Well after years of struggling to find the time to upload more than once a month, I'm finally in a position where I can increase the output. So here's the plan. From now, fortnightly uploads. If that proves do-able, weekly. Thank you everyone for all the comments (positive and critical), subs and likes you have given this humble channel. Love you all.
Every lesson is fantastic. This is exactly the type of content that I've always wanted/needed. This is what makes you a well-rounded musician, and not just another guy playing minor pentatonic over everything, and the same old open position and barre chords.
Just remember chords are scales and there’s only so many potential notes that can be used so they end up sharing many. In a lot of cases the pent works well for this reason, which makes it versatile as fuck. But as the chords change within the key certain notes that don’t necessarily fall within the pent, that do, however fall in the chord being played, can be hit for flavor.
but thats what is so hard about all this and using this approach. You have to remember all these different scales and notes that fit into certain chord changes but not others. I find it more confusing than good a lot of the times..No wonder most people suck at guitar and very few ever get it..
In the old days it was just a book of chords and scales and moving the needle on your record player back to hear what was going on? This now with all these great videos is like been given the answers to an exam and passing it without doing much study? Stick to G Major and E Minor and look at the Circle of Fifths.Learn the Five patterns of the Major Minor and pent scales and the CAGED chords and you can make a career out of that! Know the notes of all chords and scales and notes on the neck. Drill it till you are bored. If it ain't easy it probably ain't worth it!
Without a doubt, one of THE Best methods of teaching I've ever found! ALL of your videos are presented in a way that clears things up, and makes them immediately understandable and useful! Thanks for your time and effort!!!
Love this series of videos. Such a clear explanation of subjects I had never even thought of. My playing is improving no end due to watching these. Each video provides tons of food for thought and practice. Many, many thanks.
Toward the end of the video the 4 chord changes to a D major and the Dorian scale is mentioned as a choice, combined with the Am Pentatonic scale over the Am one chord. A good song example of this chord pattern and scales is Santana's Oye Como va.
Btw, what he is playing 11:11 is E 7b9 pentatonic in the third mode fingering, The formula is 1, b2, 3, 5 and b7. It's like Phrygian dominant without the 4 and b6.
Thank you Mike for all your hard work and time on all your videos. I stopped playing for 7 years and Restarted year ago. IMO.... your videos have helped me THE MOST . Cheers! 🙂
I have been trying to learn the theory behind guitar for about a year and feel like I get more results from your content than the others. Great job with the lesson pages.😃
Mike, it's prolly the same thing you have seen a Band gets something decent going, some crowds, loyal fans then-- the Singer, or maybe the other guitarist thinks they are just really hot shit, not that it is a band effort generally, it goes way downhill from there I started playing out in 1971, nothing has changed even today, it might even be worse
I should add that I had discovered Modes, well not "officially", but "practically" but You have helped me to understand the Patterns that I had puzzled out over the years it all makes sense now and I am rockin' as the 1970's type of melodic player I was years ago think Niel Schon
Very good lesson!!! I would like to suggest that on bVI°M (Fmaj)you could also go to Dminor pentatonic because is the relative minor of Fmaj for hearing the changes... so on IVmin (Dmin) and bVIM (F) u could go to IV minor pentatonic for both. Btw thks Fretjam for sharing this interesting information. Cheers
Your content is amazing! Can you please make a video about the use of the melodic minor scale in the blues please. I saw a video from josh smith on this subject and it was greet but i think you can go more in depth. Thank you for these videos they are mind blowing!
This is simply amazing and my jaw is hanging to the floor. I should've been able to figure that out! It's too logical to hide as well as it does. OMG - I will be practicing until it's time to go to work Monday morning.
Seen this video 5 times!! Learned and visualise something new every time!! I guess it would have taken years of playing on this position only to see what you have summarised in 14 mins. Please make similar video for major scale as chord II is a common chord change in major which is less common in minor.
VIRTUAL FRETBOARD!This is the best format for this lesson! The melodies are similar to Satriani Another way to look at this interchange is the cycle of 5ths/ circle of 4ths First Example: Go forward to the right , on the cycle of 5ths Amin to E min On the second example you go left around the cycle of 4ths A min to D min What i find very interesting is when you look at the Natural minor And what the minor blues box ACTUALLY is The most common 5 tone minor pentatonic blues , is actually derived from D minor over A minor So it is an interchange between A natural minor D minor pentatonic A minor pentatonic Blue notes are added from A whole half diminished
Maaaannnnn this video are so useful, you explained it very very well sir. You always used words wisely too, so "we" your viewers can understand every aspect. I want to support u with donation but cant do it cause dont have international bank account/cc sir. But here, i can support you with "no skip ads" from ur channel. Hopefully it can support and your channel still going, so me & other viewers still can learned GOLD LESSON. A lot apreciation for u to made this QUALITY of Content 🙏 Stay rock!!! 🤘
It was a while back but I think I was still using the Boss GT-001 on a modified preset (can't remember which one, sorry). It's a really great little box of tricks, albeit a bit dated now (though that does mean you can get it for a very reasonable price).
I tend to leave the 3rd out of a lot of my voicing's and make things more ambiguous, it's only needed if you really want to emphasis minor or major tonality. On faster tunes I really don't like putting in 3rds as it slows the momentum to my ears, ballads I'll use them more.
That's a really good point. The slower the changes are, the more the ambiguities become exposed. I don't think what was demonstrated in this lesson is so valuable for quicker changes.
11:13 what scale is that? You said it's derived from the natural minor of A but it's not A natural minor.. when played over a major 5 chord in a minor key..
You use an interesting extended version of what I would call the first position of the A minor pentatonic for these lessons. Your version starts on the ♭7 instead of the root, mixes 3NPS and 2NPS scale fragments, and ends on the 4th instead of the ♭3. It works beautifully, but I’m wondering how you chose these extensions, and how the same approach would be used to extend the other four positions of the minor pentatonic?
It's essentially a pentatonic expression of Phrygian dominant (which is the natural scale for the major V in minor keys). We're using the 1, b2, 3, 5, b7. You could also structure this as a dominant 7, flat 9 arpeggio (1, 3, 5, b7, b9). Another approach is to play a four-tone diminished 7th arpeggio starting on the b2, 3, 5 or b7.
So can we say... It's a way of adding up arpeggios related with the chord family.. And pentatonic shapes.. Keeping in mind to focus the correct and accurate tones to actually play the chord with more richness but in a connected way with the minor pentatonic
It can be said you're playing G major pentatonic over the VII chord and D minor over the iv chord. But actually its more simple to say it's all A minor pentatonic with A minor (aeolian) notes added to color the iv and VII chords. It's semantics ie. A minor G major pentatonic
I did not know there was a harmonic minor pentatonic I like it It is like a E7 arpeggio with a b2 And it sounds better than running an Ab 1/2 Whole diminished Over A minor
Not a very good reason no! I'll cover diminished chords in the next one (or at least in the coming series). Just wanted to keep this to the most common movements. When the ii is used, it nearly always leads to V (V7 mostly) in minor keys, so take that altered V7 scale covered here and raise the 3rd to get a m7b5 pentatonic scale (from root of ii - 1 b3 4 b5 b7).
Another brilliant lesson, thanks Mike. Incidentally how do you achieve the sustained, slightly distorted violin tone? All the distortion/overdrive effects pedals I've ever tried have been either too harsh or completely unbalanced between the bass and treble frequencies.
A separate EQ pedal can help. I use a GT-001 processor for recording. The distortions aren't amazing (typical digital limitations) but it offers plenty of tweaking and some decent presets as a starting point. To get a smoother distortion try placing an overdrive before or after it (the cleaner the better). Roll back the distortion and push the overdrive. This should remove a lot of the harshness.
I think basically on the E7 Chord you're just playing the E7b9 Arpeggio and on the D7 you're just playing the D9 Arpeggio. What's the purpose of making 2 new Pentatonic Scales?
One thing that confuses me: when I am playing over chord changes, is it best to change scales for each chord or stick to 1 basic scale? When I make the changes, isn't it more like changing the key? So, if I switch from the 1 chord where I am playing major, should I play a nat minor or Dorian when I switch to the 2, 3 or 6 chords?
This is really down to the colours/tones you want to express for a given chord. The "one scale" method (i.e. C major scale over all chords in a diatonic C major progression) can be compared to the "chord-scale" method (i.e. choosing a scale based on the root and quality of the individual chord), which is particularly favoured by jazz musicians. You can of course use a mixture of the two. But a lot of musicians prefer to keep things simple when a progression CAN be connected to one "parent" scale and just use that one scale (including a single pentatonic scale). Remember that a scale change is not the same as a key change. You can have multiple scale changes within the same key. One of the benefits of experimenting with changing scales with chord changes is that when a chord change DOES take the progression outside the parent scale (e.g. major or natural minor), your ears will pick up on that and you'll think more about what tones will complement that specific chord. So bottom line is, it's not necessary to use more than one scale for most major and minor key progressions. But being aware of how chord changes interact with the scale you're playing will prepare you for more unusual chord changes that take you outside the convenience of a single scale.
Most likely, although you can use the scale changes covered in this lesson in their relative major key positions. So in C major, the chords we'd be looking at changing our pentatonic scale would be Dm, Em and Gmaj/G7, just like the relative Am key. The only difference is we've changed the tonic to the relative major, so Dm becomes ii, Em iii and G7 V. Hope that makes sense!
Ah I thought so, thanks! I appreciate the reply. Just wondering, do you have any videos on how to create an 'outside' kind of sound? I think I have a reasonable understanding of standard diatonic tonality now but I get quite confused when trying to implement stuff relating to diminished and augmented triads/scales in my playing, and those scales seem to really stand out, but I don't really understand how to make it sound good rather than just plain wrong.
Definitely on the list. In fact, next lesson might help you with the whole diminished thing. For augmented, take a look towards the end of my last video on augmented chords. It shows how the symmetry of augmented chords works. You can essentially use these patterns as movable aug arpeggios.
I'm a slow learner at guitar. I've been playing almost 20 years. Maybe it's because I don't put in enough time but I'm getting there. A few months ago I memorized the am pen scales position and it's where Im always playing it seems. This is a useful lesson to me. How about some insight on venturing past the 12th fret. I know it's all the same but I have a hard time with that. Edit.. Subbed!
Well after years of struggling to find the time to upload more than once a month, I'm finally in a position where I can increase the output. So here's the plan. From now, fortnightly uploads. If that proves do-able, weekly. Thank you everyone for all the comments (positive and critical), subs and likes you have given this humble channel. Love you all.
fretjam thanks Mike!!
Thats so awesome to hear. its literally like Christmas everytime you upload. always a pleasure to watch and rewatch this content. Big ups!
Your lessons are my go to and I frequently come back to them. Well explained and demonstrated.
Awesome work, thank you so much.
Ditto that.
Every lesson is fantastic. This is exactly the type of content that I've always wanted/needed. This is what makes you a well-rounded musician, and not just another guy playing minor pentatonic over everything, and the same old open position and barre chords.
Best guy on the internet,best teacher
Brilliant! No unnecessary talk, all teaching. Clear and well thought through!
Every time I watch these I fell like I'm being revealed the secrets of the universe, but I'm just not smart enough to seize it.
Tulk, use the force! :D
Just remember chords are scales and there’s only so many potential notes that can be used so they end up sharing many. In a lot of cases the pent works well for this reason, which makes it versatile as fuck. But as the chords change within the key certain notes that don’t necessarily fall within the pent, that do, however fall in the chord being played, can be hit for flavor.
but thats what is so hard about all this and using this approach. You have to remember all these different scales and notes that fit into certain chord changes but not others. I find it more confusing than good a lot of the times..No wonder most people suck at guitar and very few ever get it..
In the old days it was just a book of chords and scales and moving the needle on your record player back to hear what was going on? This now with all these great videos is like been given the answers to an exam and passing it without doing much study? Stick to G Major and E Minor and look at the Circle of Fifths.Learn the Five patterns of the Major Minor and pent scales and the CAGED chords and you can make a career out of that! Know the notes of all chords and scales and notes on the neck. Drill it till you are bored. If it ain't easy it probably ain't worth it!
Learn basic music theory and all of this is very easy.
The value in each of your videos just blows me away!
As a visual learner I gotta say thanks for this. Hands down this is the best video I've ever seen on this topic
A genius is one who can take a difficult topic a explain it in a way a child could understand.
You sir, are a genius!
Again.. a superb tutorial. So much information you just have to watch again and again.
Without a doubt, one of THE Best methods of teaching I've ever found! ALL of your videos are presented in a way that clears things up, and makes them immediately understandable and useful! Thanks for your time and effort!!!
this lesson is the real "Milestone" for those who want to make a step forward from the routine!!!
dude, this channel is awesome. Simple and very, very rich. So many thanks for your effort. Deserves a lot more visualizations.
The tutorial approach is brilliant- no bs no ego, real insightful
Every video in this channel deserves a like and a thank you
Love this series of videos. Such a clear explanation of subjects I had never even thought of. My playing is improving no end due to watching these. Each video provides tons of food for thought and practice. Many, many thanks.
I can easly say that these are the best videos of the sort on TH-cam.
This channel is a hidden goldmine
Toward the end of the video the 4 chord changes to a D major and the Dorian scale is mentioned as a choice, combined with the Am Pentatonic scale over the Am one chord. A good song example of this chord pattern and scales is Santana's Oye Como va.
nothing better than Fretjam to learn guitar, awesome work !!!
You are best lead guitar instructor on the web.
Btw, what he is playing 11:11 is E 7b9 pentatonic in the third mode fingering, The formula is 1, b2, 3, 5 and b7. It's like Phrygian dominant without the 4 and b6.
'On a dark desert highway, cool wind in my hair...' great lesson.
Thank you Mike for all your hard work and time on all your videos. I stopped playing for 7 years and Restarted year ago. IMO.... your videos have helped me THE MOST . Cheers! 🙂
absolutely the best on u-tube
I stopped playing for 14 years due to disgust with musicians/bands
Mike has me rocking again :)
Wow, that's so great to read. Out of interest, what was the disgust with musicians/bands at the time? I know it can be frustrating.
I have been trying to learn the theory behind guitar for about a year and feel like I get more results from your content than the others. Great job with the lesson pages.😃
Mike,
it's prolly the same thing you have seen
a Band gets something decent going, some crowds, loyal fans
then--
the Singer, or maybe the other guitarist thinks they are just really hot shit, not that it is a band effort
generally, it goes way downhill from there
I started playing out in 1971, nothing has changed even today, it might even be worse
I should add that I had discovered Modes, well not "officially", but "practically"
but You have helped me to understand the Patterns that I had puzzled out over the years
it all makes sense now
and
I am rockin' as the 1970's type of melodic player I was years ago
think Niel Schon
i truly love your teaching and examples you are a wonderful player that makes every note exceptional thank you so so much for your generosity.
Everyone plays different..Everyone learns different...this makes more sense than I can put Into words!
Thanks!!!
one of the best channels on youtube
These lessons are hands the best there is. Fantastic work man. Cheers
Thanks for these free lesson it helps a lot, backing tracks, patters all we need to reach our personal goals.
DON"T FORGET TO DONATE !
Thank you, Mike. The verbal and visual illustration is excellent!
The best explanation I've seen on youtube. Thank you so much!!!
The best guitar lessons on TH-cam
Very good lesson!!! I would like to suggest that on bVI°M (Fmaj)you could also go to Dminor pentatonic because is the relative minor of Fmaj for hearing the changes... so on IVmin (Dmin) and bVIM (F) u could go to IV minor pentatonic for both.
Btw thks Fretjam for sharing this interesting information.
Cheers
Exactly!
The best explanation about pentatonic in this youtube universe.. thank you for sharing..
Your content is amazing! Can you please make a video about the use of the melodic minor scale in the blues please. I saw a video from josh smith on this subject and it was greet but i think you can go more in depth.
Thank you for these videos they are mind blowing!
I was waiting for this one... after your excellent Major pentatonic lesson
Now that is a looooong wait! Sorry it took so long.
This is simply amazing and my jaw is hanging to the floor. I should've been able to figure that out! It's too logical to hide as well as it does. OMG - I will be practicing until it's time to go to work Monday morning.
Wow the best I have seen and explained. You make it so more clear then others. need more brother :)
One of the best lesson I have seen on TH-cam. 👍
These lessons are amazing, this one really opened my eyes/mind.
Absolutely useful as all your lessons are
Nice lesson ... and very nice tone !
Seen this video 5 times!! Learned and visualise something new every time!! I guess it would have taken years of playing on this position only to see what you have summarised in 14 mins. Please make similar video for major scale as chord II is a common chord change in major which is less common in minor.
It is great and i shall have to watch and try still often. Thanks
Your videos are very goof you know. The best on the net.
VIRTUAL FRETBOARD!This is the best format for this lesson! The melodies are similar to Satriani
Another way to look at this interchange is the cycle of 5ths/ circle of 4ths
First Example: Go forward to the right , on the cycle of 5ths
Amin to E min
On the second example you go left around the cycle of 4ths
A min to D min
What i find very interesting is when you look at the Natural minor
And what the minor blues box ACTUALLY is
The most common 5 tone minor pentatonic blues , is actually derived from D minor over A minor
So it is an interchange between A natural minor
D minor pentatonic
A minor pentatonic
Blue notes are added from
A whole half diminished
Great, great lesson!
Brilliant teaching !
Fantastic lesson, just what I needed to learn!
Maaaannnnn this video are so useful, you explained it very very well sir. You always used words wisely too, so "we" your viewers can understand every aspect.
I want to support u with donation but cant do it cause dont have international bank account/cc sir. But here, i can support you with "no skip ads" from ur channel. Hopefully it can support and your channel still going, so me & other viewers still can learned GOLD LESSON.
A lot apreciation for u to made this QUALITY of Content 🙏
Stay rock!!! 🤘
Awesome lesson, thanks teacher
great job !love the instructions , can you tell me the sound effect on the electric guitar ,need one like that thanks.
It was a while back but I think I was still using the Boss GT-001 on a modified preset (can't remember which one, sorry). It's a really great little box of tricks, albeit a bit dated now (though that does mean you can get it for a very reasonable price).
@@fretjamguitar I just bought the Boss GT1 I need to play and find that preset . Thanks !!
I tend to leave the 3rd out of a lot of my voicing's and make things more ambiguous, it's only needed if you really want to emphasis minor or major tonality. On faster tunes I really don't like putting in 3rds as it slows the momentum to my ears, ballads I'll use them more.
That's a really good point. The slower the changes are, the more the ambiguities become exposed. I don't think what was demonstrated in this lesson is so valuable for quicker changes.
nice, it's those small things that really become musical
11:33 ... couldn't that also be seen as an application of the Phrygian mode? Or not?
11:13 what scale is that? You said it's derived from the natural minor of A but it's not A natural minor.. when played over a major 5 chord in a minor key..
Do you have reccordings of your lead playing. I would love to hear them. Thanks
Once again, another great lesson!
Incredible channel bro
Thanks for sharing man.
amazing lesson! thanks for this
Great lesson, thanks.
Monster lesson as usual. Genius.
This guy is the best. THANK YOU
You use an interesting extended version of what I would call the first position of the A minor pentatonic for these lessons. Your version starts on the ♭7 instead of the root, mixes 3NPS and 2NPS scale fragments, and ends on the 4th instead of the ♭3. It works beautifully, but I’m wondering how you chose these extensions, and how the same approach would be used to extend the other four positions of the minor pentatonic?
Awesome great help and I get to learn
What about using d minor pentatonic over the F major chord since it is the same pentatonic notes?
Could this be applied the same way if it was in a major key too? For example C major instead of A minor?
Emaj modified pentatonic scale over the 5 chord. How did you come up with this? Flatten 2nd and 6th. Where do I find more about this scale?
It's essentially a pentatonic expression of Phrygian dominant (which is the natural scale for the major V in minor keys). We're using the 1, b2, 3, 5, b7. You could also structure this as a dominant 7, flat 9 arpeggio (1, 3, 5, b7, b9).
Another approach is to play a four-tone diminished 7th arpeggio starting on the b2, 3, 5 or b7.
So can we say... It's a way of adding up arpeggios related with the chord family.. And pentatonic shapes.. Keeping in mind to focus the correct and accurate tones to actually play the chord with more richness but in a connected way with the minor pentatonic
FRETJAM IS THE BEST..
Great video! Thanks for uploading
Do you have a video of scales? Your using scales I never heard of.
amazing analysis
This is what I needed!!!! Ty!!
It can be said you're playing G major pentatonic over the VII chord and D minor over the iv chord. But actually its more simple to say it's all A minor pentatonic with A minor (aeolian) notes added to color the iv and VII chords. It's semantics ie. A minor G major pentatonic
I did not know there was a harmonic minor pentatonic
I like it
It is like a E7 arpeggio with a b2
And it sounds better than running an Ab 1/2 Whole diminished
Over A minor
You can also play the Dm pent over the FM chord
You're my Guru dude!!! THANK YOU FOR SO MUCH!!!
what scale you use for Country music? and for. love songs ?
Can you do the same for the modes too please
I can't understand why you omit the 2nd chord. Is there a reason for that?
Not a very good reason no! I'll cover diminished chords in the next one (or at least in the coming series). Just wanted to keep this to the most common movements. When the ii is used, it nearly always leads to V (V7 mostly) in minor keys, so take that altered V7 scale covered here and raise the 3rd to get a m7b5 pentatonic scale (from root of ii - 1 b3 4 b5 b7).
Thanks!
Amazing work, thanks
Another brilliant lesson, thanks Mike. Incidentally how do you achieve the sustained, slightly distorted violin tone? All the distortion/overdrive effects pedals I've ever tried have been either too harsh or completely unbalanced between the bass and treble frequencies.
A separate EQ pedal can help. I use a GT-001 processor for recording. The distortions aren't amazing (typical digital limitations) but it offers plenty of tweaking and some decent presets as a starting point. To get a smoother distortion try placing an overdrive before or after it (the cleaner the better). Roll back the distortion and push the overdrive. This should remove a lot of the harshness.
Is that the E dominant or major instead of E minor borrowed chord from parallel major(A) key?
Great insight ! Plus I Love your accent
great video man
Still not getting this where sud i start to know all these camanybody help me???
Great great lesson!!!
I think basically on the E7 Chord you're just playing the E7b9 Arpeggio and on the D7 you're just playing the D9 Arpeggio. What's the purpose of making 2 new Pentatonic Scales?
Am minor pentatonic over the Dm chord ”sounds OK”, no way, it sounded waaaay cooler than actually using the minor 3rd note...!! :D :D
That's the great thing about music. Subjective
i liked and use both
One thing that confuses me: when I am playing over chord changes, is it best to change scales for each chord or stick to 1 basic scale? When I make the changes, isn't it more like changing the key? So, if I switch from the 1 chord where I am playing major, should I play a nat minor or Dorian when I switch to the 2, 3 or 6 chords?
This is really down to the colours/tones you want to express for a given chord. The "one scale" method (i.e. C major scale over all chords in a diatonic C major progression) can be compared to the "chord-scale" method (i.e. choosing a scale based on the root and quality of the individual chord), which is particularly favoured by jazz musicians. You can of course use a mixture of the two. But a lot of musicians prefer to keep things simple when a progression CAN be connected to one "parent" scale and just use that one scale (including a single pentatonic scale). Remember that a scale change is not the same as a key change. You can have multiple scale changes within the same key. One of the benefits of experimenting with changing scales with chord changes is that when a chord change DOES take the progression outside the parent scale (e.g. major or natural minor), your ears will pick up on that and you'll think more about what tones will complement that specific chord. So bottom line is, it's not necessary to use more than one scale for most major and minor key progressions. But being aware of how chord changes interact with the scale you're playing will prepare you for more unusual chord changes that take you outside the convenience of a single scale.
Best channel
I found when from A minor pentatonik move to chord E major there are arpeggios E major and diminish7??
best lesson ever?
great lesson
great video, but what happens if there is a chord progression like a 2,5 ,1 ?
Take that altered V scale at 10:56 and raise the 3rd. Now you have a diminished scale over the ii chord. When it moves to V, lower the 3rd back.
This is great, thanks for posting! Will you be doing a maj pentatonic video on the same topic? Cheers
Most likely, although you can use the scale changes covered in this lesson in their relative major key positions. So in C major, the chords we'd be looking at changing our pentatonic scale would be Dm, Em and Gmaj/G7, just like the relative Am key. The only difference is we've changed the tonic to the relative major, so Dm becomes ii, Em iii and G7 V. Hope that makes sense!
Ah I thought so, thanks! I appreciate the reply. Just wondering, do you have any videos on how to create an 'outside' kind of sound? I think I have a reasonable understanding of standard diatonic tonality now but I get quite confused when trying to implement stuff relating to diminished and augmented triads/scales in my playing, and those scales seem to really stand out, but I don't really understand how to make it sound good rather than just plain wrong.
Definitely on the list. In fact, next lesson might help you with the whole diminished thing. For augmented, take a look towards the end of my last video on augmented chords. It shows how the symmetry of augmented chords works. You can essentially use these patterns as movable aug arpeggios.
Thanks.
I've found that the e Phrygian sounds good over the e major.
Very good ears! This is because E Phrygian gives us the major 3rd of E major (or E7) and complements the tension of this chord in the key of A minor.
I'm a slow learner at guitar. I've been playing almost 20 years. Maybe it's because I don't put in enough time but I'm getting there. A few months ago I memorized the am pen scales position and it's where Im always playing it seems. This is a useful lesson to me. How about some insight on venturing past the 12th fret. I know it's all the same but I have a hard time with that.
Edit.. Subbed!
Celicharvel. Just read your post,... you can do it dude! Just slide on up, no difference: just 12th fret is new nut. You got it 👊