So ... holy shit ... this 2 note per string down the neck major thing ... I have been playing around with it for a week. I have played guitar for 20odd years. I understand that this is no reflection on quality as such as I could have spent all that time playing a single note wrong. But this concept has completely opened up the fretboard for me in a new way. All the ground work I laid down is coming together in new patterns, my hand position is more generally stable, I transition easier between 2 to 3 or 4 note per string patterns and everywhere I go I can just always go in a new direction, connecting to some other place and idea. It's like all the licks I have played over the years in certain positions get connected in new ways, and I grow more attentive to the overall flow. Changing between modes is easier as well. I just listen to the chord and break off in a new direction that fits without thinking of the repositioning. It's too fucking cool. Plus I totally dig the sound of the scale spread out more. It's much more even and full sounding. The notes rise but you move in the opposite direction and so get the full benefit of a longer piece of string ringing out. It just sounds less crammed. I fucking love this and its so simple in way. Feels like I already did half the work and now its just getting down these new 7 runs. They look a little bizarre on paper granted and some parts seem to connect themselves to known positionsbetter or lend themselves to new licks in a certain way. I really can't recommend this strongly enough unless it's old news to you already. For me it's a major ... well not eyeopener, because I already saw what was there to see, just in a different way. Let's call it a major trailblazer, because that's what it is to me. A great connective device, showing multiple new routes through the forest you already know.
@@gnatiu Not really, no I was talking about guitar, whilst your imagination appears to be off on some strange, feverish goosechase I am afraid ... a cold shower perhaps?
It was pretty cool but I'm more impressed when I learn something new about actual theory or harmony. It's not as cool as when I got turned onto the semmetrical arpeggios (diminished and augmented). Like how cool is it that you can play stacked major or minor 3rds everywhere and each one is the root of a different inversion of the same chord? Or how about how you can lower any note of a diminished 7 chord and the it becomes a dominant 7 chord where the note you lowered is the root. I just learned that after 16 years of playing. Jazz shell voicings blew my mind a couple months ago and ever since my playing is just taking off. It's a long journey and there's no right way to learn but sometimes when you do it can be so simple and blow your mind. It be like that
I really like the horizontal approach of sliding the first note... gotta work on that. But I didn't see sliding on the way down? He plays so friggin' fast it's hard for me to see if he ended up with a slide or not.
Ivor Thomas I can't tell what he did either but I've used that technique as a bassist for a long time. Ascending it's a "1 to 1 pull up" and descending it's a "4 to 4 pull back". So going up it's the first finger that shifts and going down it's the fourth finger that shifts.
I slowed it down and it definitely looks like he's using a first finger slide on the way back down. It's especially noticeable when he lands on that final G
When you say "degree" or modes, do you mean simply playing up to the next key? (so continuing to play the major scale rooted in G, then starting from A, then from B, etc?) Or do you mean playing Ionian, and then Dorian, etc?, moving up the neck (I guess both would be good exercises). Thanks...great exercises.
+anonymous person Thanks for your comments. I still have the same question...was he saying to play the G major scale from G, and then the A major scale from A, etc., or was he saying to play the G major scale from G, and then the A Dorian scale from A...etc.? Not that it matters much, as both would be valid exercise.
He was really saying that for the purposes of his demo it is a distinction without a difference. In the context of a group situation it might be different. So he says, you can think of it either way when you're simply learning the neck.
You get it man. Its just G (ionian), A (dorian), B (Phrygian), C (Lydian) etc. When he shows the vertical exercise he's doing exactly that. When you play A dorian you're still playing to G major if your home chord is G major. When I saw this part of the video it blew my mind :)
Then you're playing G (Ionian), A (Dorian), B (Phrygian) etc. Thats what modes are. The major scale starting and ending on a specific degree of the major scale.
Would be easier if he just said to play on one string, that's horizontally. instead he's using combination playing and that to me is kind of confusing.
Yes, but knowing when to hit the right notes at any point in time is something you should strive to learn. It free's you up and allows you to be as creative as your mind will take you.
Guys, this man is giving away gold!
Very true!
My absolute favourite fusion guitarist! Oz is the Man!
Such an incredible player.
Thank you so much I appreciate your approach. Excellent!
Good lesson....what a player.
This is gold, yeah.
So ... holy shit ... this 2 note per string down the neck major thing ... I have been playing around with it for a week. I have played guitar for 20odd years. I understand that this is no reflection on quality as such as I could have spent all that time playing a single note wrong. But this concept has completely opened up the fretboard for me in a new way. All the ground work I laid down is coming together in new patterns, my hand position is more generally stable, I transition easier between 2 to 3 or 4 note per string patterns and everywhere I go I can just always go in a new direction, connecting to some other place and idea. It's like all the licks I have played over the years in certain positions get connected in new ways, and I grow more attentive to the overall flow. Changing between modes is easier as well. I just listen to the chord and break off in a new direction that fits without thinking of the repositioning. It's too fucking cool. Plus I totally dig the sound of the scale spread out more. It's much more even and full sounding. The notes rise but you move in the opposite direction and so get the full benefit of a longer piece of string ringing out. It just sounds less crammed. I fucking love this and its so simple in way. Feels like I already did half the work and now its just getting down these new 7 runs. They look a little bizarre on paper granted and some parts seem to connect themselves to known positionsbetter or lend themselves to new licks in a certain way.
I really can't recommend this strongly enough unless it's old news to you already. For me it's a major ... well not eyeopener, because I already saw what was there to see, just in a different way. Let's call it a major trailblazer, because that's what it is to me. A great connective device, showing multiple new routes through the forest you already know.
Okay okay, you are in love. Got it. Go, marry Oz Noy.
@@gnatiu Not really, no I was talking about guitar, whilst your imagination appears to be off on some strange, feverish goosechase I am afraid ... a cold shower perhaps?
It was pretty cool but I'm more impressed when I learn something new about actual theory or harmony. It's not as cool as when I got turned onto the semmetrical arpeggios (diminished and augmented). Like how cool is it that you can play stacked major or minor 3rds everywhere and each one is the root of a different inversion of the same chord? Or how about how you can lower any note of a diminished 7 chord and the it becomes a dominant 7 chord where the note you lowered is the root. I just learned that after 16 years of playing. Jazz shell voicings blew my mind a couple months ago and ever since my playing is just taking off. It's a long journey and there's no right way to learn but sometimes when you do it can be so simple and blow your mind. It be like that
Oh yes.....each string has its own presence and, tone and sustain....finding which one works best for each situation!
Is he alternate picking everything or economy. His pick slant changes on the way back up
how do I get that reach between 5 frets without hand surgery ?? thank you for great lesson
Simply practicing. Start up the neck...
I dig the beat up strat hes rockin!
Nice Line 6 Bognor at the back. I have one too!
What song is that at the end?? I've heard it in several different videos.
Parasail - Silent Partner
I really like the horizontal approach of sliding the first note... gotta work on that. But I didn't see sliding on the way down? He plays so friggin' fast it's hard for me to see if he ended up with a slide or not.
Ivor Thomas I can't tell what he did either but I've used that technique as a bassist for a long time. Ascending it's a "1 to 1 pull up" and descending it's a "4 to 4 pull back". So going up it's the first finger that shifts and going down it's the fourth finger that shifts.
I slowed it down and it definitely looks like he's using a first finger slide on the way back down. It's especially noticeable when he lands on that final G
@@jameswebster2605 Nope. No slides in the backwards scale.
I LOVE IT !
Great. Just noticed he doesn't rest his right hand at all
❤
wow
Soooo much to work on
When you say "degree" or modes, do you mean simply playing up to the next key? (so continuing to play the major scale rooted in G, then starting from A, then from B, etc?) Or do you mean playing Ionian, and then Dorian, etc?, moving up the neck (I guess both would be good exercises). Thanks...great exercises.
+anonymous person Thanks for your comments. I still have the same question...was he saying to play the G major scale from G, and then the A major scale from A, etc., or was he saying to play the G major scale from G, and then the A Dorian scale from A...etc.? Not that it matters much, as both would be valid exercise.
He is playing the G major scale starting from every tone in the scale. (Also called the modes.)
He was really saying that for the purposes of his demo it is a distinction without a difference. In the context of a group situation it might be different. So he says, you can think of it either way when you're simply learning the neck.
You get it man. Its just G (ionian), A (dorian), B (Phrygian), C (Lydian) etc. When he shows the vertical exercise he's doing exactly that. When you play A dorian you're still playing to G major if your home chord is G major. When I saw this part of the video it blew my mind :)
Then you're playing G (Ionian), A (Dorian), B (Phrygian) etc. Thats what modes are. The major scale starting and ending on a specific degree of the major scale.
I can't even think so fast..... 🤪
tabs please?!?!
Why?
cos that's all most "guitarists" understand
use your ears
Quelle fou celui là
And here I was thinking Gingers have no soul ...
The way you put on your tee shirt confused me.
Would be easier if he just said to play on one string, that's horizontally. instead he's using combination playing and that to me is kind of confusing.
It's okay to know every note on the fretboard but a handful of the right notes is all you need
Yes, but knowing when to hit the right notes at any point in time is something you should strive to learn. It free's you up and allows you to be as creative as your mind will take you.
he sounds like borat