Great stuff Brandon and you are right on target again. I hope new players are taking your great advice to heart. I wish your channel was around when I started playing so I wouldn't have had to learn this stuff the hard way. But back then there wasn't an internet and you weren't born yet. LOL I am a big blues fan and I've seen entire books/courses/workshops on just the I-IV/IV-I change in the blues and how to get every last drop of "flavor" out of it. That's what makes the pros sound like pros. And in that V7 change in the blues, nailing that natural 3rd of the V7 chord at the right time is like tabasco sauce in the recipe. You are getting close to 1k subscribers. Yeah for you!
This is amongst the best straightforward tutorials I had the luck to find on YT. I'm not scared of the work it requires, in some ways I did something similar (but not quite the same) on piano. It takes time but it pays eventually. Thank you very much.
Liked! I especially appreciate your snowball analogy of music theory, i find it applies to most (if not all) other learning domains. I'm currently trying to focus on integrating my small snowballs into one cohesive one rather than learning new concepts without understanding how they connect to my existing knowledge snowball. I also appreciate your down to earth and unpretentious way of teaching theory :)))
What about playing C to G in one position? I like to move around on the neck but I also feel that being able to play changes in one position is also helpful.
@@Scratch1980 yes! It is helpful to play changes anywhere on the fretboard. Eventually you just start to see overlapping patterns everywhere including one position
Hoping I understand this correctly: I am thinking that you were doing the arpeggios for the 1-5/1-4 in C/G. Could you also do the pentatonics scales in C/G -changing as the chords change? And/or the major/minor scales, again changing as the chords change? As you stated, I am feeling that my playing is getting stale to me. Thank you so much for your information. I have been trying to learn to play with the chord changes. I seem to be too slow and the chords seem to pass me by. Your method really seems like a great place to start.
The idea is to follow the chords. Once you'll be familiar with this you'll have no issue adding some pentatonic licks, they still below the fingers, you can mix it while playing. In the meantime, it highlight some positions on the pentatonic that is spot on for specific degrees. In fact with this approach, triads, arpeggios, CAGED and double stops are covered.
Yes you can use the C major Pentatonic Scale over the C Major Chord and You can use the G Major Pentatonic Scale over the G Major Chord. The triads are the strongest notes and will highlight the chord change. I have some videos on how to mix pentatonic with triads. Have a look! Thanks for watching!
In any giving key,you can play the pentatonic scale for each chord.they all fit with the notes of the key.pretty cool.you can't play the full 7 note scale,that's where the modes come in
@@michaeldematteis3409 You are right. however the goal here is to know what you are playing when you are playing. Noodling can be frustrating at some stage. Nonetheless, it's easy to see the chords in the first pentatonic position once you start playing the triads on this part of the neck.
@slatebook2384 true,true.learning the caged system and the arpeggios ,triads really helped me with playing changes and learning all the notes on the fretboard.you're exactly right.theres so much you can do inside a key
Thanks for introducing me to all of what you’re teaching and helping me understand more to further my guitar endeavours.
My Pleasure!!!
Great stuff Brandon and you are right on target again. I hope new players are taking your great advice to heart. I wish your channel was around when I started playing so I wouldn't have had to learn this stuff the hard way. But back then there wasn't an internet and you weren't born yet. LOL I am a big blues fan and I've seen entire books/courses/workshops on just the I-IV/IV-I change in the blues and how to get every last drop of "flavor" out of it. That's what makes the pros sound like pros. And in that V7 change in the blues, nailing that natural 3rd of the V7 chord at the right time is like tabasco sauce in the recipe. You are getting close to 1k subscribers. Yeah for you!
Yeah man! Thanks for the support! Its appreciated
This is amongst the best straightforward tutorials I had the luck to find on YT. I'm not scared of the work it requires, in some ways I did something similar (but not quite the same) on piano. It takes time but it pays eventually. Thank you very much.
Thanks for watching and thanks for the kind words!!
Awesome. Definitely got me to subscribe.
Hell yeah!
Lesson part two! This such a good way to break this down
Yes!
Liked! I especially appreciate your snowball analogy of music theory, i find it applies to most (if not all) other learning domains. I'm currently trying to focus on integrating my small snowballs into one cohesive one rather than learning new concepts without understanding how they connect to my existing knowledge snowball. I also appreciate your down to earth and unpretentious way of teaching theory :)))
And I appreciate you sharing this! Thanks for watching. I'll be making more videos!
Actually, that was really very motivating, Thanks Man!
Hell yeah!
thks keep on sharing with us
I will!!
Thanks man! This really gave be an ahh haaaaa moment!
Awesome! The ah ha from a student is the ultimate goal as a teacher! Love to hear it.
What about playing C to G in one position?
I like to move around on the neck but I also feel that being able to play changes in one position is also helpful.
@@Scratch1980 yes! It is helpful to play changes anywhere on the fretboard. Eventually you just start to see overlapping patterns everywhere including one position
New sub.
Thanks for the sub. Hope you learn some things from the channel!
Can you do a vid on the uses of harmonic major? Thx.
Yes I can! I'll make sure to tag you in the description
@@brandonvogt822 👍
Hoping I understand this correctly: I am thinking that you were doing the arpeggios for the 1-5/1-4 in C/G. Could you also do the pentatonics scales in C/G -changing as the chords change? And/or the major/minor scales, again changing as the chords change?
As you stated, I am feeling that my playing is getting stale to me. Thank you so much for your information. I have been trying to learn to play with the chord changes. I seem to be too slow and the chords seem to pass me by. Your method really seems like a great place to start.
The idea is to follow the chords.
Once you'll be familiar with this you'll have no issue adding some pentatonic licks, they still below the fingers, you can mix it while playing.
In the meantime, it highlight some positions on the pentatonic that is spot on for specific degrees.
In fact with this approach, triads, arpeggios, CAGED and double stops are covered.
Yes you can use the C major Pentatonic Scale over the C Major Chord and You can use the G Major Pentatonic Scale over the G Major Chord. The triads are the strongest notes and will highlight the chord change. I have some videos on how to mix pentatonic with triads. Have a look! Thanks for watching!
In any giving key,you can play the pentatonic scale for each chord.they all fit with the notes of the key.pretty cool.you can't play the full 7 note scale,that's where the modes come in
@@michaeldematteis3409 You are right. however the goal here is to know what you are playing when you are playing. Noodling can be frustrating at some stage. Nonetheless, it's easy to see the chords in the first pentatonic position once you start playing the triads on this part of the neck.
@slatebook2384 true,true.learning the caged system and the arpeggios ,triads really helped me with playing changes and learning all the notes on the fretboard.you're exactly right.theres so much you can do inside a key
are you jesus?