Complete Guitar Masterclass: Beginner to Advanced

1. INTRO - ABOUT THE MASTERCLASS: Alright, so welcome to the guitar masterclass. My name is Rafael Bian center, and I've been teaching guitar for over 20 years. So I want to invite you for this journey, this master class, for this intense course that I created. And I will guide you step-by-step in all the content that I'm recording. There's a lot of techniques to cover, a lot of boards, lots of theory. But I'm pretty sure you're going to get that. You're going to learn a lot to increase your knowledge a lot with that course, or divided this course into lectures. The lecture number one, you're gonna be playing some warm ups in workout, exercise, exercise that into the ED on the guitar. We also covered the basics of the guitar as string names are two paths. How to read the court's, how to play chords, right? Even the record. And also prepared for you some of the theory behind the triads and boards with numbers e.g. C. Major seven, C7. Why we have those numbers, why we get those numbers in court. We also recovered some of the theory as caged and of course, formation circle of fifths, which is very important for a music composition. We also want the last part. We have a basic knowledge of strumming, finger baking, and how to read the notes. The lecture number two, things are gonna be more intense because we're gonna be learning. Triads are Pedro's baking. Tapping had a point. For his kids. We're gonna be covering pentatonic scale and the guitar modes. The seven gets her modes that we use for improvisation and writes song gutter technique that we're going to be playing and learning in this course would be at the strip baking. Secondly, how to apply this should baking in arpeggios. For depends on tonic session, I prepared for you some of the main shapes and how to apply this shapes in backing tracks. I also will demonstrate to you some of the main patterns that we applied on the pentatonic scales and a few lakes as well. You're going to like that session because there's a lot going on. There's a lot of content in that session, pentatonic scale, and also on the guitar modes. I hope you enjoyed this course, this masterclass, and I also hope to help you in your goals. 2. GUITAR STRINGS NAMES: Welcome to the lesson number one. In this lesson, we're gonna be covering some of the base of the guitar as strings name. So as you can see, on the guitar, we have six strings. We count these shrinks from the bottom to the top. So my first string will be E. That's the high string, E. Make sure you are in tune. You can also use some apps like guitar tuner or in this case here I'm using the logic tuner. Make sure you get towards the end joining. So that's the E string. On the second string. I have the note B. We can call the second string as B. Third string would be G. Remember we count these shrinks from the bottom to the top. Bar strength will have D, the D note on the fifth string. That note. And finally on the top string and the sixth string, we also have another E. That's the low, E. That's your high. Again. B, D, and E again. We also have some good exercises for a warm up. For alternate speaking. If you have never played guitar before, those would be good ones for you. So e.g. if you take the E string, the high E string, you can do the movement down, up, down. Using your big took a look in my right hand. I'm not moving my arm. I'm not moving my wrist. Moving this part of my hand starts very slow. Can also count in groups by four. Those kind of exercise will be very helpful for you. Especially in this, at this point, you are getting more familiar with the strings, with the sound of the strings, with the sound of the nodes. So get ready for the next few examples where I will demonstrate to you some of the workout and warm ups that I do daily. 3. HOW TO READ TABLATURE: Okay, Let's learn now how to read tablature or tabs. This is a bit different comparing two when we compared to the music and musical notation. Because this is based in numbers. Let's take a look in this song, the classic milk underwater and see how we can read those numbers, how to transpose those numbers into to the fret board where those nodes are located, right? That's what we need to know. If you were to take a look very carefully on the the tabs. You don't see temples, we don't see beats, see the timing, right? So we have to really know this song. If you do to be able to play this, this tabs, otherwise the nodes will sound like in sequence and the song will make no sense. So let's take a look at that. This song, as you can see. Firstly, as you can see, all the nodes are located on the top E string. You can tell this is the top E string because they shrink below is a 035. Those are the first three numbers that we see in that 0350 means open string. Don't need any fingers to play that. Simply let the string, that's zero. And then 3.5. That means that I have to press the fret three, still in the top string. And the Fred five. I'm just playing using one finger. But you can divide this, divide this fingers like to get a better fingering right? Sampling zero. Then Fred three was in my own using my finger one, fret five. Using my finger three, at this point, probably already know this fingers we will have, we'll get some numbers. So figure one, figure two, figure three, finger for every time I would talk like that. Finger 123.4 to guide you in, right? So those numbers are our reference for fingering zero. Right? Look at the next group of nodes. I will have 0365. Then the next group, I'll have 035 again, pretty easy. And then finally, 30 adds some overdrive here, some distortion. To have an idea because this song was recorded with overdrive in storage and so on. And all these nodes are located on the top string. I will also have some drums here, just as a guide, as reference for us who played this riff. 1234. Again, 3434343 by three, by three, by three. Another great song that I will bring for this lesson, it's called seven Nation Army. Let's take a look in this song and how to read this tab and how to play this numbers on the fret board. As you can see now, is a bit different. Comparing with smoke underwater. I have notes on the a string and I will have one note on the D string. When you don't know the saga, when you don't know the tabs analyse the song like that. See how many nodes you have on the a string and if you're playing other strings, right? If you're playing chords, we can also read tabs. You can also read chords by the tabs room. But in this situation here is all single nodes are right. As you can see, there is a 77 starting the riff. Those sevens are located where on the a string another seven. I will use my finger three now. Why? Because look at the next fret that I have to play. The different five located on the D string. But for me it doesn't make any sense if I play finger one and then move my entire hand to the flat five. So for me it would be easier if I position my hand like that and play flat five. And then I go back to Fred seven. And I have the sequence of flat five, flat three, and flat to all played on the a string. In this iteration, I can easily use one finger only solve. The entire roof would be very slow. Let's have some drums here to guide us just for a reference, 124. Right, So that's the way that we read tabs. Remember what I said about the tab? Some tabs, they have no rhythm, they have no beats. There's a great example if you don't know this song, which is almost impossible, right? If you don't know the song, you probably will play like you played the nodes in sequence because we don't know the rhythm. We don't know the subdivision, don't know what's going on on the on the main song, on the original songs, sorry. Just a bunch of numbers being played in sequence. 4. INTERVALS: Alright, so for this next lesson, I will show to you the intervals between notes, what that means. As you can see in this piano, you have a group of nodes, have seven natural notes. They are C, D, E, F, G, a, B. You also have the sharp notes and the flat nodes, which are located on the black keys. If you see the piano, It's very organized, very different than the under the guitar fretboard, which sometimes can be confused. So sidenote, let's start on the scene nodes. As you can see, piano is made by a pattern of two black keys and three black keys. To black keys, free black keys. The nodes before the, the two black keys is the C note, the C natural note, or demonstrators and my piano here. So that's the next nodes. You have the sound of the D note. So far we have C and D, right? So when you have this kind of interval, we call whole step between C and D. I will have one step. Okay, so where to find those two notes on the guitar? If you position your finger one on the fifth string, third fret, you will find the note. That's my C note. If we skip the next fret and play on fret five, we can also use your finger three for that. You will have the d low. So I'm skipping one fret. See on Fred three. D on fret 51 node goes between this two nodes, C and D. The elastic, the piano as reference. Those c. Before the two black keys. Again. The first black key will be C sharp. And then D 0. D. If you do the reverse, like starting on D, D flat will be the black key and C, right? So as you can see, a C sharp and D flat, we will have the same sound. But if we go to C and C Sharp, we call half-step. If you go from C to D, hose that foods that right? So where to find the C-Sharp on the guitar? C is on the fret. Three. Remember we're still on the fifth string. C-sharp will be on fret. For you, create that kind of like a dark interval re-used for movie themes. If you play C and D, you don't regenerate that tension. But if you drop the D for D flat, C sharp, so far, so good, Let's keep going. So far we have C and D. The next note will be the third note on the piano, C, D, E. Remember how to find the whole step? Look at the D note. There's the sound of the denote. Then we have E. You have a whole step, half step. Whole step. If I go from D to D-sharp, half step from D to E. Post that holds that. Take a look at now between E and F, there is no black key. So that interval will be a half step. Half step petrified, E, F on the guitar. If you position your finger one on the flat seven. And then your finger to on Fred ate. So far we have C, D, E, F. Let's take those four notes on the guitar. It's still on the fifth fret, fifth string, sorry. See, Fred, three, D flat five, E flat seven, and f. Read eight. Why I'm not going to fret nine after E. Because if I go to Fred nine, F sharp. So I'm not playing F sharp in this situation, play E and F natural. You can also find that E and F notes on your top string. Remember your top saying when you tune natural. If you go to Fred one half step interval. Let's get going. After F. We have Ji Fu step, whole step, F, G, and then G and a. Another whole step, a and B. Another whole step. Now, B and C. That can be a great question for you. Between B and C, Do I get a whole step or a half-step? Be there is no sharp between BC. So when you play the B node, the next node will be half-step. Where are these notes on the guitar? If I play C? On the third fret of the B is located half-step down. What that means, the B will be located on the fret to regenerate. Now, another half step, which is very patient rate. Well that's the thing that you need to remember. The intervals between E and F, half-step, and B and C. Another half step, the full scale on the guitar. Now, linear what that means, I will play all those notes on the fifth string. We'll see on the flat three, flat five, and flat seven. F on Fred, eight on Friday, then on Friday, on Friday 14. And see on Fred 15. Right? So for memory, for a fresh memorization, this is the top of the next lesson. I will speed up the process for you. So on the fret 12 is where the open shrinks names are located. What that means, the open strings you already know, you already learned on the other lesson, E, G, D, and E. You have the same order. G, D, a. And the 12th fret is on the middle range of your string. That's why you're getting the same notes as open. B, G, D, a, E, e.g. if you find G note on the a string, you don't need to start counting from here, from the open string. You can easily go here on the 12th fret. The 12th fret is the AV node. If you go one frame down, a flat. And then G, That's the genome is located on the front end. 5. NOTES ON THE FRETBOARD: Alright, next lesson. Now, it's gonna be about frets memorization, where the notes are on the fret board. It's pretty easy, especially on the top string. And the string, I will highly recommend you to memorize those three strings because our records are scales are pages. We will start on those two strings. So that's why it's really important to memorize, at least at this point, this Jewish strings, top string, the E and the fifth string, the a. So remember the intervals from the other lesson we're going to be applying now. So on the top string, as you can see, the red one, the red letters. We have e on the open string, ray, F on the first fret. If you skip the next fret and play on the third. We have a gene for Fred. Fred seven b. Remember that theory? Between B and C. I will get the half step interval red. So if I go from fret seventh, fret night, I get B in C-Sharp. When this situation here, I will need to get the C natural notes. I place my finger and Fred seven. And then I placed the other finger. Friendly BC. Can also practice vocals that exercise. Then on Friday, then I will have the d nodes and Fred 12. Remember what I said about Fred trough? You get the same notes as the open strings. The fracture off on the top E string would be the letter, E would be the nodes ie. Okay, so that was the notes on the top strings. Easy to memorize because on the odd numbers, the first three odd numbers, 135, you have F, G, a threat seven, another odd number. I'll have the B gene. I'm just playing the odd frets. 1357. Of course I have C on Fred, 810.12. C D E located located on frets 89,810.12, sorry. Cte. And open of course will be on the a string. I'll have a as open. And then I have to skip the other fret, the next fret because it's gonna give me the a sharp. And I'm not looking for a sharp, a sharp right now, so I'm looking for B. So B will be the second fret. Take a look at now on the green. Letters. On the green nodes. Be on second fret, third fret, D on the fret, five, E flat seven. The next note would be a half step apart from e. So yes. You can take a look at now on the, on the, on the top string, on the flat 78, you find b and c. If you go one straight down on the a string, you see EFF. Let's get going first, 781012. Finally, a note. Kind of like a sad combination. When you play from a to a. That's gonna be the a minor scale. We're going to be taking a look at this on the lecture number two scales. So when we have the combination of these seven nodes, a, B, C, D, E, F, G, you get the a minor scale. You can, you can already tell they scale. Is it sad? Right? Just playing the first three nodes, a, B, C. That's the combination of a minor scale. Next string, D, string, the blue one, the blue letters. As open. You skip the next fret. You get the inode. And after the note, half-step. Yes. Fred, Fred 78. Fred nine. Now, the first time playing for at nine. But nine is gonna give me the B node. And Fred, then of course we will give me the c node. And Fred 12. Remember the rule about frat 12? Same letters as the open string, the same notes as open. So again, this combination of notes on the fourth string will give you the D minor scale. Just playing the first three nodes, you have an idea what I'm talking about. So the combination of the three nodes, D, E, F. It's very sad, right? So minor scale is going to give you that feeling, that vibe. Let's move on to the third string. Third string is the G. Open. My second fret, a. Threat for B. And Fred five. Why I'm not going to the fret six, because six is going to give me this C sharp node. And then Fred file. And then Fred 70. Read mine. Dan, from not playing flat nine. And then spread to 11. Because it regenerates the F sharp. I'm playing flat 9.10, which will bring me the E and F, a half-step interval. And finally fracture off. What is the feeling of that scale? What is the vibe of that combination? Playing the three nodes, major or minor, for sure would be major. I'll play again for you. My major or the combination of these nodes group is going to bring me the major scale. Let's move on to the base strength. Now, I will have B as open. And why I'm not going to the fret too. I'm going to fret one because I will have to have a half-step apart of those two, denotes the distance between these two nodes has to be half-step. Obc would be located open. And C on the first fret, three deep breaths, 568108, in front drove. And Friday, the high string e. If you take a look on the high string e, you have to play at the same spreads as you played on the top string E, because both are 0s rent. So EF. And first fret. Third fret Jew. For Fred. Fred seven or eight or nine. Because bread is C, natural, breath nine will give me the C-sharp, which I'm not looking forward to. Fret then. Fret trough. But if you play both strings at the same time, same frets, the Loewy and the high E. You have to play the same frets, so probably using finger to three, so a, B, C, D, right? You're gonna get better sound when you position your finger, your fingers on the middle of the fret. What it means, the distance between these two metal pieces here is where the best sound is located. If you don't press property that you get the muted sound breast properly. If you also press the frat, which is the metal piece here, you also get the muted sounds. So try to find a spot between these two frets and then position your finger and you have the better sound. You can apply this for all the fingers lift finger one day. So that's the frets memorization. Another way to memorize. Frets. Lot of students have that question. They spend, spend, spend time to find the nodes on the D string, which sometimes can be confused. So how to find the nodes on the D string because of the E string? Let's take an example. The G note, the note on the E string. It's located on fret three, right? That's my genome. Upstream, Fred 33. So when you use your finger to play the fifth fret on the D string. Another gene, the octave higher compared to that G. They are eighth notes. Part G. Then octave. G, a, B, C, D, E, F, G. Again, eight. That's a great, great way to memorize nodes on the D string. Find the node on the top string first. E.g. let's take another node, a, B. B is located Fred seven. And then using our finger three, use keep one fret, this case breath eight. And you play the fret on the D string. When you go to open strength is even easier because you only need one finger so you open the knees, keep the next fret and skip fret. One. You go to Fred to position your finger on the fourth string. Another. If you did the same technique for to find the other note on the B string, now, I need to find the E note on the B string, how it's gonna work. If you do the same technique, that note is keep one fret. And then it's keeping one string. That's my E flat. Not looking for. That technique doesn't work for this situation. What do I have to do is move This Fred, instead playing Fred for you play flat five. So now you have to skip two frets to find the next E. To find it the next octave. Again, you open. Upstream. You go to the fourth string and play fret too. I just found the next octave. Now, you skip one fret and it's skipped. You fret, sorry. And position your finger on the B string, fret. Symmetrical. So you can do this in every spot, like octets. Same notes. Here. You have F, G, a, B, C, C. You can move, move around. You can do this technique also on the a string e.g. let's take the C note on the a string. C note on the a string will be located on a fret three. At this point, you should know that, right? We did that on the other lesson. Three, the a string. I will skip the next frat. I position my finger on the G string. I'm getting the c node. And others see note. To hire. Now I need to find the c on the eastern end. It's missing the high E string. You position your finger here. Five on the seed that you found. On the G string. You skip two frets ahead and position your pinky, your finger four on the fret, eight nodes, right? A higher. Good exercise for memorization. See on the right, the third string. The high strength. Jie Chen upstream. The D string, the B string. 6. WARM UP - BASIC: Okay. Hey, oh. 9. WARM UP - "X" STYLE: Okay. Hey. 10. GUITAR WORKOUT 1: In quarter notes. Eighth notes, 1, 2 3 4, 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4. 11. GUITAR WORKOUT 2: String skipping. So when we go, string skipping would be very important to choose the alternate speaking. So it would be very basic. So 123-41-2341, 234-123-4234. 12. GUITAR WORKOUT 3: 1, 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4. 13. GUITAR WORKOUT 4: We're gonna be playing in chromatic. So that means fingering would be 1234. All right, starting on the E string. And then you go fret 23456. What do we get under threat six. You move to fret seventh, two on the top string. And then he started running down like this, 789-10-1112. When it reached the fret 15, we started going up, but it's still using the frets 151,413.12. And so we go. Now we are here on the 12th fret and top string. So what do we do now? We start running that way. So 15141311. Now we are here on the fret seventh. So what do we do? We do nine. It's on the E string. You're going to play the 10987. And then the 9876. You start running that way. So when you reach the fret one, you started going down. Guitar jam technique for would be played in quarter notes, eighth notes, and 16th notes. 1234. Hi, there. 12341234. 14. CHORDS AND BARRE CHORDS: It's time to learn some chords on the guitar edge already played some single nodes on the other two songs that I demonstrated. Now it's time to play chords. When you combine 23 even four nodes, we call chords. And it also chords. We have two ways to play using the right-hand strumming or picking. Some cases, finger picking rent. So we're going to be starting on the eight major chord. That's another thing about courts. When you see the letter. By itself, the court will be major. So it's going to bring you that happy vibe that we were talking about earlier. That's the sound of a major report. Writer. Happier. And when you see the M, in this case, a minor, you're going to be having the sad vibe. Or some cores like diminished. Those We, those chords that we have, the tritone will have that dark and sad vibe, e.g. a minor. A major. Way we write it like happy, sad. In this lesson we're gonna be learning a few of them. You're gonna be able to play a lot of, lots of songs with this simple chords. Okay, let's go back to the a major chord. So that's your guitar fretboard. As you can see, fingers 12.3 are located on the fret too. My finger one will be located on the fourth string. Finger to look at it on the third string. In finger three located on the second string. It looks a bit confused, but you're gonna get used to that. Okay, So finger one, firstly, located on the second fret string for finger to read below one, but now located on a string, g. Finger three, located on the string to that x means that you cannot play. You don't need to play the top string. Let's think about this. The docstring is going to give you the eNode. The course that we're playing is the eight major port. We also have the inode inside that court is part of the triad. Triad. Going, gonna be checking that on the lecture number two is not the case right now. So we start playing this sport. String. The chord is a major. In your age, your fifth string, It's eight. And you can also hit the E string, even if you're not pressing any fret on the E string. Part of the triad. String. Second fret of the first term. Altogether. Positioning our risks, not like that. Drop your wrist like this. And you automatically you are dropping your shoulders so you're not patient like that. So left hand position. How to gather better position for cords. As you can see here, my thumb is not like that. I'm not showing my thumb. My wrist is not that high position like this. So it was more low position. And my shoulder is very relaxed like that. It's not tension like that. So if you drop the shoulder, you move the wrist and having to raise lake and low position in your thumb here, pressing the neck of the guitar against this, this fingers to have better. I like that. I like this. I like that relaxed. Especially for cars like this where you have to position all these three fingers in one fret. Let's move on to the a minor chord. A minor is a little bit different. Take a look. On the second fret. I will keep two fingers. And now my finger one goes to the first fret. Which string? On the second string, right? I will still playing the fifth string open and the highest string E. Let's take a look at that. So let's build this chord based on finger to now. Figure two, located on the second fret string for finger three, still on the fret too. But now on the string, three, on the G string. Awesome. Then finger one will be located on the first fret. On the second string. Altogether 00 sound like a minor. Worked the best way. Just see if you are holding, if you're pressing the notes properly, is playing the speaking notes. Because sometimes you can incorporate one loads like that E string or should be open. It's muted. So what I have to do, wrist position like this, because your corporate strengths, not pressing proper decaying sound will be muted. So let's trim this four bits. What does the sound of a minor? Let's move on to the most time for a C minor or major chord. Let's say that's gonna be the major chord, right? There is no m. So the chord is major, C major. So we already know this. So the court would be right, would be happy. Right. Then to have that happy by what's going on here. As you can see, the X is still there on the top string, so I have to avoid that string. Remember, you're playing the C chord and the top string. It's E. Although the E note, it's inside that chord is part of the triad. This situation, you cannot play that. You have to start streaming and picking this court by the fifth string. That's where my finger three is located. On the fifth string. Third fret. Finger to now located where? On the fourth string fret? On the G string, there is no fingers on the G string, so the string is open. And finally my finger one will be located on the first fret. Second string. And also the E string is open. There's no figures on the E string. So in this course, I'm strumming. Start building this court by the finger three probably would be a better option for you. So figure three, finger to finger one. Let's draw this chord. Again. Look at my thumb. Position is not like that. Right here. My wrist is in a very low position and my shoulder is very relaxed. Tension like that. There's a pretty cool chord progression based in these two chords that we just learned. C major. A minor. Little trick here for you. When you play the C major. The next chord is a minor. You want to, you want me to move one finger? One needs to change one finger. Which finger? Finger, three. Fingers. Three. Relocate it now. Below your finger to on the G string. I'm not moving my finger one, I'm not moving my finger to I'm only moving. And you can practice this like four times each chord. So let's move on. Next. D major chord. You're going to see this coordinate. So many songs, very important chord for you to learn at this point. D. Let's take a look on those x. So that means I have to avoid the E string and I have to avoid the a string. I don't need to play the three strings in this course. I will start playing discord by the fourth string. Remember these strange names? Shrinks. Order. For string is D, and this chord is D major. So let's position the other fingers then. Thinker one located on the G string, which is the third string. Fret. Two finger to located at the same fret. But now on the E string, the first string, fingers three, located on the second string. Fret three. They start playing this chord. But first string, that's the sound. That's the sound of the D major. Lined up like eight. Let's fix the hand position. Strumming four times. One. That's the sound of the D major. Let's move on now to the, another version of D, which is the D minor. Let's go. So D minor, a bit different. As you can see, we're still avoiding the E string and a string. We're started strumming discord by the fourth string. You can identify that by that circle, your whites through covert nerve. So that means you have to start streaming on the first string. Oh, we have finger one now on the E string, fret one. We also have the finger to the frat to drink three. On the G string. We have finally finger, three. String, fret, three. So you're going to need three fingers for discord and three frets, three different frets. Okay. That's the sound of the D minor, as you can tell. Very sad. Let's compare d minor in D-major. There's a big, big difference between these two chords, major and minor. Okay, Let's trim D-minor four times D minor chord. That's a pretty cool chord progression. When you combine D minor chord, C major, D minor in C-Major, they work pretty good together. Next. E major. E major is the kind of chord that we use trim. Always strings. Look at those circles. You see where you have to start streaming from the top string, E string. And as you can also see, the B string and the east trend are open. Let's get this done. E major chord. Let's start building this chord by the finger one will be a better idea. So finger one would be located on the first fret string. Three. Finger two will be located on the fifth string. Two fingers 3 h, so on fret too, but on the fourth string. But below your finger to array. Let's try him for six months. Let's trim this court four times. Let's take a look at the other version of E major, which is E minor, right? So for E minor, There's one finger here on the E major that I don't need to use it then into play that fret. That's going to be the fret one on the finger one. If I take that finger off of the fret board, becomes minor. In here. Yeah, look at that. There's only finger to being played. And finger three. Now, let's compare with the major. The major. I have finger one on the third. Drink. First fret. Listen to the difference between this two parts. E major, minor, major. Writer. He minor. The minor. As you can see now I have the east drank, or the first three strings been open. Let's Trump E-Minor. Next. G major words. I think we will have to change that fingering. For a better, get a better fingering. It's more common to see the other finger there to tell you. But this formation has 23.4. So pretty hard for it to play. Hard formation, heart shape for us to play in songs. So I've replaced that finger to finger one. Finger one now will be located on the fifth string. Fret two. I replace that finger three for Fred to, Fred to be located on the top string, fret three. And it starts playing finger four. On the E string. I will play finger three. So have finger to finger 13 open strings. Configured three. On the high string. This G chord we owe us. We also will play 0 strings whose trim all the strings construct G major chord. There's another formation for this chord, which is keeping your finger 1.2. On the top. But your finger three now we'll move up. One string will be located on the B string. Fret three nodes. And pinky, your finger for would be located with the positioning on the high strength steel on the fret three. So now you're gonna be using four fingers for this board. Let's play the other G. That's open. And other option, which is part of the triad. Both ways are right. Let's move on out to that court. That's the nightmare for students. But this version here is pretty easy. I call this version as the mini F, because you only need four strings. The real f1, f2, f, you have to play the record, right? What is Bart record is when you use your finger one to cover all the strings like that. Pretty hardcore to play. But you'll get there. I'm pretty sure. Let's go look at that. Those two acts, that means I don't need to play the E string. I don't need to play the a string. I will start streaming from the fourth string, which is, I have to use my fingers three now on the third fret string for the node. Remember what notes that from that little tricky little trick. By the octaves. The AV node. But now here, fingertips now located on the second fret on the G string. And look at those 1.1. That means they have to hold two strings using one finger. Which finger? Finger one. Holding two strings at the same fret. Altogether with sound like. The best way to see if you are holding properly, if you're pressing properly, the courts, it's picking, lay the node separately. Let's fix the thumb position. Let's pick the rest position. That's the sound of F major chord. Let's trim this chord four times. Make sure you're not hitting the upstream. And the a string. Remember, you're playing the F major chord. The top string is E. The fifth string is a. We also have to learn, of course, daughter version of the F-Major chord, which is the bar chord. That's the way that you play the F bar chord. You have to use your finger one to cover all the nodes, all these strings on the fret. One. Right? When you hold like this, use the side of your finger. Like that. Not this, but moving a little bit like that. And then you'll be able to hold the order notes properly. Fingered two would be located. Now on the second fret. Third string. Finger 3.4 will be located on the fret three. Which strings? Finger three goes into fifths ring finger for what was on that too. Sound of the F-Major chord. Again, where it's trimming all these trends. You're playing six nodes here. Don't worry if you are getting mute, mute, mute. It sounds like this is very common. It's very normal. For a couple of weeks you get that sound. But after a while, you'll get laid down and then those will start cleaning up. So don't worry about that. What is the difference between the mini F and the F? On the mini F? You are losing low notes, you are losing the base. So in this quarter here, the mini F, don't have that. The base as low. But for some songs, this the mini f, who will sound better. Another bar chords that we have to learn in this lesson will be the B flat. As we learned, the sharp nodes. We also have the flat nodes and now the flat boards, B-flat. So first thing to look at, the screen will be the x, where x is located on the top string. So I don't need to play the top string. But I have interesting formation now using finger three, which I'm not a big fan, because you have to hold your finger three, in three strings like that. Finger, one. On the first fret, a string, the B-flat, E-flat root node, and that finger three. Holding three strings. This works pretty good. If you are playing songs, more aggressive song with power chords. You want to hit that. Three also. It's kind of chord progressions where you don't need to play the, the high E string. But let's the different. Let's try something like this. Finger one will still be positioning moves to be blamed. On the first fret. Fifth string. Finger 23.4 will be blank. The fret on the fret, three. In that order. I think at this point you are familiar. You can also see the a major chord going on here. Let me show it to you. A major chord. Remember that was the first chord we learned today. The three fingers located on the fret too. If you replace these fingers and have your fingers out of the fret board, you have to do like this, right? The court is still a major, but now using a different fingering, a major, that's the way that I will get the B-flat. When you move this three fingers, fingers, 23.4 to the fret, three, like that. What parts that bar, the first fret, where everything is coming from, a major. I position my a major chord from a sound. Changed his fingers and have my finger on my finger, one out of the fretboard. Move. I had one. Fred had this three fingers. I bar. Remember you denature bar the fret one up to the upstream money that you're not bleeding enough string. You need to bar the first fret, starting on the fifth string. Why? Because the root node is located there. B-flat. Move the entire shape. One for either had major chord, C major, sharp, major, D-Major, D-flat major. Major. Part of this kind of like we're gonna be getting there. We're gonna be learning that topic, that system called caged. C, a, G, E, D. Alright, that's for the next lesson. 15. CAGED - THE THEORY: Alright, so for today's lesson, let's talk about C. G. D is the system that we use for explore the fret board of the guitar. So we will find more chords, more shapes. The rise, e.g. you're going to be playing that C major chord every time. And in reality we have four more shapes for C major chord. Those are the shapes that we're gonna be talking about today. Okay, get ready. Caged starts with the letter C. So that means repositioned my fingers here and get the C major chord. So at this point, you should know that shape because we already have over that. The second letter of caged is the letter a. But what that means, That means that we need to find a way to play the C major chord using the eight major shape. It looks a bit confused, but you'll get there. So e.g. this is my a major shape. I always said that technique. I replaced this fingers, having the finger one out of the fretboard. So finger or two fingers, three fingers. For now it will be part of a major port. As you can see, my finger one is out of the fret board. The finger one I will use as a bar. So this court will become a bar chord. What to do now is move this three fingers up to the fret, 5345. When I did this, the next step is bar, the fret three. Right? This world now is becoming a C major chord. But as you can easily see, the a major shape, it's, it's in this quadrant. So I'm using the a major shape to build the C major chord. There's the purpose of caged. Let's analyze nodes, the node by node. As you learn on lecture number two, the triads. To build a chord, to play a chord, I need to have three different nodes in that court. They are the root, third, and the fifth case. So the C shape. Let's get that as an example. So you have C, I'm sorry, on the fifth string. Nope. Nope. Nope. Another C note. And other note. As you can see, C is the root. The third, CDE, third, major, third. In the situation, the minor chords, we have minor thirds. We'll practice that as well. The fifth, which is g, c, d, e, f, g, fifth, the fifth node, then we'll have another C, another ie. But as you can see, we only have three different notes in that chord. Although I'm strumming strings. When I moved to the, a shape that we just learned. Eating the same nodes. But they are located in the same sequence as the first court. As you can tell, the sequence, as you can see, the sequence different. Have c Note the g note. C nodes again. Note the gene. Again. You only find three different nodes in this chord, C, E, G, root, third, and fifth. Another way to practice this is when you, when you are playing in a project or in a band, and the other person's playing that C major chord. Instead playing the same chord as the outer versus blank, you can move on and play the other C major chord, which will generate same notes but in different order, right? E.g. that you note daughter court is not getting the highest note in this court is the node. In this course we will have the highest node as g, right? So that's the cage system. Let's move on to the next shape. So that's the E shape. My mission now is build the C major chord. Find the C major chord using the E shape. How to do this? Firstly, you have to play the E major chord. Found my imagery record. And then I have to replace this fingers and have the finger one out of the fret board. They meet her finger one is out of the fret board. What I have to do now is move this fingers up to the fret dam. Then. When you do this, you have to bar the fret. My question now, why Fred? Remember the frets memorization? When you go to the fret eight on the top string, you find the note. The course that we're playing is the C major chord. So here's the root note of that chord, C. Let's take a look in the notes that we have in this course. You will probably see the same notes as we played before, C, E, and G root third and fifth. Let's check it up. We'll see upstream. Look at it into a string. Another C on the first string, on the third string, on the second string. And another C on the E, on the high E string. Someone is playing that C major chord in the song. That you both are playing a C major chord with a different formation, different shapes. But the most important thing here, you are playing the same notes. The last shape, very important shape for us. The D shape. Now we will have to find the C major chord in the D shape. This shape, you already know that's the D major chord. We've already done this quadrant, the last lesson. Same system. I replaced my fingers like that. Finger. Finger four. And then I will have to move this court up to the fret 12th. It's missing the finger, one finger, one group B, playing the root note. But the root node now is located on the string four. That's my C node, that's the root node. Remembering how to find the notes on the fourth string. The octants. That's my root node now. So that means that I cannot strum the top string and a string which are always trumped from there. Let's hit the notes that we are fighting in this court. Let's say the sequence C, G, C again. And the same combination. We only have three different nodes. Ceg, the C major chord, C major, C major chord. In C major chord. There's nothing going on now, because the word caged has five letters, C, a, G, E, and D. We did in this lesson, we're playing, we're learning the shapes C, a, E, and D to what is missing. It's missing the G shape. That's probably the hardest shape to play on the guitar. Because let's, let's check it out. Let's take g as referenced now. You made your T-shape. That's the one. What do I have to do? Same thing. Replaced the fingers and having the finger one out of the fret board. For finger three, now move on to the a string. And binky goes on the first string. Third fret of the G matrix would have to do now is move up this court up to the fret, which Fred. But that's the fret that is located where the root node is located. So C root node, as you can see, the G major's to going on here, the G shape is not gonna be G-Major anymore, it's gonna be C major. And the finger one, you have to bar the fifth fret. That's a very hardcore to play. That's why we don't, we don't play this card often, but it's good to know the theory behind this court. So this part is getting three different loads for sure. So let's check it out. C, E, G, C again. And see what I think the main reason why I don't play as much discord is because of the sound of the sport. The sound of this court for me, seems like discourse here. The shape, right? So almost impossible to see the difference between these two chords. If you are a strumming, of course. But that's the G shape. So we did a C major chord in five shapes using the cage system. The system out So works for minor chords, right? Let's take the chord of a minor as reference. So a minor, that's the first shape that we learn. Guitar, a minor chord. That last lesson. For me, the next a minor. I will have the E minor shape as reference. What that means, you play the E minor. Change this fingers, you replace this finger, forefinger 3.4. They might report. And then I move this two fingers up to the flat seven. And then I bar the fret five. I just found another, a minor chord, the order of the notes and see if we are playing right, so that a minor chord, we'll have a first term again. And again. Does the root minor third and the fifth eight. C and E, right? Always keep the next letter. You find the node a. The next letter which is B, will find, see, you skip the next letter which is D, and you find e, a, c, e. We have to find those three nodes here in that court. Ace. Check it out and see if we're right on the top string now because the root is located on the top string, e, a, c, e. And we have the three ACE. And one person is playing this minor chord is a minor song that you play the audio aid, my right. So this a minor is following the a shape. Undertake this a minor following the minor shape, you have to be able to see the E minor. Yeah. Most of this course you have to bar. That's a good practice for records. Another minor chord that is very useful. And I use that court. I played this quarter frequently. So is that a minor based on the D minor shape? That's the D minor shape. Same technique we will apply here. Replaced the fingers and have your finger one out of the fretboard. Now is move this court up to the fret. Brett's 9108300. Fred nine, finger four on Fred. Fred ate and finger one. Now we'll get the root, which is located on the D string. Read seven. Another a, and C. Again, you find a learning disorder doesn't need to be in that order every time. That's a minor on the D minor. A minor. E minor. A minor. As you can see, the word caged has five letters, right? We already talked about this. Cag, ED. It's missing two letters in that word, the letters B and F. That's my question for you. Why it's missing those two letters? Why it's missing those two shapes, those two chords. Let's take the f has referenced. So F major chord. Do we have a shape for F major chord? Or we have to follow other chords, other shapes to get that court. That's my question, right? Let's build the F major part. That's my F major chord, made by the bar chord here. Finger one holding all the strings on a fret one. Do you see any shape here in this court? Inside this core? Do see any chord. I can easily see the E major chord going on here in this three fingers. If I move this three fingers, one fret down here to the major shape and I bar. That's why we don't have a shape for F major chord, we have to follow the shape. Major. Replace the fingers. Move one frame ahead. In bar. If we keep moving this card, you find other courts, e.g. F-sharp major, G major, G-sharp. A major. Sharp. Major. What comes after being half step up? Bc, right? So on. The other shape that I was talking about, It's berate. We don't have the letter B, the word KAIST. So B, Let's see what kind of chords, what kind of shape will find, will see in that course. So that's the by B major chord. What chord you can easily see here? I can easily see the a major shape. If I go here, my major, replace the fingers. Move this three fingers up to the fret board. And then bar. That's my B major chord. Now, late on the, using the a shape. If I want to make the b minor chord, I follow the minor shape. A minor. The base, the fingers. Move this three fingers to Fred's ahead. But the frets now would be four for three. And then u bar. The second fret. Sorry. Why the second fret? Second fret is where the root nodes located on the fifth string, not on the E string. The string is AB sharp. Node will be located on the train. Moving around, you'll find them all records, e.g. C minor Chord. C-sharp minor chord is E minor, sharp minor, E minor. So that's the cage system in major and minor. The most useful chords. The course that you see in song. For the next lesson, I'm bragging to songs for us to analyze and to make that system, to make the case, to explore different shapes in those two songs. 16. CAGED IN SONGS PART 1: So hope you are enjoying this lesson and finding new chords rent, exploring new shapes to improve your plank. Let's check it out. This song, Hotel California. I'd like to have this song as reference, as guide for us to practice, because this song has seven different courts. It was a perfect situation for us to explore the system here. This song starts with the chord B minor, right? As we are ready. So on the other lesson, B minor, we have to follow the shape of a minor. There's a beacon going on in that part also. But I replay mostly is trimming. The next chord. Let's thing like that. F sharp major. Second fret, sharp major major. So that's gonna be a pretty easy progression for you to do, because both chords are located on the front to be minor. F-sharp. A major, major, major minor sharp. As you can see in this part of the song, we have two 0s, the E major and minor going on. You're gonna be practicing that in a few lessons. When we learn this circle of fifths, what's going on? Discord, why this sequence is sounding? All this course is sounding. Sounding pretty good together, are working together very well. That's my first guitar, so I'm playing, as you can see, my hand, It's in this area. Blank. All discourse, all these seven chords. I'm not moving my hand, not exploring motor frets. Now is the time to apply the case system. My mission now it's finding another B minor. So I will have the next reminder as following the E minor shape on Fred seven. That will be my next B minor. So I have to find now the closest, the nearest F sharp major because you cannot move down. Remember the other guitar players already playing that chord or emission now is finding another kind of F sharp. I will suggest you to play that sharp major. Alright? What shape do you see in this F sharp major? I can easily see the C-shape. That's the first letter on caged. See, if I move this. The C major position. C major chord. Remember, I'm not using my finger one. When I bring this fingers up to the Fred 9987 and I borrowed the frets sex. The court is changing all the code becomes f sharp major. As you can see, F-sharp major is pretty close to the B minor major. Probably, I will go, I'm going to use that a major major with a shape. And then using the D, the C-shaped, sorry. I used the F sharp. If I move this chord a whole step down, two frets down, I will have the major. After the major. We have an interesting chord. Now here, the G major in that shape. What kind of shape that you see in this G major? Easily see the D-major. Remember the major move, Africa Fred 77. And then my root node strength for. Next, D major. Right here. The major, I'm using the shape, right? You see that eight major move up to the front seven bar, the fifth fret, fifth fret. The root node. The fifth string. The denotes the chords that I'm playing is D major, E minor. I would play here very easily shaped. Following the a minor shape. Minor. Moved to the fret nine, and barred different sadden. Starting with the E string. The F-sharp major, we are in plate on the second quarter of the song. C matrix, or the C shapes are altogether B minor, F-sharp. Major major. Major minor. F-sharp. That was good to take songs like that as a reference for us to practice, right? Otherwise makes no sense. So applying the cage system songs for me would be the best practice to do. Alright, so every required, now the first four chords in this song, the first guitar will be blank in that area. And then I will look and record the second guitar, that area. Let's check it on guitar. Again. What you can do this exercise for the full song. Remember that corresponds in the song, you have G, D, F sharp major and minor. And then on the second line, G, D, E minor, F sharp major. 17. CAGED IN SONGS PART 2: Now it's time for another great song called Ledi be. I like that song to analyze the case and to apply the case, because that song will find maybe 45 chords maximum. So the song starts on C major chord played all the courts located in that area. And then we start applying the case system in other areas to areas. Hot chocolate fountain, we did two areas right there and the area of the frets seven, this one are gonna be playing in three areas. So look at the chord progression, this song, C, G, a minor, F. And then we go back to C major. So that can be the guitar want the first guitar player record in this Court's that part of the song. Now let's think about the case. I need to find another C major chord for the next position. So my suggestion would be the C major chord using the shape. How to do this? We already did two lessons ago, so major, replace your fingers. Then move this three fingers up to the flat five. And then u bar, the fret three. That's my other option for C major chord. Next chord for the G major, I have G major chord going on at the same fret. That's very interesting. So this G major, I'm using the E major shape, the shape. You can easily see that now at this point of the lesson, a minor chords, I will move my bar chord to the fret five. So this a minor, E minor shape. I don't need to go there to get the F. I have f very close to the nearby the minor. So F-major following the C-shape minor. F major. Just be careful on that F-major. Start streaming it by the fifth string. Not the top stream, because top string, you will get the notes C. The a string. I get the f. Does the root node of your record F-Major chord together would be a, C, G, a minor, F. And the other area that I was talking about is, let's find another C major chord. My suggestion would be the C major chord on the fret eight major ports. And using the shape and the burden would be on the red eight. Why? Because fret eight is where the root node It's located. For this course, you can strum all the strings. Where is the closest G-Major Now, I will say I played that. Did you meet her that we have the C shape. The fret will be tan. Line 78.7. Remember not playing from the E string? The string is gonna give me the D note on the a string, will give me the G naught, which is the root node. So far we have C. Nice time for a minor. I just found it. Yeah. This a minor is following the D minor shape. On the D string. Nine, on the G string, then on the fret, on the high E string. And finally the F chord. Located on the fret. To barter Fred ate that F major chord, I will follow the eight shape. How? Again, a major reflects the fingers. Have the finger one out of the fret board, and then move this three fingers up to the fret tan. And then u bar, the fret eight. Not playing from the top string, but playing from the fifth string. All together. C, G, a minor, F. Here will be G minor. G minor. Let's loop that chord progression and record three guitars. Wouldn't get the first guitar. Who played that era's second guitar and the third guitar. Let's check it out. Three or four. All right, three guitars going on now. 18. LEARN THE MUSICAL SYMBOLS: Now it's time to learn the rhythm and the subdivision. For how long they have to wait in that note. How fast do I play that note? So this is all made by Misko symbols. And the first three that we're gonna be talking about, our whole notes, half notes. Quarter notes. For this example, I will get the B note as referenced, the open string, the most straight as examples. And I also will have the metronome. The metronome that I have here programmed for you would be played in 80 PPM. That's our guide to identify the temples. And hope you enjoyed that, that'd be fun. You're going to be learning this very fast and pretty sure. Alright, so this is the BPM, right? That's my beat, that's my reference. I will have to play the first musical symbol, which is whole nodes based in that beat. Alright, so how to play the whole notes in this became a hit. The first node. I will have to wait three more examples. Why? Because the whole node takes four beats. Let's write 123-434-1234. You can see it's a pretty long notes. You played it on the first beat and wait for the next beats. How to play the half node? So the half node, it's gonna be a little bit faster because you have, you're going to be playing on the first beat and on the third beat. What it means, That's right. I always use the word weight as well. So we go, wait, wait, wait, wait, wait. So we have one beat apart before you playing the next note. Quarter notes. That's probably the easiest symbol to play because when you hear the metronome, you play every, in every click that here, every node, 1234, right? So every click that here, you play a note. This is called quarter notes. Let's drag in from the whole load AV node, the root node, node to node. Okay, so those are the first three musical symbols that we'll learn in music. Next, let's move on to the eighth notes. What that means, there's subdivision going on now, because if you have one quarter note, you divide that into eight nodes. So in theory, the temples are getting faster. Or every click here for every metronome click, you play two notes. How this is going to work. Let's see. Let's compare the quarter notes, eighth notes, and see the difference between both. The metronome is still on 80 BPM. You can program yours like slower or faster, if you prefer. Take her time. 1234. Quarter notes. Let's apply the eighth notes no one realized, but I'm using the alternate speaking. Secondly, for this example, I'm not playing like every time down leg. Breakdown and water node. No, it's not easy, right? Next, musical symbol, 16th notes. That's even faster than quarter notes. Because for this one, you need to apply. You need to play for node B. Let's try to put her notes. The critical one-two-three-four, one-two-three-four, one-two-three-four. One-two-three-four, one-two-three-four, one-two-three-four, one-two-three-four. That's the difference between the 16th notes, eighth notes, quarter notes. They're getting faster and make sure your metronome is still on the 80 BPM. I don't need to change the metronome beat to get faster. What I need to change is the way that I'm playing, the musical notation that I'm playing, the symbols that I'm playing. Okay, now it's time to see and to analyze and see the difference between all the symbols. As you can see on the top of this page, you have the whole note. That's the symbol for the whole load. They have nodes, to have nodes, quarter notes, eighth notes, 16th notes. If we keep counting 1234 all the time. You apply this. Let's have the metronome on. And let's play all these divisions. Starting off on the whole node, 12344344. Half note, quarter note, 16th note. That's the difference between these symbols. That's the way that we play those notes, those symbols. There is a pretty cool exercise that I used to play. When you go. Remember those warm-up exercises, 1234. That can be a pretty cool example for division. So let's check this out. I will play the 1234 on the top string, on the sixth string as water node. And then I will play 1234 on the a string. Eighth notes, two notes per beat. And I play the 1234 on the D string. 16th notes. Applying the subdivision here. On the top string, fifth string and fourth string, substring, quarter nodes, shrink, eight nodes, shrink 16th nodes. Right? Then I replied to apply the same thing on the last three strings, or the toString on the B string, eight nodes. And on the E string, high E string 16th notes. Right? So let's see how this is going to work on the metronome. Still 80 BPM. That's right. 1234. That's a great example. That's a great exercise for you to identify the subdivision room. For each you get used to the temples. If you get tired, blend this in this area on the fret one, you can move, move on from Maybe Fred's seven. Let's serve as a good option. Let's see how it's going to work in Fred seven. Last one. Okay, Let's speed it up a little bit. This metronome, the metronome is double now. So the metronome is going to be in 160 BPM. Just want to demonstrate to you how this is going to work in a fast song write or to read this nodes are to understand this tempo in fast and faster metronome. So I would be blank. The whole notes, half notes, quarter notes, eighth notes, and 16th notes in 160 BPM holds is going to work. I would choose the node a here just as a reference. On the second fret, third string. That's the beat. That's how fast 160 BPM is, double. So if I play whole notes here, sound like the whole knows, you put it on the first beat in waves, the other three beats on the half note, you play with the first beat and on the third beat. Quarter notes you Blake every beat. Let's double this for eighth notes. Eighth notes, you plead to nodes. Every node. All right, so that's the difference between this notation. Symbols. When you are in a high-speed like that, the hundred 60 BPM. 25. LEARNING STRUMMING: The next topic for our lesson, we'll be streaming. I haven't here, five examples for you. And we probably will apply these examples in songs. First of them is you already learned this example is made by quarter notes. So when they sram is in quarter notes, I will probably use one peak direction, e.g. this iteration down. Let's take the C major chord as an example. So what's going on in this is Jeremy, you see four quarter notes. It's trimming down. Always keep count. In 41234. Let's see. There you can see on the before the first quarter note, that means the time signature of the song. It's in four for four beats per measure, for beats per bar. But that's why I only need four quarter notes to close this bar to finish this baryon. To finish this measure, let me have some drums here, and let's demonstrate this first example on these trimming less than 1234. Okay? First of all, you will need to find The beat, the metronome tempo, 1234123. Down. I can move around, you can play a part. I blend the same type of question as before. I have reported beads. I changed. That was the first example played in quarter notes. It's trim number two. What's going on now? We will have an 8-note going on, on the last tempo. That means that every play on the tempo 123, I played down, water nodes, down, down, down. When I get them the last tempo, I have to play two streams in there. I have to play down and up eighth notes in one beat. So that's the subdivision going on now. So I always use the word down, up or four and e.g. now, now, now, now, that's an under good way to practice. If you mute the strings and just focus on the right hand, right? You get better tempo, rhythm. There's no any nodes going on here, so there's nothing. So let's go. Still based on the C major chord, 1234. Always keep counting. Number three. Let's go. I'll have two groups of notes. Oh, what's gonna sound? 123 and 4.1. 3.4, down, down, down, down, down, down, down. Let's see what's going on under this trial. Number seven. Number seven, as you can see, starts up on the half note. But that means that I played the first tempo. I wait on the next tempo, but don't mute her guitar to keep the chord sound and keep the notes ringing. Like to play, like to know this is wrong. This has to be half nodes. So the nodes have to be sounding to always keep counting and you survive. Let's go. 1234. It's very important the big direction. Otherwise you're gonna be playing every time down, not going to sound good. There's no dynamics, right? So you're hitting every time on descent direction. When you strum down, you hit the top strings. First. Winter hit, when you play these drumming up, you hit the high strings. That's why you have, you create a dynamic that variation. So finally, the Strouhal number eight. That seems a bit complicated, looks a bit complicated, but it's not. Take a look at that. I also have the numbers to guide you to one tempo, one blade as a quarter note to eighth notes, payable. The end of the temple to quarter notes. The end of tempo three. We don't have temporal three. You don't play anything on the temple three in this strand. So you play on the end of the three and then on the last tempo, tempo four and the end eight nodes, again, how it's going to sound this example eight. So I have, again, again. If you play this a bit faster, use the technique that you covered the strings and just focus on the right hand. Remember to loop when you're done the fourth beat, which are made, which is made in two eighth notes, you loop. When you start again. You play the quarter notes again on the first beat. That moment when you loop has to be very fast. 1, 2 and 4 and 1, 2 and 4, and 1, 2 and 4 and 1, 2 and 4. And let's play with the drums. And let's have the chord progression, the letter B chord progressions, C, G, a minor, and F. But of course we can apply other chord progressions. And this is Trump's 234. Why? All right, so those are the five options. You find more options on the PDF that you use the on the folder. So those are the main options that I have for this video. And you can apply this in so many songs. Let's speed this up. The example number eight. Interesting song for her to apply this Schramm called. Have you ever seen the array, right? Right. This term fits perfectly in that song. 26. LEARN HOW TO READ NOTES: Let's take a look on the notes on the lines and those on the space. And then we're going to take a listen how to memorize the notes on the lines. It's pretty easy. We will be following that rule. Every good boy deserves football. Or fudge. This book here, it's every guitarist begins doing fine. What that means? That means that we have notes on these lines and notes on these spaces, but not on the lines. We have five letters, five nodes. So that's why we follow that rule. When you see notes on the first line here, every, that means that the letter E denote e. Good boy deserves football. What is it? Nodes on the space a little bit different because we only have four spaces. So the first base F, second space, a, third space C, and the fourth space E. So you have to think about the word face and hear, every good boy deserves football. Hey, now let's jump to the song firstNode, as you can see, is located on the space, which is based the second space. So you have to think about the word face. The second letter on the word phase will be a. So that's the AV node. The next letter, the next node will be located on the line, right, which line? The third line, 12345, the third line. The third line. You have to think about the rule. Every good boy deserves football. So every good boy, boy starts with the letter B. Next to next node will be located on the space. Which space? First, second, third space. Think about the word phase. The third letter will be F, a, C, D. Why is D? Because this is located on the fourth line, 1234. The fourth line means the fourth letter. I'm in the fourth word on the road, every good boy deserves that deserves start with d. And finally here, you're going to repeat the same knows that you played before. See, right? Here, we have one nodes located on the second line. That means every Good, good start with G. They know it will be located. Second fret on the third string. B will be located on the second string. Open. C will be located on the first fret, on the second string. And D Still on the second string, third fret. And the last node G, will be located on the third string open. The oldest nodes together will be sounded like. 27. SIGHT READING: Alright, so hope you are enjoying this masterclass. Of course, we're covering so many OpEx which will be great for your knowledge, increase your knowledge on the instrument. So for this next topic, I will bring for you the assigned reading, reading notes, where the nodes are located on the fret board, how to read the notes and the first, second, and third string. This is just an example for us to play. I also have the track, and you can also see the track on the folder for this course. So I prepared 123.4 examples for us to play with the backing track. The first example, I mostly play the notes on the first string, the second string. The second example, nodes on the B string. Third example nodes on the G string. And then e.g. I. Mix everything. First, second, and third. You're mainly plank eight nodes. The nodes are from GI, g. So this examples are made in quarter notes. Half notes. And I don't know if I have any notes. Oh, yeah, I have only one whole note. There's a pretty easy example for you to improve your reading in your assigned reading. Let's try example one. Say bot, just reading the notes E, F, and G. The first string. Number two. Yeah. All right, so example two, I'm only playing the notes located on the B string, which are B, C, and D. That's the same for the first string. You use the same frets, so the E string as the first fret and the genome. So both strings B and E are sharing the same friends. Let's move on to the example number three, which has notes on the third string set one, number three. So this was the example number three, blank notes on the G string, which RG. A. Second track. I also added a B note just to have more dynamic in this song. Let's look at them on the B string open rate. And finally the last example, example number for mixing and plank off them. Example for, let's go 34. A graph. These are the four examples that I have for you. What a sight reading. Try to play this listening to the backing track. They speed is not that fast, so I'm pretty sure you're going to be able to play all these four examples. They're not songs, they're just examples for you to practice. And memorize where the nodes are located. When I also prepared for you two other versions based in this backing track. But the speed is a bit faster, so they are in 90 BPM and 120 BPM. This one that we just played, it's in 60 BPM. If you don't want to practice with this track, just program your metronome or 60 BPM and then try to play in 90. And finally in 120 BPM. 28. FINGER PICKING TECHNIQUE: Alright, let's jump to the next topic for today's lesson, which is finger picking. I like that technique a lot. So I prepared for you five examples and that page, that PDF. But right now we're going to be covering only the first example, which is made by two chords, the C major chord, a minor. That technique is getting so popular nowadays. Especially for a chord melody and songs before playing this technique a lot. So it's better practice that. So let's learn how to play this technique based on tabs. There's a lot of information going on those tabs. So as you can see, the first 2 bar, I will have to position my fingers. Or the C major chord, which is, which strings do I play? So the fifth string is consider b. That means thumb, finger, one, index finger, and middle finger, and the toString, three on the B string. So basically the technique you play, you play for a string, string, string, string, second string. On the second bar, I still play the same chord, the C Major, we'll look at now. My thumb is still playing on the fifth trend. But the other three fingers, Finger 12.3, are going to move down to the strings, G be the high E. The first bar. I played those three fingers on the strings D, G, and B. The second bar, G, B. And that's a good practice to do muting the strings. Memorization. First guest speaker. All right, because the chords are pretty easy in this example, but the most important part for this is practicing the right hand. So let's try a bit slower. So you have that variation between the fret, the part one and part two, which is pretty cool. Even if you apply another course, but e.g. I. Like that core to see nine. That's a pretty cool chord progression made by two chords, C9 and B-flat nine. Let's move on to the button number three. Now we have the a minor chord, but my right hand would be playing at the same strings, e.g. in the part three, I go. If string parsing, make sure you're playing two fingers separately, right? Every finger will have one different string. That's the goal for how you get fast. The last bar, a minor. I played, you still blank and generating that variation that it played on the C major chord. That's right, Ghana the a minor slope. Well, let's try to e.g. and all blank. C major and a minor can also program some metronomes for us to guide us. In that pratt. Because the notes, you have to play very precise in this technique. Especially when you hit the bass note, which is the first node of each bar. That's right. I was programmed as metronome in 80 PM and Friday, e.g. 1234. You can also practice this feat. He starts playing eighth notes, quarter notes. It's never just plays in eighth notes. Quarter notes. Right? So we can try both ways. Quarter notes and eighth notes. Daughter variations will follow the same, the same notes and the same chords. But of course, as they are variations, sometimes you play the thumb, finger, one, finger, three. Back to figure two is different than num finger, one finger. The variation goes down. One finger to be ready for those variations on the PDF. So those videos are made in 60 BPM and 90 BPM. Do your best. I'm pretty sure you can nail that if you also want to combine the two techniques that we learned today, the finger picking, the case. That's gonna be awesome because look at the, look at this example. There's two cords going on, the C major and a minor. So how would you apply the case? The system? If we want a guitar is playing that C major, a minor daughter guitar, probably. I can choose this C major, which has high nodes, right? Height. Beach notes. Look at the pattern is the same. And probably I can move to that, a minor loop, this to courts. And let's see what's going to work. Both chords are sharing same notes, right? But a different order. But when I play this C major chord here, I'm linked denotes root. Third, fifth. When I play this C major here. Also playing the same notes, but a different order in different positions. So C, E, and G, that a minor blank may see the root minor third and the fifth. This a minor also has the same nodes, a, C, and E. That's why both guitars together or sounding amazing. 31. CIRCLE OF FIFTHS: All right, so let's keep rolling or a course. Welcome back to the guitar mastery class. And for today's topic, I brought for you this circle of fifths. That's the theory that we're going to use for write songs. Or if you just want to analyze the song that you play, analyze the chord progressions, how the bands, how they think when they write songs, how artists think when they write chord progression. So everything's gonna be done now. So basically it's a chord combinations, right? So we're gonna be taking a look on the circle of fifths in the key of C. Well let's see how many chords we're going to find on a key of C. The course that will fit together. The course that will work together to why those songs, they have that formula that sometimes you hear. And then you think, Oh, I have listened that chord progression before. And so many songs have that chord progression, right? So why this is gonna be sounding pretty good? So let's analyze that. That's the circle of fifths. So as you can see on the top of this page, we have the key of C, right? So the key of C is, of course, in the middle of the, we can see this as a clock rate is on the 12 position, the trough am or drove BM position. And when you go to the right side of the sea, besides the sea, you have the G chord, right? When you go to the other side, on the left side, you have F, right? So we can call this three chords, bye, bye degrees, first-degree, fourth, and the fifth, or most popular way to say 145, right? So this three-quarter through sound pretty good together. Let's take a listen that C major G over time. So those are the possible chords that you see. A song in C major chord, you probably will find f and you probably will find G, right? So below those three major chords, we have minor course. Take a look at below the C major chord. I will have the relative minor of C, which is a minor. So we can call relative major and relative minor. If we go deep in theory, we'll see if we break down this two cards. If we break down the C chord by triads, you find three nodes. We have seen this before on the other lessons. So C has C, E, and G. The root, the major third, and the fifth. A minor has also the triad a, C, and E, the root, the minor third, and the fifth. If you compare both chords, C major and a minor, you see that they are sharing two nodes, the C note and the inode, right? So that's why this show cards will also sound pretty good together when you have, when you say this in songs like C major. And they're sharing two nodes. This is going to happen on the G major and minor, as you can see. And also on the F major, D minor, their relative major and relative minor. Right? So let's keep going. When the song isn't a KFC, you see those five options, F and G. B major, D minor, a minor, and E minor. That means that I can play all these courts, or I can choose maybe, okay, my song, we'll have three chords, C Major minor. You can play around this courts and choose the best for you. There's a seventh chords that we didn't talk about. We will, it's called B diminished. In this situation. As you can see, the, this is also following the alphabet. So C major, D minor, E minor, F major, G major, a minor, and it's missing. B. B is going to be diminished. Does another quality. For a chord? We have major, minor and diminished, which will sound like this. It's a very, very strong court. And the other variation for diminished will be B, half diminished. They're very, very similar. Half-diminished. We also have a few different shapes for both chords. We'll be talking about this in a few lessons. So we already talked about the three major chords that we will find in a song in C, or C, F, and G. And the three minor chords that you also find in a song in C, which are G minor, a minor, and E minor, the seventh degree will be diminished. Let's change the situation now. If you want to play the song in the key of G, will have to turn the circle to the right side. You have to see where G is located. So easy to find, right? You have to find now the major chords that we will follow, the G chord. So you go to the right side, you find D and E go to the left side, and you find the C chord. So there's three quarters will boost sounding very good together. Very cool. So how many songs are coming to your mind now that have those chord progression ran 154 or 145. If you want to throw some minor chords in the key of G, you find the relative minor of each court. For the G major chord would be E minor to C major will be a minor. In for the D major will be B minor. So let's try to build something to write something in the key of G. I would have probably g as the first chord, a minor minor. So that can be a good homework for your truck to find the songs, the songs that you know. And then allies that in that system, the circle of fifths. Structure and allies by degree. This is the first chord. Oh, that's the fourth chord. The second chord. That can be a great, great exercise for you. If you do like to write something in minor key, e.g. let's take E minor as referenced. The key of my song will be E minor. I can also use the same system, so I can go right and left. So if I go to the right side of E minor, I will find B minor. If I go to the left side, I will find a minor. And then the relative major, which are G, D, and C. If I play the E as the first chord in minor, B minor, a minor minor, minor, minor minor. A minor. Sound. A little bit sad because we're in the key of E minor. 32. DIMINISHED CHORDS - SHAPES: Here they are. The diminished chords I brought for you three variations of the diminished chord. This example, I believe it is and isn't a G diminished. So as you can see, as you can tell by the first example, the first shape. You have the root note on the fret, five. String, fingering three. On the fret, six fingers on fret, five fingers for the fret six. As you can see it here, this court has too much tension, right? Funny thing about this course is it's a symmetrical cord. So what that means, if you play this combination fret 5656, you can move the same shape. 1.5. Step up. What it means to Fred's ahead. You will generate the same notes if you do this technique. So 89891111, same nodes, 14151415. You can tell by the finger one. So finger one goes in front 5.5 step one would be on Fred ate. When a half step up, one will be on fat. Finally, 14th. That's the G diminished. Let's learn the order shape for G diminished. This one, the root node is located on the a string. Finger to what goes on. Fred, ten fingered through and Fred 11 finger, one on Fred, nine. Finger for autonomy threatened level. The fifth string. Second. If you apply the same technique, one-and-a-half step up or down, the nose and the same interval. And finally the shape number three, which has the root note on the top string. Let's try to. The root nodes now will be on the thread three on the top. I'm going to be using finger to Fernet. Because finger one on the fourth string, second fret on the G string, fret three. Also finger one as a bar chord. What a threatened to second string. What did I have to step up and apply the finger picking. And that's court. That's the G diminished chord droplet, the diminished chord in songs in chord progression. So my first suggestion would be find the key that you're going to be playing, e.g. let's take the C major. And my next chord would be a minor. Let's take the first court and the relative minor, which is the a minor quadrant. So C major, a minor gets off between the two chords. I can play the diminished chord, which 11 load comes before c, half-step down. The seventh degree, C, D, E, F, G, a, B cell. That seventh degree will be the diminished chord, 23123. Well, let's try to apply this court in that chord progressions see, and a minor. I also use that, that one-and-a-half second big step up, landing on board, which in this case would be the first degree C major. 33. COMMON CHORD PROGRESSIONS: Common chord progression, the most useful and chord progression that we see, songs that people use to build songs bit chord progressions, right? Chord progressions. Let's take a look at example number one, I brought for, for you. Those are we can also say like this. We can also go by number 1454. Those are the degrees. Those cards will work pretty good together. But also very important. Don't forget to create your own sequence. That's very important for your music composition. If you start, if you start writing songs in the feature, Let's try to example number 11454. If we take the key of C as guide, C would be the chord number one. Number for C, D E, F. Number five, c, d e, f. Then I go back, drive. Pretty easy. It's very common to see that chord progressions songs. Next example, one-six-four, five major, a minor, F major, G major. Next example, 1564c major major. Already familiar with that chord progression we played on the other lesson. This song is called Lady B, right? That's the same chord progression that they played that song. And finally, the last version, the less variation, we started in a minor key. So e.g. a minor, you have a minor degree number six, F-major, first, and the fifth. So those are pretty good chord progressions that he can play a lots of songs. And again, they'll forget to create your own sequence here on chord progression. 34. TRIADS - THEORY: So welcome to the Music Theory. Let's analyze triads now. It's analyzed chords. So every chord, I think I have talked about this before. Every quarter we will have three nodes. We need three nodes to build a chord, the root, the third, and the fifth. Look at this page, you see on the top, on the left side, the C major. If we play the C major chord, the shape that we are learning that we already knew. Right? So how many nodes I'm strumming? How many different notes I'm playing in this chord. 4955 strings also. But I'm the only plane, three different nodes. As root, as major third, G, S. Because the other two nodes, I'm repeating again already in that chord, right? So how to calculate this? A major third and minor third, because as you can see, the minor chord, C minor chord, we'll have E flat nodes, E anymore. I need to play E-flat instead, e. And we'll see why. When I take the C major scale look at the bottom of this page, you see C, D, E, F, G, a, B. We are going to be practicing scales. But the next few lessons, the distance between C and E nodes. Remember those intervals on the first lesson, C and E. To hold steps apart. Two whole steps distance. Okay? When I have that interval, if I play those two notes together, you can already tell this chord is major. Trend. Is that E? If I play E-flat, take a listen to what's going to happen. What is the distance between C and E flat from C to D? One whole step, D to E, another whole step, right? But if I go from D to E flat, half-step, so one-and-a-half. Add the fifth node, the root node, doesn't change. Flat, is a minor third. And the fifth chain. If I play a, C, E, and G minor, dropped, the third is that blank E, natural, E-flat. That's the main difference between a major chord and a minor chords. Take a look on the third. The third is given to you, the one-and-a-half step interval. If they are 1.5 step apart, minor, if they are to whole-steps major, VDD to memorize, the Fed doesn't change in the root, doesn't change. 42. TETRADS - THEORY: If you have seen numbers in courts and you don't know what that means, now's the time to learn that. The time to learn the theory. What do we have behind the scenes behind those numbers, right? So as example, in this page, I brought for you to see seven. In the C major seven. It looks confused. Write C major seven. Let's take the C, the C scale again as reference, is on the right side of this page on the bottom. So C, D, E, F, G, a, B. B is the seventh letter of that scare you. The distance between b and c we have seen before, this is half-step. Remember that lasso very showed you the one move, one fret. So when you don't skip any fret, is the half step interval, right? So when I add that note into my chord, my chord is C major. C major has C, E, and G. We have seen this under Laszlo mine. If I add the beat note, I'm adding the seventh letter of the scale. So I had to name this court as C major seventh, right? Let's listen The sound of the C major seven. Look at the notes combination that I'm Geri now, we'll see root Major third, fifth, and the b as the major seven. Let's compare the C major seventh and the C major. What is happening now? This is the C seven, right? So the minor seventh. Look at the scale on the left side now, C, D, E, F, G, a, B flat, and C. Let's analyze the distance between B flat, C, which is the root node, B flat. It's one whole step apart from C, B flat, looking at in the first fret, string, C note on the third fret. So I'm skipping one fret. I'm skipping the fret too. When I skipped frets. Step B flat, right? So when I play the C major chord and add the B flat note, I'm not changing their route. I'm not changed the major third, I'm not changed the fifth, I'm only changing the Sabbath. Is that plan B natural? I'm playing B flat. I'm dropping the seven letter to be half-step down. That's the sound of the C7 mutation. Bit more aggressive than the C major seven. Let's listen to C major seven, C7. That's the main difference between a C Major seven and C7. Every time didn't see the C major seven. You see the Seventh Letter, the seven nodes being half step apart from the root node. When you see the C7 in accord with seven, you see the Seventh Letter, whole step, distance, whole step apart from the root node. That's the main difference between these two chords. On the next few videos, you're going to see some variations of the C major seven. I will have 14 way she played a C Major seven. And for the minor chord, I have the example in D minor. Now have 24 ways to play. But if our shapes for the D minor, D minor seven, D minor six, and D minor nine as well. So make sure you're learning all these shapes because it's gonna be very important for you when you start playing songs, when he started building chord progressions and adding numbers in your code, make sure you're getting the theory. 47. CHORDS INVERSIONS: You also see in the folder that I have a PDF with the chords inversion. What that means. That means that we're not going to be playing in sequence like we did. A C major chord. Sequence means root, third, fifth, and seventh. E.g. if you take a look in the first-quarter and that page, for its inversion, you see this quote. What chords that is still C major seven. But look at the order of this court. Remember the notes that I have to have CEG be root, third, fifth, and seventh. Here, I'll have GI. I still have those four nodes, but now they are not in sequence. I started with g on the top string, breath three. And then the E note. That's my F major chord using the same shape. So you see this a lot in music. Another variation for C major, seven, this is on the third line, gourd number 535. What is the order of this court? Remember that I still have to have CBGB. Have that. Let's check it out. C, G, a, B, or C major seven, when in different order, in different shapes, right? The other one that I also like, the one located on the 12345 on the line number six, the third chord on the line six. There's one. It started with e, one of my favorite chords on the guitar. So let's look at the order of those nodes started on. That's still my C major chord. C major seven, mate in different order, right? So make sure you're learning all the chords in this page. Even the minor ones. And one with nine, e.g. the chord number two in this page is a C Major 79. Very, very cool chord. This note, G number line means that I have to add the node nine. What that means? C, D, E, F G, a, B, C, D. This is the ninth degree, right? So I add the letter nine, I add the node nine In this court. So the fourth string open. I also have another variation here, five, major, nine. 48. Cmaj7 Arpeggios (String Skipping Technique): 1 234-123-4123. 412 341-234-1234. 49. Cm7 Arpeggios (String Skipping Technique): 1234, 1234, 1234, 1234, 1234, 1234, 1234, 1234. 50. C Arpeggio Triad Shapes: 1, 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4. 51. Dm Arpeggio Triad Shapes: 1, 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4. 52. B Diminished Arpeggios: 1 234-123-4123. 412 341-234-1234. 53. DIMINISHED ARPEGGIOS 3 STRINGS: We're ready for the diminished, our pages. Let's go. So diminished arpeggios, they're made in footnotes. We have seen those are diminished chords. So they're following the same theory. So every one-and-a-half step, you find the same notes. Let's take a look at example number one, which is made in G-sharp. Our bedroom. Pretty easy shape to play. Why? You should pay attention? Does arpeggio, the string one, the high string, is playing the same frets as the G string. So in this case, fret, one fret. On the D string, we have fret 34123, and then another 41,411,234.1. What is the fingering than flying? Fingers? Four and finger one. Sometimes I believe fingers, three fingers, 31231. When I move this entire shape, one-and-a-half step up, what's going to happen? I've got to save notes. Fret seventh, let's say red, then we'll be done axis. And finally sixteenths. That's tragically this example, listening to the metronome 1234. Let's speed it up a little bit. 1234. Well, that's the diminished our videos played in sequence. Every one-and-a-half step up or down, I would get the same notes. There's another shape for the diminished that I always play, which is, let's take an example. The fret dam here, right? The line number three, then seven. This one starts on the eastern, right. Let's try to build this. Our page replayed. These are page what you started on the B string, how? I'm gonna go on the B string, set nine. The G string fret. On the D string of Barstow have the same frets as I played on the B string. So six minus six or seven on G minus six dB. That can be a good practice to do because you have both shapes going on now. One starting with the E string data when threatened the beam. So let's write both together, 234. Let's write a bit fatter, 234. There's another way to play this, our bedrooms, if you play like this. Right? So I'm playing than 79.10. I'm not playing the seven on the G string. So six months on groups by 61234. 54. Sweep Picking Triads Am G F E: 12 341-234-1234. 55. EXTENDED ARPEGGIOS Am and Em: Alright, extended our pages. Let's have some fun. Now. We already saw in the other video that I was playing triads and in street picking and also our pages. Now I'm gonna be playing one more octave. Let's add one more octave into those are pages. So what that means? The first example will be in a minor. So I had to play ACE, the root minor third, and the fifth in three different octaves. Let's start on the fifth fret. Fifth fret is where the root node is located. So finger one. Then I have to use finger to, for the friend's age. And finger one for the flat seven. This is my first octave. Let's keep going. So write down your finger to finger one. Dan finger to finger one, and pinky finger that fret trousers. Then I go hammer on and pull off. Does the pig direction for the ship picking down, down, down, down, down. Who often poor. Extended our pages. This is the, a minor example. Let's count the odd terms again. So AC, the next ACE, the next three octaves. Another variation for this arpeggio will be just blank on the three first strings. That's gonna be a bit easier to take a look. As we have 910812, hammer on the tapping on the 17 dozen other organisms. So that's the anal. Very easy to play that shape. You only need three strings. Another variation would be the extended our visual. That's the same as a minor that we did in the beginning. But now on Fred route because the nose is located here, right. So 12, 14, 19. That's the hardest part because there's there's a big stretch going on between the fred 14, 17. Then. Let's have the metronome for these two examples. So I will program the metronome and ADB 80 BPM. So again, try quarter notes. Let's try eighth notes now, two notes per beat. Again. Let's write the eight nodes on the a minor shape, 1234. Let's try maybe triplets laid in three notes per beat. One-two-three, one-two-three, one-two-three. One time. I like the triplets. Sounds pretty cool. So that's pretty awesome. Again. That's right. It's triplets now on E minor, 1234, right? And probably the last challenge will be 16th notes. One-two-three-four, one-two-three-four, one-two-three-four, one-two-three-four. That's right. An a minor, 12 341-234-1234. Let's write it as 16th notes. Now, on the E minor chord, 234. 56. EXTENDED ARPEGGIOS MINOR CHORD PROGRESSION: Let's try to apply now the extended our pages in this backing track, their pagers that in plank or a minor, D minor, and E minor. If you take a look in the circle of fifths, you see those three chords, the main key, it's a minor. And then go left and right. And you find those two chords, minor in D minor. They're gonna be worked pretty good together. Let's try that. This next example. Let's try to have some fun on the three first shrinks. Still playing the same sequence. E minor, D minor, and E minor. 57. ARPEGGIOS 3 STRINGS SWEEP PICKING: Example plank in three strings will be applied now, this metronome on 80 BPM, this is made by triplets, three notes per beat, right? Let's run the metronome is still on the 80 BPM. So 341234, one-two-three, one-two-three. One-two-three, one-two-three, one-two-three, one-two-three, one-two-three. Let's write a minor, 1234. We can also play four notes per beat. Let's try minor. So let's see how six notes per beat will sound. Whatever do different. Now, I will start from the E string. Rabbit click that you hear on the metronome. You have to play that node. The first node, right? So 123456. Okay, Let's try six mils per beat. Let's run the E minor arpeggio, 1234. Alright, so let's read through applied this technique, the strip baking in minor arpeggios in three minor chords, right? E minor chord, B minor chord, and a minor chord does the chord progression for the backing track. For part E minor chord, I will play B minor. I position my finger to fret, elaborate. In for the a minor. When Fred, nice. Very nice. Let's write this on the metronome 234. Let's try that six notes per beat. Starting on the E string, 234. Let's try to play some chord progressions for the next examples. So the progression that blank, it's a minor, B minor, C, a minor. There's this part of the circle of fifths as well, based on the main key, in this case E minor. So I'm going to be playing their visual of E minor. When I get on that note, I was lied to the D minor arpeggio. Then it goes C major and a minor. We will find the PDF with this oldest examples on the folder. All right, so let's try this. Let's try this chord progression. Minor, B minor, C major, and a minor in this backing track. Example two will be played in three strings, only the high thrust bearings. How does the first bar on that example? And then B minor, C major. And finally a minus. Let's round the same backing track and see how this is going to work with this example in three strings only. Let's try an example with three blade in six nodes. Example for Ruby played in four notes per beat, the pattern would be a bit different. So take a look at that. That's it. On four nodes. That'd be minor. Major. 58. PEDAL POINT TECHNIQUE: Alright, so now it's time for a fun technique to play on guitar. It's called pedal point, right? Barrel point is when you have a scale, in this case, the miners K0, and you play a note, you're going to be repeating that nodes every second nodes. What that means. I have the first node here. I'm Fred them, and then I have 12. So that's the, that's my pattern loads that. Then a blade down on E. And then I go back to 12. And then I believe eight on evil. And they go back to drop seven. And drop again. You've got a little bit. Let's talk about the fingering. So as you can see here, I'm using finger. And then my paddle node would be played with my beaker, with my finger, finger, finger, finger. Finger. Finger for it. Right. I have a big stretch now between Fred's 7.12. Those were my exercise from the beginning of the lesson, blue help a lot. This technique. I can also add the G sharp node, which is part of the harmonic minor scale that are really going to be practicing on in a few lessons. Sounds pretty good and that scared me, That's like me. I can also skip strings, e.g. the G string I have in mind. I can also go to the D string and landing on their root node, which is both together various low. The thread as example, listen to the metronome on 80 BPM. I think on the PDF, you're going to see another progression. So starting on the 12th, fret, another variation starting to Fred 13. Let's write all those three positions together. 1234. Let's write a little bit faster. 1234. What I'm adding here is 910. In three strings are reversed, they mine right? And land on a 234. The bit faster, 1234. 59. TAPPING TECHNIQUE: As it's in that second week before. I think so right here, this is called tapping technique. So in this lesson we're gonna be taking a look and how to build this progression. How to build this sequence? How to play the tapping using the right hand. As the third note. What that means. So if you have two nodes been played by the left hand, it's missing one node. So we can add that note using the right hand. So let's take a look on the example number one for tapping technique. Alright, so as you can see, this is made by groups by three triplets, one-two-three, one-two-three, one-two-three. That's the beat, right? The triplets, that's the way that we count the triplets. Well, let's go. All the numbers are located in one string. The string to be right, as you can see, there's a 5.8. Hammer on is the hammer on technique, right? So we can see that tight. The need to pick the, the node twice, like you know, you play the first note. I'm going to hammer on. That team means the tapping. So we're gonna be using their right hand to do that. The position that I do on the right hand is like this. I use my finger one to get that node to that node. So I rest my thump on the top of the neck like this. The top of the fret board. To get back to the fret five again to the sound of the fret five. I'll have to boot this string up a little bit with the right-hand. So going to be like this. Right? Because my finger one is stuck in there. I don't need to lift my finger once you get the sound of different fight. Oh, that's too much work. And probably you won't get fast doing that. So this is going to save time to you. Everything made by three tempos. What word is that? What we're generating? You know, let's take a look at the notes that we're playing, E and the E minor triad. All right? Remember the interval between the root node and the third node has to be 1.5 step. And we have one-and-a-half step here. So E, E to F, F to F-sharp, another half step. So we already got one whole step, F sharp to G half-step, the one-and-a-half. If I'm one of the major sound here, the E major chord be sounding. In this example, what, what do I have to do? Replace the fret eight per fret nine. We now replace the front aid to Fred nine. You are having a new node, which is G-sharp. That's 5912, less bleed five each drove. You already realized when you want to generate a minor, a major chord, you skip three frets between these two fingers. 1233, friends. I'm showing a minor. You skipped two frets to memorize, right? So let's try to build another chord using that technique. I'm gonna be replacing the fret 12 for fret 13. Why take a look at this sound that I'm gonna get doing that. So I'll keep 58 are both chords. By age 125813. Let's try four times each. Right? But when I do this, I'm generating a new chord. Which quadrants that? Let's analyze that node by node. So E is going to give you the E minor chord. E. And C is gonna give me which chords. Let's see. Let's think C major Record. Why? If my first note is E, not gonna be any other kind of e, something, no. This is going to be C major chord. Why? Because you're starting to see major chord by the third node. Remember the C major chord has the triad C as root major third, which is E, the fifth, which is G, so it's inverted. So I have E, G, and C. Right? So when I did this, I'm generating two chord from a court for my tongue, for my chord progression. Minor in C major. Let's run the metronome 34. There's other examples that you're going to see in the PDF that is in the folder. So I have six variation of tapping is not every time that you're going to be blamed. Sequence like we can go patterns, we can do variations using those three nodes, e.g. for notes per beat. I'm going to play those three notes on the high string eat. Of course you can use the first 12159 students. I got a C major chord replacement team for joining. 60. TAPPING TECHNIQUE VARIATIONS: 1, 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4. 61. POWER CHORDS: You have an idea what power cord is? No. Two, let me explain to you. So as you can see in this tabs, I will have a few or a chord is going on there. So it's not a food court because I don't need too many notes. I don't, I also don't need too many strings being played, vibrating. So I only need two nodes. Basically. The theory behind this is the root note and the fifth node. Okay, let's check the first example. The first record in this page. I will have to position my finger one fret, one upstream. And probably my finger for pinky on the third fret on the a string. Right? So the thing for power cord is you have to lay those two notes at the same time. You cannot play separately. Is not a power chord. It has to be. Just to do the calculation, you'll find that node. So F, G, a, B, C, five. Look at the power cord, three in that page. The third string, third fret, fifth fret. The notes are G. And the node located on the fret five will be d, G, a, B, C, D five. This will sound much better if you have a distortion battle or overdrive battle or if your, if your AMP has those effects also, battles or digital distortion. Let's double-check here. What do we got? The first part? Second law reports, and so on. Right. You can choose between your fingers for or your finger three, whatever works better for you and whatever feels more comfortable. So all right, so those are our courts can also have another variation for all reports. If you double the root node. Let's check this out. So on the top string I have the, the node. The next node, of course, has to be the fifth, which is C. And then one more, f on the D string. Fret, three. Have those three notes played, been played together? I'm also using the palm immune technique when they use this part of my hand to cover your bridge. Yeah. You can also have, we can create some cool chord progressions based on the circle of fifths. So e.g. that one of them was playing a, F, C, G. How many times have I listened to that chord progression is very famous. Right? So that's the power chords. Remember the theory behind that? You need to note only the root, the fifth. You can add the third node as the root again, octave higher. So remember what I said, why it's important to memorize the frets on the top string and the fifth string. Now's the time to use that knowledge. So if you have a chord progression like B and G, and a, where to find those three chords in bar recorded versions. So B, I'm probably go through frets seven, S phase. So G chord progression, fret three. And a chord progression fret five. It's unschooled. This kind of chord progression, the power chord progressions, is keeping one fret. So let's see another variation here, a G. That's another option. 62. PENTATONIC SCALES - SHAPES: That's probably one of my favorite skaters, a minor pentatonic scale. This is k is made by five nodes, a, C, D, E, G. That's why its name is called pentatonic penta five. So the pentatonic scale has one of the easiest shapes on the guitar because you only need two notes per string. Let's check it out. 5.8 on the top string. That's going to give you notes. See, five-seven on the a string. I'm gonna give you notes D and E. Five-seven on the D string, G and a. Five-seven on the G string. Cd 58 on the B string, and five-eighths on the high E string. Yeah, I like to call this shape as a minor shape. Because it's based on the a minor chord. As the guitar is a symmetrical instrument, the fret board. The fretboard is symmetrical so you can play around like I'm gonna be playing G minor. And I played the same shape as it played in a minor. The same intervals. 36353535. If I want to move on and play on B minor on flat 7, 710-797-9710. Okay, so that's the shape that we're gonna be playing a lot in blues, rock, and even jazz improvisation. If we add the sharp four in this scale, we will generate the a Minor Blues pentatonic, what that means. But if you take the fourth note, which is a, B, C, D, and played D-sharp after that. And then if you are adding a new note in your pentatonic scale. So now you're, pentatonic scale is called a minor blue scale. It has that sound. Remember the lesson about intervals. The interval between the root node and the sharp for the tritone. Triton has a three whole steps interval. So those nodes are three whole steps apart. That's exactly the nodes that we are adding in our pentatonic scale. I have another D-sharp here located on the G string. That blank only five-seven. Add the number eight. Now, the bottom of the bottom of the scale would be the same. 5858. Does the sound of a minor blues pentatonic. We also have the a Minor Blues put pentatonic plate one octave higher. That means that my first note will be located now on the string 12. So the fret would be 12, 15. On a string, we're skipping the top string where we were not playing any notes on the top, 12, 15, and then 12, 13, 14. Look at the blue nodes here. The sharp for drove 14 on the G string, 13, 15, 16 on the B string, and 12, 15 on the target. It will be, That's my A7 blue chord. Counsel, play a minor chord as well. Okay, let's see how this two scales roof sound in that backing track that we were playing before. Now it's time to move on to the next scale, the next variation of the E minor pentatonic, which is a minor six. What that means now, we are adding a new node in our scale. Actually we are replacing the seventh letter, the seventh note for the six to a, B, C, D, E, F, G, I have g pentatonic on the D string, breadth five. That was my G note. I was playing G note. Now I'm playing sharp, so I'm dropping that note. I'm dropping That's one fret down, down. And then it will generate that sound, that note, F-sharp, minor pentatonic scale. Now we will have a, C, D, E, F sharp. And then they start again. That's the shape that is the fingering that I use. So my 874777, Very cool sound right? On the B string. I'm not playing Fred eight anymore. Fret seventh, which is going to bring me the F sharp note. We also have the a minor six pentatonic octave higher. Let's get that shape. So 12, 15 on the a string. Remember whenever the octave higher, I don't play any notes on the E string. So 12 151-214-1114. Why 11? 11 is going to bring you the F sharp node. And then 13, 15. Same control for Jamie. On the E string. The string supposed to be 12, 15, right? Now it's E, F-sharp. Let's listen to the sound of this pentatonic scale in that backing track. That's the sound of the a minor pentatonic. Sometimes I like to mix both the a minor seven pentatonic and minor six. And of course, as you remember, the circle of fifths, The relative major and relative minor. That's going to apply in our practice now on the pentatonic scale, the same concepts. So if I'm playing the a minor pentatonic AB, you'll find the same node. So when I play this C major pentatonic, Let's check it out. So the C major shape, the C major pentatonic, has nodes C, D, G. Remember the nodes on the a minor pentatonic, a, C, D, E, F, G. Here, I will have the same thing. But now it's starting on the letters C to C. That also works for the C major chord. Reports one of Fred eight. That means that I played, I can play the a minor running down. And when it goes to the C major, I go up like that can be good practice to, even though reversed by both pentatonic scales are sharing the same notes. Let's listen to the sound of this tube pentatonic scales, they minor in C major that they can track. I started with a minor. A minor is my guides because this song that constructs in the key of E minor, Major, collecting both, That's a great practice to the notes, right? So they are working pretty good. You got it because they're sharing the same notes. But remember, for me, when they played songs and minor, minor pentatonics is my reference, is my starting point. And I can also apply the major pentatonic. How the second note, when I played the minor pentatonic, one to that node, to the second node, it's gonna bring me the next shape. Major. She doesn't matter what key I'm playing. E.g. G minor. I played it first shaped the minor shake. The second note, too, that Fred is going to bring me the major shape. This pentatonics, the B flat major, their relative major of G minor. That's why it's important to memorize the relative minor and major. Just going to save you time. These exercises, connecting both will help you a lot. 63. PENTATONIC - APPLIED IN BACKING TRACK: So let's apply this to shape that we learned today, the a minor and this C major. And also the blue scale. This backing track, this is a kind of like a rock back in track. Mates in the a minor key. Let's check it out. Let's see how it's going to sound the two shapes. First, a minor shape. Note. C major. You can also play the arbitrary higher. That's the sound of a minor pentatonic in the C major pentatonic in that backing track. So we can also apply these two shapes in some kind of like a metal backing track, a minor. But let's check it out. Let's see who's gonna sound. The band on the bread seven. I'll let you think about undergrad. A's on the fret, on the E string, output. Dan on the B gene on it. This thing on the train. Red band on each frame. 65. PENTATONIC CONNECTING SHAPES 7 EXAMPLES: Alright, so probably at this point, you're getting more familiar with the pentatonic shapes right? Now, it's time to learn some connections. Are emission now is connecting those five shapes. Of course, if you replay five nodes on the pentatonic scale, we have to be playing five shapes. Every shape we started in the notes. Okay, so let's take the example of this page. I prepared seven examples for you, and let's connect them. So the first example is gonna be playing in three strings, all the five shapes. So take a look in the first group of six nodes. But that's gonna be part of the shape number five that we covered on the other lesson. If we move on on the fret, eight, will find the main shape, which is the a minor shape. A minor first position. Next will be located on the fret 1012. And finally, the last shape. Under fact 15. I'm landing on the root node, which is this backing tracks in a key of a minor right there we're going to be playing on. So altogether. So when you connect two scales like this, you start creating phrase. He's got a great, great guitar lakes. But this is going to be very helpful when you start improvising and when you create your own solos. Let's check this example. Now we're using the backing track. Let's go one more time. Very cool phrase, right? Connecting all the five shapes in three strings using only three strings of each pentatonic shape. Let's go to the number two now, except one, number two is due and a minor, I'm selecting a few groups only. So group, the third group. The fifth group. So this phrase is shorter, right? We only have three groups, three, e.g. number three. This one has a couple of slides. So let's go. We're time. So e.g. number four, Let's play in groups of four nodes. But now, starting on the D string, Let's see how this is going to work. So on the first group I have 2525. Second group, third group, fourth group. On the next line, I have benign. That's a long phrase, right? So again, one more time. Let's see how this example we have sound on the backing track. It's still an, a minor slower to 3 v 23. Good exercise for alternate speaking. Good example five, I think we have that example before. Let's double check it again. That's a long phrase. Very cool. Now we're connecting three shapes. When his life, you are in the main shape. What is that again, during the second shape? One nodes being part of the third shape, again. Plate back, backwards, right? I like that. Let's move on to the next example, number 634. And finally, except for number seven, Let's go. Hello. And of course in this last part, I was trying to mix it up, everything, all those three connections. Alright, so hope you are enjoying this pentatonic connections. In practice, practice, listening to that backing track, it's a bit more groovy. Or I also have for you the metal backing track and the rock backing track. 66. PENTATONIC PATTERNS 9 EXAMPLES: Alright, so let's jump in now to the pentatonic scale. Actually pentatonic patterns. Take a look at that page, that PDF that you have in your folder. And you're gonna be playing nine different patterns. They are in the key of E minor and a minor. First example, in E minor, I have some Legos going on here, hammer on and pull off. Let's take a listen on that. And then let's play on the back interact to sit down. Cause this is gonna sound. If you're improvising or making a solo. That's the pattern. If you're gad, how to play this on the, on the beginning, on the first three strings. You're gonna get the entire pattern repeats on the D string, same thing. On the G string. On the B string. We're going to be playing this example one. Now listen to the backing track. Remember the key is E minor. Let's jump to the except for number two. Now, reversed. You can also apply the hammer on and pull off in this example is going to sound stupid. A little bit faster to some examples. So bowl. Let's try example three and now skipping the string. Three. Faster. Hammer on and pull off. Example Number 43. Pretty quick. Sample, I like that, right? So except for you can also play on the high strings, e.g. hammer on and pull up. Good Lift, good guitar lick for you. Blink on the high strings only. So When did you play that entire pattern? All the time? Let's see how it's gonna sound is on the backend. Firstly, strings on it. On the B and G string. Let's try another example, number five, but we have to change the chemo. There's examples were made in a minor, a minor pentatonic here granddaughter is also has a hammer on and pull off going on. That's right. We did track phrase number six. Now, just writing down. Write it up now. Green ball, like that. And Barton's seven. It is like a poly mutes technique. Each harmonic, That's a very hard technique to play on the guitar. So the big very fights like this, that direction. Pretty cool technique. And finally the example 8.9. Let's check them out. Example Ace one more time. The beginning of the pattern. If you've got this, you've got everything. So three facets. Example nine, the pattern with it, right? Those were the nine patterns for the key of E minor, a minor. We can also explore other keys as well. Just transpose the patterns and the leaks. Hope you are having fun. And I'll see you on the next lesson. 67. PENTATONIC LICKS 5 EXAMPLES : Yeah. 68. PENTATONIC REPETITIVE LICKS 5 EXAMPLES: All right. 69. PENTATONIC LICKS - ROCK BLUES 5 EXAMPLES: So I hope you guys enjoyed this masterclass. If you've got here, that means that you are learning a lot. You're increasing your knowledge on the instrument. So let's get ready for the five guitar licks. Blues rock leaks that I have now, let's try to put it together. So first guitar lick is based on the a minor pentatonic scale. As we can tell, what if France, right. This is maids in six nodes. The band goes on the first node, 755 using your finger, one extra five on the B string, and eight on the B string. And landing on the E string again. So of course, based on the E minor pentatonic. Sometimes I played different fingering in this leg. Go finger to 111, again. Three. So what play? The first note is the bands, nodes, the fret seventh, using my finger to, that's the same for the league number two, we have 758. That's it. You only need to memorize three nodes in that link. So that's a very bluesy lake, right? Especially if you count three, if we play the triplets, one-two-three, one-two-three, one-two-three. Blues, power chords. Lick number eight. It's a very, very interesting lick, very interesting phrase. So you still are on the E minor pentatonic. You bend the eight on the B string. Whatever band, because you don't have too much time for that band. And then I have 55, the first five on the E string, the second five on B. And then the next band will be located on a fret eight. But now on the E string. Then fight. You played 55 again. Back to the B string, bandage. By five. That's seven. You play the nodes, dropping the bands like this, you banned first, but you don't play. When you are in the position, the bend position, you drop it off to the fret five. Because usually we played the notes and then we're band right? Is the reversed techniques. So you bend first in a drop it. So the entire liquid. More time, slower. Lens on the AV node, which is the root node. So let's go to the link number four. Now, you have pretty much the same beginning as the number of one-seventh by five, then you'd have 85 late as blew off. All right, I didn't have a blue nodes, 875 or the G string. The blue notes that we learned on the previous lessons. So altogether very slow. If you, if you count by triplets, then both of 33 notes per beat. Been very cool. Lick. Number five is, I call it like a respective link that I have groups by four nodes. 1234. I can also play ball off on the 8555. If you want to replace that 847, feel free. I like the guitar lick number five. When you started on the B string is still following the a minor. Shapes are same for notes. But now we started on the B string. So if you started on the G string, Let's see it's going to sound. And finally on the D string, split, play all the groups. So group number one, starting on the E string, following the a minor pentatonic shape. Group number two, we start on the B string. Group number three, starting on the G string. And group number 47, D, D string. Altogether. Very interesting leg, if you play like that, if you want to just play that respective lactose, free to do that. 70. PENTATONIC LICKS - ROCK BACKING TRACK: Let's apply this five lakes in that rock backing track and a minor, that's number one. Number two. Number three. Let's try number four. Again. Number five replaced the eighth first seven. Let's play the lick number five again. But now that secondly, way up to the string, you think you've got it slower. Those are the five blues rock leaks that you can apply. Some backing tracks like that. Rock a minor backing track or even the matter of a minor, or the blue that we're going to be covering in a few lessons. Stay tuned. 71. PENTATONIC LICKS - BLUES BACKING TRACK: Well, let's write you apply this five leeks, same links that we just played on the rock backing track. Let's try to play them in a blues backing track. These blues isn't a key of a major. Number one. Faster. Myth number two. Number two. Number three. Number three again, slower, faster. Number four. Number four in triplets, 123123. Triplets again. Week number five. Number five replacing the breadth of eight or seven altogether. Yeah. And hope you are enjoying this metric lives. There's a lot going on, but I'm pretty sure you're understanding everything. Thanks for watching. 72. PENTATONIC SCALES PLAYED IN SONGS: Alright, so welcome back, grab your tea or coffee. And less than allies. These two songs. As you can see, you can find the E minor pentatonic going on in these two classic rock songs. First example, which we're here, Look at the beginning of the shape one of the pentatonic in E minor played, use an open strings. As the shape of the E minor pentatonic open shrinks. If we start playing the scale. By the third fret. He's playing all the notes in that shape. On the E string. A string is urine to the D string zero. So you can easily see the E minor pentatonic in that song. The other example is backing black. So that parts that he plays three zeros on the E string, 30 on b. And choose zero on G. Also played some quarter bands. Butter band on the fret to hear soft bend. The three chord is going on. For the beginning. Before you playing this riff, There's three chord, so E major, D and a. And then the lake, pentatonic lake, right? It can easily see the E minor pentatonic shape going on in this riff, coming from the bottom to the top. Blank in three strings, 0300. And on the other song, wish you were here, you see the pentatonic scale starting on the E string fret 3300. Another great song that we can see this shapes black, dark by Led Zeppelin of the main roof of the song. The opening riff has a minor pentatonic scale. That roof was written on a minor pentatonic scale. So let's take a look at that. Started on seven. On the, a string. Is adding a node here, which is not part of the pentatonic, that number six on the D string. I would consider that node as a chromatic scale. To bring the root node, because he's landing on the, a note in the key of the song. Right? Looking at 79 on the JUCE string. It's part of the second shape of the film, funny part of the C major shape. Then he goes back to the main shape and play 575 embryonic dwarf water bands. British law again, you can easily see the pentagon shapes going on here. Now, as you already learned the shapes, you're gonna be playing this riff, thinking about what shapes is playing. I like to bring those examples to see where we can find those shapes. Who is playing that shaping. So on a licensed songs like that, It's a great friends, the great Rachel, to learn better tongue shapes and other scales that we're going to be covering in the next few lessons. 73. PENTATONIC SHRED LICKS 2 EXAMPLES: It's time for some shred guitar licks. These ones are based in the E minor pentatonic, adding the blue nodes. So let's take a look at this example. As you can see, as we can here, I'm starting this lake on the blue node scale. This is made by groups by six notes. So you have 12345. That's the first octave of this leg. If we go to the next octave, we started in the fret fifth. And finally, on the low octave, the third octave on a flat 13. Altogether. 00 sound like this. Okay, let's apply this leg. Number one, the Sharad pentatonic lake. In some backing tracks. I have it here. D minor rock metal backing track. Let's check it out. Let's see how it's going to sound this link. Alright, so let's jump to the lick number to shred pentatonic licks using the blue node scale. This one is starting with Fred 17, then 18, 171,517.15 on the B string. That's it. So six nodes, again. The fingering for this leg is the key to play faster. So I'm starting this liquid fingers, three fingers, again. Finger one, finger three and finger one. On the visceral. Feel more comfortable. You can start this liquid. The finger to the Octave for dyslexia were built on the fretboard seen on the G string. As we're playing octaves. You can keep the same fingering going to be easier for you. Finally, the last October, the low octave located in France. Well, on the Eastern. I like to play this octave using the palm and mute technique. Remember Paul Unmute technique. You covered the bridge of the guitar. Isn't this part of the record? Let's listen this lick number two on that backing track, the E minor rock metal backing track. That's right. Legato. 74. GUITAR MODES - THEORY: All right, So welcome back to the guitar masterclass. And today's lesson, we're gonna be talking about guitar modes. The seven modes, the seven shapes that we have on the fretboard. So the guitar modes, It's a way to organize our notes on the fretboard, to organize the intervals on the fretboard. So all the guitar modes are generated by the major scale. But what that means when we have the major scale in this example, we're going to be taking a look in the C major scale. C major scale is the only scale that we don't find any flats in, any sharp notes. That's why we mainly learned that scale firstly. So of course, if we have seven nodes on the major scale, C, D, E, F, G, a, B. We're gonna be having seven modes. Each mode we'll start in a different note. If you do this, you're going to be generating different intervals, right? So you're going to be taking a look on the slide number two now and you see the intervals that will generate. Those are the names of the guitar modes. Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. Look at the notes combination than those that we have on the Ionian mode, C, D, E, F, G, a, B. If we start the second mode by the second letter of the Ionian mode, what that means, starting the next mode on the letter D. The D Dorian scale will have the same notes as a union mode. The nodes combination now will be D, E, F, G, a, B, C. Take a look on the beginning of each mode, e.g. Ionian mode. I'll have the nodes combination as C, D, E as first three nodes. So C, D, E. This is probably a major mode, right? So I'm getting the vibe here to the feelings of a major scale so we can easily sync the first three nodes. If I played it first three notes on Dorian, which are d, e, f. And the mode, garbage sad now so we can say the Dorian mode, it's a minor mode, just taken and listening to the first three notes in that mode. Why this is happening? When I play the Ionian mode. The intervals, remember the first lessons in this course that we did. Intervals. When I play C, D, and E on the Ionian mode. What is the intervals that I'm getting now? Between C, D, whole step, D, E, another whole step. Whole step. On the Ionian mode. When I play the Dorian mode, the intervals will change. How? Look at the first two notes on the Dorian mode, D and E. Whole step, and then the interval between E and F, a half-step. So the Dorian mode starts with the whole step and half-step interval. That's why I have that sad vibe, that sad feeling greener in that mode. This is, this is going to happen on the other modes as well, e.g. Frisian. The first two nodes on Friesian, they are E and F. So friction starts with a half-step interval. F and then G. For frequent, it's a minor mode, but the second note is also minor. Leading, a major mode. Take a look at that F, G and when to play those combinations between F and G. Whole step. Another host steps. So F, G major mode, Mixolydian is also a major mode, GABA-B and Aeolian mode, another minor mode, ABC. Look at Ireland mode is very similar to the Dorian mode. The first three nodes I'm talking about, ABC is gonna give me whole step on the first two notes and a half step between the second and third nodes. So let's play the ABC nodes. And finally the Locrian mode. It's also a minor mode with a second minor BCD between BC, half-step, C, D, whole step. As you can see, the notes are the same for all modes. Really depends where you are starting the modes. This modes are being related with the Ionian mode. Remember daughter PDF, you just change the, the first node in every mode and you regenerate different intervals. E.g. when we did the Phrygian mode, Let's go back there. Phrygian mode starts on the inode. In note is the third letter on the Ionian mode. If you start with the Phrygian mode in that letter E, F, G, a, B, C, D, you generate that interval, the Phrygian mode, based on the Ionian mode. When we change the order of the notes, we actually change the structure of the scale. The shapes will be changed to the intervals generate. So make sure to practice the interval. The interval is the most important part when you learn modes, generate the intervals is going to give you the vibes, the feeling of each mode, minor, major. The distance between nodes, as we saw on the, on the Ionian mode, between C, D, whole step, whole step, E, F, F, and G. G, a whole step, whole step. And BC. That's the Ionian mode laid on the guitar. Does the intervals that we are generating for the Ionian mode. Let's keep going Ionian mode. We can also see the degrees of each node that we're playing. Seed node will be the root node. That's why I always say it's important to memorize the notes on the top string. All the modes will start their notes on the top string. Or the frets. Memorize that and you'll be fine when you learn the shapes. D, it's a second major, E major third, F, for perfect fourth. Perfect fifth. It's gonna be the G node, six, major six, major seven. And C Again as octave. So running all the nodes, it's gonna give me that vibe, that filling the major vibe, the major mode, Ionian mode. You can also see the triads in this mode. Take a look on the root note, the third note, and the fifth note. They are part of the C major chord. The triad here is going to be C, E, G. We already saw that on when we learned the courts and the case. When you combine those three nodes, CEG, we generate the major cord, e.g. even on piano, when you play the note C, E, G, B. Again, the major seventh will be always located half step down from the root node. We have studied this before when we were building those chord C major seven, C7, we saw that when we played the C major seven, I have to add the bid node, so we'll have the triad plus the beat note. It is called major seventh, the Ionian mode, we will have that chord, C major seventh. And as you can see, the intervals between B and C half-step apart. That's the sound of the C major seventh on the piano. 75. GUITAR MODES - INTERVALS: Hope you are enjoying the guitar modes less than. And I'm pretty sure you're learning a lot in this lesson. So let's keep going, let's keep rolling. In this page you see all the modes are organized by degrees, by the numbers below each letter. E.g. Ionian mode. We just saw that we have the root node. Major, second major. For fourth, perfect fifth. Meters, 6 m. C, Ionian mode. When you take the second letter of the Ionian mode and start running, start playing the sequence. You change the intervals generated. So what that means? Look at the Dorian mode. It starts off on the dean mode. We're going to play D as root. You have the major, second, minor third. The third note is not major third, minor, third, minor seven. The shape of the Dorian mode. What kind of car do you see on the Dorian mode? If we take the root, minor, third, and fifth, I can also tell you it's the D minor chord. I can also add the seventh. So it'd be D minor seven. Look at the letter C. In this mode, we have the letter C, right? We can combine these four notes on the piano. Let's take a listen that D, F, a, C. And that's the C Major seven from Ionian mode. So you can easily see cords inside this mode. This is going to help you and improvisation. If someone is playing the minor seven, e.g. D minor seven, you can easily apply the D Dorian mode because you're playing those four nodes that the court is given to urine, D, F, a, C, Phrygian mode. That's a very interesting mode, starts on a bit dark red because of that interval, the half-step E, F, and G, we have the minor second. Minor third. Different matter when you have the power cord. The Phrygian mode is very used for metal song, that kind of vibe, that interval, half-steps and whole-steps. We also have the fourth, the fifth, minor six, minor seven. I'm just playing the top of the strings here just to see the intervals, just to feel the interval. One on the PDF on the folder you'll find all the modes are organized. Let's go Lydian, very cool mode. Also delete them because look at the difference between Lydian and a union. Let's see if you can tell me the difference between these two modes. They both are sharing the roots. Major second, major third. We'll look at a fourth letter. A union mode has afternoon, while Lydian mode has sharp four. So we take the fourth letter and we increase it half-step up. What that means. I would play the F Lydian mode. So the Lydian mode has three whole steps on the intervals on the first four notes. Let's check it out. So between f and g, G and a, and a and B, that's the only mode that you see that situation. Between the first nodes and the fourth node. Three whole steps. That's the sound of the leading mode, right? So remember, what kind of interval you generate between the root node and the sharp four? I believe we have studied this before. The first lessons. Tritone, right? That's the interval between the root and the sharp four, which is going to give you three whole steps. So every time they replayed that interval, FNB, FNB, Mixolydian mode out. So it's a major modes you can tell by the third note is a major third for GABA-B. Another whole step between AB, half step between BC, whole step between CD. And finally D and E. And E, F minor seven, so half-step interval. So altogether would be, right. Also the difference between Mixolydian mode and Ionian mode. Let's analyze both. They're pretty much sharing the same intervals, roots back and major third, fourth, perfect fifth, major six. But the seventh letter is different. Ionian mode has major seventh. Mixolydian mode has minor seven. How can I identify minor seven and major seven with blacks that before? For the minor seven has to be whole step distance, step interval from the root node. So in this situation f, right? So if you are skipping frets, are generating the minor seven interval. Whole step. Look at the Ionian mode. B is the seventh letter, major seven and sees their roots. So major seven, the beat, It's half-step distance, half step apart from the root node. Let's keep rolling Ionian mode. Let's go a, B, C. Look at this Ionian mode. As I said before. It's very similar to the Dorian mode. Root, major, second, minor third. They're identical so far. Fourth and fifth, same intervals, a, b, C, D, E. You can easily tell this mode is minor rant, just playing those first five nodes. Just creating simple melodies like this. Simple ribs. You can already tell the vibe of the mode. But the problem here is on the sixth note, one has minor six, which is the Aeolian mode. There Dorian has major six. Minor six on the Ionian mode will be half-step apart from the fifth. What that means, E and F. So a plate, a, B, C, D, E, F. When I add that mode, the minor six mode now is, does the main node in this mode, I would say. And then of course, minor seven, which is G minor seven because the G is whole step apart from the root node. These nodes a, B, C, D, E, F, G, and rootNode. Again, there's the sound of the Aeolian mode. And finally we have the locker mood. Locker mode, as we saw before, is very similar to the Friesian mode. Look at the beginning of both modes. Root, minor, second, minor third. They're identical, right? Bcd. From both situations, we have the same intervals. The fourth is the same, the fifth is different. Look at this freedom has perfect fifth. What that means, E and B. So eNB, remember what chords that were? What is the quality of discourse? Power cord when we have the root and the fifth, perfect fifth. In this situation, E and B. The perfect fifth is also 3.5 whole steps apart from the root node. 3.5 steps distance, right? So every time they don't have that interval usually raised to the power chords are records are created like that. I played it like that route and perfect fifths. The calculation and you see that 3.5 whole-steps. But locker and mode is different. You have the flat five. What that means, I'm not generating power cords anymore. I'm shooting, editing their Triton. Remember Triton, the interval between the root node and the fifth. But now I'm getting three whole steps is not three-and-a-half anymore is three. So we can do the calculation. Let's go from B to F and see if we have three whole steps, a, B, C, D, have one-and-a-half, DE, another whole step. So we have two-and-a-half, E, F half step. Three whole steps, distance three whole steps apart from each other. So every time that a player B and F, you create that like a dark interval, that dissonant interval over the F or the rivers F&B lock-in will have that Triton. B, C, D, E, F minor six amps is G minor seven, which is eight. So it's funny because on the locker and mold, I have BC, which has half step interval. And I also have E, F, a half-step interval as well. So engineering this kind of intervals on the Locrian mode. Where my best advice for you now is you have to memorize those shapes to be able to understand the sound of this interval, the sound that we are creating, the sounds that you're getting, right. 76. GUITAR MODES - REVIEW: But this is the last page for our theory behind modes, right? So as you can easily see this, I kind of like a reveal. Comparing the root node and the third node. I always play those two notes to see if the modes are minor or if the modes are major. How many minor modes do I have? How many major modes? So we also see the Ionian mode on the top. And if you take the root node, which is C, and the third letter, which is e, I have two whole steps apart. So that means every time the replay two whole steps apart, the chord is major. So in this situation the mode will also be major, C, D, and E. That interval is going to bring me the major mode. Dorian is different. We have between D and F, 1.5 step distance. They are one-and-a-half step interval. So Dorian will be minor. Just playing the first three notes. Phrygian mode will be also minor. And also we have the perfect fifth, the power cord. In that mode. We also have the polar coordinate, their urine, as you can see that between C and G, Dorian mode, I also have the power cord. Three-and-a-half holds that distance. But a Friesian, it's a minor mode. But remember the Friesian has minor second. So the intervals between the first node in the second, it's half-step. Phrygian mode, Lydian mode. It's going to be a major mode. Why? Look at the root node F, the third letter a. To hold steps. Every time I have two whole steps, the mode major, F and a. But athlete than would be the sharp four. Remember that B note Mixolydian mode, we also be major. Take a look under root nodes and the third letter, G and B. To hold steps apart between root and that major. Third major mode will be minor, a and C, right? Ac, the interval Ruby, one-and-a-half. But when you get 1.5 step apart, minor ABC. On the Ionian mode, we also have the power cord. Look at the root node and the fifth letter a. The perfect fifths, 3.5 whole-steps, that means power cord. The Mixolydian. Also, we have the power cord, three-and-a-half whole-steps, Lydian mode. We also have Friesian, E and B lock-in. That's our less mode. Let's compare the nodes B and D and find the interval one-and-a-half ray B, C, and D minor mode, but also has the minor second. The only problem here in this mode that we find triton, the three whole steps apart between the root and the flat five, B and F. That's the only mode that generates the power cord between the root and the fifth, because the earth is flat. And F three whole steps apart on the Locrian mode. 77. C IONIAN / A AEOLIAN MODES: Alright, so that's the sound of the Ionian mode. We're gonna be learning to shape if they only mode. So I'll bring for your two shapes now to Ionian mode shapes. Why? Because one of them, in some strings you're going to be playing two notes. Wherever the outer shape. In average drink, you're going to be blank three nodes, but that's gonna be perfect for triplets. So those are the shapes. Look at the first shape, the major scale, ionian mode. You have the notes C, D, E, F, G, a, B. Remember, a unit mode has no flats and no sharps. So the beginning of the mode, C, D, E, F, G. And also add the denote here. The ten. And goes back to the fret eighth, which is gonna give you the c node. So there are two strings that you only play two notes, the top string, which is 8.10, and the B string. Strings are going to be playing through nodes. Look at the D string and the G string. They are sharing the same frets, right? 791-07-8910. That's gonna be a easy fingering for you. This is the Ionian mode in two octaves. So I played the first sequence, C, D, E, F, G, a, B. Then I start again. I'm landing on fret on the E string, which is the root node C. As you can see the court here, it's C major chord. On the major scale, the Ionian mode, I will have the triad root, third, major third, and a perfect fifth, and also the major seventh red, which is the B node, you add the node into that triad. So illusionary to the C major seven. Look at the second shape. Now, the second shape, It's probably easier because every three strings you repeat the frets. What that means, the top string and a string, you have 81012 on the D string and g, you will also have 91012, both strings. And on the high two strings, the B and E, You have 101213 in both strings. But that's another variation of the major scale. You can play this in triplets out. So 12312, we have learned that before this subdivision, right? Triplets. It's time for another important mode for us to start practicing the improvisation, the minor mode, I Aeolian. In this shape here, you also will be playing three notes per string. We can also apply the triplets in that. Let's take a look at the nodes. The nodes are the alphabet starting on the letter a. They go from a to G, a, B, C, D, E, F, G. Rachel on the top two strings. You also will play on the same frets of 578578 on the D string. And g is going to be playing 579579. Bit of stretching this shape, right? Especially on the D and the G string, on the B string 6810. And find them on the high E string, 78. Then that shape, when I played that kind of course, the E minor chord to borrow a chord on the fret five. Let's see how many octaves we're playing in this shape. For the first octave goes from five to start the next octave on the spread seven up to eight. So the next octave starts on threat, then you only have four nodes in that octave, the third octave. That's the Aeolian mode, laid on the fret five, which is gonna give me the a minor chord. Remember that nodes on the C Ionian mode, C, D, E, F, G, a, B. We have the same nodes now on the Ionian mode, which is the minor mode, a, B, C, D, E, F, G. On the major mode, Ionian. I will play the same notes on the Aeolian minor, Aeolian mode. But it started on the letter a. Or they're sharing the same nodes. So those for me are the most important modes because you're gonna be playing a song in major chords, are going to be playing a song in minor, minor major or minor, minor key, where every time the song is in major, e.g. C major, Ionian mode. So if I play another song in a key of a minor, e.g. a minor. You hit that shape, the Ionian mode, three notes per string. So when you memorize shapes like that, you can transpose, you can play around odder shapes. You can move around to the fret board. Let's play a song in G-Major. You have that chord. I already memorized my Ionian mode, or just lay their urine and mode Start now on the fret three. If the coordinates that being major, chords minor, the song is in minor key, e.g. G minor. I played there a union mode, where you started on the fret three on the top string. Remember, breaths memorization, Fred three. Then it gives me the G note. G minor modes. Now, G minor Aeolian mode being played on the G minor boards over to G minor chord, right? So I hope you are understanding this. Modes, configuration, the system of the shapes, because this is going to be very important when you start improvising, when you start improvisation. And of course, music composition. I played the SI unit mode first, and then I replayed that mood, the aeolian. You want to write, major mode Eight or you're in mode now. You can see both modes work for that backing track. What is the major or minor? They are sharing the same notes. 78. C IONIAN / C LYDIAN MODES: I want to get back to that page where we were practicing the major modes, the Ionian mode. Let's take the second shape again. That's gonna give me the node C, D, E, F, G, a, B, right? That's the major mode. Remember what I said on the other page? That the Ionian mode has pretty much the same notes as the Lydian mode. Both modes are major, but there's only one difference between these two modes. The Ionian Lydian mode is the sharp four. On the Lydian mode. What that means, if I want to place C Lydian mode, what do I have to do is change the F natural notes. F-sharp knows how to do this. So look at the fourth nodes, the fourth letter in this mode, the Ionian mode, C, D, E, F. So the F is natural. If instead I play F-sharp, we regenerate now the sharp four. So this is my C Lydian mode. I'm changing the mode for ligand now. That's the main nodes on the leading. That's where someone's playing the Lydian mode and hit that note. You know, oh, I know that vibe. I know that feeling. I know that mode that's leading it so strongly that nodes. If I play F natural, the vibe is different, right? The feelings are different in that mood. That those two modes are sharing pretty much all the nodes. But he started the F natural, I bleed F-sharp. Let's see how it's going to sound this in two backing tracks, the Ionian mode backing track and the C Lydian backing track. Let's start on the next trend. That's the sound of the Ionian mode. The notes that I'm playing, R, C, D, E, F, G, a, B. Remember death is natural if they play F-sharp instead, F natural, Let's see the sound that I'm going to get the mode. We'll change the name for Lydian mode, which is generating the node C, D, E, F sharp, G, a, B. Let's go. So as you can see, the leading mode is more intense red. I really like to improvise using that mood. In some songs. You see that just changing when load is making a lot of different data nodes are the same. I'm just replacing F natural for F sharp note, and I'm getting that vibe. C Lydian mode. Hope you're enjoying this guitar modes lesson. Let's go to the next topic. 82. G MAJOR PATTERN - PLAYED IN CHORD PROGRESSIONS: No. 83. C IONIAN OPEN (VARIATIONS): Good. 86. SHRED GUITAR SCALES PATTERNS 7 EXAMPLES: Alright, so grab your cup of tea or coffee, and let's keep going for the next topic. It's gonna be very, very interesting because called scales patterns. I'm breaking a few of them for you to memorize and to apply in your improvisation, your solos. That's gonna be very helpful. They are written in two keys, a minor and E minor. So we're gonna be taking listen on the metronome and also on the backing tracks to see how we can apply this in songs. Let's go, Let's do this. First example. It's very familiar for us because we are in the blood that on the legato, hammer ons and boy are fixers size. So that's pretty simple. We already did that. So remember the big direction, this example down. Let's apply this in a new backing track now. A minor backing track, Let's go. Example two is more related to the pentatonic scale. As you can see, is the mid of the pentatonic. Five-sevenths. Five-sevenths. The last group is 58. That's a great example for palm and mutes technique. When exhibited three more related to the Mixolydian mode, starting on the, do you note on a Friday? But some strings you'd duplicate, so you play six nodes, e.g. no, on the a string, you doubled the pattern so the D string is raw. Juice drink. B string. Height is shrinks. You can also add the fret seventh. For. Both work. Pretty good. So let's go blind. Isn't that backing track? My topic brings up like they're falling new techniques. Number four is made in a very interesting pattern, which goes from Fred Savage. But this is also partially filled GB till evening, which has the same notes as a urine. So that's why it's on video getting the key of a minor. So good exercise for alternate speaking. There's a flight out on that track. I want to land on their part. Kind of like a ribbon on the top string. Strokes. That's very simple. Five, five-halves. Still in the same scale where the pattern goes. This pattern is made in 12 notes. So if you get the first notes, you're getting tired patterns. So let's try again. We're going to do now is repeating the same thing on the B string. Because string, the string, the a string. That's a very cool way to play the Mixolydian mode because you are adding a different sequence, right? Instead playing this game in sequence like G, a, B, C, D, E, F, you were applying those interesting patterns in your shoulders and your improvisation. So let's play on the first two strings. Only. Just forget the shape, just to get the pattern memorized. The fret on the D string. Let's write on this thing. The fifth string. A string. Altogether. Professor, sample. This is related to the legato technique, hammer on and pull off technique. We're gonna be, you're gonna be transposed in this cave and out to the front row. Let's keep going. Let's run this example and see what is going to sound on the track. So you're gonna be picking every first nodes or each group. What that means, 12, 14, 15, you pick the 12th. And then same thing on the D string. Go back to the a string. This string. And then in how the G string, back to the D, B, G again. And then that's it altogether. Very slow. Very interesting pattern because you always move up one string. So go back to this. Remember backing track, this example number six and see how it goes. We're tired. Play alternate speaking. Right? So let's jump back to the example of sad, but that's a great exercise for blank different modes. They're gonna be blank on the B string and the E string. Like this. Of course, the backing track isn't a key of a minor. I'm starting on the root node and look at the notes that the threads are positioning. So 101213 on the number bid on E string. Same frets. This first group. How's the picking? You pick on the 10.10 on the Eastern? Sometimes I use that fingering there, 12.3. Sometimes I use one for the next group, 12, 13, 15 in both strings. And then the third group, 13, 15, 17 in both strings. So far we have the first three strings, 101213. Second group, 12, 13, 15. The third group, 13, 15, 17. Both strings. I think at this point you are able to identify what modes you're playing. The first group is the bottom of the Ionian mode. And then Dorian mode. After Dorian mode, Phrygian mode is the most time for the Lydian mode. That **** gets a bit weird because you have 17, 18 in 17, 19 on the Eastern. Didn't have a band on the front, 20 altogether, others for groups together. Slow. You can also keep going. You can play the Mixolydian mode here. After the leader in then the Ionian mode. Let's apply this example number seven on the second track. This pattern gets very interesting when we start dealing two octaves. What does it mean? So if I play 101213 in both strings, the notes there and blank are ABC DEF. Where should they find those notes on the D string in the fret seventh? And finally, on the low octave. Read five. Apply the legato technique, the hammer on. That's another way to practice octave on the guitar. And then that's the next group in octaves now, so 12, 13, 15. But look at the notes that I'm playing. B, C, D, E, F, G. I have the same nodes here in the front, nine. And here on the fret. Seventh. And finally, 13, 15, 17. Notes are C, D, E, F, G, H. I have the same node, sheriff, write them here, but whenever the octaves, I will never change the fingering. If I'm playing finger 12.4 year old, blink that fingering on the other two oxygens. The second group, 12.4, repeats here. You're in the top. And on the first group, 13.4, repeat here. Find it under the tongue. Does a very good exercise for octaves. 87. SHRED GUITAR LICKS: So it's a very fun example to play because you're going to be playing the same frets in three strings. On the E string, 15, 14, 12. On the B string. Also 15, 14 trucks. The juice drink as well. And I'm gonna be landing on the inode blue scale here on the D string. Independent Panic Blues care can also play triplets, one-two-three, one-two-three, one-two-three, one. Very fun, scared to play. Very fun. Guitar lick to play in any song in E minor. Let's write this on the rock metal backing track E minor. The very bottom lip because you can apply the ban on the E string. Redford working fret of the B frame. Bred them to just bring very fun guitar lick to apply in this backing track. Write that E minor rock metal backing track. Let's keep going. We have another pattern here going on. This pattern is made by six notes per beat. Let's take a look at that. So that's on the fret trout. Shrink in 14, 12 and a G. Then it go back to 14, 15. Then you start again for pipe flow. Great exercise for alternate speaking. If you want to replace the Fred 12 on the big trends, for Fred 12 on the E string. That's going to bring you the strings keeping secondary. You blend a string and the other nodes are on the G string. On the B string, for time's sake. Can also play hammer on and pull off in this example for us. Big that note on the B string. And you pick that nodes, the 1,500 down. Let's try this example on that backing track, E minor rock metal backing track. Let's go. That's a very fun example to play that track. We'll look at a bunch of nodes now been played. So this is a kind of look. We can also play in triplets or six mils per beat. So we go, those are the first six nodes, so bad at that data, the one to six. And then you do the same thing, the same pattern. The highest string, fret 12. Altogether. We're ready, got 12 notes in this first part. So the next group of nodes will be gone. Then finally the last group. Altogether, raise loan. Let's write altogether very slow. Alright, so let's jump now to the example number three, the pattern number three. We're gonna be playing now 25 nodes in this example. How, let me show it to you. So we're gonna be adding notes on the first string. Take a look at that tab. You see the first group of nodes. I will add the 12th fret on the E string. So every blade, I'm going to go back. So back-and-forth. On the second group, I add 12, 14, 12. The third group, I'm going to add three more nodes, right? So this is divided in three groups. The first group, you add only one nodes on the E string. On the second group is you add two nodes. The third group, we add three nodes, drove 14, 15, 12. Altogether. Slow. Of course, I'm using the storage and an overdrive here just to have more gain. And also play this on the G and B strings. Go, has gone to something that is a lot of nodes now going on in this example. So again, then the same thing on the B and E strings. Altogether. Lands on the E minor pentatonic. That exempt the G and B strings. We've got a bit of hemorrhage can pull off legato. Talking about the pattern number three, I will try to apply that pattern into two modes. The modes that I'm gonna be playing are a minor, Aeolian mode. In the C, a union mode, the major mode, major and minor. And how can we play that? How can we apply that pattern number three into two that, those modes, well, let's check it out. I played it 578 on the top string. Then I add the five on the a string, and then I go back. Pretty simple, right? And then I add 575 on the, a string on the next group. So then I go back to the top string and then it adds 57 on the a string. That's it. That's the pattern. So altogether, very slow. It's a good pattern for roofing. Also when you play on the, on the top strings. We didn't do this on the a string. Erase that those nodes. Let's try now on the D and the G string. Next two strings, GNB. Little bit more confused that two strings because you played 579 and then 6810 on the B string. Next group of strings would be B string and the E string. Well, let's write all those groups together now. You can also apply this pattern number three, this combination on this C, a union movement are gonna be shifting the mode to the fret that they're on a mode at this point, probably you're going to use it that shape, right? I'll drop by their combination now here, adding one node at a time. So that's it. Once you get the pattern, you played all the other groups. So I would say is good to have 5-10 patterns like this when you're improvising is going to give you more ideas, right? So Brexit is on the metronome and also in this backing track. Yeah, you're right. Yeah. Let's try this pattern on the B string and the string on the Ionian mode. The deep end juice drink. 88. SHRED PATTERNS 1 KEY:Em: Now we're going to be playing in the key of E minor. E minor, Fred's 753. Different alternate speaking. Then when you go to the front eight, you're moving your entire hand like this. That position. A very fun exercise. So let's go one more time. Remember if you have a better position on your left hand, you're going to be playing faster. Low hands, like this. Like low hand, your fingers. They have to be spots are the friends that they will lay. I'm using the alternate speaking for this example. And then on the next part I have them. That probably will be an easy example because every friends that you play on the B string, you blame on the E string. Let's check it out it again. Then. When you move to a fret, then you move the entire hand. And 12. Forget him. The second line of this example, you go to the fret routine. And then if it's been better position to have to move your hand in front of a live bread 17. You can also land on the key. The root node, which is eating altogether does except it is very long. So let's try again. Slope. Professor, No. Faster. Again. Also brags on the first two group. Hold it. Gonna go. Like this group is all. You got it one more time. 89. SHRED PATTERNS 2 KEY:Em: You can also apply the alternate speaking in this example, let's try it. Let's understand the pattern. First. Time that I played those examples, I tried to understand the pattern because if you get the pattern on the first group are the first two groups, you understand the third thing. So let's try again. It's pretty easy to take a look at that. The combination of these nodes, 735 and then 757-35-7531. To understand this, you move to the next combination that's going to bring you Fred's 85787502 groups. We gotta route sound. Right then, same thing for 101719. That's it. All together. First group. Second group, breath eight. Third group fret, then fourth group, Fred drove. Fifth group, 146 group fret, fifth and seventh group, Fred's 17. And the eighth group fret 19th. That's it. You played eight groups in this example, alternate picking and linear. You will need one string to play this example. So your blank, all the modes connected in one. Drink. Make sure you are in the key of E minor. And understanding where does nodes are coming from, which mode is the relationship for this node's? Good exercise for alternate speaking. One more time. Exactly. Let's break into reverse. Once we've got the, the pattern on the first string, you're going to go up and play the daughter's drinks. E.g. I think this group here to 15, 12. That's the ending part of my Mixolydian mode, the D Mixolydian. So ago. Once I know the combination, I can play mode is shrinks. So Let's run your first string on it. Once you've got the pattern, you start running. Because other things. 90. LEGATO TECHNIQUE: All right, So if you've got that far in this masterclass, that means you are learning a lot in this course. Thanks for watching all these videos. And I hope I'm helping you in your goals. I hope I'm helping you discover new techniques, new skills in a different way to play the guitar. So our next topic now we build the Gatto, hemorrhage, arms and pull off. That's a very important technique for solos, lead guitar, rhythm guitar, it. So I brought five examples for you. We're going to be playing a dose now. So we're mainly playing 578 on the high E string. For the minor is k rent ABC, G on the second string. On the G string, right? It is pretty much the a minor scale. Blade. The height streams. Alright, so let's jump down to example number one. The fingering that I'm using for that example will be finger 13.4. You can also play a different fingering, e.g. 12.3. Example. Number one, you don't need to be blank, alternate speaking. Because we're practically goddess, hammer on and pull off. We're gonna be playing the first note, only. Hammer and hammer onto the front. And then when you go back to the fret five, as you pull the binky down like that. You integrate that groups by three nodes, triplets. If you apply this on the second string is going to be fun as well. So make sure you're playing to Fred's 56. And look at the fingering now, 12.4 on the G string will be Fred's 45.7. Loads applied example number one in that metal backing. Next up, number two, we're going to be playing the first drink and the second string, e.g. number one, we were only played on the E string, the high E string. Now we're going to add the B string. So the example is going to be like this, 57875 on the high E string and the H on the beam. So for this example, how it's going to be the peaking. I would say breaking down when you blend the first string. And then when you play the B string, you pay your big string like this. So down, down. Maybe looping four or eight times the B and the E string. And then to go to the shrink and a gene. So he's gonna be down. Remember the Fred, Fred 56.8. Those modes are parts of the a minor scale. So these here has no flats or sharps. Abcdefg. When you play this on the G string, is going to be like your lens on the root nodes. 345-612-3456. Got to get going on the other mode, e.g. here, service exam. And then under these rings themselves and drop them, they still blank on the E string and the B string. So we have five on the e86, 5.7 on the G. So then you go back, back-and-forth, 568.5 on the E string again, together, they're gonna be bigger than the first string with five. And then the eight. And then into the pool. Then a big seven. The way back you Big Five. Hammer on 568. Big Five on the history altogether would be. Let's try this example is low in that track. You can apply this on the G string is going to be like five. So let's write on example five on the E string. This is going to start on the E string 87.5. Keep your hands in like a low position. That means closer to the fret board. Instead playing like this. Look your finger four is going to take time to hit that note again. But keep your hand like this, not not grabbing them like that. And the risk is gonna be to hiring and also the shoulder. So drop it and drop it. On the B string. You have 865.7 on the G string. So they're gonna be picking nodes. The first node on the E string, the first node, then the B string, the 700. And then the five on the beat. On e. To get her going up light is on the other strings.