The SECRET SCALE used by Eric Clapton, Jimmy Page, Slash & John Squire
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- เผยแพร่เมื่อ 10 มิ.ย. 2024
- The great British lead guitarists of the 20th Century had one intriguing thing in common with each other - they all used a very specific lead guitar solo scale with its own set of unique rules. Join me to uncover what it is, and how it works.
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Flippin' heck mate - that is the best guitar lesson I've ever had! So in terms of scale tones its: 1 2 b3 3 4 b5 5 6 b7 BUT you shift to match the current chord. [corrected - I missed out the 5] You absolute star! You have completely blown my mind. I've been playing guitar for years and never discovered it. Thank you so much! You know on the inside of the gatefold sleeve of Led Zep IV there is a mysterious figure holding a lantern? Thats you that is.
Thanks so much 😎
Very concisely summed up there - I’ll pin this for others.
Cheers 🍻
I have to admit I've never thought of lead guitar this way. This is super interesting.
In the Lydian chromatic concept, George Russel gives a similar blues scale in his section of horizontal scales. 1 2 b3 3 4 b5 5 6 b7 7. I’ve cross checked it with Ian Ring’s scale computations, and with all of these intervals it not only combines all the notes of George Russell’s vertical scales, but it’s also a merely proper scale. Weird comment for me to leave, but I figured may as well.
That's the crux of it, but you can't really use the b3 or b5 of the IV chord when it moves to the IV, you can with the V chord though
@@noahestes589 I you want to consider modes, this is the Mixolydian with the blues scale added. Hence it is sometimes called the Mixo-blues scale. It is also called the nine note blues scale. I don't understand why the presenter had never heard of it; it is a commonly used scale in jazz, especially piano.
The important thing is how it is used, so emphasising the 6th and 2nd (9th) give a BB King sound. At the same time I use the major third as a passing tone to keep the blues feel. Obviously this doesn't refer to Rock playing, which the video initially did.
Dude its simple, if you burn a candle in front of any les paul at midnight the fret board glows with said scale
What
Wut
It worked! 🎉😅
Oh Lord, I did this Pagan ritual and lit the Les Paul on fire… I'm gonna have to send it to Peter Frampton's guy and have it restored......
Meanwhile, I discovered the secret HendrixoLydian scale....
I got myself an Ouija Broad too.... She's pretty hot....
I'm considering selling my soul down at the Crossroads For a couple of lost chords
@@warrenbutterfield4208 🤣🤣🤣
Jeff Beck has to be in there somewhere
James said guitarrists from Britain. Jeff Beck was from another planet.
@@ricardob.6924 fr! 😂
@@ricardob.6924 😁😁 Well said bro. Well said.
David Gilmore is as good or better than any on this list...
Steve Lukather
I'm 38 years old. Been playing since around 5th grade. The best and easiest explanation I've ever come across. When you start playing in a band and meeting musicians out in the world and setting in with them and them setting in with you, you start to see how much talent is out their. Attitude will make or break you. Your gonna run into people not as good as you, people better than you, and people on another level. I am self taught. When I started getting out their I realized pretty quick I was lacking in some areas. What this man just gave us is where you need to go to (find yourself) so to speak. And some of the best advice I've ever gotten is play what you feel. And treat the other musicians with respect. Play rhythm just as good as you do lead. I've played with lots of good lead players. But when it came for my turn, the rhythm wasn't their like It was for them. And no matter how good your lead is if the rhythm isn't their your lead is not going to sound like it should no matter how good you know the scale. Support each other like you want to be supported. This took me awhile to figure out. It's really hard to find musicians that understand this is a team effort. Their are egos, and everything else you can think of out their on stage with you. Always respect each other, play what you feel, from your heart, and when you play with another guitar player and he is on another planet with his chops. Appreciate the time and effort he put in honing his craft. Instead of feeling some type of way about him shining more than you. Doing that got me alot of places that other wise I wouldn't have been able to go.
Great video man, I feel like i owe you money.
what you said
Very well said Sir. Just learn the difference between "their"and "there" and your writing will be as clear as your guitar soloing. Cheers mate. ;-)
Don’t worry about the spelling and grammar bro , the first two comments obviously don’t get the bigger view of your explanation, let me get it correct for ya , “ knowledge on the guitar can give power in the band but character of who you are earning you respect in the band “ nail it
Well said, I would like to add the masters just LOVE guitar. I takes a lot to play at a high level, you better love it.
You're playing a jazz blues scale (Dorian + b5) adding a M3 depending on if the chord you've playing over is major. Playing on the chord is called "vertical playing ". Wonderful theory lesson for an intermediate player.
Typically they’re doing this over major chords so it’s Mixolydian with a couple of tones from the altered scale. Sometimes you’ll hear straight ahead blues players play the flat nine too. Any extension that you put on a dominant will sound good.
I think you are missing the point. he is saying that it is a scale in its own right. It isn't really legitimate to add, subtract and change notes to derive one scale from another. allow me to do that and I will transform any scale you want into any other scale you specify.
It's not a scale in it's own right. Well, you are free to think of it that way if you like. You could also combine the major and minor blues scales and call it a single scale. That's what he has done here. But I would not recommend that. I would recommend thinking of them as two separate scales. They each have their own flavours. Get a feel for them on their own first. Later start to blend them together to taste depending on context.
But if you are set on unifying the scales then I would highly recommend you check out the chromatic scale.
@@IIJamesII I think I'll stick with the set of notes recommended by Greaves. Using the chromatic is going to be a problem when it comes to the 1/4 tone between the minor and major thirds on Robert Johnson's 'Me and the Devil Blues'
Would you like any grey poupon u dweeb
I use a secret scale to weigh myself in the morning.
I've known this secret scale for years... makes my drumming solos crunchy!
Ozembic sounds like a brand of drums amIRight?
Don’t break it!😮
@@TomClarkSouthLondon Ha! I've been maintaining at +/- 180 for about a year now.
@@nopenope9945 You're right!
Brilliant lesson. I am almost 70 years old and have sort of figured this out on my own, but having your clear description validated everything I have worked for these many decades. Now all I need to do is to work on artful phrasing that conveys emotion. Part of that, I think, is to imagine your riff before you play it. I call that thoughtful phrasing. It is harder than you think. Maybe that is why Clapton has that pained, closed eyed look when he plays at his best. He is thinking about what he wants to say, rather than just riffing along with the chords in time. Thanks so much James.
Dude, i fuckin love your passion about finding/helping create the next oasis/nirvana, you are doing the lords work
Someone’s got to do it 🎸🎸🎸
...Like Clockwork
Please, Dear God, no. Especially not Oasis.
Clapton played great in the scales - Page could and did, but also played memorable melodic lines. So Page is my favourite - although I think the live Crossroads is one of the greatest ever tracks, not just because of Clapton, but Bruce's bass is phenomenal, and Ginger Baker's drumming is just the best - he drives them on forcing the pace.
Jack Bruce was strongest player-and proved it many times after Cream
This is a nice way to present “following the chords.”
I actually learned this on my own before I figured out, “Hey wait, I can actually stay in the same box for all the chords!”
Ha, well, I don't over think this stuff. I've learnt all my solos by ear, I can't read tablature or music though I do read chord charts and I understand mode/scales, for me it's a mixture of cuss words and find that sound... I don't fret over fret's if a note doesn't fit into a proper pattern so be it.
*Throws my book in the air and walks out cursing my guitar teacher.
Me too..........grrrrrrrr!
Hendrix and SRV are missing. As Herbie Hancock once told me, "I want to hear your life and not just a bunch of notes" I learned from A list players that knowing when not to hit notes is just as important as playing notes--so they would play a painfully slow 12 bar blues and encourage me to play with my "soul" and let the guitar be my voice. I still love to shred over slow blues (who doesn't) but my teachers made me play slow and get in the groove of the song. That opened a whole new chapter in my playing discipline. Thanks for the excellent lesson.
What you said "When not to hit notes" is what is in my head. I hear awesome leads pausing and then increasing notes. Unfortunately I am a novice guitar player and I am almost certain I will never have the ability to put into a guitar what's playing in my head. I have even dreamt of bad ass solos in my sleep. Don't really know what to do with it really. I have always loved Clapton and Hendrix.
Are they British? If you're gonna go there then you forgot Roy Buchanan, Danny Gatton, and a bunch of others.
What about Jeff Beck, Peter Green, Mike Bloomfield and Roy Buchanan?
Hendrix was born in England. It doesn't matter, these were his examples and influences, people need to stop adding their 2 cents and just listen.
Hendrix died in England, but he was born in Seattle
What about Mark Knopfler? I think his technique is so unique that he should be considered the greatest British guitarist of the 1980s!
This was featured in the mid 1980s by Guitar for the Practicing Musician magazine. It was explained differently and had a couple different names, really quite simple. Take the pentatonic major scale and combine the notes with the pentatonic minor notes of the same root note, then add the blue note (b5): 1 2 b3 3 4 b5 5 6 b7 8
The pentatonic major/minor combo scale, aka the modified mixolydian scale. The b5 is optional of course, you don’t have to use it. But now let’s get really crazy: take the same combo scale and add the b6 and major 7 notes, and pick a few spots to play those 2 notes sparingly. Chromaticism galore! It works! Or try leaving out the 2nds and 6ths with more emphasis on the b3 and 3rd.
B.B. King city!!
Featured artists in the magazine lesson were Eric Clapton and Gary Rossington - major proponents of the pentatonic major/minor scale.
Many slide players also use/used this scale: Dwayne Allman, Rod Price, Billy Gibbons, Ed King, Joe Walsh, and probably all of their blues predecessors.
You're explanation of achieving this musicality in soloing is way more on point to how these greats achieved it than this guys unnecessarily complicated long winded typical british ideology.
Even though these players are British they didn't arrive at it like like that.
What kind of keys sorcery is this?
That's an awful lot of jargon just to say that every note of every scale are all right there within reach wherever your hand is on the fretboard and all you have to do is pick the notes that fit your mood.
What a great lesson. I’ve also cobbled together bits and pieces over many years to find a lot of this information towards an approach to playing musically in the song. It’s what I first heard in Cream as a kid, what lead me to play guitar, what frustrated the hell out of me for years as I tried to step up. Your explanation is very clear and focused on a path to get there: to the place where you can start listening for your own dynamics, phrasing and effective excitement within a song. So many “musicians” miss the last part. It’s what sets Clapton and others above so many technically, theoretically, and athletically enabled players.
One of the best lessons iv seen on youtube for guitar
Thank you. I'm almost 72, I hope it's not to late.
DUDE, Im 63. We are going to be famous.
@@CC-hv9ei Dude, thanks. Our band just opened a Blues Fest here in Minnesota last Sat. It went well and that's probably the height of my fame. It was a blast. But I'll keep tryin'.
I'm 107.
@@CC-hv9ei I'm 65, been a beginner for over 50 years.
Never too late mate. I intend to still be playing live when I'm 90 if I can!
Thank you my brother.. I’ve played for 28 years and never had anyone explained that so simply or correctly 🙏🏾
Very solid lesson. Thank you! Been playing for 52 years, gigging musician and constantly learning. You've made the 21 minutes fly by!
As a teacher i called it the "majorminorpent"
I saw the video and wondered is it just how to master major - minor pentotonic, loads of players do that myself included
as a teacher I call this BULLSHIT
Thank you for presenting this in such an accessible way. Everybody learns in different ways and this makes so much sense.
Good job James. Clapton's playing got millions of young men on all continents loving the guitar.
My goodness me, this is very helpful and amazing. I've been searching for this lesson for a very long time! Thank you very much.
Thank you James. I'm 68, been playing for 60 of those years but today you've given me the answer I've been unable to find
Every would be blues guitarist should watch this video. It took me decades to work this out for myself and I have never seen it explained so well. He seems to lose his way at step 4 but keep going. He pulls it all together at the end.
George Benson's 'Billie's Bounce' has entered the chat
Ouch 😂
George Benson is a jazz guitarist that has done other music's. He's a master of improv.
That’s the best guitar advice I’ve ever had. Thanks so much. 🙌 you’ve made the most sense out of all the big TH-camrs I’ve watched for years. 👍
Wow! I mean WOW! 21 years in 21 minutes. That is by far the best video on soloing I have EVER seen. THANKYOU. THANKYOU.
This is the first time I’ve come across your channel and so happy I did. This was a great lesson on a subject I’ve been interested in. Though finding it explained without confusion is hard. You explained it so clearly I have a road map now. You sir have gained a subscriber today. Thank you
Glad it was helpful!
The best English guitarists for the '60s, '70s, '80s, & '90s is Jeff Beck, Jeff Beck, Jeff Beck, & Jeff Beck, actually.
Best lesson ive found in a long time. Thank you so much. Been playing over 30 years and just learned this. It's helped so much. Just friggin awesome. Thank you.
I've been waiting for this video for over 50 years. Thank you James.
😂😂
The '60s: Peter Green, without a doubt.
Surely this is a blues scale variant or mixolydian with additional notes ?
@davidmiller40. Yeah ultimately it is, but he took the time to break it down.
Yes.
Yeah, that’s how I started to figure it out a few years back. “Why Every solo I like is on Mixolydian?” I now try not to over analyze it. This blusy mixolydian while changing root notes thing just works
A gem!! The Rock and Roll Blues stuff I love. Decades of experience in a 20 minutes video. Love it
Thanks bro, this was really helpful on the cusp of turning 21 I’ll consider this an early birthday present. :) I’ll have a go at some Clapton solos with this knowledge
It's part of the charm of David Gilmour too, he is always acutely aware of the chord and uses those notes in his phrases.
I think it totally bizarre that James can say that any guitarist is miles better than Dave Gilmour. But this is James Hargrieves after all
@@fakesnowman Guitar is not my main instrument, but rather cornet/flugelhorn and keyboards are in that order. That said, I have listened to both Clapton and Gilmour since the 60's and each has shown their mastery of solo guitar. The strength that Gilmour shows is his ability to improvise very melodic solos. More so than Clapton IMHO. So many of Gilmour's best recorded solos are ones that you will end up humming or singing to yourself. Not so much Clapton's. And you really need to watch them improvise live to hear the difference. I have seen Gilmour live in person multiple times both with Pink Floyd and on solo tour. With Clapton it is just his recorded live performances but with hours upon hours of his live recordings going back decades. The reality is that none of us will come close to either one. Both are just a great listen.
Gilmour uses a lot of different scales too for even more saucy playing.
He will switch a key or scales for a phrase. He follows chord tones very well.
Name one song where Gilmore uses this particular scale. We are talking about a specific scale and note usage.
Good stuff James. Would love to see a part two to this where chord tones, guide tones and dominant seventh arpeggios are added. Also on how to avoid that fourth interval at times which can leave the solo hanging if played slow. Great lesson though!
This sounds interesting
Oh my, this was truly one of the best guitar lesson videos I have ever watched on TH-cam, thank you so much for sharing your knowledge!
Erm, this is HUGE. Wish I'd known this years ago. I was always aware that my blues impro wasn't quite right but didn't know why. I think this could be the single most helpful, informative and inspiring guitar vid on TH-cam. Thanks mate.
You don’t need to know the fretboard inside and out. You just need to visualize chord shapes over your scale to land on safe notes as the chords change. Knowing E A and D shapes and the chords they make up the neck is enough to master lead. Creativity and having something musical to say is far more important than pedantic fretboard mastery.
Couldn't agree more , too much theory makes your playing sound sterile imo , mistakes and sloppy bits make it real .
This approach is in fact musically limited.
Both is possible and and you can choose, what's your favorite. It's not about what's better or worse.
Knowing the fretboard helps and it needs constant practice.
Letting yourself go and follow inspiration needs practice too.
The combination of both is very interesting.
This approach is Eric Clapton. If you can't do it, stay quiet. Ok? Got it?
yes, BUT ......if you do not know that fretboard like your own reflection in the mirror, then you MAY hit a wrong note by accident, that just kills the song, like if you are in a gig.....
Best instructional film I've ever seen. Well played sir!
Great video. Ive been playing for years and wasn't aware of this. Trying this out straight away. Any other tricks? You have a real knack for explaining it in a really simple but engaging way.
As a bass player, I have learned not so much to try to learn every note on the fret board, but rather to learn the major and minor scale shapes well and then when making changes to key, I attend to the position of the root note and this cues me to the entire scale, as I have learned (still learning) to see the whole scale and where the root notes are, and from there where the 4th and 5th are, as they are in the same position relative to the root whether in a major or minor key. And thanks so much for this info, I will be sharing it with the other guitar players I hang with, and will apply this to my horn playing when I get back to it this summer.
Remarkable. That’s it in a nutshell. Nice video lesson.
Good explanation. Off to experiment now.
Thank you for posting this presentation and explaining blues scales and chord changes really well and stripped down to understandable sections. This is a really good video.
Great lesson, really helpful. Playing the changes is a concept I've been trying to master for a little while now.
Excellent presentation as always James!
My god, I've been silently soloing like this for years without actually realising what it means...........This feels like a massive chest has been unlocked and years upon years of information and knowledge has been passed into my puny little brain. I must now process and analyse this............THANK YOU !!!!! You are a god amongst men.
This video was amazingly helpful. Thank you for saving me all that time. I wanted to point out something that I noticed:
The scale you taught in this video:
A,B,C,C#,D#,D,E,F#,G
A blues scale
A, C, D, D#, E, and G.
A major pentatonic
A, B, C#, E, F#
What you're teaching is the two added together.
Great video as always mate. Ive pkayed guitar since my teens but its only since i started piano in lockdown and watching videos on yt like yours I finally got my head around music theory and realised how fascinating and addictive it is
I got it that you turn to different Scales depending on the chord, but as you were layering scales over one another, around the 5th fret, I was no longer aware of which scale was accompanying which chord.
The D minor pentatonic scale 4th position starts on the 5th fret and the E minor pentatonic 3rd position starts on the 5th fret as well. You can use these positions to stay around the 5th fret with your soloing.
James, firstly, many thanks for this information - my eyes are now open. Secondly, I consider myself a Blues man through and through. But, I play all sorts of stuff. I cannot believe - I'm self taught - that this hasn't dawned on me at some point in my playing career. Started at 15 on an acoustic guitar my grandfather made, then made my own electric in woodwork class. Played in the UK untill I was 27, then I moved to Hong Kong, and I have played here in bands on and off for years. I'm now 57 and I can already see my guitar knowledge expanding exponentially because of this vital but elusive tip. I can't thank you enough for this priceless piece of a revelation. Cheers and beers. Maxi
I was self-taught, but it took about two years to strum a chord progression and not sound like I'd only been playing a week. I got lessons off a local guy to learn scales/how to solo. He showed me the minor pentatonic scale (told it was the blues scale) and it changed with each chord (as yours does). I stuck with that for a while (more than the six months I took lessons) until I learned positional play using five of the mode shapes and never went back to it.
Every young guitarist needs to see this video so they can start off right. Your explanations are succinct and easy to under stand. Of course it still takes a lot of noodling to get to the desired point, but having a map of where to go gets you there quicker.
"Roots man" 🎶 U got 2 be knowing your roots...
🎵 There your jumping off & finnishing points....And the Inbetween is the 'creative' fun... "just like in life' u need 2 be knowing your roots' 😄 "irie ai"
Awesome comment! So true!
Have you ever heard of a guy named Johnny Marr? He had this little Indie band called the Smiths that were pretty good. Wink wink.
Don't forget John McGeoch of Siouxsie and the Banshees! One of his biggest influences and a star that burned too bright too soon before he passed.
Agreed about Marr… but to me he’s more about creating great riffs and song structures, less about playing lead lines
@@jrm2fla True, I guess it depends on what you mean by best guitarist.
Johnny Mar can't play a guitar solo to save his life.
But he could not even re-string Slash's Guitar so its a non point
Thus lesson absolutely caused me a breakthrough, I can tell the excitement you had to teach the lesson through your intelligence and care for it. Brilliant pacing, brilliant guitarist. Brilliant teacher!
Amazing video. This is exactly the information I needed. I've been teetering on the brink of discovering this for myself. This video came at a perfect time. Thank you.
I would love to see a video by you regarding
"Adding Chords To Your Solos"
I've had difficulty sounding complete. I either play chords or I play solos. I can't seem to combine the two. I believe alot of people have this issue. We want to sound like the whole song ( sans percussion of course). Not just a part of it.
Again, awesome video. Thanks again
Been playing for 25 years. Mind blown.
Chromaticism. Jazzy.
JEFF BECK
This is mind blowing!!!!! I know that people said you had to play the changes, but didn't know how! This revelation has got me thinking and wanting to explore more! Thankyou for sharing this and in a simple way!
Thanks my friend, as someone who’s really plateaued in my playing (on lap slide guitar) you’ve given me a lot of work (that’s a hell of a lot of fun) to do and from my initial noodling all sounds great. Thanks once again.
Is it called the Mixolydian/blues hybrid scale? Thanks for this. Subscribed to your channel now.
Jeff Beck all day
Excellent. I fully expected this to be just another tool on TH-cam but it was clear and informative. I was with you as far as #3, which I thought of as blues/Dorian. I hadn't got as far as moving it around which I'll do tonight. Before I work on keeping it in one place.
You're wrong; that's not what they did at all. Some of the greatest musicians in history didn't know how to read sheet music. What they actually did was obsessively practice musical pieces they loved to play over and over again. As a result, they developed a strong connection in their brains between the guitar neck, the sounds, and their ability to link them together. Add an emotional connection to this, and you get the right and emotional choice of notes. It wasn't from schematic memorization as presented here. Most of them didn’t went through the path you've described.
60s Harrison, 70s Page/Gilmour, 80s Marr, 90 Squire
In Rock, one could argue 60s, 70s, 80s, 90s, the same person for all decades, Jeff Beck.
Jeff was something else. Great players, with something all their own in the original post. We are spoiled for choice.
Agreed that Beck covers all the decades!
I don't see how anybody could give squier the 90s when he wasn't even around for the vast majority of it.
@@RaiderJay9092 definitely agree ...
In the 60s I chose Peter Green, 70s Page, Mick Taylor and Beck, and 80s Gary Moore and Stevie Ray Vaughan.
The master blues lesson I was looking for in all my lessons and listening. Bless you!
As a kid I first heard of the aolean mode, etc, but it never really made sense how exactly to apply the scales to the chord structures. Thank you for making this so clear. 😎
🙏🏼
In an A blues, you can stick mostly to the A blues scale (A minor pentatonic plus ♭5), but when you hit the D and E chords, the pros often play the major 3rd to mark that transition to the new chord. You hear it all the time. Those notes are the F♯ for the D chord and the G♯ for the E chord. Sometimes they do this by bending E to F♯ or bending G to G♯.
good advice, thanks! Mike
This is a vital lesson except for that scary diagram of the fretboard labeled with all the note names and the directive that it must be memorized. That's like saying to play chess you have to memorize b12, g7, c3 etc. You don't, you just have to know how the pieces move, which is the same wherever they are. Similarly, all you need to know are the chord shapes of 1 4 5 (and others as needed) and the best locations to each other. You can plop the 1 down anywhere on the fretboard and the other chord shapes are always there with it. Memorizing a matrix of labels is easy for a computer, for us humans learning shapes and linking them together is far easier.
WOW. superb lesson. Just changed my playing!!! Thank you James.
When I find these videos, I am always amazed that I actually was playing like this. It has made me feel very confident during improving. Thanks.
It’s called “ chord tones”
Yes, totally about chord tones. For example, it's good to know that while the dominant 7th works for the I chord, it's the major 7 that works if you're on the V chord. But the real reason you go to the major 7th for the V chord is because the major 7 of the root scale is actually the major 3rd of the V chord. It's part of the basic triad. So, in my opinion, it's more useful to master all the inversions of any given chord. This starts with what now is known as the CAGED system for major and minor triads. Then understand where the 7ths and 9ths are, and what is a flat 5 and augmented 5th and how those are used. It's about resolving to a note that's part of the chord you're on at the time. In blues this is usually a I, IV, or V.
This is a really great lesson. This is a blend of A major, A natural minor, A blues and A Mixolydian.
Just like to add, you can also add A Dorian in there if you want. It sort of becomes a chromatic scale, it’s just about timing.
It’s called modes. You also don’t need to change position, as every scale is available across the entire neck.
Thanks for this lesson! I'm an intermediate guitarist and I feel like this is going to help me jump up to the next level.
I studied jazz bass in college, and I knew all the components but putting them together like this helps me know that I'm on the right track.
Nice vid James. You know what broke me out of the scale boxes? Hearing Marc Ribot for the first time with Tom Waits :)
Perfect reference. His playing is superb.
Never heard of John squier
Thanks! You've given me an idea of where to take my lead guitar playing next. I've plateaued in the minor/relative minor shape with Dorian/Aeolian notes added. This video should provide an interesting starting point for me, while working with my instructor. I feel another explosion in the quality of my guitar playing coming soon. Cheers mate!
Great information. Thank you for sharing. It’s the first video I’ve seen of yours, but I’ll follow you just for sharing that information. Thank you much
Peter Green... Jimmy Page...
So I'm a piano player, and guitar player. And on piano, I always heard that scale called the Mixolydian + scale.
It starts out mixolydian, but then the b5 (#11) and b3 (#9) are added..
yeah, that's why we call it the mixolydian plus scale. Because it adds those other two notes to the mixolydian scale.
@@6040nick Yeah... Alt Dom7 is what I was taught the name was. Alter 9 and 11 then think in modes of a dim scale or mixolydian.
Thus the “+” wink
I was thinking the same. 6 of one half dozen of the other I guess.
In one way, it’s “easier” to think of it as a modified major scale cause then my brain can still picture the other modes more easily as I think of major as being the “home” scale, etc.
Brilliant Video - THANKS FOR SHARING🎸
Great insightful video mate. If I might add one more advice for soloist is to think of all those chords as dominant 7ths. E.g A7,D7,E7 then you'd get that extra Bluesy sweet spot :)
Stop thinking scales and learn how the notes relate to the chords. Welcome to jazz. However, this is a blues scale with 3 additions: natural 2, major 3, major 6. It creates a VERY common jazz walk up: 1 2 b3 3 4 #4 5 (the flat 3rd and sharp 4 are just ‘half step under’ or ‘half step over’ approach notes in a major scale. Anyway, back to my main point: scales keep you confined and actual harmonic understanding frees you to actually improvise.
I SAY YOUR LYING
@@davidson2004fatboy well, I have been known to bend the truth here n there…
My biggest problem is i didn’t understand what you said. Thus making it rather hard to use. Is it possible to dumb it down any?
@@thejakefromstatefarm6768 sure. So a major chord (C E G are the notes that make a C major chord) has a scale that goes with it. In this case C D E F G A B, which you can assign a number to each, 1 2 3 4 5 6 7. So when we are talking about C major and say “the 2” we are referring to a D note. It’s really all about intervals or the distance between notes. Minor meaning smaller and major meaning larger so minor intervals are always smaller by a half step. The smallest interval is a minor 2nd (C > Db) and a major 2nd is a whole step (C>D). So when I refer to the walk up being 1 2 b3 3 4 #4 5 and talking about approach notes I really am saying “play a C major scale from 1 to 5 (or root to the fifth) and add in a note below the 3rd (the b3) and note above the 4th (the #4) and voila a classic jazz walk up. Bonus: the #4 and the b5 are the same note sitting between the 4 and 5. Jazz, at least bebop and big band is really a style that uses approach notes to “fill in” around standard diatonic (in one key) melodies creating more interesting tension and release musically speaking.
@@heartpath1thank you
60's: Rory Gallagher
70's: Rory Gallagher
80's: Rory Gallagher
90's: Rory Gallagher
1995 to date: who cares!
This guy is only talking about British guitarists.
Many thanks James, a wonderful helpful 'where start' explanation!
This video is absolutely brilliant! I have noodled on the guitar for years but never really got the knack of what i was supposed to do. This ladder framework gives me a lesson path to work on to build my soloing skills. I would love another video that covers some common licks played in this scale.
I personally find Clapton about as exciting as a glass of milk.
As a layman i was blown away by this.
Fantastic lesson. I've been trying to figure out how to put this all together for years. It makes so much sense now and it is presented in a way I can go and apply. Thank you!
Great set-up to the video - and I am lost for words that I didn't know Slash was British! This was an excellent video. After playing guitar for 30 years - you still taught me new things! Thank you.
Alvin Lee was as good as any of them
Ohhhh yesssssss !
50 years after.
I am 69 . I have been playing guitar from age 14. I have never used a scale or a rule in my entire life. I write tabs for the kids I teach, but I tell them to learn the notes to get the framework straight, but then to step outside the box . The secret is in finding the notes that fit - go find them. There are hundreds of videos of kids copying famous name solos - that's great - but it is just copying, If you have any nous - go make your own solos using the same chord patterns - THAT is what defines music.
I'm 102 and have been playing guitar since a toddler.
And I’ve never even looked at the fretboard of any guitar I’ve owned since..”all you ever play is utter utter gibberish and your complete lack of foresight and common sense not to mention the shear… makes us all want to vomit with rage and pure frustration!”
pjl8119
I'm 610 and I've been playing since I was a zygote. And I STILL suck.
Maybe I should just give up.
I was musically ‘aware’ at age 5. If I liked a song on the radio, I could sing the lead, the harmonies, and the sax, or guitar solos, a cappella, and hear all accompaniment in my head. I was 15 when I finally got my 1st cheap guitar. No classes, lessons, just a Mel Bay Book 1. I discovered 10years later that when I played lead, that there were “scales” with names that I could relate to, but never fully understood. 40 years in many bands and I still Don’t read music. Never had to. Just a love for music and the desire to get better at it every day. Anything is possible if you put your mind to it…✌️
Insane video mate! I’m glad I’ve found this gem
Superb! I have been trying to solve this puzzle in my mind for 20+ years too and roughly came to the same conclusion with a less structured/academinc approach - ended up with the myxolydian mode which gavies the flat seven and maj 3rd - the blue not is an obvious addition and then i think the true skill is 'knowing' when to use the flat 3 - i ended up as i think these greats did just finding patterns on the neck which seemed to make musical sense to me before i had this deep knowledge of harmonic rules etc - thanks you - lovely to see all my whispy ponderings layeed out in simple terms by you!! 🤩
Er, I think you'll find it's simply rock n roll guitar - which was a hybrid of blues & country. If you want an even higher level, add in the maj7 on the way up from the min7.
Yep.
I actually thought he was going to add the maj7 back in at some point..
He stealthily does it at 18:48.😊
Took me a long while to figure this out too - it was only when I studied classic rock and roll it became clear. Good job 👍