I love, love, love these symmetrical two-string superhighway shapes! I think it’s very cool how you can do the same thing for the minor pentatonic. String 1: (♭7, 1), string 2: (♭3, 4, 5), rinse and repeat. Thanks to David Brewster for that version.
Yet another very useful perspective! Get another approach to laying down the major scale! Marty sure was lucky having you as his guide on the guitar journey. More of this please 👍
Just found your tutorial on beginner music theory with Marty Music. Finally, an approach I can understand. And yes, fighting music theory far too long. Thank you.
Came from Marty's video and just got to say thank you i hope your channel blows up. I am really intrested in theory and scales. This helps a lot thank you!
So glad you're here. I'll be doing some more theory-focused videos in the coming weeks too. Let me know what you're looking for and I'll see if I can cover it in an upcoming vid.
@@curiousguitarist hey I'm up to anything I'm willing to learn. You earned yourself a subscriber! I'm watching your exercise on guitar. I need it since I have no tendon in my left hand ring finger.
the very last note in this exercise on the a string before jumping back to the d is the fifth. im finding the circle coming up in different ways learning these different scales in your videos. thanks for your great teaching!
@@curiousguitaristExactly what I'm working to do. I'm also working on your Maj scale patterns using notes per string. I've never come across this concept. This is so useful and really opens your ears to create different timbres throughout the guitar. I found you when I watched the video of you and Marty. Already subscribed! You're a really great teacher. I can't wait to check out your other videos.
@@curiousguitarist Is it possible to add some text to your video when you start the pattern on the B-string to illustrate the Half-Step-Up to compensate for the B-String deficit? Especially for novice players / and for kids who are learning guitar? It would be very helpful to note the B-string deficit (its fingering /fretting compensation: Half-step-Up) and thus the pattern/ transition change. Thank you.
@@DN-sc1ht I'd have to take that one down and re-edit it at this point. Thanks so much for the feedback D N, I'll be sure to call this out a bit more deeply in subsequent videos from now on.
@@curiousguitarist Thank you Chris. As you have written above, Pointing / calling out the fingering / fretting Half-Step-Up compensation for the B-String deficit would be very helpful in any lesson. Especially if / for sending your lessons to my friends whose children are learning to play guitar. Again, thank you for your consideration.
Starting on the 7th allows for the pattern to begin as 3NPS which sets up the right hand much more efficiently. I end the ascending part on E for no real important reason. It definitely lays very well for the right hand played that way. I do not play any F notes at all in this example. Keep in mind, this is an exercise to build capability and is not designed to offer context. Musical, harmonic, or melodic context is what you apply yourself in a musical application. Think of this as a work out routine to build strength: When you do bicep curls you are not applying the context you'll use later with your stronger arms, you're just getting them stronger. You'll apply the context later when you're able to lift something heavy for your friend. Try to keep musical application and exercise separate. Blurring the lines between them breeds confusion. I hope this helps Chad!
So any major scale is equal to its 6th (rel minor), 2nd (Dorian), and 5th (mixolydian) modes. I learned something at 4am, now to sleep on it. Literally.
I love, love, love these symmetrical two-string superhighway shapes! I think it’s very cool how you can do the same thing for the minor pentatonic. String 1: (♭7, 1), string 2: (♭3, 4, 5), rinse and repeat. Thanks to David Brewster for that version.
Yet another very useful perspective! Get another approach to laying down the major scale! Marty sure was lucky having you as his guide on the guitar journey. More of this please 👍
Will do, John! Thank you.
Just found your tutorial on beginner music theory with Marty Music. Finally, an approach I can understand. And yes, fighting music theory far too long. Thank you.
You are so welcome! Hopefully the playlists here will help!
Mind blown moment, starting on a note beside the root. Good stuff.
Came from Marty's video and just got to say thank you i hope your channel blows up. I am really intrested in theory and scales. This helps a lot thank you!
So glad you're here. I'll be doing some more theory-focused videos in the coming weeks too. Let me know what you're looking for and I'll see if I can cover it in an upcoming vid.
@@curiousguitarist hey I'm up to anything I'm willing to learn. You earned yourself a subscriber! I'm watching your exercise on guitar. I need it since I have no tendon in my left hand ring finger.
@@duncans9685 Thanks for the sub!
Ditto Bro
the very last note in this exercise on the a string before jumping back to the d is the fifth. im finding the circle coming up in different ways learning these different scales in your videos. thanks for your great teaching!
Thank you Zac, that means a lot to me.
Very insightful & well thought out lesson, thanks for sharing your knowledge !
You bet Jonathan!
thats the exact same way i want my MIM tele to look. love the pickguard!!
Here's where you want to be:
www.etsy.com/market/greasy_groove
Thank you Chris, this was a great lesson!
Of course!! Pulling scales along the fretboard like this sets the stage to really start mapping the fretboard efficiently
@@curiousguitaristExactly what I'm working to do. I'm also working on your Maj scale patterns using notes per string. I've never come across this concept. This is so useful and really opens your ears to create different timbres throughout the guitar. I found you when I watched the video of you and Marty. Already subscribed! You're a really great teacher. I can't wait to check out your other videos.
Right on, right on, right on!
I totally missed the B string half-step-up compensation initially ... Enjoying your lessons. Thank you.
Yeah that's a bear to keep track of, but once you really start to see it it get's easier.
@@curiousguitarist Is it possible to add some text to your video when you start the pattern on the B-string to illustrate the Half-Step-Up to compensate for the B-String deficit?
Especially for novice players / and for kids who are learning guitar?
It would be very helpful to note the B-string deficit (its fingering /fretting compensation: Half-step-Up) and thus the pattern/ transition change.
Thank you.
@@DN-sc1ht I'd have to take that one down and re-edit it at this point.
Thanks so much for the feedback D N, I'll be sure to call this out a bit more deeply in subsequent videos from now on.
@@curiousguitarist Thank you Chris. As you have written above, Pointing / calling out the fingering / fretting Half-Step-Up compensation for the B-String deficit would be very helpful in any lesson. Especially if / for sending your lessons to my friends whose children are learning to play guitar.
Again, thank you for your consideration.
i found my new teacher thanks
Welcome Jack! Thanks for the view!! Hope you enjoy the rest of the vids-
Me too Jack 😎
Good stuff.
Can this pattern be adapted for other modes or is there another method that would be easier to learn?
Same exact pattern, the only thing that changes would be the context of the mode (it’s “root”)
Great lesson!
Thanks Christopher! So glad it's helpful.
Thanks Chris new sub.🎸
Wow, thanks Willam, glad you're here!
Wondering why it starts on maj 7th an ends on E the maj6th coming up ot has an F the min 7th. Just wondering why what is the reason for this?
Starting on the 7th allows for the pattern to begin as 3NPS which sets up the right hand much more efficiently.
I end the ascending part on E for no real important reason. It definitely lays very well for the right hand played that way.
I do not play any F notes at all in this example.
Keep in mind, this is an exercise to build capability and is not designed to offer context. Musical, harmonic, or melodic context is what you apply yourself in a musical application. Think of this as a work out routine to build strength: When you do bicep curls you are not applying the context you'll use later with your stronger arms, you're just getting them stronger. You'll apply the context later when you're able to lift something heavy for your friend.
Try to keep musical application and exercise separate. Blurring the lines between them breeds confusion.
I hope this helps Chad!
@@curiousguitarist ok I miss understood the F I will change it to F# an I understand thanks
An the pinky responds very well to these exercises thanks for the direction
Some say the greatest guitarist ever? I say the only influential guitarist left in America. It’s settle science.
Long live Saucy Jack I say
So any major scale is equal to its 6th (rel minor), 2nd (Dorian), and 5th (mixolydian) modes. I learned something at 4am, now to sleep on it. Literally.