Once I learned the difference of major / minor pentatonic , chords of a key , CAGED and that the major pentatonic positions literally fit around all those diff shapes , it was a game changer to start playing more melodically and not just playing single notes. Makes u sound like u know what ur doing 😂 love this stuff
I’ve been playing for 14 years, but I still don’t understand much of any of it and still at the basic same pentatonic scale level. I try to watch videos and read and learn but it gets so confusing when all the names and lingo get thrown around. I’ve taken classes, lessons and even a college course on music and guitar but for the life of me can’t get the language to make sense. It’s probably just a me problem, but I’ve never been able to comprehend or learn other languages and I feel the same way with music.
As someone who is in that weird beginner-intermediate no mans land, this was a great video to learn a wider perspective of what's happening within the songs we love to listen to. thank you!
I spent a fucking eternity there, it is SO HARD to move onto more advanced playing. I finally reached next level by: a) choosing a particular style and researching its key scales and intervals b) brute forced at least 2 greek modes into my brain and forced myself to use them c) started trying to identify scales that build common solos from songs that I could learn by myself. And a TON of improvising over backing tracks
After I finally let myself understand "There are no wrong notes you just gotta use the right perspective." It changed my world in and out of music. As above, So below. Thank you Rhett!
that's actually weird, and really correct at the same time. it isn't that I stopped caring if I'm hitting the right notes, but playing the notes that sounded right at the time.
Thanks for summarizing the old pentatonic theme so compactly again. But, the most important thing is the rhythm, the groove, the feeling when and where a note is played.
Wish I'd had this lesson right after I learned all the minor shapes. It took me quite a while to figure out I could play the relative minor for the major and that was only after I learned the circle of 5ths. This lesson would have saved me many hours of thought. That being said, all those hours were needed anyway. Great lesson!!!!
The thing I always found quite funny about theory was you start with minor pentatonic with 5 notes you can use, then say b5 for blues, then Maj 3 for a mixolydian sound, perhaps the 2 & 6 for natural minor, then harmonic and melodic, Phrygian and Dorian flavours then before you know if you've justified all 12 notes as passing tones 😂👍 Then you come full circle and start thinking in intervals and targeting chord tones using triads and inversions and stop thinking in scales anyway. 😂
Exactly. It’s not even about scale application, but creating a melodic line that expresses the intent/direction of the chords, so if the bass were to drop out and you were left soloing by yourself, you’d clearly hear the chord progression in the solo, and not just scale noodling. Scales are like a file cabinet.
What a beautiful primer lesson. I’ve been learning tons from you over the past few years and now I’ve reached that place of my own mastery where I’ve begun to turn around and teach other people. That space of trying to illuminate the basics, such that they can transition you from the terra incognita of the early fretboard into a traveler across a well worn map of grooves that are the frets of that old friend, the knotty guitar neck. Your pedagogy is sound. Thanks for always being an inspiration.
Thanks for this Rhett; I started playing again during the pandemic after a ~20 year hiatus, and figured out a lot of this myself, but it's good to go more in-depth with you, and you lay it out cleanly and concisely.
This was a very good lesson. Explained exceptionally well and the follow along was great. Thank you and keep this style lesson coming regularly. I need it.
The Pentatonic trick every pros use yeah !! Liked Minor fifth , root fifth and third fifth every notes that's had people's played Am , B7 , C add9 and also G/B .
I think the pentatonic works so well because our human brains like the simplicity and home base feeling it gives. However, all the flavors and colors added are what make up the complex variations that keep the music interesting.
Good advice, well done. What makes the difference with the pros is above all that they master harmony. The enrichments and alterations in improvisation come from this knowledge.
If you haven't already, I'd highly recommend experimenting with your tone knob. I usually have it on 7 or 8 if I'm using the bridge pickup, maybe even lower if I'm playing a single coil pickup like a Strat or Tele.
Finally someone who teaches fretboard theory. You have no idea how long I’ve been looking for a concise video that teaches this exact relative major and minor thing. Thanks so much, Rhett.
There is an easy way to explain in general the move from major to relative minor: Every time you want to move to the relative minor, just go to the minor 6th chord of your key. Learning your diatonic chords and knowing the I-ii-iii-IV-V-vi-vii° is important. And focusing on the number if the notes in scales rather than the letters makes it much easier to apply in every scale. Your major 3rd can be any note, so the easiest way is to remember just where the major 3rd is in relation to the root. That's how Tom Quayle does it, it's a really good tip.
Holy shit that was one of the best guitar lesson ever! Please do that to all the modes (phrygian, mixolydian,…) and how we can use and connect them with the minor and major pentatonic shapes please!
@@jpetes9046 It's a stratocaster mate. Stratocaster is a guitar design/model made by leo fender. Anyone can produce strat style guitar with a few modification and alterations or maybe exact copy at all on the design. The guitar on the vid was a Shabat(guitar brand) Stratocaster.
my hack approach has always been that if it's a rock-n-roll song I play the pentatonic shapes starting from the root, but if the song's a ballad, I play it off the relative minor. Learning how to play each chord in at least a few different places on the neck starts to really make it all make sense as well.
Rhett, I knew this when I played piano years and years ago, but this just blew my mind with the relative major and minor scales on guitar and how they are the same. Thanks for all the educational work you do, keep it up! Also enjoying your slide guitar course atm.
There is a simple way for people learning to transition the neck. If your comfortable with the minor pentatonic scale and regular major shape your root of the scale fret 1 + fret 2 are your relative positions. Example Am pentatonic your first two notes are A and C Am relive to C major. Then you can develop some licks and riffs to help you transition from that area further up or down as needed.
Tried this. Really love when learning something new just clicks and is explained simply and changes your sound and how you play almost immediately. Thanks for this one man.
Awesome lesson thanks Rhett. When I started playing there were two songs that made me notice something that sounded “different” which of course turned out to be that they were playing major, not minor, pentatonic. The first was call me the breeze by lynyrd skynyrd. Other was live version of sweet home Alabama (from the live at the fox album), with its solos in many different positions. Loved learning those songs.
Relative Minor!! I finally know the name for this! I'm self taught and severely lack music theory knowledge, and I've asked friends before if they know why some progressions lend themselves to this "secret other solo box that's 4 frets away and still works, but with a totally different vibe" and I never got this answer. Now I have a name to a face. Thanks!
Really love what you are doing here ,man. I have played guitar for a long long time now. Never really played this kind of music before. But watching You play and seeing how really beautiful and melodic you play , I'm in to give this a spin. Thanks again.
This actually made me understand how the CAGED box shapes work together. Missed that in all the CAGED instructions I've seen over the last couple years.
Not to further complicate things - but a major thing of note here. All of the pentatonics are derived of major scales. When Rhett talks about adding the 2 and 6 to a minor pentatonic scale - you’ve built a Dorian diatonic mode of the major scale. By adding other notes to minor pentatonics - you can build the other two minor modes - Phrygian and Aeolian. Building up from the pentatonics is a great way to learn modes. Spoiler, the modes are just the major scale shapes - mode depends on the chord progression that’s being played.
Great video, very digestible. I've been doing my best to become more than a strum-along guitar player lately, and I've found it funny that you can buy big books of chords and scales and learn all the notes up and down the fretboard... but playing most pop music, from the origins of rock and roll to current, is pentatonic scales and passing notes.
Great Video Rhett. It's really interesting how simple notes can add a little spice to your solos and catch the attention of the audience. You just need to know how to use and practice to make it natural while you're playing. Great content man.
Nice fresh ink! And, this was one juicy lesson! I really like this format. There is always so much to digest, this was a nice balance. This video is worth watching more than once!
now I feel really dumb - in Little Wing (sticking to a theme) I thought about those licks as extensions of the chords, not scales. Scales make way more sense, are easier to grasp, and as a bonus, easier to use elsewhere. Thanks for turning on that light bulb!
A perfect example of what is being taught here: Jimmy Page’s fills and solo on the Led Zeppelin track “Houses Of The Holy” from the album Physical Graffiti. The track is in the key of A Major; Page uses F# minor pentatonic.
I’ve been having a bit of a pentatonic renaissance recently, and I largely have Cory Wong to thank for it. That and rediscovering John Meyer’s Continuum album, but now armed with about 15 years more theory and experience.
There's one thing to remember when using relative scales (e.g a minor pentatonic over a major chord progression) is that even though the notes are the same, their role in the key are not. So let's say you play a typical lick in A minor pentatonic over a C major chord progression. That lick might start and/or end on an A because that it the root of A minor, but since you are actually in C major then that note becomes the sixth. The root note is now C so you might want to tend to start/end on this one instead of the A. So to me, knowing that the scale shapes can be transposed to get the relative key is nice because that's one thing less to remember, but you still have to practice and search ideas in these relative keys otherwise what you will play will probably sound weird.
This video here's my tipping point... I have long wanted to actually subscribe to an online guitar course. This video did it for me! Here I go deeper into the 6string rabbit hole! 😂
It should be pointed out that adding the major third to the minor pentatonic typically requires that the underlying harmony NOT minor (it’s played over dominant chords, A7, A9, etc. a typical “bluesy” sound) For a good example of someone staying firmly in minor pentatonic , yet adding lots of 9s , 6s, and b5s, listen to Clapton soloing in all versions of Old Love. Most guitarists do it, but it’s very much on display there
I have all the scales down, and working on the up and down playing. I have to remember better which one I start with while I do it. Part of the learning curve I suppose.
Love your work Rhett. Always learn something new and interesting, even if I have to watch your videos over and over because I get sidetracked and start jamming after the first two tricks I learn.😆
Rhett... Wonder if you agree or disagree with my current thinking about jazz guitar amplification: I am a one-man-dog playing along with .WAV files into a PA system. I am moving away from my stereo Fender CyberTwin SE to a PodGo stereo wireless effects pedal, because it supports cabinet IRs, much more variety of amps than the Fender amp, and is infinitely lighter to move. However, I still have occasional jamming needs for a portable guitar amp. So, believe it or not, I have a stereo Roland Street Cube EX, with 2 x 8" speakers + tweeters. It is literally a compact PA system. I am considering upgrading the speakers for 8" FRFR speakers used in luxury marine boats. Why? 4 ohms and designed from scratch for FRFR. This would make the cube amp closer to an FRFR sytem. I would tweek the EQ from the PodGo. Is this improper thinking? A dead end or a flexible future? Thanks...
Oh man, this started right on my level and went so much beyond... gonna have to watch and play along a couple of times. Thanks for sharing, and keep up the great work!
Hey Rhett this was an awesome lesson you gave. Now if I could remember it all. Love the material and appreciate the knowledge. Already do some of this but really didn’t know what I was actually doing other than playing by ear
FUN That i used the same process, but i never used much the pentatonic but the melodic minor, after learning that (at 6-7 years old) i just realized i could do it all the scale, if a song was in Bb major i would know the minor would be the G- melodic.. was such a easy trick, all my friends though i was a "god" in the guitar because i could pull up an improvisation (in the summer at the beach with more acoustic guitars---jezzz great times) so easily, i feel the complete melodic minor will give you even in blues, a bigger "dictionary" when you improvise over harmonies. When i was 10-11 years old i was doing the same but inverting this rule ..if a song was in B- i would know i could use the D major scale(so i learned the major scale it got printed in my brain since then) ...after was learning the modes, and always in a nylon classic guitar, and when i was about 14 i went to classic guitar school , at 20 i had my degree in classic guitar, reading music etc, but the fun fact was, i never lost touch with the classic rock that i loved so much, from pink Floyd, Genesis, Kansas, Beatles, Van Halen the doors etc...and that gave me such an expansion in music understanding, so i begun learning flamenco (i went to live in Barcelona for 3 years to learn the philosophy and feel behind flamenco) was such an upgrade because flamenco have such a rich but simple harmonic structure so i could improvise jazz, modes ..everything on top of it and it works beyond comprehension and feeling, those years were amazing. After watching the U2 movie "Rattle and Hum" was the first time i felt the need to buy an electric guitar - i was about 26 and i felt in love, and i begun to use effects and all that good stuff using more and more the electric guitar, i had to ask and buy parts to build my own E guitar because i felt the strat was great the the neck was to narrow42mm nut width , since i was used to a classic guitar i made a guitar with 44mm of nut width (i have big hands but not fat fingers worked perfectly) with a very high fretboard radius 15-16 inches and that changed everything in terms of shredding and be able to use those beautiful chords in a electric guitar, the flatter fretboard feels so much better to me...now im a successful music producer but mostly guitar player with 4 different music projects , i can say the most important years for a guitarist to "flirt" with the guitar is when you are pretty young because that will give you such a muscle memory that will be there forever and keep doing the right way, because doing the right way..i mean not learning just 5th chords riffs, learn the right away, will make such a difference. there is a saying here in Portugal " doing it right takes the same work as doing it wrong" obviously there are exceptions but the shades of color you will get by doing it right will be wayyy greater. Cheers my friend and tx for being able to share some of my experience here , love your playing Mr Rhett Shull sorry my messy English. much love everyone
Rhett, don't want to take away from this AMAZING content, but when are you gonna let us in on this new tattoo? We're here for the content + YOU. Thanks for creating and cultivating this community!
This overview should be some of the first material guitarists hear when they start learning. It would save them years of bullshit chasing their tails about why the pieces don't seem to fit together.
It doesn't matter where you start. It matters what the bass note is. So if you play A major pentatonic, but bass player is playing F#...it's sounds like F# minor. If you play F# minor pentatonic (same as A major), and bassist is playing A, it sounds like A. So, they are the same scale, same notes. What really matters is the bass note. This is great, and you touch on this, but I remember a time where I told a guitarist that A major and F# minor pentatonic were the same and then just couldn't understand. Even though they knew both, they couldn't connect the notes. I think that's the problem with most guitarist learning via tab instead of learning notes and theory.
Thanks a lot Rhett. That was amazing. Yepp, I do know a lot of this stuff already, but you brought it into a different kind of context. And you are a briliant teacher.
Not to even be mean this is a good video, but I learned all this in guitar lessons in like the first year of playing guitar. I hear about guys playing 10,20,30 years and don't know this stuff. People really need to get guitar teachers you'll be years ahead of most people within a short amount of time.
The difficulty I have is transposing learned scales & shapes to other keys on the fly. My brain associates the scale shapes with the frets or fret dots, so changing keys requires me having to almost relearn these shapes and their new fret associations. This is especially challenging with scale patterns or licks that cover a wider stretch of frets. If anyone has a way to better approach this please share your insights.
![The Best Pentatonic Shape? [Works all over the Neck]](http://i.ytimg.com/vi/9IDs9ol5lAE/mqdefault.jpg)
I use the Pentatonic Plus scale. The pentatonic, plus whatever else sounds good to me….lol
Facts😂
This is the way.
So real 😂
Pentatonic + major second
😂
Once I learned the difference of major / minor pentatonic , chords of a key , CAGED and that the major pentatonic positions literally fit around all those diff shapes , it was a game changer to start playing more melodically and not just playing single notes. Makes u sound like u know what ur doing 😂 love this stuff
How do I go about learning all this stuff I’m struggling. I want to play like John Mayer but I’ve hit a brick wall.
@@ethanrobinson5536Check out TrueFire. They have courses that cover this.
That's the video we all want to see
I’ve been playing for 14 years, but I still don’t understand much of any of it and still at the basic same pentatonic scale level. I try to watch videos and read and learn but it gets so confusing when all the names and lingo get thrown around. I’ve taken classes, lessons and even a college course on music and guitar but for the life of me can’t get the language to make sense. It’s probably just a me problem, but I’ve never been able to comprehend or learn other languages and I feel the same way with music.
As someone who is in that weird beginner-intermediate no mans land, this was a great video to learn a wider perspective of what's happening within the songs we love to listen to. thank you!
I spent a fucking eternity there, it is SO HARD to move onto more advanced playing.
I finally reached next level by:
a) choosing a particular style and researching its key scales and intervals
b) brute forced at least 2 greek modes into my brain and forced myself to use them
c) started trying to identify scales that build common solos from songs that I could learn by myself.
And a TON of improvising over backing tracks
Good to see the educational content - the mix of teaching and demonstration is great.
Rhett is pretty good at this stuff, even if his slide tone can't hold a candle to Josh Scott's.
After I finally let myself understand "There are no wrong notes you just gotta use the right perspective." It changed my world in and out of music. As above, So below. Thank you Rhett!
that's actually weird, and really correct at the same time. it isn't that I stopped caring if I'm hitting the right notes, but playing the notes that sounded right at the time.
@@moaykmedia exactly! It’s an awesome insight. Thank you for understanding :)
As a pro musician friend of mine used to say: There are no such things as wrong notes, just harmonies people aren't used to. 😋
@@AXE668 wait do you know me? 🤣🤣 that’s trippy.
Thanks for summarizing the old pentatonic theme so compactly again. But, the most important thing is the rhythm, the groove, the feeling when and where a note is played.
Wish I'd had this lesson right after I learned all the minor shapes. It took me quite a while to figure out I could play the relative minor for the major and that was only after I learned the circle of 5ths. This lesson would have saved me many hours of thought. That being said, all those hours were needed anyway. Great lesson!!!!
Definitely an essential lesson. I rember years ago playing around with the minor pentatonic shapes and adding different notes to it.
The thing I always found quite funny about theory was you start with minor pentatonic with 5 notes you can use, then say b5 for blues, then Maj 3 for a mixolydian sound, perhaps the 2 & 6 for natural minor, then harmonic and melodic, Phrygian and Dorian flavours then before you know if you've justified all 12 notes as passing tones 😂👍
Then you come full circle and start thinking in intervals and targeting chord tones using triads and inversions and stop thinking in scales anyway. 😂
according to victor wooten, you need to know only one scale - chromatic!
ALL THAT JAZZ!
Exactly. It’s not even about scale application, but creating a melodic line that expresses the intent/direction of the chords, so if the bass were to drop out and you were left soloing by yourself, you’d clearly hear the chord progression in the solo, and not just scale noodling. Scales are like a file cabinet.
What a beautiful primer lesson. I’ve been learning tons from you over the past few years and now I’ve reached that place of my own mastery where I’ve begun to turn around and teach other people. That space of trying to illuminate the basics, such that they can transition you from the terra incognita of the early fretboard into a traveler across a well worn map of grooves that are the frets of that old friend, the knotty guitar neck. Your pedagogy is sound. Thanks for always being an inspiration.
Thanks for this Rhett; I started playing again during the pandemic after a ~20 year hiatus, and figured out a lot of this myself, but it's good to go more in-depth with you, and you lay it out cleanly and concisely.
This was a very good lesson. Explained exceptionally well and the follow along was great. Thank you and keep this style lesson coming regularly. I need it.
This is one of the best, to the point instruction I have seen. So many great songs played on this exact blueprint. Thanks man
Brilliant tutorial, Rhett. And so many great licks too! Thanks. Will definitely check out the course.
The Pentatonic trick every pros use yeah !! Liked Minor fifth , root fifth and third fifth every notes that's had people's played Am , B7 , C add9 and also G/B .
I think the pentatonic works so well because our human brains like the simplicity and home base feeling it gives. However, all the flavors and colors added are what make up the complex variations that keep the music interesting.
Good advice, well done.
What makes the difference with the pros is above all that they master harmony. The enrichments and alterations in improvisation come from this knowledge.
Dude that bridge pickup sounds so good. I have the hardest time getting that not-so-pokey but still aggressive sound out of that pickup
If you haven't already, I'd highly recommend experimenting with your tone knob. I usually have it on 7 or 8 if I'm using the bridge pickup, maybe even lower if I'm playing a single coil pickup like a Strat or Tele.
Finally someone who teaches fretboard theory. You have no idea how long I’ve been looking for a concise video that teaches this exact relative major and minor thing. Thanks so much, Rhett.
Nothing that hasn't been taught before. People need to be more auto didactic.
What do you mean "finally"? This has been taught many times before by many different people in many different ways.
@@matejfele9971Yup. This lesson'is probably on like 90% of all guitar-based yt channel in existence.
There is an easy way to explain in general the move from major to relative minor: Every time you want to move to the relative minor, just go to the minor 6th chord of your key.
Learning your diatonic chords and knowing the I-ii-iii-IV-V-vi-vii° is important. And focusing on the number if the notes in scales rather than the letters makes it much easier to apply in every scale. Your major 3rd can be any note, so the easiest way is to remember just where the major 3rd is in relation to the root. That's how Tom Quayle does it, it's a really good tip.
Holy shit that was one of the best guitar lesson ever! Please do that to all the modes (phrygian, mixolydian,…) and how we can use and connect them with the minor and major pentatonic shapes please!
Great lesson. Nothing like the sound of a Strat = so vocal & expressive.
That’s not a Strat tho, is it? I mean, the design is 100% Strat, but what’s the brand on the headstock? I can’t really read it.
@@jpetes9046 It's a stratocaster mate. Stratocaster is a guitar design/model made by leo fender. Anyone can produce strat style guitar with a few modification and alterations or maybe exact copy at all on the design. The guitar on the vid was a Shabat(guitar brand) Stratocaster.
my hack approach has always been that if it's a rock-n-roll song I play the pentatonic shapes starting from the root, but if the song's a ballad, I play it off the relative minor. Learning how to play each chord in at least a few different places on the neck starts to really make it all make sense as well.
Rhett, I knew this when I played piano years and years ago, but this just blew my mind with the relative major and minor scales on guitar and how they are the same. Thanks for all the educational work you do, keep it up! Also enjoying your slide guitar course atm.
Impressed younare so wise beyond your years jedi the force is strong in knowledge and content enrichment of my soul Brother.
I really do dig your approach to all this. Usually my head is swimming with the theory talk but you manage to keep it on the ground floor thankyou
There is a simple way for people learning to transition the neck. If your comfortable with the minor pentatonic scale and regular major shape your root of the scale fret 1 + fret 2 are your relative positions. Example Am pentatonic your first two notes are A and C Am relive to C major.
Then you can develop some licks and riffs to help you transition from that area further up or down as needed.
Tried this. Really love when learning something new just clicks and is explained simply and changes your sound and how you play almost immediately. Thanks for this one man.
Awesome lesson thanks Rhett. When I started playing there were two songs that made me notice something that sounded “different” which of course turned out to be that they were playing major, not minor, pentatonic. The first was call me the breeze by lynyrd skynyrd. Other was live version of sweet home Alabama (from the live at the fox album), with its solos in many different positions. Loved learning those songs.
Relative Minor!! I finally know the name for this! I'm self taught and severely lack music theory knowledge, and I've asked friends before if they know why some progressions lend themselves to this "secret other solo box that's 4 frets away and still works, but with a totally different vibe" and I never got this answer. Now I have a name to a face. Thanks!
Really love what you are doing here ,man. I have played guitar for a long long time now. Never really played this kind of music before. But watching You play and seeing how really beautiful and melodic you play , I'm in to give this a spin. Thanks again.
This might be the most consequential lesson a guitar player could receive. There is nothing more applicable than what is taught here.
This actually made me understand how the CAGED box shapes work together. Missed that in all the CAGED instructions I've seen over the last couple years.
Not to further complicate things - but a major thing of note here. All of the pentatonics are derived of major scales.
When Rhett talks about adding the 2 and 6 to a minor pentatonic scale - you’ve built a Dorian diatonic mode of the major scale. By adding other notes to minor pentatonics - you can build the other two minor modes - Phrygian and Aeolian. Building up from the pentatonics is a great way to learn modes.
Spoiler, the modes are just the major scale shapes - mode depends on the chord progression that’s being played.
Great video, very digestible. I've been doing my best to become more than a strum-along guitar player lately, and I've found it funny that you can buy big books of chords and scales and learn all the notes up and down the fretboard... but playing most pop music, from the origins of rock and roll to current, is pentatonic scales and passing notes.
Thank you for making a video about this!
Great Video Rhett. It's really interesting how simple notes can add a little spice to your solos and catch the attention of the audience. You just need to know how to use and practice to make it natural while you're playing.
Great content man.
I wasn't sure if I was going to learn anything by watching this, but I stayed for Rhett's tasty blues riffing. Great tones, man.
Nice fresh ink! And, this was one juicy lesson! I really like this format. There is always so much to digest, this was a nice balance. This video is worth watching more than once!
Pentatonic was one of the first things I was shown on the guitar :) I didn't even know what it was for a few years...
It’s crazy how versatile pentatonics are. They really are the perfect jumping off point for guitar as an instrument.
Now this is why I love this channel, I had no clue about relative major and minor scales that is so cool
now I feel really dumb - in Little Wing (sticking to a theme) I thought about those licks as extensions of the chords, not scales. Scales make way more sense, are easier to grasp, and as a bonus, easier to use elsewhere. Thanks for turning on that light bulb!
this is great , really nice job if
of explaining how this scale stuff works and also "speaking the theory" of it ....appreciate this !
Dude, you’re such a great player and teacher. I wish I watched this 5 years ago lol
what a treasure.. loved the ideas it's simple and hit the bulls eye.. 🙏
A perfect example of what is being taught here: Jimmy Page’s fills and solo on the Led Zeppelin track “Houses Of The Holy” from the album Physical Graffiti. The track is in the key of A Major; Page uses F# minor pentatonic.
One of your best videos in a while, this will help Josh with his tone, SICK BURN
Great video Rhett (as always) - IMO, the most valuable 16 minutes for a beginning player.
I’ve been having a bit of a pentatonic renaissance recently, and I largely have Cory Wong to thank for it. That and rediscovering John Meyer’s Continuum album, but now armed with about 15 years more theory and experience.
There's one thing to remember when using relative scales (e.g a minor pentatonic over a major chord progression) is that even though the notes are the same, their role in the key are not. So let's say you play a typical lick in A minor pentatonic over a C major chord progression. That lick might start and/or end on an A because that it the root of A minor, but since you are actually in C major then that note becomes the sixth. The root note is now C so you might want to tend to start/end on this one instead of the A. So to me, knowing that the scale shapes can be transposed to get the relative key is nice because that's one thing less to remember, but you still have to practice and search ideas in these relative keys otherwise what you will play will probably sound weird.
This may be the best explanation of this ive ever seen. Definitely gonna have to buy a couple lessons now. 👍👍
This video here's my tipping point... I have long wanted to actually subscribe to an online guitar course. This video did it for me! Here I go deeper into the 6string rabbit hole! 😂
It should be pointed out that adding the major third to the minor pentatonic typically requires that the underlying harmony NOT minor (it’s played over dominant chords, A7, A9, etc. a typical “bluesy” sound)
For a good example of someone staying firmly in minor pentatonic , yet adding lots of 9s , 6s, and b5s, listen to Clapton soloing in all versions of Old Love. Most guitarists do it, but it’s very much on display there
Thanks Rhett. That was a great ear opening lesson.
Always a pleasure Rhett! Like me and my dad said back when you were in Utrecht with Roofman, you really inspire :)
Giving it away. Now, about all the pre bends, finger vibrato, hammer on’s & pull off’s needed to sound like Mark Knoffler.
I have all the scales down, and working on the up and down playing. I have to remember better which one I start with while I do it. Part of the learning curve I suppose.
Love your work Rhett. Always learn something new and interesting, even if I have to watch your videos over and over because I get sidetracked and start jamming after the first two tricks I learn.😆
Rhett... Wonder if you agree or disagree with my current thinking about jazz guitar amplification: I am a one-man-dog playing along with .WAV files into a PA system.
I am moving away from my stereo Fender CyberTwin SE to a PodGo stereo wireless effects pedal, because it supports cabinet IRs, much more variety of amps than the Fender amp, and is infinitely lighter to move. However, I still have occasional jamming needs for a portable guitar amp. So, believe it or not, I have a stereo Roland Street Cube EX, with 2 x 8" speakers + tweeters. It is literally a compact PA system.
I am considering upgrading the speakers for 8" FRFR speakers used in luxury marine boats. Why? 4 ohms and designed from scratch for FRFR. This would make the cube amp closer to an FRFR sytem. I would tweek the EQ from the PodGo.
Is this improper thinking? A dead end or a flexible future? Thanks...
Best explanation of these scales on TH-cam!
Oh man, this started right on my level and went so much beyond... gonna have to watch and play along a couple of times. Thanks for sharing, and keep up the great work!
Keep it up! It's actually really simple. Just make sure you have fun playing and also learn songs. Or at least licks, rhythm and solo in combination.
Solid gold lesson. Just noticed the new ink too, looks rad!
Tough stickers
35yo here. Middle age crisis trying to learn guitar. This video was very helpful for me.
Hey Rhett this was an awesome lesson you gave. Now if I could remember it all. Love the material and appreciate the knowledge. Already do some of this but really didn’t know what I was actually doing other than playing by ear
Rhett, it would be great to get some info about your signal chain each vid. The tone you are getting out of a Strat bridge pickup is amazing.
FUN That i used the same process, but i never used much the pentatonic but the melodic minor, after learning that (at 6-7 years old) i just realized i could do it all the scale, if a song was in Bb major i would know the minor would be the G- melodic.. was such a easy trick, all my friends though i was a "god" in the guitar because i could pull up an improvisation (in the summer at the beach with more acoustic guitars---jezzz great times) so easily, i feel the complete melodic minor will give you even in blues, a bigger "dictionary" when you improvise over harmonies. When i was 10-11 years old i was doing the same but inverting this rule ..if a song was in B- i would know i could use the D major scale(so i learned the major scale it got printed in my brain since then) ...after was learning the modes, and always in a nylon classic guitar, and when i was about 14 i went to classic guitar school , at 20 i had my degree in classic guitar, reading music etc, but the fun fact was, i never lost touch with the classic rock that i loved so much, from pink Floyd, Genesis, Kansas, Beatles, Van Halen the doors etc...and that gave me such an expansion in music understanding, so i begun learning flamenco (i went to live in Barcelona for 3 years to learn the philosophy and feel behind flamenco) was such an upgrade because flamenco have such a rich but simple harmonic structure so i could improvise jazz, modes ..everything on top of it and it works beyond comprehension and feeling, those years were amazing. After watching the U2 movie "Rattle and Hum" was the first time i felt the need to buy an electric guitar - i was about 26 and i felt in love, and i begun to use effects and all that good stuff using more and more the electric guitar, i had to ask and buy parts to build my own E guitar because i felt the strat was great the the neck was to narrow42mm nut width , since i was used to a classic guitar i made a guitar with 44mm of nut width (i have big hands but not fat fingers worked perfectly) with a very high fretboard radius 15-16 inches and that changed everything in terms of shredding and be able to use those beautiful chords in a electric guitar, the flatter fretboard feels so much better to me...now im a successful music producer but mostly guitar player with 4 different music projects , i can say the most important years for a guitarist to "flirt" with the guitar is when you are pretty young because that will give you such a muscle memory that will be there forever and keep doing the right way, because doing the right way..i mean not learning just 5th chords riffs, learn the right away, will make such a difference. there is a saying here in Portugal " doing it right takes the same work as doing it wrong" obviously there are exceptions but the shades of color you will get by doing it right will be wayyy greater. Cheers my friend and tx for being able to share some of my experience here , love your playing Mr Rhett Shull
sorry my messy English. much love everyone
Nice lesson. Awsome guitar too. Shabbat guitars rock. Keep it up. 👍
OK, what pedal are you using to sustain the chord you're playing over? Great lesson!
0:34 where is this free pdf please?
Rhett, don't want to take away from this AMAZING content, but when are you gonna let us in on this new tattoo? We're here for the content + YOU. Thanks for creating and cultivating this community!
This overview should be some of the first material guitarists hear when they start learning. It would save them years of bullshit chasing their tails about why the pieces don't seem to fit together.
Thank you for the informative content, my friend.
When I first learned this it honestly opened up so many more ideas, which is wild because it's all the same notes
Two things: First What a great lesson! Second: The PDF with the scales is not there on that link
It doesn't matter where you start. It matters what the bass note is. So if you play A major pentatonic, but bass player is playing F#...it's sounds like F# minor. If you play F# minor pentatonic (same as A major), and bassist is playing A, it sounds like A. So, they are the same scale, same notes. What really matters is the bass note. This is great, and you touch on this, but I remember a time where I told a guitarist that A major and F# minor pentatonic were the same and then just couldn't understand. Even though they knew both, they couldn't connect the notes. I think that's the problem with most guitarist learning via tab instead of learning notes and theory.
thx. it's nice to have such systematic refresh...
Thanks for the lesson and the PDF.
Thanks Rhett great video might check out your course thanks again Brian Ireland 🇮🇪🎸🎸
Great explanation of all this. Great job Rhett !
Great practical explanation with examples. Very nice.
Rhett, is that some fresh ink I see on your arm? Very cool!
Great lesson, Rhett!
Great Lesson! Really learned and enjoyed it!
One of your best videos, Rhett!
I wish someone had taught me that, that way, in my early days of practise , when you had only guitar mags and vhs...well done mr shull
Thanks a lot Rhett. That was amazing. Yepp, I do know a lot of this stuff already, but you brought it into a different kind of context. And you are a briliant teacher.
Very good video, this format is winner, for me. Thanks, Rhett !
By the way, love the ink !
Such a great video. Thanks so much, Rhett!
That Shabat looks amazing
Nice! Well explained, thanks!
The most important thing to remember is, you are only ever 1 fret away from a good note. You’re welcome.
Not to even be mean this is a good video, but I learned all this in guitar lessons in like the first year of playing guitar. I hear about guys playing 10,20,30 years and don't know this stuff. People really need to get guitar teachers you'll be years ahead of most people within a short amount of time.
Do a full video on the power of double stops
Great lesson, Rhett.
Wuauu Amazing Class!! thank you for sharing, Gracias Cristian T.
That tattoo looks fresh man! 😅 Congrats, looks cool!
bro, what is the secret of getting such an awesome TONE from a single coil bridge strat pickup??? that thing sounds FANTASTIC and, please, HOW???
The difficulty I have is transposing learned scales & shapes to other keys on the fly. My brain associates the scale shapes with the frets or fret dots, so changing keys requires me having to almost relearn these shapes and their new fret associations.
This is especially challenging with scale patterns or licks that cover a wider stretch of frets. If anyone has a way to better approach this please share your insights.
@11:30 Stank face. Impeccable timing