R I A D / A R P T R I A D / C H O R D S P E L L I N G E E R C I S E I N G M A J O R ) Spell the Mode ) Spell the Triad / Arpeggio on Octaves ) Spell the Triad / Chord Voicing ) Call out the Triad / Chord type E A M P L E : ) Dorian b 5 6 b 7 b 5 6 b 7 b b b b Dorian ) b 5 b 5 5 b 5 b ) b 5 ) Minor This is where the rubber meets the road. We take all notes in each Mode, select all the notes for the Triad / Arps that you can fit in the Mode, construct the voicing for the Triad / Chord you want to use, and in turn call out what type of Chord it is. This process can be used to create or break down any Chord, and in turn create the parallel Chord Voicings up and down the neck!

24 M O D E 7 / A R P 7 / C H O R D S P E L L I N G E E R C I S E I N G M A J O R ) Spell the Mode ) Spell the 7 / Arpeggio on Octaves ) Spell the 7 / Chord Voicing ) Call out the 7 Chord type E A M P L E : ) Dorian b 5 6 b b 7 b 5 6 b 7 b b b b Dorian ) b 5 b 7 b 5 b 7 b 7 5 b b 7 5 b ) b 5 ) Minor 7 This is where the rubber meets the road. We take all notes in each Mode, select all the notes for the Triad / Arps that you can fit in the Mode, construct the voicing for the Triad / Chord you want to use, and in turn call out what type of Chord it is. This process can be used to create or break down any Chord, and in turn create the parallel Chord Voicings up and down the neck!

25 B A S I C B A R R E C H O R D S P E L L I N G E. M = MAJOR m = MINOR -7 = MINOR 7 7 = DOMINANT 7 7 SUS 5 5 b 5 5 b7 b 5 b7 5 b7 5 5 b7 b7 M = MAJOR m = MINOR -7 = MINOR 7 7 = DOMINANT 7 7 SUS 5 5 b7 5 b7 5 b7 5 b b Ascend then descend each Barre Chord calling out the Scale Degree Numbers Focus on memorizing each Voicing Many chords you will encounter can be easily analyzed by comparing their shapes to those of the Basic Barre Chords. In this fashion, we are employing the shape based principals from the Mode Spelling Exercise, and applying them to Chords. To get used to this process, compare the shape of the Minor, Minor 7, Dominant 7, and 7Sus Chords for the 6th and then 5th String Roots to their respective Major Chord forms. Count up and down each string that has a different Note (compared to the Major Chord form) to determine the differences between the Voicings. 5

26 P O W E R C H O R D R E L AY sus 5 sus b 5 sus 5 sus b 5 Note: As shown on the above chart, you can elect to drop the word sus in naming / calling out these chords. Ascend then descend playing the Diatonic Power Chords for the Key of G Major Call out Scale Degree Number of Root ) Up and down the 6th String I up to the I, back down to the I ) Up and down the 5th String IV up to the IV, back down to the IV ) Alternate: I IV, ii- V, iii- vi-...etc. up and back down the neck Keep in mind that while you are alternating between the 6th and 5th String Root pairs (the third part of the exercise), the roots for the C5 Chord and the F#b5 Chords are offset by a fret, while all others are played at common frets. There may be times you will find that using a regular Power Chord (F#5 as opposed to an F#b5) sounds better over the 7th Degree of the Major Scale. Although it is technically incorrect you may find it sounds better to your ear! 6

27 A D D C H O R D R E L AY Ascend then descend playing the Diatonic Add Chords for the Key of G Major Arpeggiate each chord 5 5 Call out Scale Degree Number of Root ) Up and down the 6th String I up to the I, back down to the I ) Up and down the 5th String IV up to the IV, back down to the IV ) Alternate: I IV, ii- V, iii- vi-...etc. up and back down the neck Keep in mind that while you are alternating between the 6th and 5th String Root pairs (the third part of the exercise), the roots for the C() Chord and the F#Dim(b) Chords are offset by a fret, while all others are played at common frets. 7

28 S U S C H O R D R E L AY Ascend then descend playing the Datonic Sus Chords for G Major with an even tempo Mute between chords Repeat top chord (G Sus) before coming back down the neck Ascend then descend the neck calling out: ) Chord type (Sus, Sus, Susb...etc.) ) Scale Degree Number of root (I, ii-, iii-...etc.) Note that the only chords that have a b are those that relate to the Phrygian and Locrian Modes - B Susb and F# Diminished Susb, respectively for the Key of G Major. In turn you can see how the 5 for each Mode impacts the formulas for the Chords as well - your knowledge of the Mode and Chord Spelling Exercises at work! 8

29 S U S C H O R D R E L AY Ascend then descend playing the Datonic Sus Chords for G Major with an even tempo Mute between chords Repeat top chord (G Sus) before coming back down the neck Ascend then descend the neck calling out: ) Chord type (Sus, Sus, Sus...etc.) ) Scale Degree Number of root (I, ii-, iii-...etc.) Again, in looking at the Chord Voicings for the Sus Chords, you can see the Diatonic principles you ve learned from the Mode and Chord Spelling Exercises hard at work!

30 Doug Doppler diatonic theory & harmony Power Chord Progression Doug Doppler Solo using: E Major & its relative Modes E Major Pentatonic Electric Guitar Electric Guitar

31 Open Position Chord Progression Doug Doppler Solo Using: E Minor Pentatonic Electric Guitar 8 8

32 Basic Barre Chord Progression Doug Doppler Solo Using: G Minor Pentatonic fr 5fr fr Electric Guitar 5fr 5fr fr 5fr 5fr 5fr 8 8

33 Solo Using: B Minor & its relative Modes B Minor Pentatonic Triad Chord Progression 7fr 5fr Doug Doppler Electric Guitar Electric Guitar fr 5fr 7fr 5fr fr 5fr 0 0 0

34 Doug Doppler diatonic theory & harmony Solo Using: G Major & its relative Modes G Major Pentatonic 7 Chord Progression 7fr 5fr Doug Doppler Electric Guitar 5fr 0 7

35 Add Chord Progression Doug Doppler Solo Using: F# Minor & its relative Modes F# Minor Pentatonic fr Electric Guitar Electric Guitar fr fr

36 Sus Chord Progression Doug Doppler Solo Using: A Minor & its relative Modes A Minor Pentatonic fr Electric Guitar fr 7fr fr 0 7 6

37 Stacked Chord Progresssion Doug Doppler 5fr 7fr 5fr 8fr 0fr Electric Guitar Solo Using: A Mixo-Lydian>>>>>>>>>>>>>>>>>>>>>>>>>>>>>A Dorian (starting at C/D) 0 7 7

38 Guitar is committed to creating exciting interactive media for guitarists everywhere. Whammy Bar Mojo, the next title in this ongoing series will be available in 007. Please visit the Guitar.com web site for further information and to sign up for the ing list. Doug Doppler is also an active recording artist. 005 marked the release of his Nu Instrumetal disc on Steve Vai s Favored Nations label. Doug toured Europe in support of that disc in Spring 006, opening for Gilby Clarke of Guns n Roses and Rockstar Supernova fame. Over the years, Doug has also performed several times with his mentor, Joe Satriani. Doug joined Joe, Denny Carmassi (Montrose, Heart), and Randy Jackson (American Idol) to play in front of 50,000 people at the Bill Graham Memorial. Doug was also invited to sit in with Joe and Neil Schon (Journey, Bad English) at San Francisco s infamous Fillmore Auditorium in December 00. Doppler, Inc. also played the San Francisco Bay Area G 0 show featuring Satch, Steve Vai, Yngwie Malmsteen. For more information, please visit 8