Once again , your infectious love of having fun with music makes for a great "bluesy" lesson to expand our chops...with the tabs for those us that still need them...thanks for sharing !!
Everything you show has been a help to my soloing, simple is better. Your videos take the mysteries out of great solos and players. I always tend to make things too difficult, you help me simplify things
Such a great lesson! Obviously, the BB Box has been covered by a lot of people, but you make it very relatable and fun to play around. Great licks. Thanks.
The over bends are a game changer. Once your ear learns half, full and half over that, you are cooking. I found that the easiest way to get it under the fingers was to hit the full bend then go up a half, that's how guys like Clapton phrased it a lot. Eventually you can do it like Vai and go all the way 1 and a half steps.
Leslie West often used the BB Box, Major pentatonic box#3, Minor pentatonic box#3 just staying in that position box#3 often just mixing BB, major penta, minor penta in all the Mountain solos to make a lesson about. Also look into the Zeppelin Black Dog guitar solo he switches from and forth from A major pentatonic and A minor pentatonic to make a lesson about, I think he throws in the BB box here and there also.
I know I don’t always leave a comment on the videos that you do,but I always enjoy them and I recognise this pattern from the “get back” lesson you did on the BEATLES . Very tasteful. Also on another subject I heard Ritchie Blackmore say that he has never played the same solo twice.
Some comments on the bends: * In general/often, the bends starts on a note that's NOT in the current chord and bends up to a note that IS in the current chord. Try out different bends, starting a half- or whole-step below any note in the current chord! * Some notes are shared between several chords in a chord progression. You can use the same bend, or at least two bends of different interval, bending up to a note shared by two chords on both those chords. Use to good effect doing the same bend repeatedly though a change of those two chords. * Everything about bending (up) is also true for releasing a bend, eg you "release down" to a note in the current chord. * Blues makes heavy use of seventh chords. Bending from the seventh up to the root is very common. Here, you are bending from one note to another with hoth of them being in the chord. I've done this intuitively for years, but this video made me think a bit about what makes bends work. There's slways something to learn and take away from Marks videos!
I've been using that pattern on an intro for a song in A for years, but at the 5th fret, not the 10th. A sort of "Carol" type thing, now I know why it never quite works! Thanks Mark! (I'm a singer that plays rhythm guitar, not a guitarist btw)
Sa-weeeeet. I have a hard time ignoring or deleting the flat seventh though. It'll be a fun pattern to work on a bit. Get in the blues mood y'all! Gotta have the feeling. It actually helps to have the blues and make faces during the bends. 😁
It took me a couple minutes to get a grip where this was on the fretboard and to integrate it with prior knowledge. I swear, there are times when it seems like the notes get up and dance around when I'm out of practice!
This is one of those things that "just works" more often than not. Sometimes it'll cut through even dense chord changes. (Stormy Monday, Need Your Love So Bad, Someday After A While, Please Come Home for Christmas) Plus, so many bends that are available, that it's easy to wring emotion from it.
Mark, I just put a set of "Ernie Ball" EarthWoods on my acoustic. I can bend really nice on it now. I was wondering, if you could give a little acoustic lesson? I know, you'll have some great ideas. Thanks, Peace.. Joe
Well I'm not an educated expert but isn't this just a Dorian scale? 1-2-b3-4-5-6-b7. And bending the b3 to 3 and 6 up to b7 to make the changes we want.
Hi. No, it's related of course, but it's different in at least 2 ways. 1. It doesn't have a b7. Avoiding the flat seven gives a sweeter sound over the I chord. 2. It's a specific pattern/position (the one with the root on the B-string and the 6 on the G-string), not just a scale.
First, it's a pattern/position more than a scale. That's important. The pattern itself is very, very finger-friendly and bend-friendly, so it's easy to wring emotion out of it without resorting to theory. It's similar to G-major (or more precisely A-Dorian) BUT it removes the G (root of G, b7 of A). So over, say, an A7 it's going to sound more "sweet".
Wait a second ... is this the same fella that use to do all those guitar gear demo videos on the Sweetwater website a few years back or is my memory playing tricks?
@@MarkZabel - Ah, my bad. No offence meant or anything like that, I just thought I recognized you. Anyhow, I recently stumbled on your videos and should say that there are some real gems in there. The kind of stuff I hadn't been exposed to elsewhere regarding scales and note choice. Thanks for sharing this essential knowledge.
@@redshiftdrifter Thanks. No offense taken. Just making sure you knew it wasn't me doing those Sweetwater demos. (It would be nice, but they've never asked me to do them!)
Well ... not exactly wrong, but ... The Mixo-Blues scale is a 9 note scale: 1-2-b3-3-4-b5-5-6-b7. This is a 5 note scale (1, 2, b3, 4, 6). Removing the b7 is a key part of achieving the sound. Plus, this is about the pattern/position as much as the notes played. This particular position (with root on B-string) is very finger friendly and bend friendly. The beauty of this particular pattern is that it often just works, so you can focus 100% on creating emotive notes and lines rather than any theory.
@@MarkZabel Hi Mark, it’s a similar sound to a low action Strat. No worries. A lot of people like that. I play mostly jazz and try to avoid any and all fret sound. Always looking for clean sustain.
@@tomcaron9113 Thanks, that's cool, but it would be helpful to me if you gave me a specific time or two in the video where you hear it. I don't hear any fretting out in the video.
You, my friend, are an excellent teacher.
And guitar player. 🤙🤙
Thank you so much!
Once again , your infectious love of having fun with music makes for a great "bluesy" lesson to expand our chops...with the tabs for those us that still need them...thanks for sharing !!
Wow, thanks for that kind comment. I appreciate it!
Everything you show has been a help to my soloing, simple is better. Your videos take the mysteries out of great solos and players. I always tend to make things too difficult, you help me simplify things
Awesome, thank you!
Mark, I keep coming back to your videos.
You got the good stuff.
Glad you like them!
Such a great lesson! Obviously, the BB Box has been covered by a lot of people, but you make it very relatable and fun to play around. Great licks. Thanks.
Glad you enjoyed it!
What a great, concise and informative lesson 👏
Thank you!
The over bends are a game changer. Once your ear learns half, full and half over that, you are cooking. I found that the easiest way to get it under the fingers was to hit the full bend then go up a half, that's how guys like Clapton phrased it a lot. Eventually you can do it like Vai and go all the way 1 and a half steps.
0:33. That's the one I've wanted to learn for 50 years
It's a great one. I had no clue how to do it way back in the day. Learned totally by "hunting and pecking".
Thank you Mister Z! Those are some valuable tidbits there.
Glad you like them!
Awesome lesson! Thank you
Thanks so much!
Thank you
You're welcome. Thanks for watching.
Leslie West often used the BB Box, Major pentatonic box#3, Minor pentatonic box#3 just staying in that position box#3 often just mixing BB, major penta, minor penta in all the Mountain solos to make a lesson about. Also look into the Zeppelin Black Dog guitar solo he switches from and forth from A major pentatonic and A minor pentatonic to make a lesson about, I think he throws in the BB box here and there also.
Ok. Sounds good.
I know I don’t always leave a comment on the videos that you do,but I always enjoy them and I recognise this pattern from the “get back” lesson you did on the BEATLES . Very tasteful. Also on another subject I heard Ritchie Blackmore say that he has never played the same solo twice.
Thanks! And that's interesting about Blackmore. I like it!
Awesome and very helpful as usual thanks very much
Glad you enjoyed it
Thanks a lot for this great video.
Glad it was helpful!
Great and useful lesson! I also see how important the phrasing and dynamics are to sound good. You can do much with just a few notes😃.
Thank you. Absolutely, you can do a tremendous amount with just a few notes.
Mark, thanks again for all these gems of knowledge. I’ve learnt so much from you. 👍🎸🔥
Thanks. Glad you're enjoying the videos.
When I listened to the initial examples I thought to myself, "this sounds a lot like what is otherwise known as the B.B. King Box."
Great fun 😊
Thank you!
Great lesson
Thanks!
Some comments on the bends:
* In general/often, the bends starts on a note that's NOT in the current chord and bends up to a note that IS in the current chord. Try out different bends, starting a half- or whole-step below any note in the current chord!
* Some notes are shared between several chords in a chord progression. You can use the same bend, or at least two bends of different interval, bending up to a note shared by two chords on both those chords. Use to good effect doing the same bend repeatedly though a change of those two chords.
* Everything about bending (up) is also true for releasing a bend, eg you "release down" to a note in the current chord.
* Blues makes heavy use of seventh chords. Bending from the seventh up to the root is very common. Here, you are bending from one note to another with hoth of them being in the chord.
I've done this intuitively for years, but this video made me think a bit about what makes bends work. There's slways something to learn and take away from Marks videos!
Excellent!
Very special...thanks a lot...
Glad you enjoyed the video!
I've been using that pattern on an intro for a song in A for years, but at the 5th fret, not the 10th. A sort of "Carol" type thing, now I know why it never quite works! Thanks Mark! (I'm a singer that plays rhythm guitar, not a guitarist btw)
You're welcome. Thanks for the comment!
Mini humbuckers!!!!
Sa-weeeeet. I have a hard time ignoring or deleting the flat seventh though. It'll be a fun pattern to work on a bit. Get in the blues mood y'all! Gotta have the feeling. It actually helps to have the blues and make faces during the bends. 😁
Right on!
Skateboard style resolving!
Not sure what that means, but I like it!
It took me a couple minutes to get a grip where this was on the fretboard and to integrate it with prior knowledge. I swear, there are times when it seems like the notes get up and dance around when I'm out of practice!
This is one of those things that "just works" more often than not. Sometimes it'll cut through even dense chord changes. (Stormy Monday, Need Your Love So Bad, Someday After A While, Please Come Home for Christmas) Plus, so many bends that are available, that it's easy to wring emotion from it.
@@MarkZabel Previously, it was my least used pentatonic position. Thank you for this demonstration!
@@Larrymh07 You're welcome Larry. Use it!! :)
Man, Page used this scale a lot on Zep 2. WLL and Heartbreaker 2nd solo at a minimum
He did!
As Always Noice !!!
Thanks!
Love it
Awesome, thanks!
Mark, I just put a set of "Ernie Ball" EarthWoods on my acoustic. I can bend really nice on it now. I was wondering, if you could give a little acoustic lesson? I know, you'll have some great ideas. Thanks, Peace.. Joe
Thanks Joe. I'm not really set up for it well recording-wise, but I can do something. Thanks for the suggestion.
That was a nice lesson I really like the way you explained it.
Thanks Don!
Thanks for this clear and cool density of info Mark.
My pleasure. I try to keep things brief, but still with context.
The House of Blues shape with a couple of extensions?
🎩
😁
👕👍Great!
👖
Thanks!
Well I'm not an educated expert but isn't this just a Dorian scale? 1-2-b3-4-5-6-b7. And bending the b3 to 3 and 6 up to b7 to make the changes we want.
Hi. No, it's related of course, but it's different in at least 2 ways. 1. It doesn't have a b7. Avoiding the flat seven gives a sweeter sound over the I chord. 2. It's a specific pattern/position (the one with the root on the B-string and the 6 on the G-string), not just a scale.
Great stuff.
I'm not exactly sure why, but I was inspired to go find some Peter Green era Fleetwod Mac. 🎸
Exactly! "Need Your Love So Bad", "Someday After Awhile" from Mayall's "A Hard Road" album. Peter Green was absolutely a proponent of this!
@@MarkZabel That's it !
th-cam.com/video/oOziKMF9B7M/w-d-xo.html
Is it a G major scale with the F#
First, it's a pattern/position more than a scale. That's important. The pattern itself is very, very finger-friendly and bend-friendly, so it's easy to wring emotion out of it without resorting to theory.
It's similar to G-major (or more precisely A-Dorian) BUT it removes the G (root of G, b7 of A). So over, say, an A7 it's going to sound more "sweet".
Wait a second ... is this the same fella that use to do all those guitar gear demo videos on the Sweetwater website a few years back or is my memory playing tricks?
Your memory is playing tricks. I've never done any Sweetwater gear reviews.
@@MarkZabel - Ah, my bad. No offence meant or anything like that, I just thought I recognized you.
Anyhow, I recently stumbled on your videos and should say that there are some real gems in there. The kind of stuff I hadn't been exposed to elsewhere regarding scales and note choice.
Thanks for sharing this essential knowledge.
@@redshiftdrifter Thanks. No offense taken. Just making sure you knew it wasn't me doing those Sweetwater demos. (It would be nice, but they've never asked me to do them!)
John Lennon's solo on "Get Back"...
Exactly so!
This scale pattern looks like a part of the mixo-blues scale. Am I wrong?
Well ... not exactly wrong, but ... The Mixo-Blues scale is a 9 note scale: 1-2-b3-3-4-b5-5-6-b7. This is a 5 note scale (1, 2, b3, 4, 6). Removing the b7 is a key part of achieving the sound.
Plus, this is about the pattern/position as much as the notes played. This particular position (with root on B-string) is very finger friendly and bend friendly.
The beauty of this particular pattern is that it often just works, so you can focus 100% on creating emotive notes and lines rather than any theory.
👍
Man, you are great player and teacher but that LP is fretting out so badly!
Hi Tom. I'm not hearing any. (Even unplugged in my office.) Could you give me some specific times you hear it?
@@MarkZabel Hi Mark, it’s a similar sound to a low action Strat. No worries. A lot of people like that. I play mostly jazz and try to avoid any and all fret sound. Always looking for clean sustain.
@@tomcaron9113 Thanks, that's cool, but it would be helpful to me if you gave me a specific time or two in the video where you hear it. I don't hear any fretting out in the video.
I don't Ike that sound
Okay. Whatever floats your boat. (You haven't told us, so we don't know.)
@@MarkZabel sounds too od school blues for my taste..
BB box