Guitar Lessons for the Curious Guitarist

1. Preview: Hi, and welcome to the course. I'm Dan Dresnik. I'm your guitar teacher. I've been teaching guitar lessons for over 30 years. I've written a number of guitar method books and I've created well over a dozen online guitar courses. I am the perfect person to take you on your guitar lessons journey. This course is a huge course. We've got around 30 hours of streaming guitar lesson videos. We also have dozens and dozens of PDFs that go with the course. The PDFs for almost every guitar lesson, you can download them, you can save them, they're yours to watch while we're going through each lesson. This course starts from a beginner level, actually a starting from scratch level, as in, you don't know anything at all about the guitar, and it's going to go in a cumulative way. Each lesson builds on the previous lesson. It goes until we take you into an intermediate level and then into an advanced level of guitar and music understanding. By the end of this course, you are going to be a guitar master. You are going to understand how music theory works, guitar theory works. You're going to be able to play chords, learn songs on your own, strum in a really interesting way. You're going to be able to solo. You're going to be able to make up songs, you'll be able to write songs. You're going to be able to learn any song that you want to on your own. You'll be able to play with other musicians, join a band, play your guitar solo by yourself. The possibilities are endless, and I'm really excited that you're here. This is going to be a lot of fun. Thanks for watching this video, and I'll see you in the course. 2. Welcome to the Course: Hi, welcome once again to the course. I'm Dan Dresni. I'm your guitar teacher. I wanted to take a few minutes and go through what you could expect while you go through this course with me, like how we're going to get started and what we'll be doing in the middle of the course and then where we're going to wind up at the end. I can tell you right now, where you're going to be at the end of this course is you are going to be proficient on your guitar. You're going to be a guitar master. What I mean by that is, you're going to have the ability to go in any direction you want to go in with your guitar. You'll understand melody, soloing, chords, harmony, you'll understand rhythms and strumming, and these are the main three aspects of the guitar. Of all music. Then we have all these other aspects on top of that that you're going to be familiar with. We're going to dive into all these subcategories as well. It's not just music theory that we're going to be doing here. We're going to be working on things like blues, ear training. We'll discuss a little bit of songwriting. There's a lot of different aspects that we're going to go through in this course. So we're starting from scratch. I'm assuming that you are starting from day one of guitar. You don't know anything about it at all. And so I'm going to take you through all of the beginner stuff like you are starting from absolute scratch. Then we are going to just go in a cumulative way. We're going to level up each lesson is going to get more advanced and take build on the previous lesson until we really get to an advanced level. The last few sections of the course are we have a jam along section, which is where I'm playing chords, and you are going to take that opportunity to solo with me while I'm playing chords, and I'll tell you the scales and the keys that you can use. We've got a whole section on that for you to practice your soloing, and there's another section after that, which is backing tracks, which again, is your opportunity to practice soloing. For me, soloing was one of the things that I was really looking forward to with learning guitar. I couldn't wait to start getting good at soloing because when I heard guitar solos, it was just so awesome. It was so impressive to me. What I wanted to do was to do guitar solos. It's interesting because as I have matured as a musician, I am more interested in the balance now. I really love rhythm guitar because I actually see rhythm guitar as an opportunity to be creative in a way where most guitar players don't know how to do that, to be creative with the chords and the rhythm and to add in the melodies into it, just to intersperse all of that stuff together. To me, at the point that I'm at, I see rhythm guitar as one of the great ways to just be creative on the instrument. But I got there from really learning all about soloing and doing the melodic stuff. We're going to teach you all of that. I had mentioned earlier that most of the lessons will have a PDF attachment. There's a lot of PDFs that are in this course. Be sure to download the PDFs, download them, save them to your device. What I would do is I would save the PDFs, and then I would print them out and I would put them into a three ring binder and I have a lot of three ring I have dozens and dozens of three ring binders where they're just different music books that I've put together. I like to sit down with my guitar and the three ring binder of all the printed out stuff and just work on my music like that. But at the very least, please download them, save them to your device. The main philosophy that we are using in this course is that there are about five or 5.5 main pillars or topics that we want to be proficient in on the guitar. It's not just for guitar. This is true for all music. No matter what instrument you're playing, you want to understand the 5.5 topics. That's what we're going after here in the course. And those five topics are the first one is rhythm. Rhythm is a huge one. It is the biggest one probably. Rhythm would be like you are strumming, the way that you tap, the way that you read and write rhythms, the way that you count, your ability to feel and lock into the pulse. When you're picking and doing slowing, it's how you put the spacing of the notes together. I was actually a drummer for many years before I ever touched a guitar. As a kid, I was a drummer. I took a lot of drum instruction. I played drums and percussion all through school. So I have a huge drum background. When I later on, got into guitar and shifted my primary instrument from drums to guitar. I brought all of that rhythm stuff into my guitar playing. That's one of the things that I bring into the lessons because it's something that makes me special as a guitar player. I have an amazing sense of rhythm. I bring that into the strumming and the picking and the soloing. Guitar players, great guitar players will all have different strengths, and one of my great strengths is the rhythm thing, and that's what I want to show you. I think a lot of guitar players are lacking with their rhythm and their strumming ability. A lot of guitar players want to focus on the chords, learning all the different chord shapes or learning all the notes, and getting all their scales or getting fast. Speed is a big thing for a lot of guitar players. Being able to play a lot of notes really fast. And that's all cool. I love all that stuff too, but they neglect rhythm. All of that stuff is really useless if your rhythm is not good. You have to have good rhythm. Rhythm. The second category is chords. All things chords. Every chord, open chords, bar chords, chord partials, diads, triads, hybrid chords, extended chords, ultra chords. Anything that has to do with harmony or chords is the second category. The third category is arpeggios. Arpegios are something that most people don't even know what an arpeggio is. But obviously, it's one of the main pillars, so it's got to be important. Our peggios bridge the gap between chords and our fourth category, which is scales and modes. Scales and modes is a big one, really big one, and then this is all of our melody and our improvising, our slowing. Scales and modes is all of our slowing. Then our fifth category is our repertoire. Our repertoire is our song list. Our song list. This is all of the songs that we know how to play. When people say to you, Oh, you're learning how to play guitar, can you play me something? Are you going to play just a few chords for them, or are you going to play them a scale, or are you going to play them a song? A lot of guitar masters would tell you that learning songs is the most important thing. Learning how to play songs is everything on the guitar, and that's a great perspective. If you can't play songs, it's like, Well, it's cool to know all of the theory stuff, but you have to know how to play songs? That's why we have it as one of our main pillars. Though the other stuff basically makes it. When we go for learning songs, all of these other four categories make the songs that much better so that we can do that much more stuff and we have more understanding of what to do when we're on all of our songs, which is one of the most important things also. Rhythm and songs, repertoire, two most important things. I said 5.5. The half category would be and more things we're going to go through. The half category is like techniques, harmonics, maybe reading standard notation sheet music, which we're going to do all of that stuff in this course. Ear training, working on some basic songwriting skills, understanding how blues works, that kind of thing. That would be the half category. And there's a lot of great stuff to learn on the guitar. We just need to be exposed to a lot of the main aspects of it and be able to go forward with the areas that interest us, the areas that interest you. I'm trying to give you all the stuff that you're going to need that you can actually use. Don't want to waste our time. I'm learning a bunch of things we're not going to use. I don't see the point in that. We're only going to focus on things that we are going to use all the time. Okay? I think that pretty much covers everything that you can expect in this course. Got a lot of great stuff here. I know the course is large, but actually we're doing this in a pretty condensed amount of time. There's so much you're going to learn from this course. If you think roughly 30 hours, that's not too long considering what kind of a guitar education you're about to receive. I'm excited for you. More people need to be good at guitar. It's going to make you more fun to play with. So we need more people that are fun to play with on the guitar. And I'm really excited you're here. This is great. Thanks for watching this video. I'll see you in the next lesson. 3. Getting Started - Fundamentals (page 2 - 5): Okay, Today we're going to talk about Qatar fundamentals. The stuff you absolutely have to know before you start playing the guitar. This is something that I teach everybody. If they're starting from scratch. Absolutely, they have to learn this stuff. I have a lot of people that have been playing for 20 years, 30 years. And I will run through this stuff with them just to make sure they know. A lot of times people don't know all this stuff. And this alone connects a lot of dots for people that are actually really good guitar players. But they're not exactly sure about all of the, like, what's this called and how do I know how to find this? They don't know how to do that. This actually answers a lot of those questions for you. So let's jump into it. There's three things. The first thing is tab, how to use tab. Tab. Tab. Tab is short for tablature. It's something that's stringed instruments can use to read music. Having to be able to read music. It's real simple. So however many strings your instrument has, if you're a string player, guitar has six strings. So what we do is we draw six lines, 123456, and the lines represent the strings on your guitar. Then what we do is on whatever live or string, we write numbers down. That number says, play this fret, play the spread on this string. So for example, if you have like a one right there, it's on the low string. So press on the low string on the first fret. That's it. Okay? So let's talk about the names of the strings. You have to know the names of the strings going from low to high. And when I say low to high or low pitch to high pitch, I ever used the word is low. Low pitch for the word high. High pitch. Let's take a look at the names of the strings first, before we go into the tab, Part, E, a, D G B, E, going from low to high, D G, B E. So a lot of people will use mnemonics to memorize lot of musical terms. The one that I like to use is Eddie and Dean. Go buy eggs. Eddie and Dean go buy eggs going from low to high, and buy eggs for it. A few other ones like Eddie, a dynamite, goodbye Eddie. So that's many dynamite. But my favorite one is any m, o by x. Alright, so we're playing these open, open means we're not pressing anywhere, right? So we're open. So if the low E string open Eddie, and at the end, so the a string. Now Eddie and Dean. Dean is the D-string, D string open, pressing anywhere it's open. Eddie and deemed go. So that's the G string. Go by. So string open. And Dean go buy eggs, the high E string. Okay? So the high E string, the low E string, low pitch, high pitch, NAND, and go buy eggs. You must memorize that. Let's go back to the tab, piece of it. Okay. Reading tab, um, from your perspective, all you have to do because you will get dyslexic on this all the time. If you ever get confused when you're reading which is the high string and which is the low string, I don't one of these is the highest string and one is the lowest string. Which one is it though I can't remember which. All you have to do is you lay your guitar on your lap just like this. Okay? So now I'm actually going to be looking at the tab exactly like I'm looking at my guitar, right? So if you do this right now, and if you lay your guitar flat in your lab, then this high string is going to be at the top. And your low string is going to be the bottom. So your eyes string is the top. And low string is the bone. When you're looking at tab, if you've ever get confused on that, are. Reverse it by accident. Guitar flat on your lap just like this. And I string. Low string. Got it. Okay, So going from low to high. Eddie. Go by x. Great. Let's talk one more minute about the tab, okay? Because understanding how to read tab means that you can go online and you can pull up hundreds of thousands, millions. I don't know how many tabs that are on the Internet seems like almost everything has been tapped out. Everything popular anyway, everything on the radio that we listen to has been tapped out. It seems like may not be 100% accurate, but it's close enough to basically get the song. If you can read tab, then you can go and learn stuff on your own, which is huge. Okay? So that's the low E string. If it says 00 is open, so we're not pressing anywhere when it's 0, zeros open. So people call it the 0 Fred. Fred is where the nut is. It means we're not pressing anywhere. So if I'm going to play this, it says 01 on the low string. So I go 01. Next string is a three. So I go okay, on a stream, 123. Alright, next string is a two on the D string. So you want to write G string 02, zeros open. And then 212. Great. The B string is just a 11. Then the highest E string is 03. Zeros open. I don't press anywhere. 03. Alright, so if I put all this together, it's going to be one. Very cool. Let me try it one more time. Got it. Alright. That's how you use tab. You can learn anything you want that's been tagged out without having to know how to read music at all. If you can read tab. Okay. Moving on, chromatic scale, this guy is crucial. Crucial, crucial. It's all this stuff right here. The chromatic scale is the musical alphabet. So all instruments, all musicians use it. It's our language that we all use. I can communicate with a saxophone player. I don't play the saxophone, but I can communicate with them. And we can talk about putting together a musical idea of applying something together. If we both understand the chromatic scale, which we do, or a piano player or a singer, even drummers use it. Everyone uses the chromatic scales, the musical alphabet. It's pretty simple. Logos is a, B, C, D, E, F, G. After G, you go around the world back to a again, a, B, C D E F G a B C D E F G after G vector a, a B C D E F G. Alright, but what about all this other stuff? There's other stuff going on inside there. Yeah. Okay. So we have these pound signs. They look like hashtags or number signs or pound signs. They're sharp signs in music, it's a sharp side. It looks like hashtag. So sharp side. So that means a sharp. Sharp means is just one higher. So it's one higher than. So for example, if somewhere in my front board I had an AV nodes, I have an **** right here. So if I need to play an, a sharp, I go one higher than, just one fret higher than. You don't say sharp. But if I just go from, I open a string, a string that's an, a note because this might open a string. So if I need an, a sharp, I just go one fret higher. For number one, that's an A-sharp. Okay. Good, good, good, good. So ABCDEFG and everything has a sharp in-between it. By the way, there are flat signs also. I don't like showing the flat signs right off the bat because an a sharp is the same as a B-flat. B-flat is the same as an a sharp. It just can be a little confusing right off the bat. It's the exact same. Flats or sharps are basically the exact same thing. It's easier just to memorize the chromatic scale as ABCDEFG. Everything has a sharp in-between it or flat, but we'll just focus on sharps. The exception to the rule, I underlined it, there's nothing between B and C. There's nothing between E and F. Nothing between a, meaning no sharps or flats. There is no such node as a B-sharp. B-sharp doesn't exist. That also means there's no such node as a C-flat. By the way, C flat and B-sharp would be the exact same note. Don't worry about the flats though. Nothing between BNC, nothing between E and F. E sharp doesn't exist, which means f flight doesn't exist, but don't worry about the flats. E sharp does not exist. We go right from E to F. So I have my low E string right here. One note from there, my first fret. That's enough because there is no E-sharp. I go right from E to F or vitamin E. Note Anywhere else? Let's say right here. I go up one for it from there. My 2.5, because there is no E sharp, we go right from E to F, we will write from B to C. Okay? You're almost there. A, B, C D E F G, a B, C D E F G. After G go back to a, ABCDEFG. After G go back to a, everything has a sharp in-between it. There's nothing between B and C, and there's nothing between E and F. By the way, another mnemonic that I've heard people use helps memorize the B and C and F. Birds cry. Eagles fly. Birds cry. Eagles, fly. Nothing between B and C, nothing between D and F. Abcdefg, everything has a sharp or flat in-between it, except for birds cry and eagles fly. Ok. Now, if we go to the a string, open, a open, I'm not pressing. So that's the a string, right? If I got confused, I do this as I read this, The little one. Okay, great. Now, I'm going to count up one fret at a time. That's my opening. I go to the first fret. That's an, a sharp note on my first fret. I'm going to go to the second note. Second fret, be, alright. Next note is a C, because there's nothing between VNC. They go right from B2C. Next fret, fourth fret, C-sharp. Okay? Fifth fret is a, d. Six spread. The sharp. Seventh fret. Eighth fret, f. Ninth fret, F sharp, 10th fret. 11th fret, G-sharp, 12th fret. Again, after G-sharp, I go around the world back to a. So I go all the way to my G, and then G-sharp is one more pass that. And then I go around the world. So my a, I landed on the 12th fret right here. I noticed the 12th fret because it's my double dot. Every guitar has a double dot on the 12th fret. That's how you know it's the 12th fret. That's where your double-dot. The double-dot means it's an octave from open. An octave from open means double-dot tool for isn't a, which is the exact same open string. That's a pretty important piece because if I know that my string names are E, D, because it's any m, o by x. That also means my 12th fret will be exactly the same. By looking at that a little differently. Here's my string. Here's E again on the 12th fret of the E string. On the a string open. And then a on the 12th fret. D string, 12th fret of D. Again. Cool, Very cool. Okay, so what I'm doing this exercise, I count all the way up to the tool for it. And when I get to the 12th fret, if I think it's the same note as the open string name that I did it right? If I get to the 12th fret, but I'm not, I'm the exact same note as what the string name is. I missed one somewhere along the way and I need to go back and count it again. Let's do it from the low E string. Start counting from the name of the string. We started counting from a because we did it on the a string just now. I was making it easy for you. But now let's start on the low E, low pitch E string. We're going to count from the INO because we're on the E string. So we have to start counting from here. So my first fret, second fret, F sharp. Third fret, G sharp, fifth fret. Sixth fret, sharp, seventh, eighth fret. See, ninth fret, C-sharp to D, 11th fret. Sharp and 12th fret, double dot e. My Octave. Start counting from the string name you're on. If I'm on the B string, okay, AND, and go find my b string. Because I had to go from B to C because it's the B string. Sure, sure. Sure. G-sharp. B on the 12th fret my double dot. That's how I know I did it right. The exercise that you should work on every single day is picking up randomly from the chromatic scale. Okay, let's do a C node. We're going to find a C note string. So I start counting from the string name. Was I can't for me, E, F sharp, G sharp, a sharp, B, C. Alright, looking for C note. Now we're on the a string looking for a C note. Okay, Good. Now we're on the D string looking for a C note, always looking for a CTO in this case. I'm sure, sure, sure, sure. See, great. G string. Open. Always start from open, count from open. Do this if you have two, I'm doing this to show you guys, make sure you count the open string because people, sometimes Stark County from the first fret count from open calcium will see, Alright, be high Eastern sharp G, G sharp, a sharp, B, C. Great, Great. Okay, You should do that every day, least one note a day. Find it on every screen. It's going to make you faster. You don't have to memorize, don't even try to memorize it. I don't want you to memorize where all those seas where we just played, that's not important. What's important is that you know the names of the strings. And then you have the chromatic scale memorized. This. I do want you to memorize. You've got to know like the back of your hand. Playing guitar. We just worked on tons of shapes. And these shapes have root notes in the root nodes. Tell us, do the shape here, do that shape here, do that shape over here. And you find the root nodes by counting the chromatic scale. So we're going to use this thing constantly. It's going to unlock the guitar for you. You've got to know the names of the strings and the chromatic scale. You've got to get really good at the chromatic scale, fighting the notes faster. Don't try to memorize them where all the C's are and where the F sharps or flats don't worry about memorizing that. That's not important. To memorize the names of the strings AND, and go by x and memorize all of the chromatic scale, just how it goes. A, a sharp, B, C, C sharp, D, D sharp, E, F, F sharp, G, G sharp. And then back to memorize that gets so fast that you can do it really quickly. So then you'll say, okay, we did the C note on every string. Let's find f sharp, but every string, F sharp, a sharp, B, C, C sharp, D. D sharp, F. Sure. Sure. Sure. Sure, sure, sure. Sure. Sure. Sure, sure. Sure. All right. We're done the chromatic scale, names of the strings. And think about reading some tab on your own and see if you can figure it out. And I'll see you in the next video. 4. Guitar Anatomy (page 6): Okay, Let's talk about the anatomy of the guitar. So this is an acoustic guitar. It's actually an acoustic electric guitar. Pickups on it. Big ups are a little microphones that you can use to plug in. So you go into an app and crank it up, just like an electric guitar. Okay, so let's talk about the pieces of the guitar, the actual anatomy of it. So you know what you're talking about when people talk about the different pieces on the guitar. This top part is called the top of the guitar. And this is a pretty important piece because this is where all the sound gets projected from. So this is my top. These side pieces here are the slides. Easily write. This back piece is the back. We have the top. We've got the sides, and then we have the back of the guitar. So this long piece here is called the neck because it's the long neck. It has a long neck on it. So this whole thing is called the neck. On top of the neck, we've got the fretboard. So this little strip of wood right here that's on top of the neck is called the fretboard. It's where we have the frets. Frets are actually these little metal pieces, little metal strips that go all along the guitar. So when people say play on the first fret, well, this first metal strip is actually the first fret. But when you put your finger anywhere in-between that slot, that's the first Fred. So this whole area is the first fret. And then here's the second fret. Actually right here, the second fret, but I can go anywhere in this whole slot, and that's going to be my second fret. So we've got the fret board, which is on top of the neck. We've got frets, these little metal pieces. Alright, this guy right here is my pick guard. Pick guard is basically so when we're strumming, were strongly, strongly strumming in case we accidentally slice down with Arabic, is not going to score the guitar at the top of the guitar is just going to hit the pink art instead. So it's not going to damage our guitar. This whole piece right here is pretty important. It's called the bridge. This whole piece right here is the bridge where the strings are connected to. So on the bridge, we have these little pins here that are bridged. Pins Toward the strings go. A lot of times, steel string guitars like this have a ball at the end and they go down into the hole. And then the bridge pin, you just push it down and it keeps the string fastened in. So we have six bridge pins, one for each string. Going into our bridge. This little white piece right here on the bridge is the saddle. And the strings are laying on top of the cell. So we have a saddle over here is what makes this strings actually vibrate. They're not just lying flat against the guitar. It's the subtle it over here, this other little white piece is called the nut. So this is the nut and the strings are also laying on top of this guy. Strings land the saddle and they lay on the nut. And this is what makes the two. This is the scale length right here. You have the strings vibrating. So pretty important pieces here we need the saddle and not to be working pretty well. We need the bridge to be working pretty well. Also, if you're ever looking at an acoustic guitar, maybe one that's used. You always want to take a look down here underneath the bridge, just make sure that it's flush. It's completely connected to the guitar. You don't want to see this piece right here, lifting up Benny, it should be completely flush, touching the guitar connected to it all the way over here. Well, let's talk about this piece. We've got the whole headstock. This whole piece right here is the headstock of the guitar. Now, these guys over here, I've got six of them. We have six strings, so six pops up a lot. We've got these are the tuning machines. So the tuning machines, they are fast and underneath here they've got these little turning knobs over here. Then each one is a spool of pumps up like that. And we can spool the string around when we're putting on strings to keep it fast. And so the tuning machines, these guys are pretty, pretty basic but essential. Headstock. So we've got the tuning machines over here and each one for the string. So when you're learning how to put the strings on and learning how to tune the guitar. You want to say, okay, so this is my lowest string. I follow it through and I followed through. So it's on this guys want to make sure this is the one that I turn to tighten. To, to this string. I look at this guy, I don't want to fall it through all the way and say, Oh, it's on this one, which is this tuning machine to titanate or tune it. Okay, So also point out a few other pieces. We've got this little peg over here. This is for a guitar strap from standing up and I want to play. So we could just hang down. I fastened my guitar straps or this little peg right here. And also to this little peg rate are here. Standing up. I'd take a guitar strap and bump going that one. And I go on that one and I'm standing up now I'm ready to go guitars hanging down for me. Okay. Inside of the guitar, this is maybe a little more than you want to know. There's all this stuff. If you ever look inside the sound hole, this is the sound hole. We see all these little pieces of wood that are kinda connected. It looks like when they're erecting a building and you see all the guts of the building, all the two-by-fours and stuff like that is the bracing of the guitar. The bracing of the guitar is really what keeps this thing from exploding. There's so much pressure on an acoustic guitar. And the bracing is what keeps the top from caving in and keeps the guitar in one piece. It's really a pretty remarkable instrument. All the stuff that it gives a guitar can do and all the pressure as this thing can take when we start tightening up the strings. The bracing inside is what keeps the whole thing from basically falling in on itself. And it would usually be the top that will do that. I've seen in one or two times before. Rarely happens. You have to have a really messed up guitar for the bracing to fail on it. But it can happen. Okay. I think the last thing I want to cover off on is the difference between them and a regular electric guitar. Very little, very little difference. This guitar is electric, acoustic. Like I said, I've got my little controls over here. And I have a pickup underneath my style. It's a little strips of PAHO pickup. If you haven't electric acoustic guitar in most likely has a PAs will pick up underneath the saddle, is basically a little of a pickup is a little microphone. Just a little microphone for your guitar. And it goes right underneath the saddle here. Sometimes you'll have a condenser mike also with a pretty fancy guitar. And you'll see those underneath, inside by the bracing inside of the guitar. Um, so this means that I can play acoustic. I've got the whole box of the Dred, not acoustic guitar. So dread nods privilege, a full-size acoustic. I've got the whole box, and this whole box is what produces the sound. But old electric guitars were also whole body guitars. So they were built similar to this, maybe not quite as boxy, but still it was a box. Instead of the pickups being underneath the saddle here, you'd have them attached to the top of the guitar. You would actually have a pickup like a little mini microphone in the wood here and here. The box would be a little thinner. It would essentially be the exact same thing. Now, guitar is, a lot of electric guitars are solid. So you have just a solid piece of wood. All the rest of the pieces are pretty much the same though. Guitars are pretty universal, whether it's an acoustic or electric. They come in all shapes and colors. And there's a million different brands out there you can get. So you kinda shop around for something that you like, something that seems like it fits your personality and something that feels good to play. It sounds good. I think that about covers it. This is a seagull performer, a fan of CBO guitars, but I'm a fan of many different brands. And this one is just one that I like to walk around with. If I want to plug it in, I, I just take a guitar amplifier chord and I go right in here. A lot of times acoustic electrics take a nine volt battery, so they're in different places. Lot of newer guitars will have it. So you can just open up this box and pop out a 9-volt, pop one in. They last for a really long time. Older models of acoustics, you will be stuck inside the body so you have to loosen the strings and replace the novel. It's not a big deal. Yeah, I think that about covers it for all of the pieces of the guitar. One more thing I wanted to talk about, we have Fred markers. So the FREC workers are these dots here. See the dots, dot, dot, dot. I've got a double-dot here on my 12th fret. And I've got a couple of more dots up here. I also have front markers for my bird's-eye view as the player. I've got front markers of top. This is a quick way for me to know what Fred them on. Most guitars have for markers. I would say 99% of all guitars have friend markers. Occasionally you'll see a guitar with no farm workers, but that's very rare. And they kinda help you. Oh, I'm on the third fret, I can quickly see him on the third fret. Seventh fret, double dot is the 12th fret. Every guitar double-dot means the 12th fret. So you just don't have to worry about it. You don't have to count two dots, the double dot, I know on the 12th fret. So it's just, a framework is a quick and easy way to know what fret you're on. Fancier guitars will have inlays, which will be designs. You'll have pictures and designs that they actually put into the wood. Stove costs money. Those guitars usually are more expensive because of the inlays. Think that about covers it. As far as the anatomy of the guitar, it's good to know what you're talking about. When you're talking to people about the guitar, it's good to know all the little pieces of it. And yeah, That about covers it. So now you know the anatomy of your guitar. 5. Tuning (page 7): Let's get our guitar in tune first. And then we'll talk about this stuff in just a minute. Because I'm suited my low E string, a string, tooting my D string. And, and, and, and, and, and to let G string the tumor B string, E string. Double-checking that Louis Street. Okay. Okay. When I was doing, is I have a built-in tuner. My acoustic guitar is using that. It makes it super easy to tune up. You push the button, you hit the string. And it tells you if you're new to go up or down to get to exactly in tune. This is relatively new for me for the first 20 years, at least that I played. I had to tune using my ear. That's what I'm going to show you how to do today. Okay? First of all, this stuff right here. We've got up top. We've got the six strings of the guitar, E, a, D, G, B, and E to E strings. The low E string is in the low pitch. In the high E string is in the high pitch. Okay? Let's assume you don't have a built-in tuner on your guitar. And let's assume that you don't have a smart phone or access to the Internet to use any of the free Tuning apps and tools that you can. They're everywhere. There's thousands of these. But let's say you don't have access to that. You're out of the woods and all you have is a basic acoustic guitar with no electronics, no Internet access. Okay? The first thing we're gonna do is we're going to assume that our Lubitsch E string is in Tim. When I said we're going to assume it's in tune. It might not be an E, It might be out of tune, it might be lower. So it might be like a E flat or D, or it might be sharp. It might be an F instead of any, might be higher or lower. It doesn't really matter. The reason it doesn't matter is because even if it's out of tune, if we tune the rest of the string using this method to whatever this first string is. Then the guitar is going to be in tune with itself. So as long as you're not playing with other musicians, as long as you're not playing with anyone else that might be in tune, you're gonna be fine. If you did play with someone else. And let's say your guitar string was a little higher. You see the whole guitar to this being a little higher than you'd be a little higher than whoever else you were playing with. But if you're just by yourself, you're practicing, this is going to work every time for you. You're gonna get the guitar in tune with itself and it's going to sound good when you play your cards and you do your scales and you play whatever, it's going to sound good because it's going to be in tune with itself. Alright, so we said we're going to assume the low E string, isn't it? Let's just pretend to eat. We're going to call it E. Good. Now, I have to tune my next drinks disguise into it. So we have to tune our next string. We're going to tune it by presenting that are for strings in tune. We have to go to the fifth fret on our low strength. So 12345, good. So this is an a node and so we're going to tune it against the open a string. Okay? So I'm pressing in on this one. What I want is for my string to match. What I'm pressing on the fifth fret here has to be exactly the same. If I can get it. Sounds good. Keep in mind, I'm not tuning the string. I'm pressing on the fifth fret. I'm not tuning that one. So I'm not turning this guy. I'm turning this guy because this is connected. My open a string. It's really important to the open string, not the one you're pressing on. We want to make the open string tune it so that it matches what we're pressing on. Because remember we said this was in tune. So we're going to find an a on that 12345 fifth fret. So that is an a. So we're going to make an open string match. It. Sounds good, okay? Now our open a string is in tune. Now our a is in tune. So let's go ahead and tune the D string. So we said that a is Intune, so we have to find a D on string. So 12345, fifth fret. Again. We're going to open D string. This is the D string. Follow it through. Following D, goes all the way to this guy. Okay, so I'm turning this one right. Fifth fret on the a string. Terrain. Turn it, it's fine. Right? Sounds good. Turn, turn, turn. Tested. To match. This guy has to sound as close as possible. Sounds good, Okay, Now D strings and Tim have to tune the G string. So I'm gonna go to find a G on the D string. It's the fifth fret. Again, it's usually the fifth fret. D string, 12345, alright, all the way through. So you can use to which is which G string is actually all the way over here underneath. Alright, so turning this guy, turning this guy. Right. Now, IG strings in tune. I've got to tune my b string. Cheese, streets and tin now to be string four. Alright, well that's different. So we have go to the fourth fret on the G string to tune the B string, 1234. Alright. Alright, so that's this guy right here. So turn it. I want the beast. That sounds pretty good. Alright, so now last one we want to turn, we wanted to in the high E string, we're going to, on the high E string, we're going to fight an E on the B string. This back to the fifth fret again. Alright, One 2345, all the way through. Okay, here we go. This guy, so I'm turning, turning, turning, this guy. Turning. Might be screaming, match the pitch exactly as close as I can. That sounds pretty good. There's no hurry. Don't rush this. Take your time. Take your time. We want to get the guitar in tune so that when we play a chord is going to sound great. We want the guitar sounds goods we can. We've got to tune up, Take your time. It's good for your ear. This ear training, every time you tune up, they may go slow and you may screw it up and they take a long time to get it just right. It's good for your ear. You're going to learn the pitches on these tiny little scales, these micro scales of the pitches. Really good training for your ear. Okay, that sounds good. I think you should test it with a sixth string cord. Okay? So some code where we have to strum all six strings. Like that. That's what the guitar sounds like. Open, a G chord is a good one. Do a six string chord like that. Or E minor is super easy chord, E minor. One string at a time. We're listening to see if everything sounds good and harmonic. If something sounds out of place, then retune it. Okay? If if I did something, we have to go in order to go from the lowest rate of the high string. That's really the best way to do it. If I said, okay, I'm just going to tune out string. And so I'm going to tune these guys and those guys, it's gonna get out of whack if I don't do this in an order. So I really want to do this in order. This guy is in tune with this guy and then we go, These guys are in tune and these Intune, and we keep working our way up until the whole thing is in tune. Alright, That's how you do it by ear. Alright? There's a few different ways to do, but you don't need to know every single way to tune the guitar. This is a solid way to do it by ear. Now, like I said, even if my low E string was out of tune, if it was not an E, F little higher, reveals an E-flat a little lower, or even a D or a C, it doesn't matter. I will have tune the guitar in tune with itself. And so you can play anything that you would normally play. The guitar maybe a little higher or lower than it usually should be, but it's still going to sound good. You still gonna be able to practice all your stuff. Okay, so now the guitars and tune. Alright, so I want to talk just a little bit more about the apps. What a lot of people do is they'll get a tuning app for their phone or their tablet or some kind of device. There's thousands of these, they're free. They're totally free. They're all over the Internet. And they're all over the app stores and the cellular. So you download whatever tuning app you want. The microphone you playing in your phone. It will say, Oh, it sounds like the E string and tune it up a little bit to tune it, or you tune it down a little bit and it sounds like the B string, so tune it up and down. You're tuning your strings. Like I said, no matter how you tune, make sure that until you get used to which machine tuner goes with what string, follow it through. Because I've seen it so many times. Where a student will be turning this guy, doing the high string maybe and turning the wrong machine has The sound is the same sound is because you're turning the wrong one, it should be going lower, lower, lower. So if you're doing that by accident, you'd probably turning the wrong one. If you're turning, turning, sound isn't changing, you're probably turning the wrong machine had so make sure you turn the right one. If you do that, by the way, you have to go back and read to in that string again. So pay attention if you just got that 12, don't touch it. Don't touch it at least for a little bit because it's in tune. So leave it alone. If you happen to accidentally touch it, you have to go back and return that string again. So we've talked about three different ways to tune up. The first way that I did was using the built-in on your guitar. These are pretty good. The microphones are not as great on built-in guitar tuners. But the picking up the sound very clearly because it's right here in the guitar. So you've got that picking up the sound clearly. The May 200 not be the highest quality tuner, but it's picking up the sound very clearly. Phones and tablets have awesome microphones. Modern-day phones have awesome microphones, like professional quality. So they're going to pick up the frequency and they're going to be able to get you there. Super-duper close to accurate. The downside is that you have to kinda get your guitar close to it. There's gonna be a lot of ambient noise. So it's going to not only pick up my guitar, it's going to pick up the sound of the air conditioner or of my dog barking or of anything is going on in the street. It's going to pick up all these houses. The better the microphone, the more it's going to pick up all of these other ambient sounds. But they're great. And I use them all the time. I use my phone to tune my guitar frequently. If all that stuff fails on you or if you just want to practice your ear, I highly recommend using the old-school method that guitarists have used for hundreds of years. This is it right here. You tune your E string. Tune your E string. If you have a tuner, just to get it into 2D, Lou, history isn't. Use a tutor and make sure it's an E. If you have one or if not, just Don't worry about it. Then fifth fret, fifth fret, fifth fret. When you're on the G string tuning the B string is forthright. That's the only change. And then back to fifth fret again for the last string, everything is the fifth fret, except for the G string. You go to the fourth fret on the G string, to, to the B string, and then back to the fifth fret for the last string. Fifth fret tuning, tuning a string. Now fifth fret on that one. String, right? Good. Now fifth fret on the D string. G string, good. Alright. Fourth fret on the G string to tend to be straight. Back to the fifth fret to tune the high E string. Last thought on tuning. Guitar, students will show a bit of guitar lesson. The first thing I always do is take the guitar and I tune it up. And they say to me, I just turned it this morning. It should be in tune Still, or I tune it yesterday. Alright, tune it three days ago. It should still be in tune. No, it should not still be in tune. Every time you play, you're slightly knock your guitar out of tune. If you put your guitar and the case and you drive somewhere and take it out the case. All the rattling around is knocking it out of tune. The air is not too hot and cold temperatures that changes in temperature will knock it out of tune. The pressure or the humidity in the air will knock your guitar out of tune. We've thought would, we've got metal. Things are going to always be knocking your guitar out of tune. You should constantly be tuning, tuning as often as possible. So even if I have brand new strings, I stretch them. I get my guitar perfect tune. And I started playing. After, I don't know, 20 minutes or an hour are going to want to tune again, just fine tune it. And then again after another 20 minutes to an hour. But don't want to tune it again, just to fine tune. Even if it's just slightly out, I want to fine tune it. It's going to make the sound that much better. Alright, so go to and your guitar. 6. Picking & Speed Exercise (page 8): I want to show you guys a cool warm up. I've been using this thing for probably close to 30 years and still use it. I did not come up with it. I don't know who did. I don't know if anyone knows who did. I think guitar players have just been doing this since the dawn of time. I call it the speed exercise though. But it's a warm-up, okay? And in the process, we're also going to learn the very simple rules of picking or rule of picking. So let's start off at the bottom. These two Asterix. The first one says finger to a fret. I think that we've covered this in one of the early videos. Figure to fread is a basic concepts. It means that no matter where I am on the fretboard, about four fingers, I'm assuming they all work. I've got four fingers and so on. Four frets. No matter where I am, each finger is going to be assigned its own fret. So when I'm in a finger to a fret position, I've got four frets. Each finger has its own Fred. And so like if I'm in the first position, so we can call the first fret with my pointer finger, the first position. Fellows on the second fret with my pointer finger, I'd be in the second position, third position, fourth position. So if I'm in first position, then my pointer finger is going to be responsible for anything on the first fret, middle fingers, anything on the second front, ring fingers, anything on the third fret. And my pinky is anything on the fourth fret. Finger to Fred is really important because it gives us speed, gives us dexterity. And it keeps us from doing this kind of thing. Or we're using one finger to climb the fretboard. And I would really avoid using that where you just use one finger to do everything. It's going to take you forever to memorize stuff. Because muscle memory is when your body is used to doing things in a certain shape. And you are going to remember it just the way it feels, the way that you're using your body, the way you're using your fingers. So muscle memory is a real thing. It's going to help you memorize patterns and songs, all kinds of stuff. So use finger to a friend as much as you can. One more thing about finger to a friend, if we're, we saw this with the modes. Sometimes modes we need to shift a little bit beyond. And that's fine. So if you ever need to shift back a fret that just readjust figure to a friend. If you have to shift back a friend, now this is your finger to your friend position and then you shift back up. Now this is your finger tool for acquisition. So when you shift, you're always in figure two afraid. Okay. So we've got that second gastric ulcer. Alternate picking. Alternate picking. So it's down, up, down, up, down, up, down, up. Just like with strumming. We're going to go down, up, down, up, down, up, down, up. So we're picking, we're gonna go down, down, down, up, down, up constantly. The idea. And this will apply to play scales, melodies, arpeggios, anything we're, we're picking one note at a time. I would say 90, 95% of the time you want to go alternate picking down, up, down, up, down, up. The reason for this is that you are going to go down to pick a note. And if I have to come back up again, the next note, I'm wasting motion. I'm wasting this up opportunity. Just wanna go down, down, down, up, down, up constantly with my picking hand. Since we're picking. I like to anchor, right? So we float. When we're playing courts were floating, right? See how my arm is floating and floating. Got my arm kinda nestled here, I'm just floating. But what I'm picking, I want to anchor so I will put the ball of my wrist somewhere over here on my pegs, somewhere over here on my on my bridge. I don't want to be across the saddle too much because I'm gonna be palm muting it by accident. So I don't want to be doing. I mean to I don't want it, want the strings to be ringing. I'm going to anchor over here. And that means I'm just going to be using little muscles, so little tiny movements anchors. I'm not using my arm muscles at all. Abuse using tiny little risk muscles. Okay. So now let's jump into the speed exercise. We're gonna use finger to your friend and alternate picking. Speed exercise. It's real simple and it's not musical really. It's a physical workout. So it's not to scale really anything musicals, just a pure physical workout. We're going to use all of our fingers equally, all four fingers equally. So no one gets special treatment. And it's just going to go 1234123412341234, all the way up. Okay. So first fret, second fret, third fret, fourth fries during the low string, alternate picking one pig for each. So down, down. Do the same thing on the next string. Down. Next string, next string, down. Next dream. Next dream. Good, good, good, good. Okay. So that landed us. My pinky is on the fourth fret. Okay? And that takes us to right here, I drew the line. Now we're going to go backwards. We're going to descend it. So I'm on the fourth fret. So what I'm gonna do is I'm going to shift up the whole fingers. You Fred, one fret. So now I'm in the second position. But piggies on five, 12345, okay, I'm going to go backwards, 5432, cross all of the strings. Still alternate picking, always alternate picking. Five. Next string. Make sure you leave with your pinky. Start each new string with the pinky going backwards. Awesome. Now I wrote cetera there. I didn't read the whole thing because this is the pattern. I want to see if you get the pattern. I finished off on the second fret of the low string. So I'm going to shift the whole thing up a fret again. Now I'm on the third fret. Third position. So I'm just going to reassemble 345634563456. Alternate picking down, up, down, up. Good. Alright. Shift the whole thing up a fret and they go backwards leading with the pinky, a friend, Okay. Fred and backwards leading with the pinky up a fret. But Fred, now, I can keep going. Hi, I've got a cutaway. I'm lucky. But so guitars don't have it. And when you get to the, around the 12th, fret starts getting you running out of place. So all we do is we just do the same thing going backwards. So back a fret and decided, okay, back a friend and a send it. A friend decided to speed exercise. So I want to get going as fast as I can, but only to where the notes still sound good. If they start coming. If I start missing notes that I'm going too fast or slow down, it's really important that all the nodes come out clearly. It's more important to have clear notes. Then I'm going blazing fast and the notes aren't coming up good. That's not good. Okay. This is a good thing to do. It's mindless. It's just a physical workout. We're working on all four of our fingers equally. You may have noticed that your pinky gets neglected a lot of the time. It's not going to, with speed exercise at all, four fingers get equal treatment, which is good. They're all going to get strong at the same time. They're all going to start stretching at the same time. Which by the way is really most of what getting guitar dexterity is about. Going to get your calluses on your fingers. But it's really not about getting strong as it is about stretching your fingers to be able to stretch and open up. So this is going to get the tendons and ligaments all stretched out. Gonna be real good. Okay, and this is something you could sit in front of TV and do this. You get to a point is you don't really have to concentrate on that moisture is going up and down the neck and you're doing it until you have that little drip of sweat that comes down the side of your face, That's real good. It's meant to be a physical workout. And so you may do this for five minutes before we start playing. If you were going to go perform, you may do this. Limber up a little bit. Too great warm up. It's probably the most popular Guitar warm-up. Okay, So let me say one more thing before we finish about picking. The alternate picking is something that we're going to use 90, 95% of the time we're almost always going to be alternate picking. Some times we will use a thing called economy picking. And the idea there is that if you are going in the direction you want to follow with the flow. What I mean by that is if I was going to play one note on each string going down, instead of alternate picking it. I may just decide to have everything picked down because it's going to be going in the same direction. And it could also be true if I was going backwards, I was going to be doing something backwards. I may want to just go pick everything in the same direction. So that would be the other five or 10% of the time when we're not using alternate picking that you may want to may want to pick going in the same direction if you're going across the strings doing something like that. But I want you to really focus on doing the alternate picking. And alternate picking has to be always down, up, down, up, down, up. Sometimes when you're practicing your scales and modes, you may want to always change a string on a down, even though that may go against down, up, down, up, down, up. Real quick. If we're doing a major scale, we go G major scale. So I go down. Okay, next string, down, down. Next string is going to start with an up. So sometimes we're going to change the string and it has to change with an up. I'm just going to follow alternate picking up, down, up, down, up, down. It doesn't matter if the next string is an up or down. I just have to keep going down, up, down, up, down, up, down, up, whatever it is, whatever. If I just did down my next one is regardless of what happens next. So just down, up, down, up, down, up. That is your mantra. It's gonna give you the speed that you need. It'll serve you really well. So work on your speed exercise, get all your fingers strong. Work on your alternate picking. And I think you're gonna be in good shape. 7. Open Chords (page 10 - 11): Let's talk about playing are open courts. First thing we want to talk about is we're playing open chords as opposed to bar chords. Open courts have at least one open string in them. We could be pressing on a bunch of strings, but it has to have at least one open string. A bar chord has none. So that's it. You have an open court. Somewhere in that open chord you're playing at least an open string where you're not pressing on that one string. Bar chords have no other strings. You're pressing on every single thing in the chord. So you can think about courts, those two ways. Open courts are courts. Today we're talking about open courts. Before we jump into all this stuff, Let's talk about picking. We're gonna get into picking a lot more. But I'm going to keep it real simple for today. So we're gonna be doing quarter notes where we just count 1234. 1234. We're gonna be strung down every time we count. 12341234, downward strong. The thing I really wanted to talk about with the picking though, more than that, because we're going to cover that off in the rhythm section. It's how I hold my pick. So I'm going to pick, this is a flat pick because it's flat. This is a pretty small one. This is a Dunlop jazz three pick. It's really stiff and small and pointing. But you don't have to go out and get this pick. Pigs are kind of like ice cream flavors. You want to get a pick that feels right for you. Some people like to play with a really thin pick. Some people like a really big topic, and some people like a small hard book. It's just what you prefer. I like the small and heartbreaks. There's less resistance when you're playing. It just does exactly what you tell it to do. But I want to talk about how I hold the pig, because this is a pretty important piece of it. So I'm holding the pick between my thumb and my index finger. Right? I have just a little bit of the tip sticking out. Right. So even though I've got all this pig, I don't need all this sticking out. That's too much. And if I do this when I started strumming, it's going to flatten my hands and it's gone. I want to keep a firm grip on it. And I just want to have a little bit of the tip sticking out between my thumb and my index finger. It's kind of like I have the tip of it sticking out in-between the tip of my index finger and the tip of my thumb in-between that I've got the tip of my pick. Just a little bit too, not that much. And the reason for that is that people get scared like that. Their fingers can't touch the strings. Now, your fingers should touch the strings over here. When I play everything I just did. It was the picketing it and it was a little bit of the scan on my index finger and a little bit of the skin on my phone. The whole time. Everything I just did. Every single time I made contact, I felt it on my thumb and I felt it on my index finger. So that's something that you want to work towards. Getting a smooth picking technique. Takes a little bit of time, so don't think you should be getting one day. Yeah, practice it. So you've got that, you've got holding your pick. And I take some time to get used to holding the pig but don't let too much stick up. Also. Treat your pick like it's a paintbrush. If you've ever painted or used a paintbrush before, you know that you have to do these even strokes. Even strokes. You don't want to fight with the brush and you don't want to attack the paper or whatever you're planning on. Going to go nice and even nice and even you treat the pick the exact same way. We don't want to fight the strings. We don't want to come at the strings so that we're just attacking them and we're not going to let our pig give, we want to let it give. It has to give. When I go down, I don't force it to be in one position. That's all. Courts are going to sound rough. If I don't let it get a little bit, I have to let it give white blood. Letting it turn my hand. I'm not fighting against it. And we're just strumming down today. I don't want to get too much into the strumming piece of it. I want to focus on these courts, but we're just going to strum down 1234. If you were going up as well, it'd be the same thing. You don't fight it. Let your hands give, let the pig. Go side to side so that it's nice and smooth and don't be afraid of your fingers and touching the strings. That's good. You're going to get a better sound if your fingers touch the strings. The big as like a little extra thumbnail or a fingernail. That's all it is. Okay, good. Let's move on to these chords. Alright, up at the top, you've got your printouts. So you've got all the chords on there. I just wrote down these first three because there's something I want to point out to you. When you're looking at courts, tab tablature, you're going to see them all stacked up. It's gonna be vertical all stacked up. That's how you know, you're dealing with a chord. If you're dealing with a melody or a little solo or riff, they're gonna be notes or numbers one at a time after. Why? For the next two or three or 46 stacked up all on top of each other. That's how you know, you're dealing with the cord. Okay? So I wrote down the G chord, C chord, and a D chord. This is all on your press along with a bunch of other ones. The thing I wanted to point out to you was over here on our G chord. We're using all six strings, 320003. So we've got all six strings from playing. So obviously I'm strumming all six strengths. The C chord here. There's nothing on that bottom E string. That low E string does nothing on it. So three-to-one zero, but there's nothing on this low E string. So I should not strum it. When I make that C chord, I should not be strumming this guy because there's nothing on it. There's nothing on that line. Sometimes with new student, I'll put an x. Instead of leaving it blank. I'll put an X on it. Don't touch this, don't strum that string. Leave it alone. When we're doing our C chord, we want to take it from this a string. Don't. We don't want that low E string in the mix. We want to actually strum it starting on that a string. Nice, Good. Okay, and then the D chord, same thing, guessed it. We've got two strings at the bottom, nothing on it. So the low E and the a string, we're not touching those. D string is just a four note chord. D string, G string, B string. So I'm going to strum it from the D string, stream it from the D string. Strung the bottom two strings, don't touch them, don't pick them, leave them alone. When you're doing a D chord, C chord goes from the a string. And the G chord is a six string chord. So pay attention to that when you're learning your cords, where do you struggle from? It's really important. You're gonna get a clean sound if you strum it where you're supposed to from the base node you're supposed to draw from. Alright, so we've got that. Next one I want to do is I'm just going to run through the open chords so you can get a feel for how I'm fingering them. Thing I wanna point out with the open chords. I'm pretty much, with the exception of the B7. I suppose the C7. All of the major and minor open chords. We're not going to use her pinky know Pinky at all. Okay? So don't use your pinky on any of the major chord or the minor chords. Know pinky. Okay? So we're just using these three fingers. So there's only so many different ways you can do it. I'm just gonna go through them so you can see how I play it. This is how everybody plays. It. Got a gene chord, G chord, I'm starting it from my low string. It's good when you're doing a new core to pick up all of the strings one at a time. Make sure that everything's ringing. You're not accidentally muting something that does not like No, that's going on. So you want to make sure you're pressing on everything. Everything's ringing out. If you do have some of those problems where something's not ringing out, finger your notes, what you're supposed to press on directly behind the fret. So for example, I'm doing a G chord right out, right? So we've got the third fret. So let's start off on this guy right here. Okay, my, my third fret, but like we said before, this whole area is my third fret. If I'm way back here, I'm at the point of greatest resistance. So want to get us buzzing. I want to get right behind my third fret. This is actually my third Ferrari here. 123. I want to get right behind it is closed dot on it. Behind it. Nice and clear. Okay, so I'm gonna do that with everything I'm pressing on that there's a three, this on to this, um, three again, right behind the fret, not on them, but directly behind them. Great. If you have some muting, some strings or you're muting accidentally, like, what if I want to like this? Okay? Those are coming out a little muted. What's going on is, I need to bow up these knuckles a little bit more. This last Mughal right here on my fingers. I want to well the mouth stick them out and make a pop out a little bit more like a claw. So that way they're gonna get out of the way draped over a little bit too much. What's interesting is that when you get a little bit more experienced with this stuff, you're going to use that technique on purpose. Sometimes you want to mute, okay? But not right now. Right now you don't wanna do it. So bow out these knuckles and have everything come out clearly. Good. Okay, D chord. I come at it like this one. These two fingers go for the 2s. Then ring is the three in the middle. C chord. This one gives people a problem. I think it's because we're stretching down with the ring finger, a chord. This guy's weird because we have 222. These guys are all in the same frame. I just kinda taper my fingers like this. They're all on the 2s and pointer. It'll bring just like that. The 2s press a little bit extra hard for the cortex is back so far, I can't get it right behind the fret. Sounds good. Okay, E chord. Alright, now let's take a look at our minor chords. If a court has a lowercase m next to it, like this, like any of these guys down here, lowercase m. It means it's a minor chord. Minor chord is just a slight variation. Minor chord as opposed to a major chord. All of these guys here, G, C, D, E. These are major chords. You could say G major chord, C major chord, D major chord, a major chord, E major chord. It's true they are their majors. And you could say that if you needed to clarify it to somebody. But people just say G chord, C, D, E chord, but they are majors, as opposed to these guys which are minor, is a minor, D minor, E minor. Lowercase m means minor chord. A minor, right? A minor lips like the E chord, I just dropped everything downstream. Here's my E chord. Drop everything down one string but have the exact same shape. And I'm strumming it. If you check your printout, I have just thrown this one from the a string. Okay. D minor chord. From the D string. E minor chord. Six. Awesome. With a lot of these, there's an easy trick because you might be thinking, I have to remember not only how to finger on the dream to strum it from. Yes, but there's an easy way to do it for most of them. D chord, D chord goes from the D string. That makes sense. D minor chord, D minor chord goes from the D string. It's a D minor chord. A chord goes from the a string. It's an a chord. A minor chord goes from the a string because there's an a minor chord. So a string, the E chord goes from the E string, all six, it's an E chord. Minor chord goes from the E string because this is an E minor chord. So those six are pretty easy to do. You just have to kind of remember the G chord is all six. Record, get it from the a string. There are five strings on that one. Okay, so we've got that. Let's quickly look at the fingerings of our seventh chords. Okay? So we've got, have an A7 right here. Let's make it like this. Some of these you can figure a few different ways. I've got second, a courtroom with a hole in the middle of it, keeping the G string open. I could play it like this also. So either one of those is fine. D7. From the high string, it's two on 20 to one to 0. Sometimes people say to me, What do you mean to one to 0? That doesn't make any sense. I'm talking about the frets, the friends from high to low to second fret, 1, first spread to one to 0. So the D string is zeros open, D7. Let's look at our ys seven. Take an E chord, but a hole in the middle of the D string opens up. Let's take a look at our C7 chord. This guy I've mentioned before is going to want to being a four-fingered cord. Finally going to get this for picking the mix. Make a C chord, regular C chord. The pinky is gonna go here on the G string, right there on the third fret of the G string. And we're still picking it just like a secret from the iostream. String chord. It's a cool sounding chord. Okay? And then we have our B7, B7. So there fore finger cores. Building this one from the a string. Okay. So no, no low string on this one. Building it from the a string to 12 second fret. First reading, 21202. Pinky gets that. How to sew from the a string to 1202. Strumming from the a string pops up quite a bit. Actually. Few plaintiff music, all of these public Cordova. But in a lot of basic songs, B7, C7 comes out a lot. Okay, good. So we got those. Let's take a look at our minor seventh chords. What do we have? We have a monitor seven, alright, so we'll just start with an, a minor chord. And again, we're just going to put a hole in the middle of it. So it's a minor chord. G string opens up. It looks like a C chord without this ring finger here. It looks exactly like a C chord without this ring finger here, it's a minor seven. D minor seven. From the high string is 11211 to 0. I'm going to show you two ways to do this. 111, I'm using two fingers. 112. Then D string. As good as D minor seven. That's not how I would play it. This is trickier, but I would try to press on both of the ones with one finger. So these 2 first print strings, E string and the B string, and actually pushing on both of them with my pointer finger, just my pointer finger and my middle finger. When I come down here and grab the two, then I'm going to stroke from the district. The way I could just put two fingers, make that D minor seven chord. Takes some getting used to. And if you're more comfortable like this, that's fine. That's totally fine. Whatever gives the sound out. Alright. And I think our last month or so. As the E minor seven. So here was our E minor chord. It's just from the low string. It's 0 to 20 to 2000. And then I'm just going to open up that D-string. D string is going to be open. Super easy. That's an extreme cord where we're only pressing on one string, right here on the second fret of the a string. That's E minor seven. Okay. Very good, very good. So you got to see how I'm figuring all of them. And people will sometimes say, is it okay if I finger it in this weird way, if I figured this chord in this weird, bizarre way, yeah, I guess I wouldn't suggest that you try to reinvent the wheel the way I'm doing it as the way that's most guitar players do it. There's an ergonomic reason for the way that I'm figuring all of these is that when I'm playing, I'm keeping my palm open. My palm is pointing toward us. It's pointing towards the bridge. My palm is open going in this direction. I don't want it Fingers something where my wrist is turned like this and my palm is going the other way. If you try to come up with some weird, funky way to finger the courts backwards, you're gonna be twisting yourself up and don't do it. Just try to get used to making it this way where your palm is open. So all of these courts trying to keep your poem. Okay? Alright, good, moving on, moving on. Let's talk about, and again, we're going to cover this off in the rhythm section. But very basically, when we're looking at chord progressions or charts, chord progressions, we're trying to figure out how to play chords for a song. That's a core chart. We're chord progression. We have to understand how to break it up with measures. Measure, It's a measure is, we're measuring out all the different increments of the song, all the beats. And for the most part you would say, there's usually four beats in a measure. For beats. When I say four beats, I mean four quarter notes. And when I say four quarter notes, I mean for strings, the quarter note is to music. You're tapping your foot. Tapping my foot or tapping on my lab. Still 123412341234. And that's how we're going to wind up strumming. We're going to draw down on each one of those coordinates, 1234. Okay? So here's the deal. Every time you see one of these dashes, it means it's a new measure. So every time there's a new dash after the dash it's a new measure. You measure, you measure, measure, measure, measure, measure, measure, measure, measure, measure, measure, measure, measure measure. Inside of every measure we have four beats or forced trumps. Those four beats, we can break them up and all kinds of different ways. That's a different discussion today. We're just doing quarters. We're going to strum 1234. So we're going to force Trump's for each measure. So we have a measure of G, measure of see, and measure D measure. You see what I'm doing here? These three examples are a great way to practice all of the chords we just talked about. So if you go through these three exercises, you're going to work. All of the courts we just talked about more or less. And I'll explain how we get into the sevens there. Okay, Let's start with number one. And when you get to the end, by the way, good luck to the beginning. You don't just play this once. Play this like 50 times, 5 thousand times, played a lot. So we're going to cheat for strokes. Again. Good. You're gonna do that over again. You're just going to keep doing it until you start getting comfortable with it. You could do these changes. In the very beginning. The big problem is not going to be strumming the 1234, which is what makes it sound like a song. The big challenge will be going from this shape to this shape, to this shape, to this shape and trying to do it on the beat. It's going to be like and then trying to get to the next. So you're going to work on getting your speed with these shapes and it will come, just practice. It doesn't take long at all. Number to write a d. Okay. Do it again. Okay. Number three, wrote these are the monitors I wrote down. It's a cool kind of like an eight bar blues progression that you can play. Trying to put these courses together in a way that sounds like a song. Could be a song. So there's gonna be some cool you're practicing it. All right, you still doing four beats each. These are all going to be the miners, a minor, D minor, and E minor. C over here. I have a monitor and then a minor again. Yeah, that's gonna be four b's and four beats, total of eight beats there. E minor and E minor again. So four forces, eight of E minor and then 44. So another eight or they monitor. Actually. If you play number three and you just keep going back to the beginning of number three. Go back. You could do a minor. A minor, a minor. See what that sounds like. Sounds pretty cool actually. I add number three. Okay. Do, do, do, do, do. Before we look at this, let's stay on 123. Let's practice doing our seven chords. We'll just take number one. And we'll try turning the C chord and the D chord into seven chord just so we can practice it. Okay, let's try it. So we have G chord Seven. Seven again. Sounds a little different. It's kinda cool. It's good way to practice it. Number two, we can actually turn this whole thing into a sentence, A7, D7, and ISA, we're doing this just to practice our courts. So it's not like you shouldn't be doing this if you saw number two and instead of like AED, AED, keep it simple. We're only doing this for practice purposes. Alright, let's kinda funky. Number three. Let's try doing our minor seven chords over the whole eight-bar blues progression. Bar, by the way, is the same as the word measure. So if I call this eight bars is the same as calling it eight measures. 123456788 measures were eight bars, same thing. So it's eight bar blues progression, so we can call it an eight bar blues progression. Alright, I'm going to turn every one of these guys into the minor seven chord. A minor seven. Good, good, good, good, good, good. Alright, we've covered off on a lot. Guess the only thing that we really didn't work on too much was that B7. So let's let's do this. Grabbed my handy-dandy. Go. Okay. That looks pretty good. We're going to jump right to number five. You got or B7 chord in there we can work on. That actually sounds kind of cool. I like number five. Okay, Last thing finishing up. Number four. We said that there are a total of four beats in a measure. Alright? So sometimes there can be three beats, there can be different amounts of beats in a measure. The standard is four beats. So unless it says differently, there's four beats. So we can break that up in different ways. What if the court doesn't get four beats? What if he gets two beats? Would if he gets one beat? And I'll show you how that works. However many chords are in the measure. So if there's one chord in a measure like right here in number four, you have a g by itself. So that G is getting four beats because it's by itself, it gets all four beats of the measure. Next measure we have a C chord and a G chord, and they're both inside the same space. So we're going to divide that up, divide up the four beats. Each one gets to two beats on the seat, two beats on the GI. The last measure here. We've got four things going on. We've got a D, a, C, a slash, and then a D. So what the slashes the slash means, do the previous chord again. So the slash says do another C. So we're gonna do one beat of d. 23 are gonna be the C chord. And then D is gonna go D, C, C, D. That's going to have it all within four beats. D, C, C, D slash means do the previous chord again. And it's a way for us to put any chord we want on any beat. Make it real simple. Okay, Let's check out number four. Try to get good. It just wants to finish off with that last. Awesome. Okay. I think that was a real good lesson. Go practice your open courts. 8. Rhythm 1 - Beats & Rests (page 12 - 17): Today we're going to talk about rhythm. We're going to count beats and rests. And finally get our arms around. What I think is the most important aspect of playing the guitar, which is really, I actually was a drummer before I ever touched a guitar. So for me, it's very naturally and it's something that I want to have come naturally for you. It's easy to understand, easy to learn. It's a cumulative process. So we want to go through this whole video. We want to learn all the basics. And as we progress, it will build on itself. So you want to make sure you don't skip ahead, kinda watch this whole video will go pretty quick. But one thing real quick before we jump into it is I want to just emphasize how important rhythm is. Because every now and then, you'll muted guitar player who is pretty lobby player with his left hand. So it's chords and his scales and stuff. You might even be making enough. But if the person has a really strong right-hand, they're picking hands or they're strumming hand. Really good, strong sense of rhythm. Then they're going to want to being a dominant player, even in a room full of other guitar players that have studied all their music theory and they know their modes and arpeggios inside and out. This person might even be a more dominant player than that, because rhythm is possibly the most important aspect of playing the guitar. And a lot of guitar players don't put enough emphasis on it. They don't study it enough to where they can really bring that out. But it's basically the drummer you want to bring out the drummer in you. Your pick is your drumstick. When we're playing the guitar, or pigs or drumming hand. And then our left hand is saying, this is what drum we want it to sound. So I want you to really put a big push on rhythm and try to bring it out because it is going to make you a really strong player. Okay, one more thing. This may be the only video in our series where we don't play the guitar. We're going to in the next video. But like I said, this is a primer, so this is going to get us ready to start strumming. We're going to use all this stuff. I know the whiteboard looks pretty full right now, but we're going to use all this stuff to put onto the guitar. So this is not just an academic exercise. This is all meant to go directly back onto the guitar for strumming exercises and counting out strumming and picking. Okay, so let's jump right in. First thing is that we are dealing in 44 time. This is sometimes common time, so it's four over four. Or c. For common time. The four over four, that's not a fraction. It looks like a fraction, It's not a fraction. The top number is telling you how many. There's four things. And the bottom number is telling you what kind. So the bottom number in this case is a quarter note and the top number saying four coordinates. So play for coordinates. Top numbers, how many numbers, what kind? For four? It's the most common time is what most music is in 44. Okay? So that's why sometimes you'll just see a C at the beginning of a piece of music. It will either say for four or C, because it's the most common time that music is played in. So what that means is that we're going to break up every measure into four beats. And you'll see over here these big lines, these big lines. So each one of those is saying as a new measure, it's a new measure, its new measure. And inside of every measure we have to have some tally, some combination of four beats. A combination of risks and beats, it has to equal four, so exactly for every single time. So it makes it real simple to understand. And you've got your printout, so hopefully you've got the PDF, you're looking at it right now, or you've printed it out and you're going to look at it with me. Okay? And also a lot of these beats. If you see some standard music, these bees will be laid out over a five-line staff. Not tab, tab is six lines because when we're doing tablature, the six lines represent the six strings on the guitar. So that's different from standard notation. Standard notation is what every other instrument reads. Piano players read at singers read it, trumpet players, saxophone, everyone reads standard notation. It's a five-line staff. And so these beads will be on a five-line staff. We're not dealing with what the note is. This is just a rhythm exercise. So they could all be on the exact same note. Because it's just purely rhythms over focusing on today. Okay. So starting out, we've got the circle that's hollow. This is a whole note. And what we're gonna do is we're going to tap on her lap and we're going to count out loud. You may feel stupid doing this, but I need you to do it exactly like I'm doing it because I need you to own this. Alright? So the hollow circle is a whole note, which means it gets held for four beats. So I'm gonna go 123412341234. It gets held for four beats. So even though I'm just tapping on the one right there, it would be like note, there'll be sustaining for all four beats. The notes being held out for four beats. That's what the whole node is telling us to do. Where we tap it out as 12341234. It gets four beats, so it gets the entire measure. One beat gets the entire measures to whole note. Okay, Now, moving on, we have the half-note is the hollow circle, but it's got the stem on it. You see the stem. The stem goes up. So the half-note gets two beats. Okay? So we're gonna count it like 1234. So the first one gets one to, the next one gets 34 because it equals four beats, 1234, that equals four beats as one measure. Every measure has to equal four beats exactly. 12341234. You're tapping on your lap and you're counting out loud. That's really important. 1234 half-lives. Good. Moving on. Now we've got the dot, it's a filled-in dot. It's not hollow anymore. So it's a filled-in dot and it's got the stem. These are quarter notes, and they get 1234. So each one of the quarter notes is a beat. Okay? So we're gonna do it like this. 1234. So simple. The corner node is probably the very most important beat. And over them, it is the beat. The beat is the pulse. So the beat or the pulse or the quarter note is what all rhythm is. It's all measured by the quarter note, so everything is measured by the court note. How many beats does it get? How many coordinates doesn't get? So the quarter-note is 1234. Even if we were in different time signatures, which we'll talk about later. It's always based on the quarter note. How many beats the quarter note is the beat. It's a filled-in dot and it's got a stem, and that's it. That's the quarter note. And it goes 123412341234. If I'm continuously playing it measure after measure, There's no pause at the end. I just after four and go right to one. No pause. Okay, Just keep that same even flow going. 123, 123412341234. Quarter notes. There, the beat. Okay. When people clap or tap their foot or cut above their head or head banging or whatever. You go to a concert, you go see some music and people are moving or people are dancing. All that is based on the corner note evil or moving their body. They're tapping their clapping there. It's all based on the quarter note. So this is really what music is all centered around. Moving on. Over here, we've got eighth notes, eighth notes. So the eighth note, it's a dot with a stem. But this time it's got this beam on it. See the beam that connect them. It's got these little beams. So the eighth notes have a plus sign in between 1234, the plus sign we say, and so it's and 1234. And so in-between the coordinates for putting the end, we have these beams in-between. We're going to count eighth notes like 12341, 23412341234, right here in parentheses. I put this, It's an eighth note also. But it's got this little flag on it. Instead of the beam, it's going to flag. What's going on right here is that it's by itself. That's an eighth note. That's by itself. It's not next to any other eighth notes. And so when you have an eighth note by itself, not next to other eighth notes. Instead of a beam, it just does a little flag that goes down, see little fly. It's got a little flag that goes down. And it's got one flag that goes down. And that's how, you know, it's an eighth note because eighth notes have one flag or one beam. The beams are just ways for us to connect a whole bunch of eighth notes. And it's just easier to read and it's easier to write. So the deal with eighth notes as they have either one flag or one beam. The beam is just a way for us to connect a bunch of them. And if you have one that's by itself, is not next to other eighth notes, then it just has a flag. But what you're looking for is you're looking for one thing or one flight. You've just got one of those. So it's an eighth note as 1234 and and okay. All right. So 12341234. Good, good, good, good. Alright. Moving on. Got one more to go. Right here. Okay. Got all of these guys right here. These are 16th notes. 16th notes. There are 16 16th notes. There's four groups of four, good for aids, 121616, 16th notes. There's 8 eighth notes. By the way. There's four quarter notes. There's 2.5 notes, so there's one whole note. 16th notes. We still have the ones, twos, threes, and fours. We still have the ends, the plus sign. The plus sign is and still have the plus sign, the ands in-between the ones at the ends. We're putting an E. And this a, we're going to say that a book. Alright? So one E and one E and a, Two E and a 34. And let's put it together when you use two hands this time, okay. 12341234. 123412341234. And see this one in parentheses over here. That's also a 16th note. Same is with this guy, this eighth note here. This 16th note. By itself, it has got two flags, okay? Instead of having two beams, it's got two flags. So that means that it's by itself is not next to any other 16th notes. Actually, the way the rule works is that anything with a flag can be connected to anything else with the flag. 16th notes and eighth notes can be connected if they're within the same beat. And we beam with, beam them, right? So they connect with the beam. And if they're by themselves than the flags go down. And you know, you're dealing with a 16th note. If it has two flags, you know, you're dealing with an eighth note. If it has one flag, the beams will work the same way. You see how the 16th notes have two sets of beams, two sets of beams, and the eighth nodes have one set of VMs. If you're, you have two things you're dealing with the 16th and if you have one thing you're dealing with an eighth. Okay? Alright. So let's go. I'm pointing this out because these are going to pop up here shortly. You see the two flags, if 16th, one flag, eighth. Okay. Let's put these together. We're going to play the whole whole half notes, quarter notes, eighth notes, and 16th notes. 12341234123412, 341. And I'm going to do it again. And if you listen to the way that I'm doing it, the way I'm counting it. The 1234, I'm trying to make it even and that's speeding it up. I'm not slowing down. 123 for the quarter note is always even. I'm saying it evenly. And it's gonna be my basis for how slow or fast the beats are going to go. Okay, let's go again. 12341234123412. 341234, right? 123412341234123412. And let's just pick up from coordinates this time and listen to the 1234. That's kinda what I'm talking about is that it's nice and even I'm not speeding up or slowing down when I say 1234, the An's go in-between. The e, n does go in-between 123412 for 1234123. And let's look at it like this. Every time I say one, I can hit 2 eighth notes, one or one, and the eighth notes go twice as fast as coordinates. The 16th notes go four times as fast as the courthouse, because I can do 4 16th notes for one beat. One, or 112341234. I've got four 16th notes that fit inside just one-quarter note. Writing it to eighth notes, stuff inside of one quarter note. I can fit two quarter notes inside of a half note. And I can fit 2.5 notes instead of a whole note. A little bit of kind of easy math division, trying to figure out how all this works. But it just keeps on doubling itself. Okay? So let's look over here in this box right over here. Okay? We're talking about this concept of the timing. Timing. People talk about timing. Timing is, even if you're a master musician, you can always work on your time. Your timing is never gonna be perfect. It might be pretty good, but you can always improve on it. Timing means that you play eighth notes exactly twice as fast as coordinates. Timing means that you play half notes exactly twice as slow as coordinates. Timing is that you play 16th notes exactly twice as fast. Not a little speed up or slow down. It has to be exactly exactly like the Hilton into a computer and you said make it exactly, precisely. And that's why everyone can always improve on their timing. So timing, you just want to get as precise as possible. Now I will speed up dog a little faster. Let's be exactly twice as fast. If you're going from eighths, sixteenths, exactly twice as fast, not just a little speed up, exactly twice and fast. Alright, so timing, that's what it is and we practice it always were always practicing it. And you don't have to be perfect, Daddy, you're outperforming with the band and still you'll be live in front of you. Are you still working on your timing? You're always working on your time to try to improve on it. Okay? So here we're going to practice our timing. We're going to put some different beats and said the same measure here. Remember, has to equal four. Okay. Real quick, before we do that, you may have noticed on the whiteboard that some of my beats look kind of like the dots are not perfect dots. That's true. This is a shorthand way of writing rhythms down. Is that just kinda like that instead of doing this perfect daughter every single time. And I've had some students say, Oh, that's now it's not hard to read because really we're not looking at the bottom, we're looking at the top. We're looking at the top to see what's going on. Is there a flag, is there a beam? How many of them are there? So it's not the bottom. That's important. We can have like a quick chicken scratch if we need to. It's the top of the beat that we're looking at to see what kind of beat it is. If it's just got to stem by itself and it's filled in, then you're done with the coordinate. Or if it's hollow, it's a half note. If it's kinda stem. If it's got a beam or a flag, one is an eighth note, it has got two beams or flags you didn't dealing with a 16th note. So really that's all we need to do. Okay? Now, going back to this box over here, the top one, okay. The next measure than the next measure, half quarter corner. Okay. It's gonna go like this. 123412341234. Okay. They go again. 123412341234. Got it. Good. Okay, Let's do the one below it. This guy right here, okay. Two quarter notes followed by some agents. Then the next measures, we've got eighth notes followed by 16th notes. Make another observation here. When we're grouping things with the beams, we want to group them based on the beat. So if possible, when you're reading and writing rhythms, everything should be grouped within B1, B2, B3, and B4. So it's easy to read. So because they're one of the things that musicians start to work on is a thing called sight reading. Especially if you are a classical orchestra musician. Than you're constantly have sheet music in front of you. And you have to be good at sight reading, which means you've never seen this music ever before in your life, and you may have never even heard it before in your life. Never heard it before. You've never seen it before, and somebody will put it in front of you and you have to play it reasonably well. And you cite read it. It's kind of like holding a book and just reading it out loud. Once upon a time there was a guitar player dams than just reading out loud. And it's the musical version of that, That's sight reading. So you want to make it easy to read. You want to help the person reading. And the way we do it is we group everything. That's why the beams will usually not extend past the beat. Sometimes they do, but that's harder to read. If you want to make it easier to read, you want to stop the beam to complete the beat. So don't go from V1 to V2 with a beam. Just stop it at the end of V1. Over here. I stopped the beam at the end of B1, I started a new one, and v2 stopped it at the end. Start the new want to B3. And you can see the group's easier of each beat. That's all the stuff. That's B2 stuff, that's B3 stuff, and that's before stuff. It's easier to read it, very easy to see. And that way always to do is think about one beat at a time. It makes life a whole lot easier. Okay? So here I say V1, V2, there's three, and there's before. There's V1, V2, V3. That last group is before. Alright, let's, let's go. 12341, dance to the end of 40. Okay, let's go again. 12341234. I saw that the end had 16th notes. And so I know I'm going to wind up with some pretty fast speeds. So I don't want to start to fast exams all the time where people sometimes want to just get on with it, get out of the way and we don't get 1234123 and it's pretty fast, right? I hope you meant to do that because it's going to want to go really fast if you start fast. 12341. And can you see my 34 unit was twice as fast if I wanted to add, I was going to be this last measure right here, 1234. Got it. Good. Okay, Moving on. This box right here, we're looking at our basic rests. So the first two things that we see are the whole rest and the half rest. All of these basic beats have an equivalent rest, right? So the beat is where there's sound and the rest is where there's silence. So on rests. We have silence. No notes, no music. So the whole rest for the whole beat, the half rest they have beat. The quarter rest for the quarter note, the eighth rest, eighth note, the 16th rest for the 16th note. So every beat has an equivalent rest and the rest is silence. Okay? So the whole arrest and the half rest, they look like Top Hats. They look like hats. And the whole rest hat is upside down. And the half arrest hat is on your hood. When I was a little kid, the music teacher taught us that the easy way to remember the whole rest of the half rest is when someone walks in the room. If you want to be a gentleman, you take off your hat and you turn it upside down and you say, Hello, Good to see you. And that's a whole gesture. So upside-down, head, upside I have is a whole gesture as a whole rest. But if somebody walks in the room and you just go, hey, how's it going? He's going to tip your hat. Hey, how's it going? That's a half gesture. Okay. So hard on your head is a half rest. The deal with the line. Is that like I said before, all of these, when you look at Notation, they're going to be somewhere on the five-line staff. So the whole rest is this bar and is hanging below the line. And the half rest is the bar that's hanging above. The line. Looks like I have right. I'm sorry. I have florist. Whole measure of silence. Right-side-up. Have in your head is two beats of silence. So that's like one of these guys, this jaggedy three or lading bull looking guy is a quarter rest. So it's just one beat. Won't be the silences. This lightning bolt, jaggedy three things, quarter rest. Anything smaller than that, is going to be a slash. And it has got one flag is an eighth rest. And if there's a slash with two flags, it's a 16th rest. So we've got the one flag right here. On the eighth rest. We've got two flags right there for the 16th rests slash the two flags. So this guy kinda looks like a seven saturated. This is the flag. And over here it's a seven with two of these flags. The 16th rest, like I said, is silence. The eighth 16th rests are pretty easy to identify because you're looking for one thing. Same as with the beef. It has got one beam or one flag. It's an eighth. And if it's a slash with one flag, It's an eighth. Rest with the 16th. If he's got two beams or two flags, it's a 16th note. And if it's a slash with two flags, it's a 16th. Rest. All right. By the way, you may notice a pattern here, Okay? Whole half quarter eighth, 16th, whole half quarter eighth, 16th. What comes next in the pattern? This would be like one of those questions you see on an IQ test. Thirty-two. Thirty-two is going with the pattern. If we had a 32nd note or 3 second rest, it would have three beams or three flags. Or it will be a slash with three flags to make a 3 second rest. Again, continuing on with that 64, 64th note, it would be for beams for flags or slash with four flags for a 64th rest. Just keeps doubling, right? This is what's considered duple time. Because duple, duple time, it keeps doubling or going in half. I wouldn't worry too much about that because 32nd notes, they pop up every now and then, not too often. 64th notes, even rarer. If you did see 30-second and 64th notes, you will see them in music with a very slow tempo. So the tempo would be real slow so that we could fit in some fast notes in each beat, right? So it's not like, Oh my gosh, how am I ever going to play that? They're not that bad. Actually, they're playable. You can do them because you'll be doing it to very slow tempo, slow, slow tempo. So we can fit it in all those pieces. Slow tempo. Tempo is how fast or how slow the beads are going. Alright? Now, we got our arrests taken care of. Let's look at this line right here. We've got four measures, 1234 measures, okay? 1234. Alright, we're going to play all four of these measures continuously. We're starting to deal with rests now we're throwing some risks into the mix. So if I, first thing I wanna do is I want to scan it real quick. Look at where my rests are. No arrests. Right there. There's arrest. It looks like before. Okay. Good. Moving on. Next measure. There's arrest. It looks like it's on beat two. Okay, moving on. There's a rest. Looks like it's on beat four. Good. Alright. When we get to one of these rests, we're not going to tap. If we're playing guitar, we want strong. But we're going to say the name of the beat. We're going to say the name of the rest. Okay, whatever beat it falls off. We're going to say that, but we're not going to tap. If we were playing guitar, we wouldn't struggle. But we still want that either thinking or say it, the name of the beat. Rest is on. Alright, let's jump in. One, 234123412341234. Right? Good. Let's do it again. And I rested on four here. That's four. Then arrested on to arrested for I said the name of the rest, but we don't tap, we don't play. We're just saying the name of the rest so we can be on top of it. There are timing will be good because we don't want to rush through the rest. We want to hold it for the amount of time that we're supposed to. 1234123412341234. All right. Doing good. We're doing good. All right. Moving on. Let's just got a couple of examples now we're kinda coming, coming to the close. You're doing great. You're doing great. Alright, we're going to look at this guy right here, okay? 123. Now, if we just took something like that, we looped it as n at the end of the four ends, just go right back to the one beat. Sounds like this. 123412341, right? So we just loop it. There's no rest after the end of four. This four and the N2O4, if we go back to one, there is no rest. We just go 4141. No rest. We just keep on rolling with it, right? 12341234123412341. Good, good, good. Alright, now look at this bottom one right here in the corner. Okay? See some different looking stuff. Here we have a slash with a flag that's an eighth rest. It's on B2. And then immediately, so we're resting on B2, but only for an eighth note, for half a beat. So only half of V2 do we rest. The end of two. We're going to hit it because it's got that eighth note as the beat with a flag, one flag. So it's an eighth note. We rest on too, but we're going to hit the end of two. Okay. It's going to sound like this. 12341234. I'm going to slow down 12341234. Sometimes a good trick is, and this would be a drummer trick for or just a rhythm trick. But drummers use this trick all the time to get your timing better. Whatever the smallest beat is, The phrase or measure, count, everything like that. What I mean is we've got eighth notes, that's our smallest thing in this measure. So if I count everything like the eighth notes, 1234, and I'll just say that continuously. 1234. And that way I don't go to Quick into my three and my four. I hold them out for the right amount of time by going 34 and even knows just says 34. I mean, I could accidentally rush that. I could go 123 for those too fast at the end. Okay, I want to hold them out, so I'm gonna go 1234. And by saying those ends at keeps me from going to verbally what I rush, I get there too fast. And the opposite of rushing is dragging where you get there too slow. So it's good to have the smallest bit is, say it's safe for everything. This last measure right here, that 4-measure sequence. I've got 16th notes followed by two quarter notes. Let's apply this whole idea is that 1234 and 1234, and it keeps me from rushing, so I don't want to go 123. No, that was too fast. You got there too quick on the 34, hold 23, and the four out. So I'm going to say the EN is in-between the two and the 34 E. And even if I wanted to slower tempo, that's because the slower the tempo, the harder it is to play. Everyone thinks that faster as hard because it's fast. The truth is that the slower the tempo, the harder it is to count, the harder it is to get more precise. So we say everything in between. I'm gonna go slow on E and to B and the E and four E. And not because I said all the stuff in-between the ADA. Before we move on. Cool thing to practice. 16th notes. One of the things that we're doing when we're playing 16th note says we are being in charge of breaking up a quarter-note. Any beat it a four pieces. One broke the one beat in four pieces. Get comfortable with the E and the, and the up. Really good comfortable with it. Then I'm going to be in control of breaking any beat, the four pieces, or resting on any of those four pieces. That gives me a lot of control over one single beat. One of the things that drummers do is they're very 16th note oriented. They'll sit around and go 1234123412341. Hand the duty and the 34, you have one yet of doing oriented. They're always counting 16th notes, tapping us 16th notes when they're listening to me, they're always banging out the 16th notes. And it puts you in charge so that you're ready to rest. You're ready to hit the beat. It's a great thing to practice. Okay, So moving on. This top guy. We've got a thrust here. It looks like I'm V2. Eighth rest here it looks like on V3 and interests on before, but we're hitting the ends of each one. So let's go through it. 1234 and resting on 234. Hitting all the n's slash with a flag. Here would go and be too, because that's one end. So that's where two would go but as the rest. But then I've got this big with the one flag. So that's the end of two. I hit it. Rest eighth, eighth, rest on V3. But then I have this bead with flags as I hit the end of three. And then I have the rest on four. But I have this beat with flag, that's the anaphoric. So I'm basically going to hit the end of 23423412341234123 For got it. Awesome. Okay. Moving on. Here, we're starting to get some 16th notes back in the next. Okay, I've got notes, 16th notes. 16th notes. Now I've got an ape rest, your 16th notes on B3, three. And then I've got an eighth rest right there. 1 eighth note equals to 16th notes. So the same is true for rests. Anything you can do with a b equals, equals the same amount when we deal with rest. However, it adds up with it. With rests. In eighth note is equal to 2 16th notes on eighth rest is going to be equal to 2 16th rests. Keeping in mind, we have to equal four beats and we're trying to complete each one bit at a time. So here I can see that's all it'd be one. Here I can see there's all b2, b3. And here I can see this is before. Okay, let's see what it sounds like. 12341234. And do it without the pause at the end. 12 and a 412341234. Okay. So you kind of make sense. Okay, let's do this. Show you another way to think about this. This like this, like that. Okay? What I've done is I've circled each beat, the rest and the beats that go. So we can see this is all betwen, stuff. This is all beat two stuff is B3 stuff and this would be for stuff. Okay. Let me go one more time. 12341234, and let's move on to the next one. The last one. Good job. Really good. Okay. We said before this May 1 look insane to you. I understand that. We said before that anything with a flag or beam can be connected to anything else with the beam, meaning that eighth notes and 16th notes can be connected to each other within the same beat. Because remember, we want to group everything as R group of the ones is our goal as the two stuff is R group of the B3 stuff. These are grouped with before stuff. We can connect eighth notes and 16th notes, as long as it equals the beat, it completes the beat. So it's just, you look at if it's called plumping, it's got two beams is 16th. So here our first thing that we see is it's got two VMs. And then this last bead has one beam. So that last beat right there is an eighth, but the first two are sixteenths. Just dealing with that for a second. One. Okay. One. And we've got little beats, sixteenths going into a big beat, an eighth. So there's no pause. We just go right into it. Little beads going into a big beat. You just go right into it. One panda, one. Little beads, sixteenths, going into a big beat. One. And you just go right on into it. No rest. Okay? Next, this right here, we have the opposite effect going on here. We have an eighth note connected to two sixteenths. So we have a big B going into little bits. So we've got a whole this eighth note for the two V2. So to eat, right? 1 eighth note, is it one or 2 16th notes? Tui, tui, tui. Okay. So the big beef, hang onto it for a sec before you go to the little bits. Little bits. Go right ahead to the big B. But we can connect them as long as it equals it has, has to equal some kind of like one END to complete one beat. Okay, now, it looks insane at the end. So we've got, this is a 16th rest because it's a slash with two flags. We arrest on three that we're going to hit the E and rest on the three. Rest on four, another 16th rest. Then we hit the E, Because I see that E right there, rest on the ends. And then we hit the o of four. Okay? So picking it up from this rest here is 34. And see what we get from this rest, 34, E, and alright, let's put the whole thing together. 1234. And let's go again. 12341, a to E and a 34. And again, mark this up so that V1, V2, V3. All of that is before. And this is the way you should be thinking about rhythm. Constantly. You don't have to deal with the whole measure. Just deal with one beat at a time, okay? Just taking small pieces one at a time, one bit at a time. One of these guys, one coordinate can be broken into four pieces. That's all you have to do is think four pieces at a time. It might not even be four pieces, but it could be four 16th notes. Just do one chunk of goes at a time and you will get through almost any rhythm. Okay? So that's all be one, this will be two, this will be three, and that's all before. So this was a good primer. Really want you to watch this as many times as you can until you understand how all this stuff works and you can start doing any of these rhythms, anything as small as a 16th note with the rest. When you build a tap it out, say it out loud, helps you hit hard. Don't be scared. As matter of fact, if your leg starts getting rent because you're hitting it does good, you're going to remember it better because you're hitting yourself. It's going to get inside of your cells. You want that. Really practice this because next up is restaurant putting this stuff on the guitar. Alright. So, good job and hope this made sense. 9. Pentatonic Scales (page 18 - 19): Let's talk about the pentatonic scales. Pentatonic scales are meant to be simple, so we're going to keep them really simple. There an easy way to jump right into soloing and making some very cool sounds. Pentatonic scales. Actually the first scale I ever learned was the pentatonic minor scale, which we have over here. And I still use it to this day all the time. It's really useful. Scale sounds cool, and it's just designs to any way you plan to sound very cool. Same is true for the major pentatonic. So I'm just doing two basic shapes, major and minor. And the penta, five tonic tones. So there's five tones, five-minutes in the pentatonic scale. The regular major scale, minor scale, all of the modes are seven note scales. They have seven different notes. The pentatonic scales only have five different nodes. So we're just going to jump right in how they sound. So let's start with a major real quick. I've got these. The starting note on the low E string is the root node. So the majors starting and key of G, because third fret, G. And then the monitor starts on the fifth fret, which is a. So it's really easy to read these. One of the things that comes up a lot when we're doing scales and modes, is that the major? If it's major, a lot of times we're going to route it with our middle finger. We're going to start playing with our middle finger. The first note. And the minor goes with the index, pops up frequently. So we're going to start the major with our middle finger on the third fret. So we've got 35225233. Hit that hygiene again at the end. All right, let's just do a little faster. Alright, sounds cool. G major pentatonic. Alright. So this guy can be shifted anywhere. It's just a very basic shape. Really easy to memorize. And so once you've got it memorized, you can just move it anywhere. Keep in mind for the major shape. Just review with your middle finger. That's it, real with your middle finger and you don't have to shift anywhere. There's no having to move your hand anywhere. Okay? So you just as long as you keep your middle finger on this starting node. And then your player gets the notes on the front before it. Ring finger against the nose after the root finger. The pinky gets these guys the last Friday. The high fret. That's it. So for example, if we wanted to play this in the key of C, So we're on G, G sharp, a sharp, B, C. So we just come up to the eighth fret, do the exact same shapes starting with the middle finger. Well, some people do to just quickly jump keys. If they memorized this, like 35 to 525243535, then if they come up here, even though they're on the eighth fret, they'll just pretend they're on three, and they'll say 35. So you're playing the C major scale, but you're associating it with having memorized it. G, C major scale. But saying appropriately, this would be all right, C major scale. Let's do it in D, 8910. So on the tenth fret, It's cool. Let's do it in B. So let's do it in a fifth fret. And g. Nice, real good. Okay, so when you've got a song and it's in a major key, you can tell that because the first-quarter will usually be a major chord. And if the first core is going to be a G chord, then this would be a good bet. A G major pentatonic, if the first-quarter of the song is gonna be a G chord, probably the G major pentatonic is going to work. It's a good one to start with. This is, you're meant to solo with this. You're meant to take this scale and mix it around. You can only play these notes, um, but play in out-of-order, mix them up, jump around, skip around. That's a rhythm to it. Right? Sounds good. Sounds good. That's the G major pentatonic. Okay. Let's take a look at the minor pentatonic. All right, We're rooting this one with their pointer finger on five, which is a That's why it's in Keeley. Again, same thing. This thing doesn't shift at all. It's just a pointer on five, middle, and six, although there is no middle finger on the scale, re-figure on Southern and the picky gets the eights. Okay, awesome. That's the, a minor pentatonic scale. So also, when I'm playing these alternate picking, so I'm going down, up, down, up, down, up, down, up. Just keep on changing. If I just went down, the next peak is and I'll just keep on alternate picking down, up, down, up, down, up. Check out this guy. Just keep on ulcerative pickups going down, up, down, up, down, up, down, up. Okay. And same as the beige or just mix this up. Mix this up. Try to make it your own. Try to look for some cool lakes and risks that you could do. There's endless possibilities. Add some interesting rhythms. Constantly. Playing continuous notes. Try to throw some rests in there and then maybe some quick bursts. And then of course we've got the whole wide world of techniques that we can use. Slides and bends and hammer on and pull off. This is a lot of cool stuff. Okay, so that's the a minor pentatonic scale. They pentatonic monitor. Okay? So if we have a song that's in the key of a minor, and we would know this because maybe the song starts with an a minor chord. Or there's an a minor chord that pops up quite a lot in the song. There's a good bet that it's going to be in the key of a minor. If it is the key of a minor, this scale is probably going to work for you. So if we've got something, It's like the pentatonic. Pentatonic scales are probably the most versatile scales that there are. They work over almost anything. In the world of scales, we have the major scale and the minor scale. The full proper classical major and minor scales would be the standard scales that most musicians work with. Then that branches out into all of the seven modes. Then there's a myriad of other scales that we will have anywhere from six to eight notes. And the, those are great and you can get a lot of flavors with them. Sometimes you can't get with the pentatonics. However, the pentatonics, when I say they're the most versatile scales, they work over almost anything. So if you are new to soloing, then all you have to know are really just a couple of things. The major and minor pentatonic scale shapes have these guys memorized, be able to find them in different keys. So for example, we could do the a minor pentatonic, or you can do to be kicked up two frets be monitored. The C minor, D minor, pentatonic and intense, right? Or any key, any key that you need to play it. And same with the GI Bill to move the G major route. So you move these skills around into whatever key you need them to be. And then after that, in order to know if you're supposed to play the measure or the monitor that usually the first-quarter the song is going to tell you. So if the first-quarter of the song is a C chord, you're probably going to do C major pentatonic. If the first-quarter of a song is a D minor chord, it's probably gonna be the D minor. The first chord is, and you'll probably do the E major pentatonic because first-quarter is a G. The G major pentatonic. The first chord is B minor chord. You'll probably do the B minor pentatonic. So the chord is going to tell you, and it's not always the first chord. Sometimes there'll be a lead in court, but once, once this all gets into that groove of the chord, that's like, seems like the main chord that court will tell you the answer, whatever the name of that chord is going to be the answer. If, unless it's, if it's not a minor, that it's going to be the major in that key, the major pentatonic scale in that key. And if it's a minor chord, that is the minor pentatonic scale in that key of that chord. The easiest way to figure it out, and it works most of the time. So that is the, that is the basic breakdown of the pentatonics. We're going to jump in and start jamming. Then you can stop watching this and go right to jamming your pentatonics and having a lot of fun with it. I'm going to talk just a little bit more about some of the more advanced theory that we can use with pentatonics. Part of the reason that they are so versatile is because there are five nodes. That's what penta is. The, we said that the modes of the major scale, a minor scale on the modes, I'll have seven nodes. So what is really smart about how the pentatonics work is the, if you took all of the three major mode, the major scale and the two Lydian modes, the Lydian and the Mixolydian. They all have the same 13 and the five. If you play them all in the same key, the first, third, fifth would all be the same. And so with the two and the six, but the different notes, if you play those three all in the same key, that different nodes would be the four and the seven. And so what's interesting about the pentatonic is that there's no forth and no 7th. If we compare the, the pentatonic major scale to maybe the G-Major, the full G major scale. We would notice that there's no forth and there's no seventh, 123. We skip the 456. And then we skip the seventh right here and go raise to one. Again. One. I skipped 4567, raised to the one. That's actually also true if we compare it to the G Lydian and then the G Mixolydian. It skips the fourth and the seventh. Anyway, what that means is that the fourth and the seventh is what distinguishes the major scale from the Lydian Mixolydian. They're all unique from each other because of the fourth and the seventh, they're slightly different on all three of them. What the pentatonic major does is it just gets rid of those two variable intervals, the fourth and the seventh dot. Those are the two intervals that make the Ionian and the Lydian Mixolydian all unique. If you play them in the same key. There are all individual because the fourth and the seventh, they're gone in the pentatonic scale. So what that means is that anytime we might be dealing with the Ionian mode or a Lydian Mixolydian. We could just plug in a major pentatonic over any of them and it's going to fit with no conflict whatsoever. So if we were going to compare the major pentatonic to say the sum of the major modes in the key of G, the G major scale. So it works over the, I don't want to, yeah. And then if we wanted to see Lydian, but I'm just going to play the C pentatonic major. Then the D Mixolydian. But I'm just going to play the D pentatonic major. Right? No conflict whatsoever because the two notes that would have identified all three of those are gone. So the same shape works for all three. Okay? Now, it's also the same idea for the minor pentatonic scale. The three minor modes, or the Dorian, Phrygian and the aeolian, which is the minor scale, the proper minor scale, the Dorian, Phrygian and Aeolian mode. Number two, number three, and number six. So the first, third, fifth, of course, are the same. They're all miners. But they also share the same forth and the same seven. Basically flips, basically flips. The fourth and the seventh are all the same for the miners. What's different is the two and the six. The two and the six are the intervals of the minors that distinguish them. So, for example, if we play all of the minor modes, same key, maybe in the Q&A, we play the a Dorian, Phrygian, a Aeolian, a minor scale. We're going to notice that note and the sixth snowed are the only ones that seem to change. Everything else stays the same. So what the pentatonic minor does smartly is it dumps the two and the six. So the two and the six are gone. So now, what we've got left works perfectly over what could be the Dorian, Phrygian and the Aeolian modes. So again, if I was going to play those three modes relative to the key of G-Major, a, Dorian. But I'm just going to play the Panasonic monitor. Okay? And then the b Phrygian, what I'm just going to play the pentatonic minor. And then the e, Aeolian, the E minor scale. But I'm just going to play the Panasonic mater, right? No conflict whatsoever. We're using the exact same shape over all three of them and they fit perfectly. So that is one way you can think about how the pentatonics interact with the relative modes. The first six relative modes work with the logarithmic. That's fine. So if I was going to plug them in, just going major and minor pentatonics going in order. So the G major, a minor, E minor, C major, D major, E minor, C, what it sounds like. Alright, so instead of having to play different shapes of seven-note modes, I just played either a major or a minor pentatonic following the relative scale courts, the G minor, G minor, the C, the D, and monitor. That's pretty cool. Okay. Yeah, so pentatonic modes are grapes. There are a lot of fun. The I have 1.5 more points I want to make about the pentatonic scales. The relativeness of the pentatonics. They are relative. The same way that the major and the minor scale or relative. We've got a 3-node difference between them. So what I'm, what I mean by that is if we do the major pentatonic three frets higher and the moderate pentatonic three-fourths lower. They're going to have the same notes. So if we, for example, play the C major pentatonic on the eighth fret. So C major on aids, and I count back three frets. 123. I'm gonna do the minor on a pencil. Okay? So the a minor pentatonic and the C major pentatonic have the exact same notes, same five notes. They each have five different notes, but they're the exact same five notes because their relatives of each other now, I gave him that three Fred difference. So as long as we always keep a three-fold difference where we can have two relative shapes that we can start moving between these two shapes in the same key. So if we just stay with that for a minute, I'm in C major and a minor. I could be playing a song in C major, C major pentatonic. But I can also jump down by a minor shape. And I'm going to have the exact same notes as I hadn't. C major. I'm sliding back and forth between the two now. So the opposite of that will be true if I'm playing something a minor. Again, I can use the exact same two shapes monitor now, but they have the exact same notes. Okay? So that is the relative major, minor relationship that works with pentatonics, just like it works with a classical major and minor scale, the proper major and minor scale. It also works with the pentatonics as long as we keep the three Fred's distance. So if I'm in the key of D, appear on ten, the major. Three friends back, 123, lesbian, be on the same trip. I do the minor scale right there. So B minor pentatonic, D major pentatonic, same notes. But if I come to a major pentatonic, the front, if I go back through Fred's 123 on F-sharp minor. Nice. Okay. Like them to eat E major on the 12th fret, double-dot. You major. Go back three frets. 123, puts me on C-sharp, C-sharp monitor. They have the exact same notes. So I can always do that. Three friends Jump and I'll be playing relative pentatonics, just opens up the playing field of all the space that I could go on the fretboard to do my solo. So it gives me some opportunities to move the strings to do these big wide slides and sometimes bends and stuff like that. Just makes it a little bit more interesting. The last point, I want to make some people spend a lot of time trying to memorize the modes, pentatonic modes. You can turn any scale in, break them out into two modes. Modes basically means you take, however, notice that there are many nodes there are to scale. And for each node you create a new shape. So you could do this with any scale that exists. The most common one is the major scale. And that's how we get all of the, what we call the boats. Relative moves the church. All of the classical modes. And so that's why there are seven different modes. Because there are seven notes in the major scale. If you did that with a pentatonic scale, then you would have five different modes of the pentatonic. Because there were five different notes. But it doesn't work the exact same way on the pentatonic because the pentatonic is so spaced out, the notes are so spaced out, It's designed to be spaced out and we're missing, we've got big jumps because we remember, we talked about We cut out a bunch of these, a couple of these notes to make them more generic, generic and a good way, but there's still generic so that their cookie cutter and they fit over all these different kinds of sounds. So because of that, when you break the pentatonic scale into modes, we've got really two of them that work, the major and the minor. These are two of the five pentatonic modes. There are three others, which I'm telling you right now. I think it's a waste of your time to pursue them. I've seen students that we spent a lot of time working on them. And it just doesn't really get you anywhere because you can't route in another pentatonic mode. That's the reason that I'm saying this. Your time is better spent actually studying the real modes, the proper modes, learning how to run the entire fretboard. Because that gives you an opportunity to route your room, your keys wherever you want them. To have access to a usable shape. You don't have a usable shape when you're doing all of the pentatonic modes. So I would go as far as getting really good at these guys. I would start working on putting the pentatonic shapes over the relative scale cord rows. For example, G major, a minor, B minor, C major, D major, E minor. Or if you're in the key of C major, C major, D minor, E minor, F major, G major, a minor. The relative scale cornrows, the scale court roads. There's seven of them. But we can put pentatonics over the first six in any key. So that would be a great use of your time. Then also, just to play static pentatonic scales using the relative measure monitor the three fronts, the majors, the high one, well the bladder is the low one. And the three fronts apart. That is a great use of your time. And pentatonics, like I said, in a pinch, they are, they are so great. It's sometimes you don't have too many options. And so you go for the arpeggio, which is a smart move to make. You're not sure what to do with the arpeggio. Sometimes you want just a little bit more than the arpeggio. And the pentatonic can deliver just a little bit more than you're Piaggio can. So pentatonics are alive, fun. 10. Arpeggios - Basics (page 20 - 21): Let's talk today about arpeggios. Arpeggios are a solo one tool. That's mostly what we're going to use them for. You can think of an arpeggio as a little mini scale. The cool thing about them is that they're made from courts. So what I mean by that is, you can make an arpeggio out of any chord. If you took a chord and you broke it up one note at a time. And then we took all the notes, all the different nodes and we turned it into a little scale. You have an arpeggio. Let me give an example of what I mean. The G chord. Okay? So I've got all six strings on the G chord. But let's look at what the notes are. G, B, D, I have another G, Then I have another B, then I have another G. Okay, so we've got some redundancies there. So we wind up with only three different notes. We have a G and a, B and a D. So then we just repeat some of those notes again. That's actually true for every single major minor chord. Every major chord is like that and every minor chord is like that. The only have three different notes. They only have three different notes. And we'll wind up repeating some of those notes to fill out the cord. People always say this to me at the beginning of this lesson. Is that an arpeggio? Know, that's not an arpeggio, that is earache. You just raked a G chord. That's a rake that you're raking the leaves where you can break down to rake. So what we do when we make an arpeggio is there's a few different ways you can approach it. One way is you can look at the chord and name all the notes like we just did, and then find them in a position. When I say a position, somewhere within about four frets because we've got four fingers. So position is usually anything that spans about four frets. About four frets is a position. So we can look for all the G's, B's, and D's in four frets. So that's one way to do it. Another way to think about where arpeggios come from. I wrote that down at the bottom here. We've looked at intervals a little bit. We've talked about intervals. Highly recommend that you look at the interval video, read the intervals printouts, and really try to wrap your head around how that works, because that's a whole different way of thinking about understanding music theory and guitar theory. Very cool stuff there. Okay, so we have the R stands for root. So the root node. The root node tells us what key the arpeggios. The uppercase three. Uppercase M with the three, it means major third. And then the P5 means perfect fifth. So we have root major third and a perfect fifth to make a major arpeggio. Then we have, for the minor arpeggio, we have a root. Again. This time we have a lowercase, m, three, so it's a minor third and a perfect fifth. Again. So we have a root notes going to have a root node, minor third interval, and a perfect fifth interval between the major and the minor. This is really important, is that the major has major arpeggio has a major third interval. And the minor arpeggio has a minor third interval. Other than that, they're the same. They both have to have a remote, and they both have to have a perfect fifth. So if we were to play an arpeggio and the same key, for example, maybe a G major arpeggio, and then a G minor arpeggio. We can say two-thirds of it will be exactly the same. The only difference is going to be the third note. The third is in the third interval. So the major arpeggio will have a major third. Minor arpeggio will have a minor third that they're gonna have the exact same root notes and they're going to have the same fifth. So those are the components of major and minor or NGOs. Also, they are the components, of course. So the more you understand about arpeggios, the more you're going to understand about courts. The we said that arpeggios or a soloing tool. So this is the most important thing. We're learning arpeggios so that we can improve our improvisation. We want to solo better. So we have to know some arpeggios. There are tons of times in music and songs where one scale just doesn't cut it. We're going to run into problems over certain chords that don't fit with one single scale for the whole song. There could be many courts that don't fit over just one scale. So for example, if you're playing a song and let's say the songs in the key of G. So you've got to G chord and D chord, a C chord, and that's all great. And so you're playing the G major scale. And that's all great works perfectly. Until you run into something that doesn't fit like, I don't know, maybe there'll be an A7 chord or an a major chord, or maybe a B-flat chord. There's tons and tons, of course, that they could throw into that song to make it interesting. But that will really conflict with your G-major scale. And so when you could be trying to do a solo, and when that cord comes up in the music and you're soloing, it just sounds very bad. It sounds off what you're applying just doesn't match up at all. That is a perfect time to use an arpeggio. So any chord, any and every chord can be turned into an arpeggio. We just take the notes of the chord and we create our little mini scale. So that is a great way to approach. When these chord anomalies pop up. These things that don't fit the relative cord row structure. Things that are classically you would not find in this key if we've got seven cores that fit into a typical key, any key, and then you have a cord that doesn't fit into it, but it happens to be in the song anyway. That's a great time for an arpeggio. Usually more interesting music will have a lot more of these outliers or these chord anomalies. When I first started studying jazz, I had to really ramp up my arpeggio knowledge because in a lot of jazz music, in blues also, you will find a lot of these kind of outlier course that just don't fit into the classical structure of music theory. And the scale just doesn't work. You're playing, you're trying to solo. And when this pops up the music, your soul just goes real sour. It just doesn't sound right. And so what you would do in that circumstance is whatever that weird chord is that pops up. You play the arpeggio of that core. Use it to solo. Just like with the scales were not meant to play these forward and backwards just for to pass a test of some kind, we're doing it to solo. So you're going to learn this shape. And then after that, you're meant to solo with it, have fun with it, improvise with it and make it your own. Okay, so that's the functionality of an arpeggio. We're gonna get into that quite a bit more. Let's, let's start off by looking at the actual shapes. We're just doing two shapes today. Two shapes was doing a major shape and a minor shape. Here's the major shape and here's the minor shape. The root note on both of them is going to be the low E string. A lot of time on the guitar. Our first node to node. So this first circle note which if I circled something, it's gonna be a root node. So the first circle notes on the E string and it's a genome. So that's why it's key of G here. And the major one, the first circle here, that minor one in the queue, that is the fifth fret because five is three is G, E string, Control G. And then fifth fret, G, G sharp. So those are our notes. Let's take a quick look at the shapes. The major scale are the major arpeggio. We're going to read this one with our middle finger. I would recommend reading The major with the middle. Same way you would do if you're playing the major scale. If you're playing a lot of major things, you're going to a lot of times urea with the middle finger. So let's start off by reading with the middle finger. Okay. 32554337. Sounds familiar, right. Let's go again. You want to make sure you practice this forward and backwards. Because like I said, we're going to memorize this thing. You're going to use it to solo with. So if you're in a situation where you need to pull out the G major arpeggio, you want to just know the shape. You could be starting on a high string. So you want to be able to pull off something for the high or the low. Okay? And as always, these are shapes. There's no open strings. These positions. So when there's no open strings, that means they're movable shapes. That's why the root node, knowing where the root note is, that makes life a million times easier for us. So we just shift this up or down to change the key. Okay? So if I want to do a G-sharp major arpeggio, I just take this whole thing and I just shifted up one fret. Let me, let me, let me back up 1 second before I change keys. This guy, since we're coming all the way up to seven here on the high. A lot of times I will do a little shift when I'm doing the shape. So starting with the middle finger, three to five. Sometimes I will come to the next five of my ring finger. I'm in position. Easily, grab it like that. And I'm coming backwards. Finger, ring finger, all the way back with my index to finish it out. So there's going to be a shift that has to occur somewhere around here and you can find one that works best for you. Some people may like to just stay rooted in this position all the way until they get hit that seven. So you may just want to stay put and that's fine. Starting with the middle finger or your pinky. Okay, good. Now, if I shift the whole thing up one fret, so my middle is on the fourth fret. I'm just gonna do the same shape, just going to start it on the fourth fret instead for a G-sharp or an A-flat major arpeggio. Okay? G-sharp major. Going back to G major. Okay, Excellent, Excellent. Let me point out one other thing about I want these notes to be staccato, okay. I don't want them to ring into each other. I don't want the notes to bleed into each other. So you're gonna see opportunities when you're doing arpeggios to do things like this. Don't do it. Don't do it. Dance your fingers on the notes. Let them each get one node, and that node stops and you're on to the next node. Staccato, dun, dun, dun, dun. Okay. Each node is, you can hear it clearly individually. It doesn't bleed into the next one. Okay, Awesome. Moving on. My fifth fret. Kiva. Miners were reading with her index finger. That's pretty typical. Anytime we're doing a minor thing, usually we route with our middle finger. So 5877558 with the pinkie. So this whole position is what we call finger to a fret. We can keep everything finger to a fret. We don't have to shift anywhere for the minor, for this minor shapes. So that makes this one really easy to get. As always, we're playing forward and backwards. Great. And it's a minor because we're starting on the fifth fret, which is a. If I go up one fret on a sharp or B flat on the sixth fret. So let's do a B-flat minor arpeggio. Awesome. Let's go back to the a. Okay? So these are the two basic shapes. You want to get these completely ingrained in your brain. And these are gonna be your go-to shapes. Anytime you need to. Deal with an anomalous cord, some core that doesn't fit into chord progression in flux with your scale. You're going to go for the arpeggio. The arpeggio is going to work a 100% of the time. I mean, it's going to work a 100% of the time. It's not going to work or it's going to, oh yeah, that sort of fits in. 100% fit in is going to 100% work. The reason is that we're just playing the note. Cord that's being played behind it. So we're literally taking the core that's being played and we're breaking it up into a little miniature scale. That's what an arpeggio is. It's going to complete the work. These are, these are perfect little mini skills. So you don't have to just wait for the weird court pull these out. You could use these as a solo and device exclusively if you wanted to. You could just say, I want to, I want to play through the courts using arpeggios. And so when you're just playing over the chords, every time there's a core change, you're going to solo using it, you, of that chord. And that's basically how these work. And this is a great way for you to start thinking about the chord progression while you're soloing. This is something that I constantly do, even if I'm just on one single scale. Always thinking about the courts in my head. The chords are rolling through in my head as I'm solely because of my soul. I'm trying to play off of the background cord. If I'm playing by myself, I want my solo to reflect the sound of the course, so I'll be doing a solo. And hopefully what's going to come out is you're going to hear that chord changes. Hello. And arpeggios is a solid way to do that. Okay, let's take a look real quick at our exercise. This bottom little box right here. Okay, We've got G minor, G, a minor, B minor, C, D, and E minor is or courts. These are the first six relative course of the G major scale. G, and then a minor, B minor, C, D, and E minor. This is a great way to practice. Just going through your core is the major or minor arpeggios playing over courts and relative sense. Okay, So I wrote this out like measures. So what if we said we were gonna do eighth notes because we have four beats in each one. So what if we said we're gonna go 1234 tenths, right? And what what's rolling through our head, which should be rolling through her head, is the sound of the course. So we should be hearing, monitoring the monitoring C chord. Okay, Now all that's going on. We're going to be playing to us for every stroke, 1234 of each arpeggio. So like, well, we're going over the G chord. I'm gonna be over the G major arpeggio. The eighth notes are really convenient for this practice because we have 1234, right? So if we literally just play from bottom to top or from top to bottom, you're going to hit. Let's check out the a minor, 1234 and Sam deal. Perfect. So if we play the arpeggios from bottom to top or from top to bottom, is going to equal 88 eighth notes. It's going to work out perfectly okay. For the G. Let's try backwards. Okay. Great. Miners up next. I'm going to do this one from low to high. The miners up next. So I'm gonna go to the seventh fret because it's my B. And I have to plug in the minor shape because it's a minor chord. You do whatever the court tells you to do. If it's a B minor chord, you do a minor arpeggio. We just have to route it in the right place. So front, I'm gonna do the shape over b on the seventh fret. On awesome. C major is up next, It's a major chord. So I'm going to do the major arpeggio. Just have to route this guy right here in C, eighth fret, going from low to high. D major. A, nice. So this shape danger again, except in deep rooted on the tenth fret. Last chord is E minor minor. So I got to do minor, minor shape, written eat, it's going to be 12th fret. Okay? Now let's put that together. I'm going to go low to high and all of these just first-time through this. And whatever the court says, I'm going to plug in shape. It says minor a plug-in this guy. If it's major, that I'm plugging this guy, it's major, the G's major, the seas major, the d's major. 1234. C major, D major. Okay, alright, that's kinda cool. Now, let's try putting them in a little bit more melodic. So the way we're gonna do that is we're going to alternate direction. Okay? What I mean is if I started the g going from low to high, then I'm gonna do the a minor going from high to low. B is gonna be a little high. Here's a little high, and then the C is going to be high or low, the DOB low to high and the e mano be the opposite. Just keep doing the opposite of whatever direction you just did. A straight again, 1234. Major, major. Nice, nice. What's happening is I can actually hear these changes every time I do that. Alright. Now let's, let's free form it just a little bit. Okay? So we did these rhythmic things where we're doing eighth notes over the changes to kinda make sure that we're getting the core changes on the right beat. So that's a good thing. I always recommend you do that when you're working out in the new scale or do arpeggio work it out so you know, the changes sounds like they're on the beat. And also, you can try this with any chord progression you have. So if you've been working on some songs or if you go to a bunch of chord progressions, you can try arpeggios over all of them because they Scott chords in it, then it has arpeggios also. You, you're just learning that right now. So if an escorts also could have arpeggios, okay, so I'm gonna go to stay on the exercise. I'm gonna go again. And this time I'm not going to be adhering to the eighth notes or not. I'm just going to kind of free form it, but I'm going to get the changes. 1234. Alright, that's pretty cool. So we're starting to see how we can use it to solo. Adding some cool rhythmic components. Some rests, so long notes, some fast little bursts. Okay, alright, Very cool. I mentioned something else also about these visual that helps a lot of people memorize these shapes is that the bar courts, the basic bar course you're like, imagine your first mark words. Or if you're thinking from cage, they're based off of the E chord. It's this guy right here. So if I have this G major bar chord, okay? From low to high, if it's 355433. See this guy? So all of these notes are in my arpeggio. So this is a great reference point for how to memorize this one. The only thing that's missing from this chord and the arpeggio is the two right here on the a string and the high seven. So this two, so there's kinda like this back to, we have to keep in mind. And then there's this high seven. But everything else is inside this barcode right here. So it's an easy way for me to kind of keep track if I can picture that g bar chord. So I've got the G bar chord. That's the G bar chord. If I can remember, to this high seven. That's the whole thing. So remember the to the rest of the High seventh. That's it. That's the whole major arpeggio. Same deal over here. It's the minor. So school to egg. Okay, remember the bird. Okay, So I'm giving the bird. And so now I've got the minor, a minor bar chord, 57755, going from low to high. 577555. All of my arpeggio notes are in here, except for he ate, ate, ate, ate on the East dreams. So if I can remember to stick those guys in this pinky notes, I've got everything. I've got all the nodes of this awkward. I, so if I can remember, I'll see that bar chord. Let's just the bark board and then put the eighths and with it. Then that's an easy way for me to remember the arpeggios shapes. There is another way to think about how to use arpeggios. Some people refer to these as chord tones. So if you have a chord shape that you know you like to use and you break it up just one note at a time. Those are chord tones. There are also arpeggios, their little mini arpeggios, chord tones. So it's a great way to think about soloing, is instead of strumming a chord shape, just pick it out one at a time. Let the notes be individual. Don't let them bleed into each other unless you mean to, but make sure that you're able to do it staccato also. So this is a great way to solo and to keep the solo structures so that it feels like it's working with the harmony. Okay, now, last thing I want to talk about, the Rumba. Rumba is a cool little Latin progression. I love to use it for many things, just to play it. But it's great to practice techniques over. Okay, So here's the deal. We've got on the Rumba. We have every chord is doubled, so two measures for every chord. You monitor twice a month or twice D twice, G twice, c twice, and then B7 twice. D7. How do I do an arpeggio? B7? Just do a, b, just do it be major. That's the beauty of arpeggios, is that we're going to talk about how to do extended arpeggios a little bit later on. But if you see an arpeggio with a seven, maybe a minor seven or seven, or major seven or nine or any kind of extension edit to it. You can if you can figure out if it's major or minor, most of the time, that'll work fine. So the B7 is a major chord, so we're just gonna do a major arpeggio over it. If you saw something like a minor seven, a minor seven chord, just doing a minor arpeggio. What if you saw like a G major seven is in G, capital M seven. G major seven. Jazz chord. Just do a G major arpeggio. You can kinda skip the extension is to the base, the fundamental piece of the query, which is going to be either major or minor. Okay, let's jump in. So on this one, I'm going to do the shapes first time through. It's going from low to high. Okay? So we've got to go through the course, just kinda get them in our heads. So 12333333342. Okay, good, good, good, good. So let's try it again. And this time I'm going to kick it up to eighth notes. I was kinda matching the stroke right there. Alright, so we're going to kick it up to eighth notes. 1234, M's somebody go. 1234 ends on E minor and then again 1234 and on E minor. Do that for every quarter. 234, D, G, C. Good, good, good, good, good. Okay. Now let's free form it just a little bit. Okay. All I have to do is let the courts keep running through my head and I just need to do the changes on the beat. Every time I'm looking for these bass notes, right? Every time there's a color change, I'm looking for the base notes. And sometimes when people are looking at a chord progression, they like to say ok, So quickly I may get this E here. I've got a here, I've got here, I've got my G here, and I see here, I've got my B here. So let me just kinda get that in my head. Okay, I'm ready to go. So that's a good idea. Okay, so let's go again. And let's just try to see if we can hear the rumble cords through the arpeggios. 1234. Can you hear can you hear the changes? There were no scales in that. That was just arpeggios, a 100%, just major and minor arpeggios. When I'm doing that, I can start to hear all of the core changes. This is something that you should be doing over all of your songs. Any of your songs, if it has a cord, then it can be turned into an arpeggio. And this is a whole new frontier of solving possibilities for you. So if you ever felt like when you're playing scales, they just don't like they're bringing it together. This could be the missing component for you. By the way, let me talk about that for one minute before we finish. The arpeggio notes are in your scales. The arpeggio notes or in your modes. So if you're playing the major scale, these are, you've got seven different notes in your major scale. So these three nodes, or three of your seven major scale knows all of the major arpeggio is in your major scale. Of your seven modes, you've got three major modes and three minor modes. One is half-diminished. The three major modes, the major scale, ionian, and then the two Lydians, the Lydian and the Mixolydian. The major arpeggio is in all three of them. It's in there. Okay? We have the three minor modes that the Dorian and the Phrygian. And then you have the aeolian, which is the minor scale. The minor arpeggios are in all three of those modes. That's also true for skills outside of the typical modes. Harmonic, melodic minors, including the pentatonics, the typical pentatonic scales, even exotic pentatonic scales. The arpeggios are going to be in there because the arpeggio ties the whole thing together. So arpeggios, you want to start figuring out how to bring them out, okay? So bringing them out and showcasing them and you're applying and going through the courts. This is a kind of a mental thing that's a little tricky in the beginning is to be running through the course in your head. But I want you to start doing it from now on in your playing. A way to try to be conscious of the courts while you're soloing. What chord with the rhythm guitar player be playing right now while I'm soloing. So I'm soloing. What chord is the rhythm guitar player play? You should always know the answer to that. Because what you're playing should reflect what he's doing. You guys are working together. So go through any of your core charts and start arpeggiating all of these courts. It's going to open up a whole new world for you. Also is going to start unlocking some very cool sounds from the modes and all of your scales. They're going to start making a lot more sense and your solos are gonna be all more cohesive from now on. So I think that about covers basic or visual lesson. 11. Relative Major & Minor Scales (page 22): Let's talk about the relative major and minor scales. So this is a really great way to use two simple shapes to play most songs. We're going to be improvising using these scales. That is one of the funnest things about playing the guitar is taking a solo and just seeing where you can go with the song. So we've got two shapes. We've got the major scale is this guy over here. And we've got that in the key of C. And I've got my root node circled. So the eighth fret on the low E string is C major scale in the key of C. Over here we've got the minor scale in the key of a, and I've got my root node circled is the fifth fret, which is a basic route positions. And we'll talk a little bit about why their relative. A first, let's take a look at them and see how to plan. And I know that we talk a lot about doing stuff in the key of G. So I'll tell you here in a little bit why we're deviating from the QG. You're actually going to be able to play both of these in any key one too. But I really wanted to show you the key of C major and a minor and explain why. One minute. Okay, So I want to use finger to a fret on the a major scale. This is really important. I think, that we use finger to a friend because you're gonna be able to memorize the scale faster. You're going to use muscle memory. Figure to a front means. If we just scan it real quick, we have 81078107891079108107810. We're going between the seventh and the 10th fret for the whole thing. So I've got the seventh fret here, eighth fret here, knife right here, and tough right here. So I've got four fingers and I'm spanning four frets. So finger to a friend basically means each finger gets it. It gets assigned its own fret. So anything on the seventh fret I'm gonna do with my index finger. Anything on the eighth is my middle. The ninth Friday is my ring finger. And anything on the 10th fret of a play with my pinky. Anything with the major scale? You want to route it with your middle finger. Okay, so start out that eighth, the very first node, routing it with your middle finger on dates. Then we're just gonna go after that and play through the whole thing. So let's see how it sounds real quick. Okay, good luck to stop it on the eighth fret of high because it's the CNO again. Okay, let's do that again a little faster. Let's play it backwards. Awesome, Awesome. Okay, So that's the C major scale. And I'm using finger to Fred, so anything on the seventh is pointer. The middle finger, the ninth is the ring finger. The pinky is getting everything on the 10th fret. Really try to focus on finger to a friend. Guitar students really fight this idea. Although guitar students that fight the idea of fingers, you a friend, they have a hard time memorizing it and they screw it up. What happens is your pinky is finger minus two. Everyone's picky is the weakest finger. Every guitar player there, Pinky's their weakest finger. But you get used to using it. It gets a little bit more strength. You learn how to grip it between your thumb. You're using your thumb to help you get leverage on your pinky. And it gives you the speed, and it also gives you the muscle memory, meaning that you get used to the shapes, helps you to memorize it faster. So if you think you're going to stretch, if you are going to be the one person that is not going to have a problem with never using your pinky maybe. But my advice is to use fear to a friend. I've seen. See it hundreds of times where people don't want to use it. And they run into problems for now using their pinky. Use finger to a friend. When I'm picking it. Using alternate picking. Alternative picking is something I use all the time. It just means like going down, then up, down, up, down and up and down and up. And I just follow that blindly. I just go down, up, down, up, down, up, down, up. When I'm changing to the next string, either going up or going back. Sometimes it starts with a down and sometimes it starts with an up. It doesn't matter. Do whatever is the next thing to do. I'm just going down, up, down, up, down, up, down, up. And that gives me more speed with my picking. Because if I just pick everything down, I can only go so fast and I'm wasting energy if I go to town. The end of the world. But what's happening is I'm going down and I have come back up anyway to go down on the next one. And I have to wasting this up opportunity. So when I go down, I can go. It just gives me the ability to go really fast. And I'm not actually any more energy than I was before. I'm just using up energy that I was wasting. Okay, So that is the C major scale. Pretty simple. Firstnode is my root node is the eighth fret is the C note. So the whole point of the major scale and the minor scale is to improvise, to play around with it. So that's something that I want you to do when you're playing a song that's in a major key. You can see that the first chord is a C chord, for example. Then the C major scale is going to be the thing you're going to use to play around with it, to solo, to improvise. So in the beginning when you're playing around with it, it may not sound like much, but you keep going with it. Just keep going with it. Keep mixing up the notes, trying different things. A lot of times at the beginning is just gonna be about getting your speedup. Because you're going to get some nodes. Then you may get to the point where you start shipping and jumping. Skipping and jumping like that. All melodies are made up with this concept. It's stepping and skipping. Steps, skipped steps, skipped, stepping and skipping. And so when you go in a stepwise motion, you're just going one note at a time through the scale. Okay, so that's all stepping. I'm just stepping from one note in the scale to the next, either up or back. But I'm just going from one node to the next, stepping through the scale. What I skip, I'm still just playing notes from the scale, but I'm jumping over one to get to the next one. So let's skip. If I say skip the second node, third node, skip and jump right to the next one. Skip the next one. Skip. Those are all skips because I skipped notes in between. So a good style of improvising is where you're using a combination of stepping and skipping. You don't want to step constantly and you don't want to skip constantly, you want to mix them up. You want to do a little bit of step. Skip, step, Skip, skip, step, step, step. We'll skip, skip, skip, skip. Just mix it up, mix it up. Look for some things that sound good to you. But you're trying to create ability. You're trying to make something that sounds cool. So when you're playing around improvising, the basic idea that you want to stick to is only the notes from the scale. You can not play any other notes. If you're playing a C major scale, only these notes, notes right here of the C major scale. That's it. And just try to put them together in a way that sounds good. You have to keep trying out different things. Obviously, I'm gonna give you more than that. Give you much more than that. But keep it within the scale and keep trying to find different melodies. There is no buddy. If you want to truly improvise, no one can tell you play this and that'll sound good because you won't be improvising, then you'd be playing with someone told you to do, or you'd be reading some music that somebody else wrote and you'd just be like an orchestra musician. Musician, you've been doing something that play this. That's not improvising. Improvising means you're making it up. You're coming up with it. This is just the set of rules that you have to work with within the set of rules and guidelines. You have to make it and make it sound cool. That's why music theory is called Music Theory. It's not called Music fact. Music theory because these are some ideas that people have experimented with and try it out. And they seem to work for some people. And some people heard what they did and they said they liked it. And maybe some people remember they did and they said, yeah, it's not my cup of tea. So it's not music. Fact, he's a fact would be like this is the definitive, perfect way to put a melody together. And everyone who would say yes, a 100% of all the people agree, that is okay. Well, there wouldn't be that many songs being recorded if that was the case. So music theory, which means that you have to put yourself into it. Okay? So if we're playing something that key of C major, the first giveaway, if you're a C major, is, is gonna be a C chord, okay? So there's some music and the C corps, the first-quarter, the C chord keeps popping up a whole lot. That's a good opportunity for you to play with your C major scale. As the C major scale. If it's not in the key of C, it could be in the key of anything. It could be g, g all the time. So this is just a shape, eight times 78 times seven times 7910. This is a shape. You're going to memorize the shape and you're going to move it anywhere the key is. So for example, if we're in the key of G major, chord is G. First chord is G, or G chord pops up, all lie. Then you're gonna be in the key of G major. So you're just going to take this same shape. And why that guy down, your firstNode will just be on the genome, your middle finger node, which was our eight before we went to a ten, we would just go 353523524. It's the exact same fingering, the exact same shape as the C major scale. We just shifted down here to the third fret to be in the key of G, G major, G major scale. So you could be in any key, could be an indicator of your own. See up here on eight. But we need to be in the D major scale, so it goes C, C-sharp. D is played up here starting at ten exact same shapes, the D major scale does go. So you can do this in all 12 keys, is the exact same shape. Whatever the chord is, a major chord, that's how you know, you're going to be that key. So good thing to do is to listen to the song while you're listening to the song. Sort of playing around with the scale. In the D example, if the song, the song is playing and you say to the song, and you're just playing around with the nodes of the D major scale. Okay, good. So that's the major scale. Now, let's go take a look at our minor scale. Okay, we've got this one, the key a day. This one we're going to route with her index finger. We're going to start the minor scale with index finger. So it starts on five, which is a pointer finger. I have 7878 extreme 57, extra four or 57. Next string, 568, extreme 578. To finish it with that high, high anos. Okay, let's, let's do it again. Let's do it backwards. So one of the things about this one is we do have a little shift. We're trying to keep it finger to fret, just like the major scale. Like pointer on five. Anything on six is the middle, seven is the ring finger. And all the eights or the pinky needs the pinky. Seven days. The piggy seven is the ring finger. We're keeping it like that. When we come to the G string right here, we've got this for four or 57. So here's what we're gonna do. Five, which is going to shift back to their pointer finger to four. So when I shifted, I'm still keeping a finger to a friend. It's just that figure to your friend just shifted back one. So four or 577 with the pinky this time. Then I, next one is five-sixths eight on the B string. So I'll just shifting back up when Fred. So always keeping finger to a friend, I'm just shifting it what I need to want to go to the B string and shift back up five. I'll do that backwards. The same deal, just shifts. Watch this. Now we're on the G string. Shift, the whole thing bag. And when he hit the server with the pinky and the G string, I'm just going to shift back up. So I'm back here on five. So get that again. Shift, shift, shift it the seventh fret G string with picky Shift. D string, seventh for the ring shift, shift, shift, shift. Okay, great. So that's the a minor scale. And it's here on the fifth fret. Same as with the C major scale. Actually, most of the stuff I said over the C major scale also applies to the minor scale. I'm picking it using alternate picking. Down, up, down, up, down, up, down, up, down, up to give me the speed. When I'm picking it. You may notice once I have some anchored over here on my bridge, I have just the the bowl of my wrists over my pegs are some here on my bridge, somewhere over here of a bridge. So I'm just using little muscles to do this. Just little Roombas to pick that and use alternate picking. Also, I, when I'm improvising, I'm only using the notes from the scale. Okay? So no other nodes, only notes from the scale. The a minor scale. So the minor chord, a minor chord is going to be the giveaway on this one as far as if there's a song and a minor is the first chord or a minor pops up. Most frequently. It's probably gonna be the a minor scale. The most popular key in all music is the major scale. You're going to be playing in the major scale, in the key of something that's the most common key, that are the most common scale you're going to come across ever. And that's in every genre, every culture in the world, the major scale is the most common key, the most common scale. And the second most popular is the minor scale. There are a lot of scales and modes that are major ish, and there's a lot that are minor ish. Ish because what's major and what's minor has to do with intervals and the makeup of each of the notes. So there could be a lot of skills that have major qualities to them. But there's only one, the major scale. And this is a guy. There's all, there's scales that have a monitor quality to them also. But there's only one, the minor scale. This is it. This is the minor scale. So it says play the minor scale. You don't need to ask them which one. This is the one. This is the minor scale. And this is the major scale. There's only one of each. Okay? So the reason I'm saying this is because chances are, if you have a major chord, it's probably going to be the major scale. Not always, but probably if you have a minor chord as the main core of a song, it's probably gonna be the minor scale. Not always, but probably. That will be the first thing I would try out. If I was jumping into to play a song with some people or listening to a song. And I'm trying to figure out how it goes. And I know that it's a, whatever, a minor chord. First thing I'm going to try is the minor scale before anything else, it's probably going to work. And if not that I kinda do my process of elimination. But I always want to start with the minor scale for minor chords. Major scale from major ports. Okay, so let's talk about, well, let's, let's hear how it sounds real quick before we move on minor scale. I want to use my okay. So stepping, going to order the scale, if I'm skipping, skipping over, knows. It's always a combination of stepping and skipping one plane. All right, sounds good. That's the a minor scale. Okay, Now let's talk about the relative. What makes these relative of each other their relative of each other because of the keys that I put them in here on the whiteboard. So down below, I wrote three frets. There's three frets difference between the eighth fret of the a C major scale root node and the fifth fret of the a minor scale and root node. So the roots are 58. There's a three-fold difference between 585. Show you how to count that on five. I go to 38. Or if I'm on a time on a I go 33 frets. Refreshed difference. Okay? So when we have a three Fred difference, and the minor scale is the lower one and the major skills the higher one. Now we have a relative relationship. What does that even mean? It means something very cool. It means that when the three friends apart, the majors, the high one, the miners, the low 13 friends lower, that they have the exact same notes. It means that they have the exact same notes. Exactly a 100% the same knows. There is no difference in the notes between all the stuff that's on the whiteboard. So what that means is that we can start combining these two shapes. The shapes are totally different. But as long as I keep them three frets apart, you know, major scale and C is on 83 frets below it is the a minor scale on five. As long as there are three friends apart, then I can play the minor scale and a, and the a major scale in C. And I can run between the two of them because they have the exact same notes. The notes will be in different places obviously because the shapes are different and I'm in a different place on the front board, but the notes are exactly the same. So let's look at that for a minute. If I go to the C major scale. Now I'm going to go the a minor scale. Alright? Now let me try it. I'm going to shift between the two of them. They start blending together exactly the same notes. So if I go C major, if I just jump to my a minor, but I'm gonna grab my first see know that I can find it and just pick it from there. Thank you. Over here. The C major scale, they're going to do the same thing and the CMA to look for the first day I can find in the C major scale right here. So I'm just going to pick it from here, which is the same as exact same dose. They're just in different places. So what that means is that now I can start using these two shapes. I can certainly do it in between them. So what that means is that if I'm playing in either of these keys, I could be playing in the key of C major or in the key of a minor. And I can go back and forth to spend range of where I want to solo. Okay? So let's say we're doing is something in the C major scale, c major key. The song. It's got a C chord. So I may want to start out in my C major scale. Now I'm going to shift down into my a minor shape. Shape, slip back into my C major shift. Okay? Now, what if I'm playing a song in a minor? Chord is the main course. Great. So obviously I'm going to stroke my skin. I C major shape. So going back and forth between my C major shape and my a minor shape. And it works perfectly because I'm using the same notes. It's just now that I can, I can extend on every string going forward and backwards, I've got a much larger range. Matter of fact, I've got what winds up being about half an octave range. So just by using these two shapes, I can go about half an octave. Doesn't go in-between the fourth fret at the 10th fret. So I've got, I have quite a bit of distance that I can cover on the fretboard here. This is something that I can always use, always use. All I need to do is remember, I want to obviously know the two shapes. I want to know the shape of the major scale, in the shape of the minor scale, I just need to remember the three fret rule. Three frets. This is what makes them relative. This is what that word is all about. That three frets, majors, the higher one, higher and higher pitch. And the miners, the loan one has a lower pitch. Laws. We keep that distance. We're going to have a relative relationship between them. Is that redundantly, redundant? Relative relationship? Maybe. But you get the idea, you get the idea. So down here, I put a couple of different keys so you can start seeing how the keys work together. So number one, That's what we've been talking about for awhile. The C corps of the a minor chord. I can use the C major scale and the a minor scale. Number two though, D chord and be monitored cord. Okay? So what's going on here is that we're in the key of D major or B minor. So I've got D here on ten. And then three friends back on and three, I've got beat. Showed you be mine wrong. So if the chords are going to be louder, I've got my motor skills. Seven on the B minor scale. Much of the ten bagger it would be motor skill. Hopes of ten major. They have exactly the same notes, D major, it'd be monitored. Or ten friends. Okay, good. Number three, the a chord and the F sharp minor chord. And by the way, this is a songwriter's formula. There's a lot, lot, lot of famous, excellent songwriters that use this formula for a lot of their songs. It's the major minor relationship. So for example, you could have a song where the lot of times the verse will be in the liner. And then the course, the hook of the chorus would be in a major. So on number three, that would mean that we'd have averse and F-sharp minor. And then when we get to the chorus, they're going to pull it up to a major. Back to the verse. Number three, we've got a major and the F-sharp minor. So the a major scale is on five majors, on 5123. F sharp minor is on 2x3 matrix back. Another scale. To have the exact same notes, they're completely interchangeable. Since they have the exact same notes. I don't know if this is coming across, but I can move between the two of them. Were talking about. Number three. This is true for all of these. If I'm on the a chord, a chord is being played. I can do the a major scale or the F-sharp minor scale. I can play the F sharp minor scale over the a chord because it has the same notes as the scale. So I can, there'll be in a different place. So I just need to find out where they are once I kind of Here it or I know where they are and I'm good to go. So I don't need to keep on shifting back and forth. I can kinda hang out on one. And then when I'm ready for a new shaver, I just kinda get bored. I want to move then I move. Well, you don't have to move. It's kinda like move when you want to move when you're ready. It's just another shape to play with, really. Okay. Number four, G and E minor. So we do a lot of GI work because she is a hugely popular key on the guitar. The reason we didn't start with the key of G in this lesson. We're going to get to right now. We have G, so we have sine key of G and G on the third fret. Three friends back K and G. So it's open. Three friends bag is open. So I didn't want you to have to worry about learning a new shape in the open position. Any scale can be played open. Sometimes we have a little modification we need to make to the shape. And I really wanted you to focus on just these two shapes. These are both closed shapes. They're both closed meeting. There's no open strings and you can move them anywhere. When you work on open skill shapes and open chords. They're one-shot deal that you can't move them anywhere. Like you'll learn how to play the E minor open scale that you monitor scale open. And we could work on that, but that would only work for the key of E minor. It wouldn't work for anything else because it's, you can move in an open string is just open. But what we can do is, of course we've got this. We've kind of go open. If we go back three friends, it's E though, it's E. So we've got the G major scale here on three. Sounds really good. And we have E on the double-dot, way up here, 12th fret. Okay? So we can go. So this is pretty high up. And even if you don't have a cutaway on your guitar, that's fine. You can still reach this. This would be about the furthest you'd be able to go comfortably. You can go 12131415. So your pinky is going to be here on the 15th fret. This is about as high the 15th fret as you can comfortably go on any normal acoustic guitar. If you have an electric, you may be able to go up to the 24th front comfortably. So yay for you. That's great. Okay. So we can jump back and forth on this one. If you're in the key of G, you could put a G major done up here. Then if you want to get an alternate position, you can jump up here for the E minor scale. So let's see if we're going country fill in that one. Okay. So that is how to use it. Relative major and minor scales. There's a ton of possibilities going on here. The good news is that if you ever decide you want to start learning modes, well, you just learned two of them. You just learned two of the modes. Like I said, these are the two most popular, most common scales in the musical world. So that is a huge, huge step you take and you want to definitely familiarize yourself with these, get really comfortable with them, and then start playing with them immediately. On day one or day two of you having learned the shapes to start improvising with it. Don't wait. Start right away improvising with it, trying to make some cool melodies. So hope you have fun. 12. Barre Chords (page 23 - 26): Let's talk about bar chords. We've talked before about open courts. As opposed to bar chords. Open courts have at least one open string somewhere in the chord that we're playing. Bar chords have none, no open strings, we're pressing on everything. So let's talk about all the different barcodes we can do. By the way, bar, BA RRE, bar chords, BA RRE. That's how you spell it. Okay? So we've got a couple of things going on now. We're starting to see a cumulative effect with what we've already talked about. Let's first look at the basic shapes. What I'm doing is I'm giving you two sets of shapes. Okay? I'm giving you a set of shapes for bar chords, a major chord, a minor chord. And we're routing on the E string, okay? Anytime I circled something, it's going to be root node. The root node will tell you it's in the key of whatever the key is that you're in. This is a G chord because the root node, this is a C chord because the root nodes as see, this is a B flat chord because the root nodes a, B flat to E chord because the root notes and eat the root node, whatever the root node is and where the root node is. It's important to know because it tells you that this is a whatever chord, what the key of the chord is. We have to know where the root node is. In the case of the chords we're talking about today, the root node is going to be the lowest note in the chord. That's going to be true a lot of the time actually, usually the root node will be the lowest node. The root node is a concept. The root node is a concept that extends to almost everything. In guitar theory. We could be talking about chords or scales or arpeggios, dissecting a song, the root node is going to pop up in all of those frequently. So we have to understand the root node. The root node tells you that whatever you're doing, the chord scale arpeggio, whatever the thing is you're doing. It's in this key, because that's the root node. The root node is in the key of whatever. We'll get into that more. Okay, so I'm giving you a set of chords rooted on the E string, a major and a minor chord rooted on the E string. And the different major and minor chord this time write it on the a string. So here I'm circling that lowest note which is on the a string. This is redundancy, which means that we can pretty much do anything we need to do with these first set of chords here, just this stuff, read it on the E string. But you're going to not have as many options as I want you to have. So I want you to have a lot of options when you're looking for a chord, you can go here or you can go here. So that's why I'm giving you two sets, a set route on the E string, set rooted on the a string. Say it one more time. If I ever circle something, It's going to be the root node. That's all a circle is. The root node. Will see if I can keep that rule. But generally, if a circle, That's because it's the root node. Okay? So here we're pressing on all six strings. How are we gonna do that with only four fingers? All right, Starting from the low E string, 355433. That's for R G major chord, 355433. Alright, so the lowest thing is the 3s. Here's what we do. Index finger. We're going to go ahead and press on strings and the third fret, all six strings. When we were doing open chords before, I was telling you to claw out your fingers. What? We're borrowing whatever or bar finger is a pointer in this case, you can do the opposite. You want to keep that sucker flat, as flat as you can. We don't want to know those puffing up because if you do have your knuckle pumping up, you're going to create a little hole. And there won't be any pressure on that string wherever the whole isn't your finger. So keep it flat. Guess we're pressing on all six strings. So they're all wringing out. Good. I'm just making this really tight grip with my thumb. I'm using my thumb a lot to help me make this tight grip with my pointer finger. Okay. So we've got all the threes covered. Now I just needed to get a string in a string, 554. Okay, so I got all the three is here. So I'm going to go 55 with these fingers. Middle finger goes on the floor. 355433. That's a G major chord. Okay, easy enough. In the beginning, this may sound horrible when you try to do it. It may sound like this. It takes a day or two to get the pressure good with this finger. And also you're pressing on the strings in parts of your finger that you're not used to use calluses, maybe they'll tip on your fingertip but you don't have them down here. Okay. You'll get used to it comes quick. Just keep the pressure down your fingers and position. And you don't have to press two. I because I'm not trying to wear myself out. I get in position, but I'm not pressing. So I'm in position right now though not oppressing. I'm just touching when I'm ready to strum. Press. Good. So this is a major chord shape, okay? My lowest note here, the g. So that's my root node. So that's how I know this is a G chord. Alright? Let's take a look at the G minor. Starting on the low, E is 355333. The difference between the G minor and then Zhe, It's right here on the G string. Okay? Major chord had the, for, the minor chord has the three. Everything else is the same though. It's just a one string, the G string. So all we're doing is, here's my G major chord. And to make that G minor chord, middle finger comes off. My middle finger comes off. I'm not touching anything with my middle finger. What that means is that on the G string, when I take off my middle finger, now it's my index finger that's responsible for pressing on that note. So before the G major was I don't want to take off. My middle finger is going to be you hear the difference? G major. G minor. Okay. So when I take off my middle finger, I have to get the G string. It's another thing I have to get with this finger. It's already there. I just have to make sure that pressures on it. Okay. So middle finger down is a major chord. Middle finger up, like I've given you, the bird is a minor. Okay? They're both in the key of G because my retina was the same for both of them. It's a GTO right here. Okay, let's explore that for one minute. Before we move on. Up top, I gave you the chromatic scale again. We talked about it before. I told you to do the exercise where you memorize the chromatic scale. But then you're going to randomly pick a note. You're going to find it on every string. Hopefully you've been doing that. We're going to start using that right now. So bar chords are, some people call them movable chords. So a bar chord can be moved. So it's movable, movable chord. If this is a G chord, it is, is a G chord because my root node is this gene of that right here. This. How do we know that? By the way? Well, chromatic scale. Remember the exercise we said it's the low E string, right? So I count on E, F, F sharp, G. So I'm sure that's how I know it's a G note. So I want to make the shapes here off of that node and that same fred, it's gotta be a G chord. And a G chord if I do a minor with my middle finger off or down. So if that's true, if I go up a fret, slide that whole shape up one fret. So now this would be a G-sharp chord. One fret. So that puts me on a G-sharp chord. From G to G sharp, slanting up with Fred. Now how about if I want to go G-sharp minor? I just gave you the bird right? Bill. Fear comes off as a G-sharp minor. G. G monitor. Where G-sharp. G-sharp minor. Where are you open other Fred. I just went around the world. I went from G-sharp, bam back to a by going up one fret, go up another Fred. It's an a sharp corner. And other friends, a, B chord is C. Do the bird, middle finger off. C minor. Good. Okay, start to make sense. These are movable chords. If you learn one shape of a bar chord and you understand the chromatic. Scale. Then you can play coordinate all 12 keys. That's very cool. Starts opening up a ton of options for you. Okay? And by the way, we didn't talk about this as much before. But on your chromatic scale up here, I've added in the flats. So we said the sharp sign is the hashtag or the number sign. So a sharp, it's the same node as a B-flat. It's the exact same note. Sometimes we call it an a sharp and sometimes you call it a B-flat. A sharp is one higher than a. B flat is one lower than be in the exact same thing. So like, here's an a node and two friends up. This one node in-between. It's either an a sharp because it's one higher than a, or it's a B flat because it's one lower than V. So the little lowercase b means flat. So a lowercase b next to note means it's flat. Some people always just like to thank B-flat. Okay, that's the same as an A-Sharp? Yes. It is. D-flat is the same as the C-sharp? Yes, it is. So you can think of it that way. That's fine. They're the exact same node. Exact same node. Okay. Let's go back to our G bar chord. Let's go backwards. Okay, so I'm on G. We go back for it. So it was on G. I went back to Fred. So now I'm going to be on the F sharp, which is the same as a G-flat. By the way, I was on G back one, so this is a G-flat, F-sharp. You could call this an F-sharp cord. Also a G-flat chord. People sometimes confuse sharps and flats with major and minor. Those are two different things. Sharps and flats. Or where, where is the thing here? Where is it? Here's a sharp, Was it flat or where is it? That's a key thing. That's, uh, where is that thing? Major minor is a what kind of thing is it? It's not about where it is. Major-minor is what kind is it? What type is it? Best way to get that concept is, we were on G bag of bread, okay? Now Ron, let's call it G flat, because one behind g. So this is a G flat chord. Now I'm gonna give you the bird Madou, middle finger off. That's gonna make it G-flat minor. G flat because of where it is. It's minor because I have my middle finger off. Okay. Let's go back to G. Let's go to G-sharp. G-sharp. Middle finger off. G-sharp minor. Good. Alright, moving on. Let's take a look at the court's read it on the a string. Now, I didn't write xs in. So I'm assuming you're noticing there's nothing on the low E string. There's nothing on the high E string. So we're not playing those strings do not strong either of the E strings when we're doing these, Our courts. This is redundancy, which means that with just this first set we just talked about a week. Could, you could play me any major chord I asked you for? And you can also play me any minor chord I asked you for without having to play, even in open court, not even counting the words you know, you could play. I could ask you for plumbing. E-flat major chord. You say count up to above, up, up, up, up above. Here is an E-flat, so good. And then here's a E-flat minor. Good. Okay, How about a C Corp? A C chord. How about an a minor chord? Minor. How about an F? Or about F-minor? Bird? Any key? You can play me a major or minor. So that is 24 chords that you just learned. Well. Good job. I want to kick it up to 48. Double it. Because that E-flat chord that you found me write up here as a way of we can do it, but it's way up and it's kind of tricky. So I want to see if there's an easier way to do it. Okay? So we're not playing an E strings at all. Starting on the a string. 3555, that's for my C major chord. These are completely different shapes. These are rooted on the a string. These guys are rude on the E string. These guys are rude on the a string, so these are completely different shapes. So I'm starting on a string, 3555. All right, here's what we're gonna do it. Three on the a string, 123. Now the 555. This is crazy, but I'm going to play them all with one finger. I'm going to use my ring finger. Okay. So I'm just going to mash down my ring finger five-by-five and try to get it right behind the fret. Get my ring finger up on the fret, on all three of those strings. I'm kinda, you know, mashing this, the knuckle and right here so I can get them all. I really don't want that knuckle popped out at all. Hawaiian inverted pop down like that so I can press on all three of them. No one said Burke words, we're comfortable. They get to a point where they feel pretty good. But at the beginning, they're a little crazy, but they sound awesome. Okay, So that's a C chord, a C major, 3555. We're not, don't want to hit the high E. Don't want it Loewy. Do not want either of the E string. We're just the middle four. That's it. Good. Okay. Now to make this C minor, it's just a OneNote switch, kinda like before, but it's a different shapes and different shapes. So we have 23554 this time. Alright. And he's all four fingers on this one. Starting on the a string is 354 goes here, and the B string using all four fingers. And yes, this shape looks a whole lot like our very first shape. It's just down the string. Think of it as a different thing. It's a whole different shape. Okay, read on the a string 355 for C minor. So 3555 was major. 3554 is minor. Now, all of the same chromatic scale stuff that we talked about before applies to these two shapes, this set rooted on the a string. So if this is a C chord, and I go back one fret bone on 1 second for it to, for, for, for that one fret from C is a, B. So B back and other friends of B-flat, which is the same as an a sharp. If I go back up to my seat, I go to my C minor shape. Slide that up. A fret. One higher than C is C sharp. C sharp minor in the minor shape. Another Fred, It's a D because my root node now is D minor. D minor root node is on the fifth fret, which is a D minor shape, which is the shape. So there's a D minor, F minor. I stay here on this F for a minute. I'm on the eighth fret. If I stay here on this F, I'm just going to switch it to that major shape, which is the two-finger one. Just a place holder for sure. Attempt for it now, making a G chord. Switch it to the minor shape. Okay, very good, making really good progress. I wanted to take the exercise where I said, they can know from the chromatic scale and find it out. String. We can kind of combine that with a bar chord practicing. So if you said, it can note on the chromatic scale randomly. So the dose do D-sharp, that's a weird one. Let's do D-sharp. Okay, So here's the thing. I want you to play me. To. D-sharp courts in two different positions. If you know it has an open court, you don't there's no D-sharp open. But if you have, if we said a C chord or a G chord, and you have to play three, because I know, you know it as an open If you don't know it doesn't open chord. You have to play me two shapes, two different shapes. One's going to route on the E string and one's going to route on the a string. So just a plain old D-sharp chord. Okay, so let's find D-sharp. We'll start off with the Eastern, counting up. E, F sharp, G, G sharp, a sharp, B, C, C-sharp, D, D-sharp. We plug in major shape, which is this guy right here on the E string. Okay? That's D-sharp, D-sharp chord. It's kind of a, it's kind of a tricky one. Lot of strings to produce. Alright, now we have to do a D-sharp, and we're going to read this one on the a string. We're doing this shape. Major shape. Okay? Sure. Sure. D-sharp major shape is the two finger to finger one. So that's a D-sharp portal. So we had D-sharp here. D-sharp here. Now you know to D-sharp courts, one of them you may prefer over the other one. Or maybe you're playing music over here. You're playing the chords over here. So you need to grab this one because it's closer. Maybe you're playing chords up here or some solo or something and you need to grab the cord nearby is going to be this one. So you've got options. Now, it's really important to have options. Okay, Let's do one more. Let's say we want to do F sharp minor. F-sharp minor, because you want to mix up the majors and minors when you're practicing this one. This is great because you're doing your chromatic scale. And you're also doing your backward studies at the same time. Okay, F-sharp minor. So we're going to just start off on the E string looking for it, okay, F-sharp. First look for F-sharp. F-sharp. Good. We said binder. So if you plug it in line or shape. So this is the motor shape. The one with the bird right middle finger off. Good. Route on the a string. First, we're going to look for an F sharp, B, C, C sharp, D, D sharp. Good. We're going to play the minor shape, which is this guy right here. Alright, so you've got that F-sharp minor. We've got this extra mater. Nice. Really good, really good. Okay. Like I said before, what if I play me to G courts? Well, you know, gee, isn't open chord, so if I have three of them, okay, Let's do three CI course. Easy. G bar chord, string, G bar chord on the a string. What if I said, find two D minor chords? Well, you know, D minor open. So 53 D. Meyers, D minor. D minor on the E string. D minor on the a string. That's pretty cool. Starting to really get some chord functions going on now. Okay? Doing really good. We, before we come to our simple progression. Before we do that, I want to take a quick look at this one last chord. It's got a crazy name to it. It's an extended chord. And just want to give you one extended courts today. This one is called a minor seven, flat five. It's a long name. This one is actually in the key of B, so it's a B minor seven flat five. It's completely different shape. Extended chord extended means that we have all those extra numbers in there, like the seven flat five. That means extended means we're adding in all these extra notes that we wouldn't normally have. This chord is going to pop up a lot. Coming up very shortly. And I'd rather you just kinda get exposed to it now. So it's a b, root nodes or rudeness root nodes always operate the exact same way. So we want to find a B, this shape of the minor seven flat five chord. It's routed on the a string. So this one is in the key of B. So on the a string. Sure. Okay. So that's why it starts on to the shape is 2323. The way a lot of students finger this one is using all four fingers. A lot of people like to start off using all four fingers. So what is supposed to sound like? Yes, that's what it's supposed to sound like. Sounds crazy. I agree with. I don't use my pinky one in play that are down on all those 2s and the three, and the three. I leave my pinky alone. I'm using my picture on this one. Used in the right context. A minor seven flat five chord can be very awesome. And we're going to start talking about some guitar theory coming up very shortly, right around the corner. And the minor seven flat five chord is going to play a little bit of a role in that. So I just want you to try out to be great at it. Just try and play it a few times to some of the stuff that you practice played every now and then. We can move it around just like any other bar chord. So this is 2323. That's a B minor seven flat five chord. Then if we go up a fret to the C, a C minor seven flat five. C-sharp minor seven flat five. D minor seven flat five. A couple of friends. E minor seven flat five. A couple more. Fred's, F sharp minor seven flat five. It's not just jazzy for the sake of jazzy, it has a function that's very important. We'll talk about it later. Just play around with it a little bit. Okay, Now, wrote down the simple progression. So here's the cool thing about it. We have a lot of options that we just learned. So I want you to try doing this and all the other chord progressions that you have in the printouts in your music sheets. Anywhere you have music laying around, stuff from the videos. Go through any of the chord progressions that we've done, and try playing the bar chords in different places. Try a onetime here, and then another time here, root the bar chord on the a string. And then next time you play the same thing, try reading it on the E string. Same exact Cord, same root node, but the different shapes changing on the strings. I'll give you an example. I'm going to go through this one. So we've got the F ring on the E string, b-flat. Couple up here, the E string again, B flat minor, gave you the bird. G-flat on the E string. G chords are random or prefer it. And the Eastern D minor seven flat five, which is that guy we just learned. Then the C chord one more time over the place in time. Okay? Now, the way I play that was I was trying to play as much of it on the E string as I could. Just show you. The way I would actually play it is I'll try to keep it as close as possible. So when I can just jump in routed on the other string if it's nearby, that's the way I would actually want to do it. So let's try it again. With that approach, the store with the exact same route on the E string, okay? E-flat, B-flat minor, G minor, E minor. So good. Now I'm going to play the whole thing higher and see if I can keep it as high as possible. Start on my F chord, on the E string. Okay, I only gave you one shape for that'd be minor seven flat five. That's why I had to jump back down for that one. That sounds cool. It sounds cool. Hi, sounds cool though. This chord progression is not even that great. It's just an example for a good way to mix it up for us. Okay, That's very cool, very cool. Quickly, I wanted to go through the sevens. So the seven shapes of the bar chords, very simple. So if we take the root on the E string, we look at our major shape. Here's the G chord. And this is in your pronounce. It's real simple. I'm a G-sharp here. It comes off. Now it's a G7 chord. So pinky off, that's a go-to for ethanol. Okay. The minor seven, G minor seven. So I start with a G minor chord. This is the one we're giving you, the bird. I'm not I would never do that to your middle fingers off. Big E comes off again. Okay. This is a G minor seven. So if I go up two frets, this is an a minor seven. I go back another two frets as an F minor seven. Sometimes when people are doing this shape root on the E string doing their sevenths. So I think it comes off sometimes what they'll do, they'll double up on seven and the pinky will go up here on the B string of a fret. On the B string. The pinky comes off. It goes up here. B string, like the key of G, would be the sixth fret on the B string. It's just a double. Meaning that we already have the note we wanted just by taking off the pinky. We just wanted to get that note again to the same node. Do it twice so you don't have to, It's your call, just getting the voicing that you want to get so we could as opposed to just leaving it off, which is fine. We're putting it down a little bit of a different voicing too, but they're both G7. Okay, same is true for the minor. G minor chord. Kinky comes off to make minor seven. And I put the pinky on the B string sixth fret, same place because actually in place. Now, let's look at the chords root on the a string, okay? Guts the 3555. We're going to stick a hole in the middle of it. It's going to wind up being 3535. I'm actually having a bar down here. So it can get that extra three. Starting on the, a string is 3535. Turning it into a C minor seven thioester with a C minor chord. Pinky comes off a C minor seven. Same thing is true for both of these shapes. When we're doing this C major or minor, or pointer or index was only responsible for the one string. But when we turn it into seven, some stuff gets lifted off and we have two bar down on. Some of these other strings relate to get to that G strings. We want to bar down and catch that shoe strings so we can press on a real good. Or from the C minor. Pinky comes off. Again, moving it around. So you have C minor seven, c-sharp motor, so D minor, so short letter. So here's a C minor seven. Let's go back up the monitor. So good. B7. Sometimes the seven, the seven chords. When it's just a seven, it's called dominant. Sometimes people call them dominant seventh. So if you ever see that the DOM, DOM or dominant, they're talking about these kinds of seven. It's just plain old seven chords where you'd see C7, G, E-flat seven, just a plain old seven. Dominant, B7. Okay? Well, I think that pretty much covers off on our bar chord study. So go through any chord progressions that you've been working on with your open chords. And turn them all on a bar chords and then start moving them around into different physicians play them low, play them high. It starts switching out the root notes. If you would do that on the E string, tried on the a string, if you'd do that chord on the a string, tried on the E string, move them around and tried all the different possibilities. Also play the game where you say I'm going to randomly pick a node from the chromatic scale, any note. And I'm going to play it. I'm going to say it's either major or minor. I'm going to pick a note given either major or minor, and I'm going to find at least two of those courts. One on the E string, one on the a string. Good luck. 13. Rhythm 2 - Strumming 8th Notes (page 27 - 29): Today we're going to work on strumming. If you watched the rhythm one video, then you've already got a pretty good idea of how to count all your basic beats and your wrists. So that's great. So today we are going to start applying that to strumming on the guitar. Right? So couple of things. First, off, the, the left-hand doesn't really matter as much. So this is our according hand. It doesn't really matter as much what chord you're playing. Because this whole exercise is about what's going on with arm picking hands or strumming halves. So that's really what the main thing is that we're focusing on is the right hand's going to encourage you to change chords, but it doesn't really matter what the court is. They changed to just try to make any chord but bigger sound, good, but change to whatever chord, experiment. The next thing is, a lot of people will get confused with this in the beginning. Most songs, most rhythms, most Court jams, the rhythm isn't really changing for each chord. It's usually the same thing. So you'll have like a measure like one of these guys. And it would get applied to every single chord. That's pretty common. So once you save this, these couple of beats, whatever the rhythm is for these couple of beats, you can apply that to every court. Usually. That's how a lot of songs go. There'll be a certain rhythm, which is the feel of the song. And as you change chords, you'll apply that exact same strumming patterns every single chord. So it makes life a little easier and it gives the song It's Feel. Okay. Last thing before we jump in is, in this video, we are smallest beat that we're going to work with is eighth notes. We're going to work on strumming everything from whole notes, half notes, quarter notes, eighth notes. Now, dealing with 16th notes today. So we're going all the way down to eighth notes. Okay, So the best way to jump into this, just to kind of go to the very end. Alright, I'm going to start off at the end and then we'll work our way back. At the very top. I have. We set our smallest be the restaurant as eighth notes. So I have one measure of constant eighth notes, 12341 measure 12341, measure of eighth notes. At the top, I've got d u, d u, d u, d u, that's down and up. So that's a downstroke. Upstroke. Now what's going on? If we look closer? The D, a downstroke on beats 1234. So 1234 roll down. And then all of the ends are up. All of the ends are up. Okay, That's always going to be the case. So 1234 is always gonna be a down and all of the ends are always going to be an up. Now pay close attention to this next part. We are going to move our hand constantly. Even if we're not strumming, even if we're not making contact with the strings, I'm still going to do this motion, this kind of a windmill motion. Up, down, up, down, up, down, up. What it's gonna do is it's going to two things. It's going to make sure that I don't rush or drag the beat. I'm going to be in the right timing. And the second thing is that I want to make sure I always hit that beat with the right motion. I'm going to hit this particular beat, always on the down or up, whatever supposed to be. But I'm gonna do it every time I play that song or every time I play that rhythm. So I'm not going to play it differently tomorrow or in a week. I'm always going to play the same way by motion will always be the same direction by following this rule. So we'll talk more about that in just a minute. Let's jump in. Like I said, the left-hand doesn't really make a difference. Probably right off the bat. I would just maybe recommends do some sixth string chord. A chord where you have all six strings like a G chord or E chord or an E minor chord, something like that, just to kind of jump into it. So you get used to hitting all the strings. Okay, so we're gonna go 1234 M's. I'm going to go down, up, down, up, down, up, down, up. Good, good, good, good. Okay. So like I said, let's go to the end of it. What I'm gonna do is I'm going to improvise a little bit just for a minute. I'm going to show you exactly what's going on when I say we're going to keep moving her hand, even if I'm not strumming, if I'm not making contact with the strings, we're still going to be the motion that's still going to count. Okay. Let me kill them. I love. Alright. And 31, I kept moving my hands constantly and I just moved it. If I wasn't strumming, just keeps moving that way, I'm boys going to do 1234 is down and the ends as an up. And I'm not going to rush it like in a rush any bead. Everything's because I have to make the motion. I have to move right. Now. As you get comfortable. You're thinking I don't want to be constantly moving my hand. I'm going to look stupid. As you get used to this, what's going to happen is you're going to be the motion is going to be so small. You're going to still do the motion just barely, But no one's going to notice x is gonna be such a small motion. Actually, you're going to start being in control of the smaller pieces of the beat. Like we talked before about. When we get into 16th notes, you're in control of four pieces of each quarter note. So the motion is going to get small and you're going to start being able to pull up some very cool rhythmic things with your strong. So right now, I really need you to do this. This is important. Don't try to cheat this. Do exactly like I'm telling you to. And when you comfortable with it, you can start doing smaller motions. Okay? Alright. Alright. So we got that part down 1234 and down, up, down, up, down, up, down, up, constantly, down, up, down, up, down, up, down. I'm constantly moving your arm. It's a windmill and as a matter of fact, it should never stop moving, right? Once you start strumming, this hand should never stop moving. Always be moving until you're done playing. Alright, let's quickly talk about are pig. So when people are strumming in the beginning, they may have this thing where they, it sounds kinda like you're digging into it too much. So think of your big as a paintbrush. Paintbrush. When you're painting, you want to have a smooth motion. And basically when I go down, but I do downstroke, I'm letting it slightly point up because I don't want it to come at the strings directly. That's going to give it that kind of too much. Brushes strings. So it's gonna be pointing slightly toward my face. I can see the point. I want to do an upstroke is going to be the opposite. It's going slightly down. Because I'm just trying to brush the strings. I just want to get them vibrating. I don't need to attack though, right? Good, good, good, good. Okay. So we've got that. Let's jump into it. Okay. We're gonna go like this through that column there. We're going to go through this column. Okay? So first up is the whole though we just have a whole note by itself. Gets all four beats. So we're gonna go and we have to always do everything as eighth notes. Or small speed is going to be a dose. Three, then four, then three, then 43. And super easy, right? Okay. Like I said, what is going on with the left hand is not as important. I will encourage you to change courts after every pass. When you start getting used to the one-room, whatever rhythm you're working on, you get used to it and you feel good with it. Try to do a seamless chord change, as in the, after the end of four, you go right into the next chord. Whatever it is, whatever you want to play. I'll go from a G chord, C, E minor chord. Let's try that one, just doing with the quarter note, or sorry, the whole note. Okay. 34343434. Got it. Right. Next, we've got 2.5 notes. Alright. Good, good. Alright, next up, we've got four quarter notes. Alright, good. Those were just all doubts. I went to a C chord. Okay, Next up, 1234. Okay. So you want to pay attention to where you're doing your silence Sway. So when you have a quarter note. So here we've got 12 and then 34. And my silence swing is gonna be on the end of one sided swing up. The end of two sided swing up, because we have to hold those for the quarter note. Salad swing up on the ends of one NO2 and then hit everything else. So good. Like I said before, any one of these could be an entire chord progression. Any one of these rhythms could be an entire song. So we're kind of going quickly because I want to expose you to a couple of these different rhythms. But if you are going to just take, say this one and you want to just pop it on our budget courts. So you'd have make sense. Good. Okay. Moving on. Next, 1123 and quarter rests on four. Core arrest is rest for not hitting anything. Good. Alright, moving on. We've got one end restaurant to quarter rest up to three, end quarter rest on four. And it'd be good idea to change chords. So I'm going to get off the G chord because everything starts to sell the same after awhile. So it's a good idea to mix your chords up. Alright, good. Alright, thanks. 1234. Good, good, good, good, good, good. All right, down here. We've got one end of the eighth rest on to and so on to quiet down. And then 34. So we've got. Good, good, good, good. Okay. Next call. This top one is actually one of my favorites. I use this rhythm a lot. It's a, I would consider it to be a Latin rhythms. Latin rhythms are very cool because they're very syncopated. There's a lot of upbeat stuff that's happening. And syncopation is the worst. Syncopation basically means that it is we're trying to do something interesting with the beat worse, not as obvious. Here is the quarter note. Here's beat 1234. Um, we're trying not to be as obvious. That's syncopation and Latin beats. We'll do that a lot where they're trying to make it interesting and cool. And what's cool about this ones we've only got three strokes. We're hitting the one we haven't addressed on V2. But then we're going to hit the end of two on the up because it's an we've got a quarter rest on V3. So all of three is rested three and rest. And then we're going to hit before. Okay. So let's jump in. Kinda cool. Let's speed it up and see what happens. Okay? So if I go a little faster tempo and I go 1234, speeded up even more. Okay, 1234. You take a look at my right hand. My swing is getting a whole lot smaller because we're going faster. And that's normal. So this, we get smaller and it doesn't become as obvious. And believe it or not, people aren't really looking at your strumming hands when you're playing. They're kind of looking at your as you do that as a press. How does she pressed? So it's like this is what people are focused on. It's pretty cool, right? Not bad for having only three strings in a measure. Alright, moving on, moving on. We've got this guy. This guy is actually straight eighth notes 12. And we've rest on three though. Rested on three at the end of 34. So straight eighth notes, but we're just going to rest on three. Okay, so let's change it a little bit here. So you may have already noticed that sometimes these will sound a little different depending on how fast would the tempo is, how fast or slow we play it. Let's try that same way. Faster clip, okay, 1234, 33341234. It's good to mention is what if one of these is really giving you a hard time? You see what I'm doing. I'm just touching the strings. I'm not pressing. Just touching. It gives me a nice chuck, muted, unmuted with my left hand. Shocking. And so we could try any of these just to make sure you get the rhythm. When two strong winds are not straps of staying on this one if I'm not. 123412341234. Okay, Awesome. Moving on. This guy. We've got one end. And then what's going on as we got arrested on to rest on three, rest on four. These are eighth rests. One flag, but I'm hitting the ends of each one. So 1234, so one end and then rest on 234, but hit all those amps. Let's try it. Real good, real good. Again, we're going fast. So I would take one of these or were you just plug it in? So like every chord, you know, just for practice, it's good practice to do that. Stay with one of these rhythms and plug it into every single chord. And one of the problems that a lot of people have in the beginning is the chord change. So getting this seamless core change and sticking that rhythm right hand doesn't ever stop. Right hand doesn't ever stop. It doesn't slow down because your left hand is slow to do the chord change. If, if that happens, something you can do is keep this guy going anyway and let the court Suck. Basically, let the court would be sour. So let's try that. I'm going to be slow on the change with this guy, that this guy is going to keep going. Okay. Stay on this. So keep this guy going. This guy is not going to stop because this guy can't keep up. This guy has to keep up. It has to. Otherwise, the court is going to suck because this guy will not stop. Picking hand is a monster. It cannot be stopped. Alright, good. Moving on. Next to last. Okay. We've got one end restaurant to a restaurant to quiet down and hit the end of two. And then three for priciple. Okay, let's try it. Got it. 234123. Good. You guys are doing great. Okay. That takes us to the last one. The last one, I like it. It's not necessarily one I would doing a lot of music. It's a drill. It's a great drill for you. We've got the contrast of the two rhythms. So we've got the compound two measures. We've got the first measure is we're rested on beats 1234. We've got an eighth rest on 1234. But we're hitting all the ants were hitting the 1234 and all those ups. Now the next measure, we're going just the down-strokes, the 1234 quarter notes. We've got the contrast of the two. And doing the loop screws a lot of people up. So let's try it. We'll see what happens. Go back to the trusted G chord. First strong, quiet, quiet down. Because of our rest. 111. One. Good. So what's going on in this one Is that right here at the end of the first measure, beginning of the second measure, we're hitting the end of four and they're going right onto the beat. One of the next measure, 41, right? No plots right into it for, and one for, right. We have 12341, we have two. Keep on swinging arrest because we've got the rest on beat one. So from this for one. So we've got to go for and then swing again on this rest. So that is what could screw you up on this measure. So it's the total opposite is what I really like about this drill. One, makes sense. Awesome, awesome, awesome. So what would be a good idea is for mu two, you want to focus on these, the hardest ones for you. Whichever ones of these are the hardest ones for you. You want to focus on those, spend the most amount of time on those. Don't focus on the easy ones. The ones that come naturally. Do the hard ones, and plug them into some songs or chord progressions that you're working on. If you have any chord progressions. If you've looked at any of my basic cord videos, the rumba is one that I like to use a lot too great chord progression. Double up on the courts and do the Latin rhythm. This is a great one to have control. Have control to not hit extra beats. That's one of the things that you, sometimes, you've got this thing in your head. You've got a handful of rhythms that you naturally want to do. And so you've got to hold back and don't do the natural inclination and do what you're supposed to do, do the task at hand, whatever the rhythm is that you're supposed to do a play that not what you think, oh, this is what should be. If you paid attention. Most guitar players, you hear them play a number of songs he or if you go, Here's somebody play live. If they're not like a super talented professional. Most of the time people are going to play every song with the exact same stroke pattern. To it. You'll notice that most guitar players have the exact same strum pattern for every single song. So you don't want to fall in that category because a different rhythm can get a different feel, different flavor to every song. And so that's a huge part of what we're trying to bridge the table here. That dominance, dominance of rhythm that we're talking about. And it takes over, everything. Takes over the cord and the scales and the soloing and everything. So it's super powerful. So you want to have a good sense of rhythm. Okay, I think that about covers the eighth note, struggling, so good job, gets to work and drill these. 14. Intervals (page 30 - 31): Today we're going to talk about intervals. We've talked about how the chromatic scale is, what we can use to name all of our notes. And when you use the chromatic scale, you namenodes by calling it an E or an F or G. And these things are hard and fast. So the e, f, g, they will always be that when we talk about intervals, we are talking about distances a point a to point B. And what we do with these distances is, instead of saying it has to be from G to an, a note, we can say, let's just do this distance. Let's try it on these notes. And then let's use this distills, do the same distance on these different notes. And then let's do the distance on these other nodes. And so it makes talking about music a whole lot more versatile. We can start bouncing around without being locked down to having a constantly name out all of our notes. So I've referenced the intervals in a lot of the other videos that we've talked about. And this is going to be a great time for us to really locked down some new music theory and some guitar theory that we haven't, we haven't covered off on yet. Okay, so let's jump right into the intervals. I'm gonna go ahead and just name them off for you. Okay? We've got the unison. Minor second, major second minor third, major third, perfect fourth, the augmented fourth, which is the same as the diminished fifth. The perfect fifth, minor six, major six, the minor seventh, and the major seventh. Then we have the octave. Okay? So first of all, a little legend over here for you. So the lowercase m means minor, the uppercase M means major, and the P means perfect. So we've talked a lot about major and minor. This is going to be a great opportunity for us to finally understand what we're talking about when we talk about major and minor. The P means perfect. For today's lesson, I want you to think of the perfect as being major. That just means the same as major. The reason we don't call it major, we call it perfect. T for Perfect is it has to do with the circle of fifths. The circle of fifths or the circle of fourths. Which is a little music theory tool. It's got some value to it. It definitely has some value to it. It gets blown out of proportion. Some people think that if they understand and memorize the circle of fifths or the circle of fourths. It will answer all their questions and it really will not. It won't. It's a cool tool to help you understand cycling fifths and fourths. So people will use it to memorize the key signatures and Philosopher every single key. And that's about it. So it's a good tool to also learn in versions, which is super advanced music theory concepts. So I really wouldn't worry too much about the circle of fifths. But that's why it's called perfect for this little musical tool that loves to confuse music students. Okay, So perfect beans major, right? Okay, alright, so the first thing that jumps out at me is that we've got, we've got a one. And then we have the octave down here. And then we've got two twos, like a minor to a major two, we've got two three's, a minor three and a major three. We've got 24 is a perfect fourth and an augmented fourth. Two fives, perfect five. And a diminished five to six is a minor six and a major six in two-sevenths. Minor seventh and a major seventh. When we look at the major scale or all of the modes, they all have just seven individual notes. And then they repeat, but they have seven nodes, seven different notes. And so what's interesting is that we've got seven different groups or harris going on with the intervals here. We've got a unison in the octave. That's the 1s to 2s to 3s to four to five to six isn't two-sevenths. So it goes up to seven and then it repeats itself. So that's interesting. The number seven keeps pumping up in music theory and guitar theory. Seven different pair of seven different kinds of things going on here. Also, I want to point out with a chromatic scale. We have 12 different notes, and so we've got 12 different intervals also. So it's another way companion to the chromatic scale, not then you're going to stop calling notes What they are, naming them by a F-sharp, G flat, whatever. You're going to always do that. So you need to be, you need to be spot on with your chromatic scale. You need to know it. You need to know your fretboard. You need to know where all the notes are on your fretboard, which we'll call them out F-sharp, G flat, E, whatever. But this is going to be a thing that is going to help you understand some of these deeper music theory concepts. And to also be able to start deciphering music. Um, a lot of times we'll use it for calling out chord construction. If we're building a chord, we will. You might say, here are the intervals of the core. Now try it in the key of G. Now try the same intervals and the key of a flat now try those same intervals and the key of F, We don't have keep rattling off the note names, the chromatic note names every time you just hear the intervals, try this key. Now, try it in that key. Now try it in this key. And it makes life a whole lot simpler and faster, faster way to communicate musical idea. But keep in mind all intervals really are. It's a point a to point B. Okay? So the unison, we can also call this the tonic, or the root note, or the key. So it's our starting point. The unison is the one that's the starting point. We can call it the tank, or the root or the key. So it's in the key of whatever. It's rooted in the key of whatever. The tonic. Tonic is a nice word. I like to use it. But the one that we use the most commonly is probably root. So we can refer to the unison as the route. That works fine. If you meet somebody and they've talked about the tonic, where the key or the root or the unison want you to know they're all talking about the same things, basically just the starting point, the key. Okay? So the next thing that jumps out at me is that with all of our pairs, the first thing that pops up is the minor, the minor Sue, and then the major two. Lowercase m is monitoring the uppercase I was Major. The monitor two comes before the major to the minor three comes before the major three. The monitor next comes before the major six and minor seven comes before the major seventh. The minor comes then the major, minor, major, minor, major, minor comes first, then the major cups. Okay. I made a note over here by the third minor third major third. Minor, third major third determines major or minor. Okay? If you only take away one thing from this lesson today, I want you to take this away from it, that the third interval determines the major or the binder of whatever it is you're doing. It could be an arpeggio or scale or mode, or a CT. And even reaches into the song that you're planning. The third will determine if it's a major thing or a minor thing. If you're playing an arpeggio and it has a minor third interval, you're playing a minor arpeggio. If you're playing arpeggios got a major third interval, then it's a major arpeggio. When I say that the third is the only thing that determines major or minor. What I mean is that I understand this may be confusing, right this second, but because we have a minor to a major too, what about that? We have a minor six and a major six and minor seven, a major step. What about those? What if i, those have nothing to do? The 2s, the sixes and sevens have nothing at all to do with whether or not something's called major or minor. They are just, they're just describers. They describe some other aspects of the thing. The thing, the core of the arpeggio, the scale, the mode. They describe other aspects of it. But there's nothing to do with whether or not it's major or minor. The only thing that does is the third. Okay, this is a hugely important piece of music theory here. So let's think about that for a second. What if I have a cord or scale or an arpeggio? And I have a, I have a minor second interval in it, and I have a minor sixth interval in it, and I have a minor seventh interval in it. But I have a major third interval in it. Well then your thing is going to be major. It doesn't matter if all the other things or monitor if the third is major than its major end of story. It's the opposite is also true if you have a major second and your scale or Piaggio Report major second interval and a major six and a major seventh interval. But you have a minor third interval, then your thing is minor. End of story. It's very cut and dry. So the third is the only thing that determines if something's gonna be major or minor. And believe it or not, you're really comes through in the sound. Music is put together. It's just crucial to the sounds. What that third is going to, which one you pick is going to just set the whole tone. When you go forward. If you're playing a minor, the whole thing is going to be geared toward that sound. And if you're playing a major third, the whole thing is going to be geared toward that sat there completely. They are completely different even though they're one note apart or one interval apart. It makes all the difference. Like I said, the other intervals, the to the sixth, seventh, they're just they're more ornamental. Anything else? They play a role, of course, but they're ornamental. The core structure is going to be the, the one, the three and the five. And the three is really telling you, okay, here's what this thing is. Okay? So we've got two kinds of one's the unison in the octave. We've got two kinds of 2s to 3s, two kinds of force. The four, we have a perfect four and an augmented for. Augmented is like higher, That's like one fret higher than augmented, one fret higher than. We have perfect five, or diminished five. Diminished. It's like one fret lower than. So really in-between a perfect fourth and a perfect fifth, there's just one node or one fret in-between them. And it's either going to be an augmented fourth or diminished fifth. One are the two will. The reason it's got two names is because it's for scale construction. When you're putting a scale together, we need to take all of the seven pairs and pick one. All right? So we have to have, we have to have a unison. Obviously we have to start with the root node, and then we have some, have some. So we have to pick one. They have to have some kind of a three. So you have to pick one, and then you have to have some kind of four. So what if I wanted to have my four V and augmented four? Okay, So then I picked the augmented for it. Alright, moving on. So now I need some kind of a five. I can't have a diminished five because I already have an augmented forest, the same note. It's the same interval. So I have to go with my perfect five pixel count of six, then pick some kind of a seven. That's basically how you construct a scale or how the scales and modes are made up. You have to have one of each. That's why the augmented fourth and diminished fifth has got two names. Okay? Then we have the octave which is the same as the unison, the root as eight V0 like octave. So the eight is the same as the one. Over here. I made a little note of God, nine equals to 11 equals 413 equals six. What I mean by that is that piano players, players play with their left hand and right hand, right there, constantly playing with both hands. Their left hand is doing one complete octave by itself, and the right hand is doing the next higher octave by itself. They do the simultaneously. So that means that piano players are playing in two octaves or two registers at the same time. Or at least they're spanning, they're covering two octaves at the same time. So the left hand is going to be covering like one through seven or one through eight. And then the right hand is going to be covering the eight through to the next octave. So when you're dealing with a, a is the same as one. Then the nine is like doing the two, that's the next higher too. And then you have the ten which would be the same as 311 is the same as for the 12 would be the same as five to 13 would be the same as 614 would be the same as seven. The reason that we don't we don't talk about tens and twelfths. And 14's is because the ten is the same as the three and the 12 is the same as the five. So when you're building a basic chord, a major or minor chord, the basic construction of it as a 135. So it's assumed. Of course you're going to have a 135. It's the basic building block. Of course you're going to have it. We might mix those nodes up a little bit, but we're going to have a 135. If you don't have a one-to-five, you don't have a cord. So you've got to have a 135 in there. So it's not even worth mentioning in the interval makeup. So what is worth mentioning is the 91113, which is the to the to the four and the six. Those we definitely want to mention. And we can play around with these guys a little bit. When we get above the octave. We don't do the major minor thing like that. Like with you in the first register. We may call it a flat nine or sharp nine. So you may have some stuff like that pop up where you've nine is the same as a two. So it'd be the same as a major too. If he fled the nine, that'd be like one bag like a minute or two. If you sharpen I and it'd be one higher colleague, a minor third, I guess a little sketchy, but just right now I want you to focus on this first register, okay? Okay. I think that covers a lot of the basics. Let's talk about how the heck does this thing work? Okay, I'm going to show you an easy way to get into the interval so they can start making sense. Like I said, the chromatic name is not important here. We're looking at the distances. So what I'm gonna do it and get into it is I'm going to start off by playing the open a string every time. And that's going to be my unison, or it's going to be my root node. Okay? So my starting point is always going to be moving a string. Okay? I'm always going to start from my route is gonna be the day. And I'm going to go one frame at a time. And every time I go to Fred, it's just going to take us down the list. Okay, Let's jump into it. So no opening. First fret. Minor, second, major, second, minor third. Major third. Perfect fourth. Roots, augmented fourth or diminished fifth. Root, Perfect fifth. Root. Lighter, six. Major six roots. Minor seventh. Root. Major seventh. Roots. Octave. I got to the 12th fret on the a string to double dot. I hit the octave. So that's where we cover off on all the intervals. Okay? So let's listen to it again. I'm going to point out some of the key intervals. They're all, they're all important, they're all key. But I'm just going to do some notable ones from open line or second. What that means is that from the open string, the first right here, That's the sound of a minor second. That's what it sounds like. It doesn't have to be these notes. But what do we have that distance anywhere on the fretboard? That's what a minor second sounds like. Alright. Major second and major seconds. That's a minor third. Minor third. So this is a major third. That's an important one. It's a minor third. A major third. Moving on. Perfect fourth. This is an augmented fourth or diminished fifth. Okay? So here back one again, perfect fourths and perfect fourths. If I go up to, it's a perfect fifth. Perfect fifth, perfect fourth, perfect fifth. In between them, I've got one note, one fret. One interval is going to be the augmented fourth, because it's one higher than my perfect fourth. And that's also when lower than my perfect fit. So it's a diminished fifth. One of the two. Augmented fourth or diminished fifth. Perfect fifth. Okay, then I've got my sixes are six, major, six, minor seven, major seventh, and my octave. Okay, really good. So when we talk about things like the arpeggio is a major arpeggio, which is going to be made of roots, major third and a perfect fifth. We can count up. You can practice a lot of music theory concepts, just linear on one string at a time. And we said major third and a perfect five. So root, minor second major second, minor third, major third, major third. And then we said perfect fifths. So root minor second major, second, minor third, major third, perfect fourth, augmented fourth, perfect fifth. That's what a major arpeggio sounds like. You can take it all the way to the octave. Roots. Major third, perfect fifth octave. A minor arpeggio, or a minor chord, is gonna be the root, the minor third, and a perfect fifth. The only change is the minor third. Minor third. Perfect fifth. Different stages the octave. These are just basic one string arpeggios. Okay? Alright, So we're learning how to find these on a string from open. Let me, let's look at one other thing. Before we move on. The reason we're doing this on the a string. Just because I thought it would be easy for you to try it on the a string, but it doesn't have to be on the a string. It could be on any string. So let's try to the load. Sure, starting the low E string. So because the root node could be whatever we want it to be, wherever the key is supposed to be. Let's say the key is going to be E. So E is our new root node. So if I want to play a minor arpeggio or root minor third, perfect fifth, root minor third, perfect fifth, and E. So here's routing. Minor second major second, minor third. Major third, perfect fourth, augmented fourth, perfect fifth. Octave. Minor third, perfect fifth. Octave. Very cool. Okay, Let's go to the B string. So v is now gonna be our route or unison. And I want to play a dominant seven arpeggio. So the spelling is going to be root. Major third, perfect fifth, minor seventh, minor second major second minor third, major third. Perfect, fourth, augmented fourth, perfect, fifth. Minor sixth, major six, minor seventh. Major seventh, octave. Put that together. Your third, perfect fifth. Minor seventh. Octave. Be dominant seven arpeggio, or D7 arpeggio. Okay, Really good. So we can see that we can start on any note. We can start at any single note we want to. Now, why are we starting from open strings? Just because I thought it would be easy way for you to get into it. Let's say that my roots is here on the first fret, on the high string. That's my route. Don't worry about the fact that it's F. And I wanna do, I wanna do a dominant seven arpeggio on the F, like we just did on the video. I want to do this from here. Okay. Minor second major second minor third, major third. Perfect fourth, augmented fourth. Perfect fifth. Minor six, major six, minor seven. Major seven. Octave. Rule. Major third, perfect fifth, minor seventh. Octave. That makes sense. All right, let's try something a little bit more difficult. Let's go right in the middle fretboard. Well, the G string on the seventh fret, this is going to be a by root. Okay? I wanted to do a, I wanted to do a major, third major to root. Major, three major to route. This node is my root. So I'm gonna go major third. Major second. Good. Let's go perfect. Fifth, perfect. Fourth. Major third. Root, minor, second major, second, minor third major third, perfect, fourth, fourth, perfect, fifth. Perfect fifth. Perfect fourth. Major third. Makes sense. Okay, good. So we are learning how to do this on one string at a time. So now when we're going from string to string, I'm going to show you an easy way to jump from one state to the next. Okay, I made this little handy-dandy chart down here. If we start on the low E string, and we're here at five. So we're here on five and we're going to call this the root. So the root, if I just go ahead and jump to the same front on the next string, then that'll be my perfect fourth. Because sometimes when we're done scale stuff, or if I'm trying to construct a chord, put a core together that I don't know the shape off hand. I just know the intervals. I need to be able to go to the next string and quickly know what interval something is so I can move around it so that our root here. Same front, next string. I've got a perfect fourth. Okay? That's just this first little piece right here. Root. Perfect for it. So what that means is that you may have to count a little bit when he jumped a string, but you know, it's a root on the low. Then when you go to the high string after that, the perfect fourth. So if I am looking for root and then I need a major third on the next string. Root here. I know that's my perfect fourth, and I know that the major three comes right before. Perfect for us. So just go back to Fred. There it is. Okay. If I go, if I need a root and then I need a minor third, just to back. The minor third is just to back from the perfect fourth root. It's perfect for us to back. Good Friday at a root and a perfect five. So root. This is the perfect for all going for perfect five. Root, Perfect. Perfect roots, perfect for roots. Major three, root three. So it kinda makes sense. How go from string to string like that. Good. It's really important to understand what I just did. I started with my root low in the base height of the next string. For that to go. 15. The Relative Modes - Basics (page 32 - 36): Today we're going to talk about the modes. This is a pretty exciting moment for you because the modes will unlock your solo and capabilities. I played for about nine years on the guitar before I realized the modes, I knew there was something out there and I didn't know what it was. I didn't even know what the name for it was. And this was before the Internet. Before I had internet. So I was reading a lot of music theory textbooks at the time trying to figure out what this thing might be called that I was looking for. I played a lot of pentatonic scales. And then when I was trying to figure out how other guitar players would be all over the fretboard, just having a great time hitting all those notes. How did they do that so easily and so freely? And it finally dawned on me one day, was reading section in music theory textbook about the ancient modes. And it just sort of had a light bulb moment. The pieces together and that was it for me. I was, was on Path. Alright, so let's talk about it real quick and give you a nice second history and I'm trying to keep it to 90 seconds. We're calling these the relative modes. The relative modes. They have different names. Some people refer to them as the church modes. So the quick history on that is thousands of years ago. The Greeks discovered the modes. Pythagoras put the idea of the Octave together mathematically. He said, he broke it up and he said here, Our, where the, the perfect sounding notes are, the seven perfect sounding notes. Eighth note is the octave. And all the Greeks said, Well that's brilliant. Let's, since we're talking about GI today, let's just pretend that they were in the key of G. I don't really know what key they messed around with. It was probably the key of C, If I were to guess, but we're going to just pretend it's the key of G major. So let's say that the notes that they were working with, daggers came up with was G, a, B, C, D, E, and F sharp. And all of Greece said, yes, these are the perfect seven notes. They sounded great. What happened was in different parts of the country of Greece. People would disagree on what the first node should be, what the starting node should be, or what the root note should be, or what the key should be. It all means the same thing. The tonic, the key, the root. That's all the same thing, the starting node. So for example, there would be people in one part of the country that would say, I think that G should be the first note and all the other nodes come after it. But the whole set should be rooted in the key of G. And those would be the people from Ionia, for example. Then maybe the people from local area would say no, we think that the tone sound the best if we start in the key of F sharp. And so they would play in the key of F-sharp, same notes, but their first name would be F-sharp, Locrian, they would say, our scale. We'll go F-sharp, G, a, B, C, D. And maybe in the pupil of Lydia would say no. We think that the C note should be the first note. In the Lidia. They would have the C being the root and the key. And so the scale goes C, D, E, F-sharp, G, a, B. And that would be like the Lydian mode. So anyway, there were these seven different ideas all throughout the country on what the root node or the key of these seven notes should be. And they just stuck to their guns on each piece of the country would play it that way. So anyway, along comes the Roman Empire and conquer Greece. And they assimilated older aren't culture and music into their own. And the Roman Catholic Church then said, Look at their musical system. They've got some very cool ideas here, but there are very disorganized. So what we're gonna do is we're going to put them together. And so the Roman Catholic Church organized. They commissioned for the what became known as the church modes with a relative modes. The Greek modes to be organized in a way to where they can all be accessed and they all work together as one. And so the religious music of the Roman Catholic Church was then used exclusively using the system. And these notes, they actually, history books will talk about how people would be sent to prison for writing music. Composers would be sent to prison for writing music. Were, there were notes outside of the modes, the modes system that they'd set up. So anyway, if you lived in ancient Greece, you want to make sure you're just stuck to those notes and those modes. So anyway, I'm glad they did it because we have access to it today. And so does the whole world changed the face of music, paved the way for everything that we have today. Okay, Good. So that's your history lesson. We're going to refer to them as the relative modes. The relative modes. What I did here on your printouts that you have. Hopefully you are looking at the PDF while you're watching this video, or maybe you just printed it out and you're looking at the printout. I gave you the modes individually. So look at this mode and look at this moment and look at this mode. Here on the whiteboard. I just give you one big graph or they're all splatter together. So this is the whole front board view. And I'm showing you the different sections where we have all of the different modes. At the bottom, I'm showing you the root node. So the root nodes at the bottom are going to be where each position would start. Okay? Let me, let me get to the heart of it here. The whole point of studying the modes and learning the modes is so that you can play pretty much anything, anywhere on the fretboard that you want to. Anytime. You're never stopped to one position, you're never stuck to one box. You can freely move up and down the fretboard whenever you want to. And we've talked before about the idea of redundancy. You want to learn how to do the same thing and multiple positions all over the fretboard. That's what the modes are. Thinking about the word mode for one moment. How would you use it in a sentence? What mode of transportation are you using to get to the store tomorrow? To the music store tomorrow? How are you going to the music store will mode of transportation. You can drive your car, You can walk, you can ride your bike. You could take a helicopter, you can take a hot air balloon. These are all going to get you to the music store. All of these ways will use the music store. So there are different modes of transportation, but they all get you there. And that's the point. These are the same concept. These are different modes based on one scale, the major scale. So they all will get you there and they are all just slightly different perspectives of the exact same thing as what's so interesting about them. So what that means is that when we're studying modes, even though these shapes are different, we've got seven different shapes. More or less. We've got seven different shapes. And as we're going through the different shapes, they have the exact same notes. The notes don't change, they're in different orders and the shapes are different. But the notes are exactly the same every time. That's what makes them a relative. So relative means that there are relatives of each other. They have the same genes, they share, the same DNA. They are made of the same stuff, their relatives of each other. They may look a little different. They may act a little bit different, but they're made of exactly the same stuff. Their relatives, they're a family. Okay. So let's just briefly talk about the names. People mispronounce these names all the time. That's super normal. We're going to try to fix that. They're all Greek names. Who was the Greeks that came up with modes? So they're Greek names. The names I was telling you about the different parts of Greece that had these different ideas on which notes should come first. So the names of each mode, or actually a Greek city-state. I know that a one or two of these still Today. Don't know. They may have changed names over the years, maybe several times. But the original names, these are the people that thought this should be the order that they go in. These intervals should go in this order. Okay, so we've got number one is the Ionian mode. Ionian. We're going to do the modes starting in the key of G, the G major scale. So like I said, they all branch out from the major scale. The major scale has seven different notes in it. G, a, B, C, D, E, and F sharp. From each one of these nodes. Branch out and have a whole different shape. And that shape will have its own route. And that it will have its own name. But it will always have the exact same notes as the G major scale. So seven different notes in the G major scale. Each note branching out to create its own shape, having its own name. But it will be relative to the G major scale. Every single, every one of these modes will be relative to G major. Okay? So the G Ionian is the first mode. The G Ionian is the exact same thing as the G major scale. They are synonymous and g Ionian, G major scale, same exact thing. Okay? Some people call it a G. Ionians, people call it the G major. Alright. The skies started here on the third fret of the low E string. All these are routing on the low E string. Alright? Then the second mode is the a Dorian. That guys starting on the fifth fret Dorian, that's easy to pronounce. The third mode is the b Phrygian. B Phrygian. Phrygian is PHR y. So PHR PHR YG fridge, fridge. So it's like you're going in the fridge to get a snack. You are the fridge, fridge. Ian. Third mode, starting on the seventh, which is b, is b Phrygian. Okay? The third mode, sorry, the fourth mode is, fourth mode is the C Lydian starts on the eighth fret here on the C note, always on the low E string. The Lydian mode, the Lydian starting on the key of C. A fret. Fifth mode is tough, Fred, key of D. It's the D Mixolydian mix, so Lydian. So the fourth mode still see Lydian. The fifth mode is the Mixolydian, D, Mixolydian. Okay? The sixth mode is e. The 12th fret here, which is e on the E string. The Aeolian mode. Okay? E, Aeolian mode. That a EO sound is like an e sound so that a EO is an e sound. So the Aeolian, e, Aeolian, or the Aeolian mode in the key of E, or the Aeolian mode, the key of whatever this one is in the key of e, Aeolian, and q. That's the number six mode. The Aeolian mode is the exact same thing as the major scale, sorry, as the minor scale. Close call. The Aeolian mode is the exact same thing as the minor scale. Some of these modes are minor issue, and some of these modes are major ish. But there is only one, the major scale. And the major scale is the Ionian mode. The G-Major or the G Ionian, that's the major scale. So the other, some other modes could be major in nature. But there's only one, the major scale on to the Ionian mode. There's only one minor scale. It's the Aeolian mode. Some of these other modes can be minor ish in nature. But there's only one though minor scale and it's the Aeolian mode. This one is in the key of E, e Aeolian. Okay? Number seven mode is the Locrian. Loc, our IAM Locrian. So this one is F sharp, which is right here on the second fret. Okay? So the F-sharp Locrian mode is the seventh mode and other last mode. Okay, so let's take a quick look at them. Bottom here, I've got this mnemonic, which is a great way to memorize the order of the modes. I did not come up with this. I'm not sure who did. I heard this years ago and it's a great, little Good, a little weird imagery in Dr. Peppers laboratory. Many are lost. In Dr. Peppers laboratory, many are lost. The first letter of each word is the mode name, I, Ionian, d, dr is Dorian. P. Peppers is Phrygian. Phrygian pH. Ry fridge in the p.stance. So peppers, Phrygian laboratories, Lydian, many is Mixolydian, are, That's the Aeolian. Because remember that a EO is an e sound and lost is Locrian. Locrian. In Dr. Peppers laboratory. Many are lost. Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian. Awesome. Okay. Let's jump into what these look like to play him. Right off the bat. There's some good news. So old wolf, all of these shapes will spill into each other. So most of them have what I call a common wall, like the end of one shape as the beginning of the next shape. So it kinda makes it a little easier to memorize how they go. But the G Ionian and F-sharp Locrian occupy the exact same space. Okay? So they both go between the second and the fifth fret is interesting because the G Ionian as our first mode, and the F-sharp Locrian as our seventh mode. They both have an occupied the exact same space. It's kinda like the whole thing goes full circle. And they just both happen to occupy the exact same space. So if you run this first shape, you're actually learning two modes, two of the seven. So that's great. Let's take a look. Show you how the fingering works best on these. So I'm going to play the major scale or the Ionian mode route with my middle finger on three. I don't need to move my hands at any point on this one. Okay. So I'm playing the Ionian mode, starting on the third fret, 35235555. Okay? So when you're playing a scale or a mode, to give it to play, purely, you want to kind of start and end with the exact same note. So I'm going to start with this three, and then I want to end with this three up high, which is also another G node. So starting with the same note, this pretty typical for scales are like anything else. We want to make sure we play it forwards and backwards. So nice. Okay. Also, really important. I'm using fingertip, finger to a fret. So I'm not doing this thing where I'm using only one figure of pled. Don't do that. Don't do that. Definitely don't do that. You're never going to memorize it. It's just bad technique. You'll never be able to get any speed going. Also, if you're one of these people who's like, I don't like to use my pinky. Start using your pinky. Oh my gosh. My think he's my weakest finger. Two is true for everybody. The pinky is your weakest finger. That'll never change. But we can get it to where it works and we can use it and it's going to make it way faster. It's going to help you memorize these shapes so much butter. Because if you're playing everything with one finger or your shifting your hand constantly, it makes this stuff really hard to memorize. So if you could just say figure to a fret, meeting, everything on the second fret is gonna be my pointer finger. If you think of a third fret is going to be my middle finger, ring finger, and everything on the fifth fret as my pinky, I could just kinda keep it like that. Then it starts to become muscle memory thing. My fingers get used to doing the shape. Alright, so I'm using finger to Fred. Nice. Good, good, good, good, good. Okay. I want to while we're on it, I'm just gonna go ahead and point out the F-sharp Locrian. Since we said it occupies the exact same shape as the G Ionian. It does. We just add this low too, and that's the only difference, which is F-sharp, f-sharp Locrian. So we just add in, just start with a two, but we leave everything else the same as the g Ionian. For me to just start with this two of the lowest rate of, of play, the G Ionian, exactly the same. F-sharp Locrian. And with the F sharp note, because I want to start and ends with the same note, F-sharp both times. Forward or backwards. Nice, nice. Good. And we'll talk in just a little bit about why it's got two different names. What distinguishes the JIRA from the F-sharp Locrian? We'll talk about that in a minute. Let's move on to the a Dorian. Alright, the stores and the fifth fret. General rule thumb is major type modes. We'll start with our middle finger, minor type modes, we'll start with our pointer. So the Doreen, we'll start with their point or 578 string with point or 57857. Down here, I'm going to shift back to the fourth fret with my pointer, okay, shifted back to the fourth row with my pointer. Somebody go for 57 of the D string. 57 again. I'm going to shift up again with my pointer back to five. B string, 57878. Look at that again. 57857 to the fourth fret with the pointer 45757. Again, shift back up to the fifth fret on the B string with the index finger, 57878. Okay. Let's go backwards. You see yellow shift works backwards. 875. I'm going to shift my whole hand back one. So my pinky grabs the seven. So 75454 again. I'm going to shift back up here. Let me grab the center with my ring 775. So between the fourth fret of the fifth fret, it's a one for a shift. So we use it when we're ascending or descending so we can keep the finger to a fret as much as possible. So let's look at how that looks in real time. I'm just going to stop. Going to the Shifts. Shifts backwards. Shift, shift up. Great. As the a Dorian. Okay. Moving on. B Phrygian. Okay, b Phrygian starts on seven, which is the B, the low string. This one is great, just like the Ionian. It stays finger to a friend with no shift at all. Okay. So 78107910910978107810 again. Go again. 7878910. Let's go backwards. The b Phrygian. Okay, that's easy. Let's move on to the fourth mode, C Lydian. C Lydian. This one has quite a bit of shifting, a little bit of stretching. Okay, so it's on eight. Alright? So this one is a major mode, but we're going to still read this one with index. So eight, the first three notes are 8101210, 12th. So just having to do a little strokes with my pinky to grab that 12th. 12th. Now a shift up with my index to get 9101212. Again. Just 911 on the G string. Shift back of the B string to get 81012 on the two high strings. Okay? So get that again. 12, shoved up. 91012 on the next one. Strings. String is just 911. Oh, **** bag. But my index, I'm gonna go 81012 on the two high strings. Okay, let's listen to it in real-time. Question that pops up a lot. Is. When I'm stretching from 81012 or 81012, should I do the ten with my ring finger or my middle finger? Should I go ring finger or middle finger? I usually use my ring finger when I hit the middle note the time. But that would be one of those player preference situations. So I'm gonna let you figure that out. Jeff is more comfortable for you. I usually use my ring finger it that mental notes. But if you wanted to use your middle, that's fine too. I don't see any problem with whichever you pick though, whichever way you decided to go with it. Just keep doing it that way every time. Because we've got this whole muscle memory thing, it's going to help you memorize it better if you play it the same way. Every time, every time you play it, play the same way. It's going to help you memorize these quickly. Okay. So that's the C Lydian. Moving on. The D, Mixolydian. Alright, Mixolydian. We're going to need some major ish mode. We're going to route with our middle finger. This one's pretty similar. It is very similar to the Ionian mode. We're going to read it with their middle finger on antenna. Okay. So 10129101291012. Again, 91112. Now a shift up shift my whole hand up two pointers on ten now, 101213101214. Okay? That again, 101291012 on the next two strings, 91112, shift up. One friend. So pointers on ten on the B string, 101213. And then 101214. Stretch, stretchy on that last note. Okay, let's go backwards. Here. I have to shift back a Fred, grab this 12 with my pinky. I'm grabbing this 12 on the G string, my pinky, so I can come back and get to the nine. So get that backwards one more time. So 141210131210 shifts back to grab the 12 on the G string with my pinky. 129. Again. 1210. Awesome. And the D Mixolydian. Okay, moving on. Let's look at the e Aeolian. The Aeolian. This is also the E minor scale. Usually important scale here. Starts on 12 on the E string. So that's E. Alright? This one with a pointer, because minor scales usually gets the pointer finger. 1415121415. Again, 1214. Gonna do is shift here for the G string that's shipped back, what a fret. So I go 111214. I've done so shift back to 12121315, string 121415. Okay. So if you get 1214151214151214, 11, I've just shift back when Fred so I have to go to 11. So shift back a friend, 111214. Shifting back up again, 121315121415. Thing that people run into on this one. It's not the shift is too high strings that usually screw people up. So the two high strings, the high string is 121415, the B string is 121315. So check that out, see how they're opposite of each other. 121315121415. These guys are opposite of each other. So just clue into that because that's really the idea with this one a lot. Okay, let's look at it. The whole thing in real-time. Nice. That's the e Aeolian mode, otherwise known as the E minor scale. Okay? But we covered off on all of them. So the Aeolian mode is the sixth mode. The seventh mode is the F-sharp Locrian, which we said it starts on two, has the exact same shape as the G Ionian. Let's just run it one more time to okay, Does the F-sharp Locrian, great. Okay, so we've got all of our seven shapes. Let's talk about how to differentiate them. Alright? So there's really about two moves that you want to make with the modes. A lot of different ways to use them to think about guitar theory. But the typical moves that you want to use the modes for is to. Number one is you want to show the true sound of that mode. Or number two, you want to access the shape so that you can go all across the fretboard using only one of the modes. Okay? So since we said that all of the seven modes have the exact same notes, okay? The G major scale is G, a, B, C, D, E, and F sharp. Okay? So what that means is that the G Ionian is G, a, B, C, D, E, and F sharp starts on the G. That a Dorian is going to have the same notes. It's just going to start on a, which it does the fifth fret here, okay? Fifth fret starts on a, so the nodes of a Dorian are gonna be checkout this box, a, B, C, D, E, F sharp, and G, finishing on an eight. Alright, the b Phrygian, it has the same notes, a Dorian and the g Ionian. It just starts on beat because seventh fret is B. The notes of the b Phrygian are going to be B, C, D, E, F sharp, a, B, F sharp G, a, and then B. Going more time on that one, knows the Phrygian, b, C, D, E, F sharp, G, a, and finishing on the C Lydian. So the C Lydian is going to have the same notes as the G Ionian and a Dorian and the b Phrygian. So the nose of the C Lydian are going to be starting on the key of C, C, D, E, F sharp, G, a, B, finishing on C. Then D, Mixolydian starting on ten, which is D. It's going to have the same notes as the G Ionian and a Dorian and the b Phrygian, c Lydian, it all has the exact same notes. D, E, F sharp, G, a, B, C, and D. Aeolian has the same notes as the G ionian, Dorian, Phrygian, c Lydian, and the D Mixolydian. So the notes are going to be E, F-sharp, G, a, B, C, D, and finishing on an E, F-sharp Locrian. Can you guess what I'm going to say As the exact same notice is that g Ionian, a Dorian the before G and the C Lydian, the D Mixolydian and the Aeolian. And the notice of it will be F sharp, G, a, B, C, D, E. And finishing on the F-sharp, they all have the exact same notes. They route in a different place every time, and that's what makes them unique. What's so cool about the modes is that when they route on a different node, one of these seven different nodes, it has a completely different sound. It sounds totally different. And even though it has the exact same notes, isn't another mode, it sounds completely different. So when I talk about the true sound of a mode, that's what I'm talking about. What does it route on? Let's look. Investigate. Alright. When we are rooting, one of the things that we wanna do is we want to just make sure we're grabbing our root notes when we're applying. Our rudeness will be, we can say the low note. And it's also the height of the note on the two E strings. So for g Ionian, it'll be the three and then the high three. Okay? Let me say hello, Three, Three. Okay? I'm also going to do this middle root node is two frets up on the D string. So five on the D string. That's our box root position. So she wrote up here. You know, Heidi. And then two frets up on the D string. Fifth fret on the D string, another root node. So those are all jeez. Okay. So when I say that we are rooting in G, the fact that I'm playing the shape isn't necessarily what makes this the g Ionian. It's really in the way that I play it. So when I play it, I want to make sure I focus on those root notes quite a bit. I want to use them as musical punctuation, if you will. Musical punctuation, like when I'm playing my musical sentence with all of these, I want to put a period at the end with one of my root notes. So I'll play warning is root nodes. And then we'll maybe just rest for a second before I go on and start applying some more notes. And then I'll hit one of my root notes. That'll give it a little arrest so that the listener, you or me, we can hear. They tied that UPS and they tied it up on a genome. So it must be the G major scale where the g Ionian mode. Let's take a look, let's try it. So I can play any of these notes and the g Ionian shape. I can play them in anywhere I want I just want to wrap them up with these notes. She knows. She knows. So I'm tying it up every time finishing on a genome so that you know, and playing the G major scale could be anything else. Let's see how it looks when I do that over the egg Dorian, okay, so I've got five through eight, got this whole shape here. My root nodes are gonna be the fives. Fives, and then two frets up on the D string, which is the seventh fret, the fret on the D string, and then the outside, five by eight notes. So this time I'm going to try to wrap it up with a root notes so that if I do this right, then it's going to sound like a Dorian. It couldn't be anything else. Good. Okay. Let's move on to the b Phrygian. The results will be the same. Seven. Somebody else? I've seven, so seven is where my b is. Two frets up on the D string. The ninth fret on the D string. So these are my bees. Okay. Now, I want this to sound like the Phrygian. Let's see what the Phrygian sales. So in either really wrap it up on these notes. Okay, That's very cool. Let's move on to the C Lydian. I want to point out, playing the same exact notes says what's in the G Ionian every time these lives. But when I read it in a different, on a different note in different key, then I'm in a different mode because it has that different sound because of routing in a different note. So that's why these guys all have different names. It's about what sounds do you want to get out of it? Do you want to get that Phrygian sound? Where we want to go for the Lydian sound, which we're going to do right now. Eighth fret k outside. On the E string, and then two friends over the D string, which is the 10th fret. C. Okay, Let's go for this one. C Lydian. Okay? Okay. You've probably heard maybe some better riffs in your life, but I'm just trying to show you, trying to make sure I keep it within these root notes to finish my phrases so you can hear this sound is different from the last one, and that sounds here from the last one. They all sound individually unique from each other. That's what we're going for here is to pick up on these sounds. That's where the Lydian sounds like. It would be a good use of our time to spend more time getting into, uh, trying to extract even more cool sounds from it. Okay, let's move on to the Mixolydian. D Mixolydian. So the tense, the outside tan, tan, tan, two friends up on the D string. Alright, that's the 12th fret on the D string. Okay, so let's jump into it. Awesome, awesome, awesome. Okay. Moving on the Aeolian, right outside 121212. Then we've got the got the 14th fret on the D string. Okay? So, alright, so cool, cool, cool. Moving on. F-sharp Phrygian to outside, outside, outside 2s. And the fourth fret on the D string. I'm not sure. This is y. F-sharp. Phrygian is different from the G major scale. G Ionian is because he noted occupies the exact same space. We're routing on the F sharp nodes, not the genome, not the 3s, the two to two and the four on the D string. See what happens. Totally different sound from that G-Major, which is the 3s versus the F sharp, the twos. Oh, okay. Okay. I think that would be a good stopping point for right now. Your main mission is to work on memorizing these seven shapes. You may already know the major scale, the G major scale, or the major scale in any key. You may already know the minor scale. If you don't, that's okay. If you do already know the major scale, that's great. And if you do that, you also know the Locrian mode. So that's double Great. So that's knocking out two modes with that shape. So start working on these and getting these memorized. Because we're going to start talking about the modes a lot. You're going to use them all the time. And I want to start showing you how to go deeper with them to improvise. So start working on memorizing these shapes. 16. Techniques (page 37 - 44): Today we're going to talk about techniques. Techniques are the thing that makes flashy guitar players flashy. Some very cool stuff that we want to do as often as possible. It will give you your own personal flair. And a lot of times when people talk about this guitar player style, with that guitar players style, when you're talking about someone's style, you're talking about a lot of different things. Like the notes that they choose, the rhythms that they use, and the techniques that they use. So a lot of it has to do with the techniques that a guitar player uses that determines what their style is. Okay, so let's jump in. All right. Over here on the left, I've got a legend of the various techniques. And these are all the common techniques. Let's just jump right in. So I've got the name of each one. And then when you see it on a piece of music or a piece of tab, it'll have the abbreviation above it to tell you what kind of technique. Because what we're seeing over here, I'm just giving you a little snippets of what it looks like on paper. And it'll be like two notes, like here we have a 35 and we've got this little connector appear. And so that's telling us that it's some kind of a technique. We're not exactly sure what it is. So the little abbreviation of the h is telling us it's a hammer on as opposed to slide, as opposed to a bend. So let's just jump right into it. These are not that hard to understand. Your fingers will need to strengthen up a little bit to get really good at these. But ultimately, once you do get good at them, and it won't take long if you practice them a little bit, you'll be doing these. You can start doing these immediately. When you do get good at them. It's a way for us to do little bursts of speed where we can get extra notes without having to pick the extra notes. Okay, So let's jump in. Hammer on, the hammer on. So here's our example. We've got a 35 on the high string. So what I'm gonna do is I'm fretting the third fret. Got to push down. I'm going to pick it. Now what I'm gonna do is I've got to hammer on with my ring finger on the five. Okay. So I'm not going to pick it though. I'm just going to smack my ring finger down while I'm keeping this guy press down three, three. And I smack down to hammer the fifth fret. So I'm getting that second node without having to pick the five in keeping the three pressed while I am hammering down on the five. That's a hammer on. So the thing about hammer ons SE, with a lot of people is you gotta be real decisive when you hammer on the actual hand-drawn note has to be quick and hard. So a lot of times when people are starting out with hammer ons, they go too slow and they are too soft. And you basically just want to muting the note. You'll want them going like nothing, nothing. Nothing. We have to hammer. It is a hammer. So go hard and fast. Picking the low notes. On the high note with my finger, I'm not hitting the second note. Okay. You just go up and down the spring is doing the exact same frets, just practicing it. Move it around to different threads. Okay, those are Hammurabi. And I'm just trying to give you the basic idea here. So we can do these techniques with any of our fingers. Just follow the basic rules so the low note stays press down. Okay. Did with my middle finger, ring finger. Do with my thinking. Okay. We can do any of these three strings. And you can, just, like I said, going around to different friends going up and down the strings. So if I just go pointer at pinky, I'm hitting the pointer finger note Emory on the pinky, not hitting the picking up M runs. A good idea for practicing all of these techniques would be to do within some kind of a scale or mode, scale or mode. Maybe if we said something simple, like the pentatonic minor scale. You can take any scale that you know, if you know that at least one scale tried on that could be the major scale, could be the pentatonic minor, could be any of the modes. Just try it on a scale going down the strings and hammer on as much as you can. On one string. It has to be on one strand. You hammer on them. One of the low notes in the scale. You pick the low note and you hammer on the high note. Okay, next string, hammer, pick the low note. The high note. Whatever the Fred is, that's the figure that you use. So next string with a high note, low note. Hammer and hammer. Good arrows. Okay, Up next, we've got pull off, pull off office with a P. So in this example we're going from five to three. It's kinda backwards. And we have the little connector with p. So that's telling us to pull off with pole ofs is sort of the opposite of a hammer on. The main difference is that when we're doing pull-ups, we have to press on both the notes that we want. So we have 3553. So pressing on the three, and I'm pressing on the five. This one, I hit the high note. The high note. Now I'm going to hold off, Like when I come off of it, this finger, I'm going to twist it, tweaking it. And I'm pressing down on the low note the whole time so that it gets Twain's down to here. So I picked the height up, Twain it down to the low notes to pull off. If we went through our pentatonic minor scale. Pinky, okay. Pulls water cool. Okay, Up next, we've got high string 35, and it's got a little above it. Slides. Okay, so the slides are cool. Slides are very cool. All right, so I've got three, so I'm going to press on the three and pick it. And now I've got to slide up to the fifth fret. Now, doing it all with one finger. Right? Now, warm sliding, I have to keep pressing all along the way. I can't let a pressure. It's not like I just lived off and then go there and press down again. I have to press all the way until I get to my fret. So three to five. And you can slide up and you can slide down. So in this one we're sliding up, but I can just go backwards to five to three also. Slides are done with one finger. Okay. Just hit one finger and press and slide up until or down Up until you get to your friend that you want. Slides. A good thing for doing long distance sleds, like if I'm going on many fronts is to look at the front, then I'm going to look at where you are looking at the front. You're going to, for example, from down here and three. And I want to slide all the way up to ten. I don't look at my finger as it's going. I want to fix my eyes on the ten and just go right to it. Don't look where am I looking at, where I'm going? I'm looking at the ten. Fix your eyes on where you're going. You're sliding from one node to the next one nodes. Techniques, or these are all done within the context of your soloing, right? You're soloing. And so you're in some kind of a scale. There's some kind of a scale happening. And so a good thing to do, Like I said, pick your scale, pick your mode, and try to use these techniques to go from one node to the next instead of picking every single nodes. Now if we're doing like the major scale, instead of picking every single node, tried doing some, try to do some slides and hammer on and pull off. They're very cool. All right, next, we've got a, b. So we've got the fifth fret on the B string. And the string fifth fret, B string. It's got this little curvy Benny thing, and it's got to be above it that says B and then a half. That's telling us a half bad. So down here we've got fur bends. The symbols that we're going to see are going to be, be quarter, half or be full. So the B have, that is going to be like a one fret bend. The half means half a step. So one full step is two frets. So half step is one for it. A quarter of a step is half a fret. So when you have a quarter of a band, you're just, you're not even trying to go to the next note, you're just bending it a little bit. So if I am here on five, on the fifth fret, so I'm going to fit what would be straight. And I need to bend it to this node because it's a half step beds. Here. It has to want upsetting like this note. This note on the electric. We can do forebears where we're going to fret bends on the acoustic. Much. It's a real killer on your hands to the acoustic just does not want to. Ben's two frets. We can do in a couple of cases. If we're maybe on the B string, I'm going to go from here to here. And notice something that I'm doing, what I'm bending is okay. So I'm grabbing it with my ring finger. It'll grab with my ring finger or my middle finger. But I grab it. And then behind it, I'm using also my pointer finger that helped me push to give me more strength because I've got to really push it up. And then I push it up with both fingers and I'm pressing against the front the whole time. They get pushed up against the front. Okay. So that's event a lot of times, if you will, a lot of times if you were an electric player, you will do full bends. You'll go up two frets to the note that's two frets higher. If you're an acoustic player, you'll do some half-step bends. You're going from here to here, maybe like that. And I'm I'm still using the other finger to help me anchor and giving more strength. So that's a good idea, is to use everything at your disposal. When you're doing techniques, you want to use your strongest fingers. Okay. We're not trying to, we're not trying to prove anything by saying, oh, look, I can do this bed with my pinky if you want to, that's fine. But you want to get the band or the hole or the slide with the hammer on, you want to have it as clear as possible. You want it to sound good. Remember you're trying to pull out the flashiness, the coolness in your planning. You want to use your strengths. Figures. Alright, so one more thing about bends the corner band. Okay, so on this note and I'm going to do a quarter bands, it'll just be like give it a little push, but I'm not taking it all the way to the next node. The next node is higher. Okay? Awesome. Bending. We could also do a reverse bent. Reverse bending is cool tricks to use. Basically what I'm gonna do. I'm gonna take the same example. I've got a fifth fret of the B string, okay? I'm not going to pick it. Before I do this. I'm not going to pick it. What I'm gonna do is before I pick, I'm going to bend it back now. Now I'm going to pick it and release it. Let it down. Okay, so I'm going to bend it. Now, pick it and let it down. I'm pressing against the front the whole time. It's got this cool backwards effects or reverse bend. Okay. So we can bend up. We can reverse Ben, Ben back. So you just start the bed without picking it. That hit it? Police or do a regular bands hit it. Then. Okay, Awesome. Next, we've got a five on the B string, fifth row, and we've got this wavy line. That wavy line is a trill. Sometimes it's called a vibrato. Vibrato. So it's got this little wavy lines. Just see a TR. It's just telling you to do a trill or a vibrato. It's essentially the same technique. So we hit our five, okay? And what I'm gonna do is I'm going to rapidly go up and down. Very tiny motions like that. Shaking. I'm pressing up against the front and rubbing it up and down. And it's giving me a little bit of a trill. So the note is going, wow, overwork, supposed to be. Well, my notes doing that, ending up it back real quick. Now, also getting some sustained what I'm doing that and I'm making that note stand out a little bit. So when you hit a node, sometimes you want it to stand out a little bit where you want to give a little bit of sustained. So you give them all trill, give it some vibrato. So if you're playing, kinda like a good way to use it, I use it all the time. I'm doing a little lick like I just did the last node of the lake. Give it that little bit. So I can give it a little bit more emphasis by giving it that trill. So this is something that you should use a lot of the time getting that kind of motion without it sounding like, you know, obvious bent. We're not trying to do that. We don't want an obvious bends. We want tiny little motions, rapid-fire, rapidly. Just a little bit. Okay, that's the true. Awesome. So it looks like the last technique that we've got here is the tap. Extremely rare, that you see people do this on the acoustic. But you will see people do it on the electric lot. It's usually going to be guitar virtuosos and heavy metal guitar players. You'll see Eddie Van Halen do this though. You'll see some rock guys do it. Front tapping, tapping. But we're just going to call it a tap. And the T is going to be our indicator that we're going to front tap happening here. Fred tapping is pretty much, it's just a hammer on, right? The only difference is that we're doing it with your picking hand. Okay? So we're doing a hammer on with your picking hand. It's a tab. Tab is something it's a hammer on that you do with your right hand, your picking hand, or your strumming it. Okay. So over here we've got five and it's connected to 12 with a T on it. So that's telling us to tap. So we hit the five. And then we're going to take our pointer finger and tap on the 12th. Then that's connected to the five again with a P. So I'm going to pull off with my tapping finger back to the five. So we're going for tapping. So it's really just a combination of hammer on and pull off, except we're incorporating our right hand into the mix. So I'm gonna go to app. Sometimes we'll do polls and hammers with both hands. So I could go tap, pull down this note holder of this note, hammer on top. Okay, That leads us into the next piece about using techniques. We don't want to neglect using them in open. Okay. So one of the things that we talked about don't know if you looked at any of the open position stuff. Open position makes life a lot easier. So all the techniques that we've done so far, we've had to have one of our nodes is a low note and then we have a high note and we're pressing on everything. If we're doing something from open, then we only have to really press on one string. So let's say I'm gonna go my E string, so all go open. And I'll hammer on to the third fret. If I go through like an open pentatonic minor scale, and I'm just going to tap on to the, either the third or the second fret. I'm hammering on everything in the first string is going to be open every single time. The first note of every string. Just use one finger to hammer. Little trill the end. Let's do that same thing, but we'll see with pull-ups, okay. I'm going to pull off every single time now I'm just going to start with the high note. The note off to open, Twain it to open. Okay? So we definitely want to make sure that we can use some of our open possibilities to when we're doing techniques. Just makes life a little bit easier. Okay, Let's combine hammers and pulls for just a minute as do a hammer poll. Okay? So I'm gonna do this. First one, I'm gonna do the three and the five. And then I'm going to go from five to three, but I'm not going to pick it the second time. So I'm going to hammer on from three to five. And I'm just going to go right into my poll back to the third fret, pressing on the three the whole time, but I'm only picking the first node. Pool. That's a hammer poll pulls. So there's a lot of cool stuff we can do with the techniques. Alright? So when you're playing a song and you see the technique, if you're reading the music, are looking at the tab. It's going to tell you what the timing is supposed to be, how the rhythm of that technique is supposed to go. They're going to go real quick like blood. Or it's gonna be like eighth notes. It'll tell you what the timing and the rhythm of the techniques should be. Should the technique we've done quickly? Or should it be in like an eighth note or a quarter note or a 16th notes, or what's the timing of it? The music will tell you. But if you're playing around and improvising, you're making it up, just having a good time soloing. You can do whatever you want to and you should mix it up so you can do it fast. You can go like real quick, just a technique. Real quick. You could do those real quick or you can try to turn them into like maybe an eighth note string where you're going. So it's your choice on how you want the rhythm to go. And there are endless possibilities with rhythm. So when we combine that with all these different techniques, endless possibilities just became even more and less. So, consider that while you're doing techniques, if you're doing hammer ons and every time you do them, you're going real quick like that. You can slow it down so that the two nodes have a little bit more time to hang on each other. Or you can start playing around with that a little bit. Or maybe you want them to be quick little bursts. So it's your call, it's whatever you think is best for the music. Whatever you're trying to come up with. My life to use to get onto a scale or start going through your modes. Pick a scale, pick a mode, and start trying to do as many techniques to start getting stronger. So that you can start putting these in when you want to. It's going to give your picking hand a little bit of a break. And it's also going to start flowing your solos a little bit more. So that's really the whole point of this, is instead of picking every single node, where I'm going, you start using techniques. Are a star sounds like in the store says a little bit cooler that way. It's like, well, what do you do? It just breaks it up from there. The constant picking. So start working on the techniques. They, in the beginning they will feel like they're tearing your fingers up. They may feel like they're ripping your calluses off. Just don't push it too much. If it starts like really killing, then just take a break, go into his slowly do just ten or 15 minutes of it. But you don't have to do constant techniques. You want to mix up with picking a little technique, a little picking a little technique. Or if one technique is really killing you, like you're doing pull offs and it just feels like it's tearing your fingers up. Do some slides instead, or hammer ons, work on some trills every time you hit a note. Just trying to get a nice vibrato going. You know, there's so many different ways that you can work on them. And you can also go to open if you want to give yourself a little bit of slack, give yourself a little break. Start pulling off these two open so you can still practice on whether or not gonna be quite as brutal on you. All right, Go practice your techniques. 17. Reading Music (page 45 - 50): Today we are going to learn how to read music. We're going to read music properly using standard notation. So if you've watched at least the first rhythm video, then you already know about 50% of how to read music. So that's huge. The rhythm is a must for us. As curious guitarists, we really need to know the rhythm. So if you've already looked into the list, the very first rhythm video, then you are half of the way it's written music because you are reading the rhythms of music. So what we're gonna do today is we're going to fill in the rest of it. We're going to do all of the notes, how to find the notes on the staff. So this is a crash course. But if you get what we're talking about here on the whiteboard, and you have just a couple of pages and your printout that will get you reading music. You will be up and running, able to get your hands on whatever sheet music you want to. And you'll be reading music. The, it'll no longer be a mystery to you, So that'll be great. It's not that complicated. It really is not that complicated. There is just a little bit different for the guitar than it is for other instruments. And we'll talk about why in a minute. But we're going to fix that right now. Okay? So the reason we want to learn how to read music is because in the age that we live in, tabs are everywhere. So you get your hands on a tab for most popular songs. If you ever wanted to branch out into any kind of traditional music. And I'm talking about stuff like bluegrass, jazz, classical music. Could be maybe xydA ACO or Mesmer, or there's a lot of traditional musics that are not tagged out because they're just not as popular. There are no viral videos of young pump stars that are doing traditional music. But actually this music is very cool. A lot of it is cooler than the stuff that you will hear on the radio. So you may decide you want to explore that stuff at 1 and you're going to have to learn how to read music because the stuff has not been tapped out. Why music has not been tapped out? Okay, Let's jump into it. So we have I've got two things going on here. This is the staff. Okay. It's a five-line staff. And so this right here is what we're looking at for reading music. Below it, I am giving you a tab layout. So it's the six line tab stuff that we've been dealing with up until now and will continue to work with tab. Tab is great, It's handy, it's helpful. So we're going to compare the tab to the staff. Okay. So the Stef, it has five lines. It's got five lines, 12345, and it's got four spaces, 12344 spaces in the middle. So five lines and four spaces. Okay. So, um, and it's the staff. So before, when you have a piece of music, you're going to see a couple of things right off the bat at the very beginning of the music. Before you even get into the notes. You're going to see this thing right here. Kind of looks like kind of looks like a G with a hook through it. Okay, That's our clef. So this is a treble clef. Treble clef is the, it looks like kinda like a G. And it's gotta hook almost like a fishhook going through it. Just assemble. The treble clef means that we are dealing with the treble staff. And so this is the cleft that guitar players use. It is the most common clef. It's the clef that violin uses. Horns. Most horns we'll use the treble clef. Piano will use the treble clef. They use to clefs actually on the piano, but the treble clef is the high cleft that they use. So this is the only collect you need to really concern yourself with. There are a couple other different clefs. There's a bass clef. Piano players will use a bass clef and a treble clef. The bass clef is what their left hand is doing, the low stuff. And the treble clef is the right hand. And believe it or not, they read two clefs simultaneously. It's really pretty impressive to me as a guitarist what piano players do regularly, sight reading to clefs simultaneously. One clef for the left-hand, one close for the right hand. At any case, they do use the treble clef. Also, almost every musician uses the treble clef. So this is the most common and standard. This is the only thing that you really need to concern yourself with. Okay, so we're going to see a treble clef that tells us, good, we're dealing with this as our clef for guitar. And if you see a symbol that looks different from this guy, then you, you may be in a different clef, like a bass clef, in which case the nodes will be in different places. It will screw you up. So you want to make sure the clef cone say, gee, it's got official Thread. 99% of the time. It'll be the treble clef. Okay? Next thing we're going to see, we have our time signature. We have seen this before is the four over four. So that's going to tell us that we're in common time is four quarter notes in the measure. We saw this other rhythm video. So time signature is telling us where 44 time signature could tell us that we're in three for three quarter notes per measure. You could tell us we're in 686 eighth notes per measure. The time signature is telling you how we're going to break up the, how many beats per measure and what kind of beat it is. Usually it's going to be for four or 34. Okay? Then it's got a key signature. I'm gonna come back to the key signature. Okay, we'll deal with that in a minute. Let's jump into the lives of spaces. Alright, so we've got five lines and we've got four spaces. The lines going from low to high, R, E, G, B, D, F. The popular saying for that is, every good boy does fine. Every good boy does fine. Going from low to high. E, G, B, D, F. Every good boy does fine. Those are the lines. Then we have the space is going from low to high. F-a-c-e. spells the word face. F-a-c-e. or the space is going from low to high. So every good boy does fine. Or the lines and the spaces are spelled the word face, F-A-C-E. okay. So the way that the staff operates is it follows the musical alphabet. The musical alphabet we could say is ABC, D E, F, G. G goes back to a again, a B C D E F G a B C D E F G, a B C D E F G. The way the staff operates is it follows the musical alphabet, ABCDEFG, but it's going to go line space, line space, line space. So for example, our bottom line here is the e. Every good boy does fine. Every, every is our bottom line. We go line space. So it's E F line space than line, and then space, and then line and space and light and space and light and space, line space, it just keeps going. Space. Either going higher, we're going lower. And so if we look at line space, line space, because E F, G a, B, C, D, E, F. So it's following the musical alphabet going lions, baselines, baseline space. Let's look at it one more time. Bottom line, E, first space F and G space a, line B space C, and D space E, and F line space, line space. And if we go descending, if we're going down, it's just going to do the musical alphabet backwards. So F E, D, C, B, a G, F, E is just going backwards, but it always goes line space, line space. Okay? So the first thing There's a couple of things in order, really just fully get this and you get it quickly. So you don't have to spend years or even months or weeks doing this. You can actually have this by tonight. We're going to first learn how to play. Every good boy does fine on the guitar. And so this is it right here. Okay, let's check it out. We've got two on the D string. That's gonna be our E for every. So when you see the bottom line on the staff, know directly on the bottom line, that's going to be that the two on the D string. That's it. Alright? Then we've got the G is going to be just are open G string. So that's pretty easy. The B is gonna be the open D string. Then D is going to be the third fret on the B string. And the F is going to be the first fret on the high E. Okay? So going from low to high again, it's so does that make sense? Okay, it's pretty easy, right? So a good thing to do is to practice it a little bit. So every good boy does fine, just mix it up. So when you're mixing it up, this is your cheat sheet, but with your printouts, try to cover up your cheat sheet, put something on top of it and just see if you can remember. Like where's the middle line, the b, middle line, B. Just open, right? However, the G, where's the G line? The G string open. Easy, right? How about the high F? It's going to be the one. The third fret on the B string. And the low E is going to be the true on the D string. Second fret. Good, as every good boy does fine. Alright, now let's figure out how to play face. This face is going from low to high, F-A-C-E. there's only four of them. So down here we can see it. This is pretty cool. It's starting on the D string, s3. Then the G string is to be string is one, and the high E is open. What's cool about it is that when you put it all together, 3210, it's just a straight diagonal. It makes an F major seven chord. Face. Kinda looks like a little mini F, but without open E string, you said F major seven. Okay, So let's test ourselves again. Face the spaces. Where is the whereas the E, Okay? So the open E string, okay? How about the C? Whereas the face first fret on the B string, where is the f, the bottom space, the third fret on the D string. And where is the a from face? It's gonna be the second fret on the G string. Okay, good. So this is a good thing to try to test yourself with the cover up the cheat sheet and just mix them up and see if you can just looking at the five-line staff, see if you can just mix them all up and find out where they are on the guitar. Then we want to mix up every good boy does fine and face together. Okay? So if we said Where is the G from every good boy does fine. Remember it's the G string. Okay, where is the f from face? It's the third fret on the D string. Where is the B from every good boy? It's the open D string. Okay. Where is the a from face is the second fret on the G string. Where's the e? From? Every good boy does fine. It's the two. During the e from every good boy does fine is the second fret on the D string. Where, what about the ER and face? The Ian face, It's the height open E string. So we got to ease the e from every good boy does fine. Every then the e from face to different nodes. Okay? It's interesting. What about the, the f from every good boy does fine. The first fret on the E string, the high E string. What is f? Every good boy does fine. What about the f from face? Okay, so that's the third fret of the D string. F. Again, we have two f's. You've got the front face and we've got the f from every good boy does fine. Okay, good. So we're kind of mixing up every good boy does fine and face. So that when we look at the staff and we start seeing these notes mixed up in a song. We can start seeing exactly where to play them on the fretboard. So that's really good. To kind of get off the tab and start thinking about when you see that the middle line, that's B, every good boy, and it's the open D string. When you see the High Line is the f. First fret on the high E string. That kind of thing. You start associating those notes with a five-line staff. Instead of having the tab tell you exactly where to put your fingers. Okay, Awesome, awesome, awesome. We're doing really good. There is only one other major component to reading the notes on the staff. And that's over here, this stuff over here and this stuff up here. These are called ledger lines. Ledger lines. So what's going on here is that the staff the staff, it's got five lines and four spaces. But the thing, we can add more lines and spaces going higher and going lower. This thing really goes to infinity in both directions. So it just goes higher and lower. You just keep on adding lines and spaces. And when you do that, you just draw extra lines to say, We're gonna go lower, or lines above two, so we're gonna go higher. Okay? But our guitar doesn't go to infinity. So I'm going to show you the limits of the guitar so you can focus on that. You don't need to go any lower than what the guitar can do. Okay? So I actually want to do this kind of backwards from the way that I wrote it. Okay, So the bottom line on the staff is e, right? It's the second fret on the D string. From every good boy does fine. Okay, So now we're gonna go lower. Alright, so we're gonna have to go below the staff. Remember I said everything goes limestone. Line space. That's counting with the musical alphabet, ABCDEFG. If we're going lower than we just do the musical alphabet backwards. Okay? So what comes before E in the alphabet? D. Okay, so we were on a line. So now we're going to go the space below the staff. The first space below the staff. That's going to be the open D string. Okay? That's D right there. Got your little cheat sheet down here. Okay? Now, what's, what comes before D in the musical alphabet? C. Okay? So now our very first ledger line, okay? So it's just one line by itself underneath the staff with a note in the middle of it. So that's going to be c as the third fret on the a string. What's interesting is that this note right here is what is called middle C. This one node right here, It's the one ledger line underneath the treble clef, underneath the staff. First ledger line with a note on it. It's called Middle C, member of Sony about piano players. And they used to clefs the treble clef and the bass clef, separating those two clefs, one single ledger line by itself for piano and its middle C. This is it as middle C. The third fret on the a string. You don't have to remember that. But I thought I'd tell you. Okay, so that's middle C. Now what comes before c in the alphabet B? Okay? So the second fret on the a string is going to be good, becomes four beat. Hey, awesome. It's going to be the Albany stream. Now. 1 out. What's happening here is deeds the space below the staff than we went to our first ledger line, middle C. Then for the b, we went the space below that ledger line. That was our b. Then we go to the line. So now we got two lines for the a, it's the open a string. So we're on the second ledger line, actually on the line as our egg open a string. Now we're going to go below that for our next one, we're going to be on the space below the second ledger line. What comes before a in the musical? It's G. We've back to G Now. G is going to be the space below the second ledger line. And it's the third fret on the E string. We're on a space for g. So now we're gonna go to another line. So we just draw in another line for another ledger line. Now we've got three ledger lines below the staff or write on it. So this is gonna be F, That's the first fret f. Now we go one space below that, so we're. Below the third ledger line. And this is going to be our open E. And that's as low as we can go. Okay? That's as low as we can go without detuning or low E string. So three ledger lines. The space below the third ledger line is your open E. This is you don't need to, You don't need to worry about going any lower than this because the guitar, That's kind of our limit. So now let's kinda go back up is we're going to start seeing now it's going, we're on this space for e, the open E here. So we're gonna go space, line, space, line, space, line space. Y is going to take us back to within the staff. Okay? So we're gonna go with E 0, line F, third line. Now the space below the second ledger line is g. Third fret. Good. Now, right on the second ledger line is going to be a the open. I'm going to pause for a second. If you're thinking. Lots of memorize, you don't need to memorize all of this. You can actually do functional. You might be a little on the slow side until you get used to it. But if you can remember a few things, such as the open E, the space below the third ledger line. Then you count up. So as line space, line space, you know, it's gonna be the third on the ledger line. And then below the second ledger line, it's going to be the g. We're not dealing with sharps and flats. It's just all naturals right now, all naturals. So the way that the line space, line space works is they're all natural notes. Natural notes are a, B, C D E, F, G, a, B, C, D, ci. If it was meant to be a sharper flat, we'd have a sharp or flat sign next to it. Okay. These guys up here, the sharp is a number sign or pound sign or hashtag. Okay, That's the sharp sign, means that the node is one fret higher. The little lowercase b is a flat sign, which means the note is one fret lower. Then this box with the one line going up that way and the other line going down that way is a natural sign. We'll talk about that in a minute. Okay? So we're just dealing with naturals here. So we're the G, which is the space below the second ledger line. Then after G were ascending, so g is a. And then it's gonna be my open a string. It's the second ledger line right on it. And then right below the first ledger line is going to be my B. Then directly on the first ledger line is middle C, this guy. And then the space right below the staff is going to be open D. And then we're back to front. Fine. So my point is that instead of memorizing all the stuff, you may just memorize one of these, maybe I'll memorize that a is right on the second ledger line. Open it. And then just count up or bad from there. To get to your note. You may remember middle seats, the first ledger line right on it is gonna be this. So you may just count up or down from there. And then maybe a little slow in the beginning, but you will get faster if you start reading a little bit of music. Okay? So that is ledger lines and below the staff. Ledger lines go below and above the staff to infinity. Obviously, it stops at the limits of your instrument. So let's take a look. The High Line on every good boy does fine as F. And that's the first fret on the high E string. Okay? So line space, line space. That is your mantra, line space, line space. So after F we're going to have G. It's going to be the next space going higher. Over here, we've got the first space above the staff is G. Okay? And here's our, is the third fret. So the third fret of the G, that's the first space. Now the first ledger line above the staff is going to be a. And that's going to be on the fifth fret. Fifth fret on the high E string is our first ledger line above the staff. That's a. Okay? Then the space above the first ledger line is going to be b. So that's going to be the seventh fret, seventh front. Then we just keep going like this line space, line space. So for example, this is the space. Above the first ledger line is B. So right on the second line is going to be seeing the space above. The second line is going to be d, right? On the third ledger line is going to be E. Then I'm on the 12th fret. And we just keep on counting if we're going to be going higher than that. Okay? So that's how ledger lines work. Alright, pretty cool. Alright. We're getting close now guys. You're almost there. So we said we're only dealing with natural, right? So the naturals box with the one line going up and the other line going down. We can have sharps and flats. So sharp is a higher one fret higher end of flight is one front lower. So depending on the key urine, the only key that has no sharps and flats as the key of C major. C, D, E, F, G, a, B, C. That's the C major scale. Every other key will have at least one sharp or flat. Sometimes we'll just pop in sharps and flats just because we want to, just because it sounds cool. You can do that anytime. And we still stay with the whole system that we've talked about thus far. And all you're gonna do is I'll just put a little flat sign will lowercase b next to the note. Or you'll put a sharp sign, hashtag or pound sign right next to the node. And that'll tell me you want to do it to be, maybe it'll do its D. D-sharp doesn't exist. We could do B flat though. If I had my open B string, I have to do a B flat. So I'm going to have to come down here to my G string and play that B flat. So I would just put a little lowercase b right next to it. Or maybe I've got a D-sharp. Okay. I'll put a little hashtag sharp sign right next to my dynode. And instead of it being the third fret on the B string, it'll have to be the fourth fret of the B string. So D-sharp, or what if I want to go sharp on the F? I'd put it right before the note, little sharp sign read before that. If node being the first fret, It'll be the second fret. Now I've got F sharp. So the basic way we read this, it's always gonna be the same. And we just write in sharps and flats whenever we need, the notes will be higher or lower in between. So the five spaces in-between, which could be 0 or flats. Okay? Okay. I think I just have two more things I need to tell you about. We skipped past the key signature. Right here is the key signature. See this one sharp sign by itself. Okay? So the key signature, or it could be either a mixture of a couple of different sharp signs, or it could be a couple of different flat signs on different lines and spaces. At the beginning of the music, it could be nothing. So nothing would be the key of C major. Because we said C major is the only key that has no sharps and flats. The key of C major, you could say it has no key signature, or you could say the key signatures that has gotten no sharps and flats. The key signature is a super important and powerful tool. It's telling us right here, I put a sharp on the F line, the top line. And so it'll be either on the line or the space of it could be a couple of them are just one. Could be flats. We don't mix up sharps and flats has to be one or the other, okay? So the key, whatever the key is, will either deal with all sharps or to deal with all flats. But songs don't have sharps and flats together. That's an important point together. We never mix up sharps and flats. You'll either sharpen whatever you need to go higher or you'll flatten what needs to go lower, but there's never a need to do both. You pick one or the other and either one of them can get the job done for every single note. When you have a key signature is telling you that for the entire song, for the whole piece of music, you have to make sure that you sharpen or flatten this node wherever it's written down. So right here I've got the sharp on the line. Okay. Now what that's telling me is that every time I'm reading the music and every time I see an F, I have to make it an F sharp because they're not going to write it and because they already wrote it in the key signature. So every time I see an F, I have to play it as an F-sharp. I'm going to have to remember. It's gonna look like just an f to me, but I'm gonna have to remember to make it an F sharp because that's what my key signature and told me to do. It also applies to all the f's, not just the one on this line. Because remember I've got an F down here. Space, right? I haven't F way down here on this ledger line. And I can find a way high up on the 13th fret. So I can find f's all over the fretboard. Every single f has to be sharpened. If I have that in my key signature. Key signature will tell you what to do. You want to just look at it, figure out what the notes are, the sharps or flats. And whenever you come across that node, just you have to keep a little mental note. Oh, I have to remember, sharpen it. Were flattened it because the key signature. So you should always be looking back at the key signature to remind yourself. I hope that makes sense. I'm key signature. If they write it down once and for the rest of the music, they're not going to tell you again. So if I could be playing 20 pages of a song, page after page after page of just music, music, music. And then they're only going to, honestly, they will repeat it sometimes at the beginning of every single line. Sometimes they want different programs. Different composers will do things differently. But we've talked about this in a rhythm, is that a lot of times people who are writing are trying to make it as easy for you to understand it and read as possible. So sometimes every single line that may repeat the key signature. Okay, so keep an eye on that guy. We have a thing called accidentals. What if we have a key signature? So F-sharp, like in this case, could be anything but this example, we've got the F sharp. So I'm playing an F-sharp, by the way, happens to be the key of G major. So that's one of the things when you start getting more into reading music, you'll start saying, Oh, I see that key signature and that the key of G major has one sharp, is the F sharp. So I know that I'm in the key of G major. You'll start picking up on things like that. So you're playing your song and G major, whatever, whatever is going on. But maybe what if just for whatever reason the music wants you to play a regular F note, a natural, not an F sharp, okay? Even though it's Enter key signature. But the music, they want you to play a natural f. What they do is they use this natural side. It's the box lunch line going up, one going down, and they'll have that symbol right next to an F. Now it could be whatever f know what they want you to play. And so that is telling you for just that one measure, play a normal, natural F, don't sharpen it just for that one measure. So whenever you see that symbol is saying play in natural notes, don't, don't go with the key signature, but only for that measure. And when that measure is over, you go right back to the key signature again. So when you finish that measure, that has the natural sign in it and answer the next measure, your back into the normal key signature. So the F sharp, and again, if you see it, unless you see the natural side, the natural sign only works for that measure, and then everything reverts back to whatever the original key signature is. So sometimes I've seen some music. Great example would be Flight of the Bumblebee, which is a really chromatic piece. There's a lot of notes that are just right next to each other and it doesn't really fit in any particular key. That song is, the music is full of accidentals. They're called accidentals because they go against the key signature. So you'll see sharp, natural flat, natural sharp, natural flat, natural C strings of all of these accidental symbols next to each other. And that's how you deal with them. You just basically follow what it says to do. And after the measure, if you don't see an accidental, you do whatever the key signature originally told you to do. Make sense. Okay, good, good, good. We are making good progress. I think the last thing that we need to talk about is enharmonic equivalents. I made an asterix over there in the corner. Enharmonic equivalents. So this is one of the things about the guitar that gets a little tricky. The guitar is special because we have enharmonic equivalents. What that means is that I can play notes that has, it has the same frequency in a few different places. So for example, I can play this note right here. The two on the D string is E from every good boy does fine. Okay? And to other DStream. Okay? But then if I go to the, a string to my seventh fret, That's the exact same frequency. Which means that the seventh fret on the a string would also be this low E, the bottom E line. We've got. E from every good boy does fine. Here. We've got it here for a string. And also here, 12th fret E string. These are enharmonic equivalents, okay? They have the exact same frequency. There's a difference between octaves and enharmonic equivalents in Octave is actually the same note name, higher or lower. So an octave would be like if I went. There's, that's an octave because they're, they're both 0s, but once higher in one's lower. In enharmonic equivalent is the exact same pitches, same note name and the exact same pitch also, their enharmonic equivalents. What? It's actually a good thing because this means that we have options for positions. We can play some sheet music. And so all of this is kind of showing us how to play an open position down here because we were all around the 0123 roll rounds that area. But we could also play it in the middle of the guitar. If I can do seven front of the a string seventh fret and is going to be the same as the bottom line. That means that my other stuff is going to be right around here. E, then f is just going to be right next to it. And then the G, the second line, it's going to be the next G that comes up and then the a is going to be, so that's the a. And I'm just going to be up to this E right here. And then it takes me up to the High Line, as I'm doing this all here on the seventh fret. Now I can also go, you got this in your printout. So if you're trying to keep up with exactly what I'm doing, I believe it's in your printout. I can also come up to the 12th fret, the exact same enharmonic equivalent or this E. If I'm just going to follow the musical alphabet, I've got E, F, G, a, C. Okay. So I can play the exact same music. Down and open position here on the seventh fret or up here on the 12th fret. It's my choice because they're the exact same pitches. And it goes, I will be properly playing whatever I was reading. And it's my choice because I'm the guitarist and maybe I like playing it down here. Maybe I like it here and maybe I like it here, but it's going to be the correct pitches. Either one I choose. That makes sense. So you want to play around a little bit with enharmonic equivalents. And easy way to test it out is that it is usually going to be around five frets. So if we said like I was on the D string, second fret. And then I came to the seventh fret on the a string, so that's five. And then I go seven to 12 on the E string, that's another five. So as we're climbing and going lower on the strings, usually five frets is going to show you where your enharmonic equivalent position could be. Okay. I think that about covers it, believe it or not. I know that was a lot. You may want to watch this again in case I went too fast through something. But my best advice you is to start practicing through this and covering up your cheat sheet. Then as soon as you get an opportunity to get your hands on some sheet music, go on the Internet and do a search. There's tons of public domain sheet music you can print out and start trying to read it. Most sheet music. The ledger lines, almost sheet music is not going to be ledger line crazy. Ledger lines are a little difficult to read quickly. But most music is going to be trying and keep everything centered right in the middle of the staff, right around the stuff. That is easy. I will start out getting comfortable with your open position. After you get comfortable reading music and open, then you can try playing around with your enharmonic equivalents, trying to move up to some different shapes. Just make sure you don't do an octave, okay? Don't go to an octave. Make sure it's the exact same frequency where you're starting note is. Okay. Well, I think that you did really good job staying with me here. And I hope that this makes sense to you because I would love to see you reading music. It's a cool skill to have. And more guitar players should learn how to do it. 18. CAGED chords (page 51): Let's talk about caged chords. So you may have read about caged, the cage system where you may not have, I want to explain it to you. Caged is like bar chords to the stream. They're very cool, very cool stuff you can do with it. And it's not complicated at all. Once you get how they work, It's actually pretty simple. One of the things I want for you guys is I want you to be able to think for yourselves and want to teach you how to figure stuff out on your own. That's really important. A lot of guitar students come to me because they say, I've been planning for so long and I got into a rut filling my playing has just gotten into a rod. I don't know what to do next. So they ran out of possibilities. So if you can get enough possibilities so your belt, then you should never get into play. As matter of fact, one of the things that I tell a lot of students is practice playing in G for an hour. And what I mean is, you can play in G. You play a G chord, G scale to your Piaggio, anything you want. But don't change chords. You're not allowed to change. Courts. Can't go to a, D or C. No other courts. You have to stay in G. And so what I mean by that is I want you to play everything that you can play, G for as long as possible and see how long you could go without repeating yourself. Just like a quick little example of how there could be. A lot of people will say, Oh, okay, What else could I do? Alright, so keep it in. Keep that go on for hours. Just keep it in cheat. Don't change chords, don't change the key. Go anywhere else. Keep it in G. So all the courts stuff that I'm doing, one that is based on me using some of the caged. Okay, Let's jump into cage. What does it mean? It means C, G, D. Those are cords, are open courts. The C chord, a chord, the G chord, the E chord, and the D chord. Okay. I'm talking about your first guitar lesson, those courts, right? Okay. The good news here is that if you've already gone through the bar chords a little bit, then you've already got a leg up on this one. I'm going to jump right to the E of caged. Basically the idea here I'm gonna give you the end of the lesson. The end of the lesson is that we're going to take these five bar chord. He's five open chords. And we're going to turn him into a bar chords. Right now they're open course, meaning they've got an open string, least one open string, and sometimes they have two or three open strings. But they're all open chords. We're going to turn all of them into bar chords. Like I said, the good news, you already know two, okay? So we know that E and we know that a is look at the E real quick. Okay? Here's my ijk coordinate. The basic trick we're going to use for all of these is I want to make all of these open chords without using my pointer finger. No pointer finger. So I'm gonna make an E chord with no index guy equaled with no index finger. Right? Now I've got the E string open. E to E is the B string. Open. Okay, what I'm gonna do is I'm going to slide this whole thing up. One fret. Good. I'm going to bar the first fret here. Anything that was opened before, since I slid up a friend. So anything that was open also has to go up a fret. So what was 0 now has to be a one. So I have to bar the first fret to compensate for those open strings because I slid everything up one. So those open strings have to go up, to, have to go up also. Alright, I'm going to borrow here and turn it into an F chord. Slide up. Florida compensate or with my pointer. Obviously for the open strings. And I've got my F chord. By the way, function will begin F sharp, G. This is your first bar chord. G barcode right here. Okay? The root note on this one is just about low note. So it's easy for slight of one itself because this is F sharp, G sharp. Okay, So we've got that one. Now. The AF caged, we know this one also. Okay. A chord. What's the thing we said? We're going to make all those chords with no pointer finger. Okay? So fingering got my acorn slide, the whole thing of one fret, a chord. I had been a string. Open, E string. Slide up one fret, and I've got two bar, those guys. Yeah. That's uncomfortable. Well, remember this shape how we did it with two fingers and we didn't hit the high E string. We just did it like this. So if I make this a chord like this, or you go here, sled up a fret and you're just going to grab my a string, not going to worry about this high yield. All again, my root node is the low note, the note on the a string. Sharp. C-sharp. Got it. So you already know those. The other three that we haven't worked on yet. Okay, See the sea of caged. So we have C chord. This is where it gets interesting. We're gonna make a C chord with no pointer finger. That's how caged works. Make the open court and don't use your pointer, right? So make a C chord pointer finger, right? If you've ever had troubles with C before, you're going to hate this. Okay? Now we have our C chord with no pointer finger. Slide that whole thing up when Fred are open strings on the C chord, string, E, G string, and the high IQ. So we slide up one fret. We have two bar, like bar those holes, all three of these top strings, yep, borrow three of those so that the G string and the high E are both now and the first fret to compensate for, they were open now they have to be on the first fret. Great. So my root node in a C chord, it could be my lowest note. So we'll call this the note on the a string. This third fret here, that's spicy node. Okay? So when I go up a fret, this note, still my pinky node, it's gonna be a C-sharp. All right? If I go up again, it's a D sharp, E. All right, another way to play enough, very cool. That's the sea of caged. People modify these also, by the way, we're going to talk about that in just a minute because they're not all super comfortable. So you can modify them to make them more comfortable and easier to get in a hurry. Okey-dokey, the g of caged. Um, we're gonna make a G chord with no pointer finger. Okay? So G chord, no pointer finger. The open strings or be, okay. Now this one gets a little tricky. Let's see what happens. I go I'll prefer it. Okay. So you're saying I have to press the BG and D strings with my index. This is nearly impossible. It's nearly impossible for me to do. Yeah, ouch. Okay, here's what we're gonna do. We're gonna cut it in half. Alright? So if we look at it, like you've got the bottom four notes, okay? Let's make our G chord. This. Okay? I just want to do the bottom for strings. So three to 0. We're not gonna do the two hormones at all. Those up one. And I'm going to just bar on the two middle strings, the G and the D string. I'm just going to strum them way more comfortable. So a G chord, the low note, is the root node. So this is my G note, the three. So when I go over Fred bar to middle strings, this one really good bar, the B also be G and D. Make it you don't want to kill yourself. I'm going to try to kill ourselves here. We just want to get a cool different sounding chord. G sharp, a sharp, B, C, C sharp, D. There's a D chord, C, B-flat. A. Great. Okay, now let's go back to a G chord. G chord with a pointer. We cut it in half. So let's do the other half of this high one. We're just going to leave her pinky there. We're not gonna do anything else. We're going to slide up one fret. We're going to bar D string, G string, and the string same as before. Just instead of going for the low, this time we're just going for this one high note. Our root node on this one can be the high E. The E was the route before the Loewy. This I will just make the high either route. Keep it easy. So this height right here on the third friends and G. So when I go here like this, it's a G-sharp. Picky notes, a G-sharp, G-sharp chord. This is an, a sharp. See. It's pretty bright sounding chord. So we can go for the low. We go for the high. That's the G shape. Pretty cool. Alright, let's talk about the D shape. So the D shape, we're going to make a D chord with no pointer finger. Okay? The D chord only has one open string, string. So we go up one fret. So now the D string, we have to get this guy first fret to compensate. So write D chord or a renewed string from the D chord, from the D string. So the D string will be our note. One fret. This is a D-sharp chord. That's an E, F sharp, G chord. Alright, and that's caged. Let's quickly talk about modifying. Some of those hurt. So those are not comfortable. So what you're gonna do is you're going to just take off the one node that's killing you. Okay? So I'll tell you what I do. For me. Let's look at a C chord. C chord is here. And you can do the full-on chords. I just want you to do what's best for you. If you want to do the full chord, I think it's great. Things great. Go for it. Okay? Here is the C-sharp. Okay. Go in here. What I do is I will dump the pinky. Pinky comes off. I'm just going to focus on these guys. I really liked a grip to get this kind of a position where I'm like this, I get that sort of tendonitis. Start feeling on my wrist and my cables start to kinda, if I can grab the guitar like this, it's a lot more comfortable for me. If I know, I've got this sort of like imaginary root note, even though I'm not playing it, it would be this guy right here. So I know this would be a C-sharp. This would be my d. That's one way for me to think about it. I also have a root note on the string, in this case a C chord, C chord, a, C right here on the B string. So if I focus on the B string note, then I know that's my route, right? So here's a, D, E, F sharp, G. And be way more comfortable. Okay? The a and the either good, the G, we cut it in half, so we've got no issues with that. The D chord, you only do the full on D. So D, Then we moved it up a fret. Yet like this, I rarely will do this just because super uncomfortable for me. So I'll do one of two things. I will dump the high string and just do what's actually kinda like a spread out power cord. Right here. I'm measuring, I'm doing a D chord, but I'm just not playing the high street with no history, no hyena. They go for it. So D-sharp, it's a power chord, five chord. So it's kinda third in it, but still it gets the point across. If I'm meant to play. Some change will say I'm going from a to G to F to E. So we'll see how it sounds across. If I feel like I absolutely need to get that third in there so that, you know, it's a major chord. I'll dump the low note. Okay, so instead of having the D chord with the D string, just going to go for a regular D-shaped. Okay? I'm just going to stroke the D string. I'm just gonna go through the three high strings. Notice the B string on this one. Here's a divorce. So go up two frets, D-sharp, E. Okay. So that's how I approach it. You should do what works for you. But cage gives us a ton of possibilities. Real quick. I want to talk about doing that whole thing. Play a G chord for an hour. Let's pick a chord that's not in caged. How about B? We have no B in caged. So let's apply a B chord to the caged concepts. Alright, Let's just go one at a time. So we have to make a beak cord in the C-shape. Okay. So we've got our C-shape. Doo doo, doo, doo doo come all the way down here because I just can't grab it so low. So *****, way up high, all the way here. I told you I don t play it like this personally and dumped my thinking. So let's make an a B chord with a shape. Here's my acorn on pump and slide it up into a beaker. B chord with the G shape. This one we cut into pieces. I've got the little piece. Then the hippies. Low peace, see, kinda looks like the G chord over here. On the seventh fret for being happy is great. This one is easy. The E, So E chord, all the way up on D, D, D chord, root notes on the string. All the way up here. And again, remember I said I'll do it like this. I'll do one of two things. That single lobe or the D chord, the high part of the great. So we put that together without all the talking in-between, caged applied to the chord. Right? Right. That's very cool. Because before caged, we had just two positions for the cord. Because B has to be a bark word. We could do the shape and the shape. Now we've got the C-shape. We cut the shape in two pieces, so there's three. And then I'm cutting the D into two pieces, so there's two more. So this 55 new shapes for V chord seven total. Very cool. Okay. So you can do some, if you want to practice caged, take some simple chord progressions. You don't need a million different chord song. Just take like a two or three core song, something real simple. And try playing the two or three chords in all the different positions that you can imagine trying to find them as quick as you can. Because that's going to be the challenge, is trying to find all these shapes quickly. So you want just a simple, simple song. Make it as easy as, as you can be. I'll start off by taking a one-quarter of the time and just seeing how quickly it can jump from one shape to the next. Last thing I want to talk about, and this is something that no one talks about. You you may find it occasionally, but I honestly may have run into this one time on guitar, music theory forum, but you never hear guitar is talking about this. Everyone talks about caged as it applies to me. No one talks about caged as it applies to minor chords. I don't know why. Okay, we're going to do the exact same concepts can apply to minor chords. So I think, I mean, I think I do know why. I think the reason that people don't apply cage to minor chords is because we can play CAG ED as in open court. All those we can play as open chords. You can play see a GED all as minor chords. Well, I can just, most people can't. That's what's going on. You don't see C minor, and you don't see G minor played as open chord. They're tricky. They take a ton of picking control to do, but you can play them as monitor cord. So I'm gonna show you how to write now. Because if we can play a C chord and a G chord open, as modern courts, then we can do cage to monitor. Okay, so those are the two that I wrote out down here. Like I said, picking control is really important. On the C minor. We cannot hear these Easter eggs, you cannot play them. It's going to sound horrible if you do. Starting on the, a string is 31, 0131. I start this one with my pinky 3101. That's a C minor opening chord. Just to let you know what happens if you accidentally hit one of the East regions. Here's what it sounds like. Or yuck, we don't want it. So mute the E string as you can when you're doing this one. And picking controls stop it right on the B string. Dig into the a string to not hit the Eastern. Stop it right on the B string. Awesome. So then we have the G minor open. This one we don't really need the PID control is just going to be a little bit of a stretch. So we've got 310033. Okay. So quite a bit of a stretch, but It's cool. It's kind of like if you ever did a G chord with this 3s, 3s of high, we could do that as another voicing of a G chord. Usually you do a G coordinate. But you can have both the 3s, 33 on the two high strings like that. But we're moving this index finger back to the first fret of the G minor though. So if you're ever playing a song and GMR bar Coursera's to wear you down. You know, it's moving over to them. But we have to have the two threes because we can't have that open G string. Okay, so let's do a quick, quick caged minor sequence. So we've got this is our C minor. So I can't play this one without my pointer finger. So we're going to instantly just, we're going to cut it off right off the bat. Okay. So I'm going to do the bottom three, notes it up. I'm just going to focus on the bottom three nodes. So if this is C minor, slid it over Fred and I compensate on the G string. C sharp, D sharp minor. Here's how I will play this one more often though. Let's do the three high string, so the C minor chord. So here's the stump, the pinky completely deal with these guys. My root node is gonna be on the B string now, slanted up. Friends compensates right here. The G string, C-sharp, water. Okay, That's a D minor. Well, this one is especially cool because I can sort of, I've got a little played out with my index finger. You, that high string can also run my thumb around and meet the low strings if I want to get a little bit more into it. So this is a D minor, so D-sharp, F sharp minor, G minor. G minor. Cool. It's great. A minor, a minor and E minor, we already know, same as before, the bar chords. Okay? Let's do an, a monitor with no pointer. Go for it. You already know that. There's a B flat minor. Sure. You already know this one. Jump all the way to the monitor. Okay. Here's the monitor. No pointer finger for it or everything in the first-price. Water. Remember the bird? My friend, the bird name on her. Great. Okay. Moving on. G minor, we've got our new shape. Okay. Yeah, and let's cut this one in half. Just too much going on and we've cut it in half. So if we had three, slided up a fret bar, the D string and the G string. So there's no sharp monitor, monitor, monitor. Monitor. Okay. Now let's look the other half of it. 00330033, great. School for Fred. And let me point out this, this corner here. Really a G minor. It's more like a G power chord. It doesn't have the third in it to make a major or minor. So it's not monitor, but it's also not major. So you can play this when you're supposed to play a minor chord. It just won't have a minor sound, but it'll, it'll work, totally work. It will not have to be a problem for you. G. Okay, go to the front butt to do bar those with the pinky. Got two strings of borrowing with pinky. If this is uncomfortable, I get it. You gotta be a strong move to knock this one out. I've got 11 on the G and the D string. Got the four and the four and the two highest rates, G-sharp. So I could play this is b over an a minor. Because listen to this. Here's an a minor. Works. Sure. Okay, Awesome. Then lastly, we've got our D minor. D minor chord. Monitor with no pointer finger, front, the only open string and that was the D string. So we'll just do strain goes down. This is going to be a D-sharp chord or E-flat minor chord, D-sharp minor, or E-flat minor. Same as with the D chord. My root notes on the D string, D chord, D string, D minor chord, D string. So D-sharp minor for, here's an E minor, F minor shirt motor. The motor control. I just lost it for a second. The control is make sure that you are exactly on the string immediately beyond. And intentional muting is if you think that you may miss the string, like I just did, that's okay, because everybody makes mistakes, doesn't matter how good you are. You're going to make a mistake every now and then. You want to cover it up. So I should have covered up better. The way you do that is by intentionally unmuting. So I didn't want that a string and wring out. What I should have been doing was touching it. So that's what you would have heard stuff? You would, for instance, because I'm touching it now. I can swing wider when I'm muting intentionally. I just loved the top of my finger just a little bit of the skin. Touch it. The open string that I don't want to ring out hit it because I don't want to be paranoid that if I hit it, it's going to do that. So I shouldn't be muting it a little bit. If I can just touch it a little bit. You can swing a little wider and get a little bit more aggressive with your strung, get the rhythm into it. Don't worry about that. Okay. So that's caged in caged minor. You could actually impress your friends with the whole cage minor because they will not know what you're talking about. If they know cage, they more than likely have never considered using caged for the minor chords. So anyway, these are a whole ton of new bar chord ideas for you. So getting back to where we started, go play G for an hour. Play B minor chord, maybe not for an hour, but see if you can go for 20 minutes and see all the different possibilities you could do on a B minor chord or an F chord or a whatever cord. How fun with it. 19. Rhythm 3 - Strumming 16th Notes (page 52): Today we're going to talk about 16th note strumming. This is where strumming and rhythm starts to get really exciting. Where you see people that are doing some just wild stuff with their courts. Lot of times this is what they're doing. So this is pretty good. Hopefully you've been watching the rhythm videos in order. If you saw the eighth note strumming video, then this is going to make sense very quickly for you. Okay, so just building on the concept of the eighth note strumming, we see up above, we've got one measure of straight 16th notes, 1234. Okay? Now, let me back up for a second. When we are playing some chords that has eighth notes is the smallest speed. We're going to go for that whole system of the 1234 and down on the 1234 and upon all the ends, if you have just basic eighth notes, stick with that method of streaming. If you have 16th notes anywhere, or if you want to play 16th notes, then this is the system that you're going to use. And all that's happening here is we're just doubling on the same concept. So instead of down just going on 1234, now we're gonna go down on one end and the 1234 and all the ads will be downs. Ups are going to be the ease and the others. Okay? So the doo, doo, That's down and up. It's just alternating. Time down, up, down, up, down, up, down, up. Like we talked about with the eighth notes, are right hand is never going to stop moving. It's going to be constantly going down, up, down, up, down, up, down, up. And it's going to be 12 E and 34 E. And I'm never going to stop moving. Also same as before. The left hand is not as important. We needed to make chords, whatever chords. But the courts are not as important. So just make a good chord, try all different courts, try a whole bunch of different cores, get a whole bunch of different sounds. Um, yeah. Okay, Same as before. I'm going to jump in with some improvisation. I'm just going to mess around with it for a minute so you can kind of see how this whole thing works. Let's start at the end. When we're going through this, we have put a bunch of different measures of some different rhythms that we can try. And you go one pass on one chord and then do a second pass on any other chord. Doesn't matter what the court is. Any other chord that you want to. We're just trying to kind of go one rhythm, stay on it for a minute. And every time you go through it, change chords. When you repeat it, every time you repeat it, dry a new cord. Okay, So let's jump into the improvisation. So I'll start off on G chord. And we're doing. So you've seen already I'm getting some pretty cool rhythms. And that was actually a kind of a medium-sized, but it wasn't even that fast. So that's the beauty of 16th notes strumming is that we can get some very cool stuff happening at a medium tempo. We speed it up you then 12341. You'll see that my hand is just barely moving. Sometimes I'm moving it though. It's moving every single time. It's just we're going so fast that we can't do the big swing. We have to make the swing smaller. But my head is constantly moving. And every time I was playing an E or an I was doing it up. And every time it goes 1234, or a down or an ad, I was going down. 1234 ends and downs. Okay. Yeah. Good. Okay, so let's jump right into the first one. We have 1234 yet. If you are going through any of these at any point and you're just having a hard time counting it. Just tap it out on your lap. You don't even have Sarah guitar down. Just try to tap it out. 1234. If you can't tap it, you're not gonna be able to strum it. Tapping it is the most basic thing. So if you can't stop it, there's no way you're gonna be able to strum it. So if somebody's giving you a hard time, just take a minute. And then also tempo is relative. What that means is that you don't have to play it at any certain tempo. You don't have to do it fast. When things are tricky, tricky rhythm. Take it real slow, real slow. So 12341234 E. And good. Now, real quick for jump into this one is the beginning of it that I'm looking at. The one end to end. Before with the eighth notes. We're going 12, ends like that. Down, up, down, up. With our 16th note. What's happening is we're going to be going 12 and we're gonna be going down on all the eighth notes. Okay, It's the ease and the others that are the UPS. So if I was just going 1234 and basic 1234 M's, you'd be all doubts. It will look like this. Right? I can speed it up a little bit. Right? Okay. So let's jump into the first one. Okay. Good. Don't forget that. At the end. Yeah. It's in there. So it's meant to be played. Okay. Good. Next one. When he handed to you in 234. Good. And kind of what we're looking for here is the swing at the three and the four, right? So we've got a C chord. So keep that swing goals so that you don't rush those quarter notes at the end. Okay. Good, good, good, good. Okay. Moving on. 12 E and a 34. Okay. So what's happening here is we've got three e, then that is an eighth rest. Eighth, eighth rest equals to 16th notes or 2 16th rests. A thrusts finishes out all of B33. And then the eighth rest is silence. For E. Eighth rest. See what it sounds like. 121. And if you get the tap, but you're having a hard time with the strong. You just mute the strings. So touching the strings, Bono, pressing, it makes it nice chucking sounds and I just go 1234 and up, right where we speed this up, that motion is going to get real small and no one's going to notice it was going to be looking at my left hand anyway. So stay on this one for a minute. Okay. I'll change course. A minor. Good. Alright, moving on, let's take a look at this guy. One, and now this is all B to be two. This is one of the things that I want you guys to pay attention to. When you're trying to quickly decode a measure or rhythm. Break it up in chunks of this is all the betwen stuff. This is all the B2 stuff. This is all beat three stuff and this is all before stuff. If the person who wrote it was trying to be kind to whoever's meant to play it. They would make it easy to read and easy to group out like that. Okay, so that's one end. We have a 16th rest on to the e. That's the 16th. 16th rest again and we're hitting the E and then we have 34 yada. So it's 1234. So we're hitting that e and f of two. Alright, let's see what it sounds like. That's great. Let's try that again. Good. Let's speed up because I think it was a little bit different if we speeded up. Pretty cool. I like that. Okay, moving on. The bottom one here. Alright. So we're getting some themes here. Okay? So this is the same rhythm on all four beats. Here we are connecting beams. We've got 16th notes connected to an eighth note at the end. Since it's the exact same thing you can just, you just kinda look at the first one. So one e and it's an eighth note. So that one and an eighth note is equal to 2 16th notes. It's true for the eighth. An eighth note, the beat, or an eighth rest, they're both equal to two sixteenths to 16th somethings to 16th notes to 16th rests, whatever. So 1 eighth note. So imagine this ethanol here is equal to two sixteenths. So that would add that with these two sixteenths and this four. So that's all of one beat right there. Little beats the 16th going into a big beat, the eighth. So we'll just go right on into it with no rest whatsoever, no pause one and up, one, E and a. So this is 1234. And up. Let's check it out. We've got Alright, so I'm just doing this silent. At the end. You should not be looking here. You should be looking at this guy. Okay, good, good, good, good. Now we've got the contrast over here. Okay, This is the kind of the opposite of it. Alright? We've got all four beats are the same. We have an eighth note going into sixteenths. So it's a big beat. Going into too little views. Anything with a beam or flag can connect to anything else with a beam or a flag. As always, we just want to group it within each beat. When I say that, what I mean is we don't want, these all have beans, right? So why don't we just cross some, connect all of them. It will be confusing to read. It will be harder for me to see where B to begins and ends or B3 begins and ends if we had all connected. So that's why we want to just stop the beam after when the beat is complete. So we've got one, right? Because the eighth note is equal to two sixteenths and eighth notes equals to two sixteenths. One. And it's a big beat and going into little beats the sixteenths. So what is the big beat? You have to hang on for a minute. 11234. All right. This is a cool one because in heavy metal, this is referred to as the gallop, like a horse galloping power cord. And if you go like if you speed that up a little bit, we'll handle the gala. Speed up even more. That's this one, E and one other. Okay? Alright, good doing, good, doing good. Okay. So the next one, what do we have here? It looks like another theme. Okay. So it's just bisected. B1, b2 is the same as V3 and V4. So we have one E and then rest for the Anda says an eighth rest. Eighth, eighth rest is equal to 2, 16th rests. So that's all v1 one. And then rest on the 222. And then just kinda does the same thing over again, 1234. And this one's cool because it's syncopated. So let's give it a shot. Okay, Let's speed it up a little bit. More than that. Good, good, good, good. Alright. Sometimes they sound a little bit different if you go faster or a little slower. Tempo. What do we have here? This looks familiar. Okay, So we're looking at this guy. It looks this should look familiar to you. We did this one in the rhythm one video. Okay. So we've got ads right off the bat. We've got the contrast between, remember these guys, one hand and we hold that through the O. That's the first one. The second beat is the Gallup to add up to and a, resting on the 33. And then four E and up. So resting on the floor in the end but we're hearing Ian. Okay. So we've got 12, E and 34 and up. Wow. Alright. See if we can put this together. I'm just gonna go down, up, down, up, down, up, and make it come out. So we've got to so let's speed it up a little bit. See what happens. You go a minor. Cool, cool, cool. Okay. Okay, good. I can stay on your toes without one. Alright, Looking at the last one, Kipling wrote the last one already. Gone quick. Okay? This just gets easier the more you do it. You just stay with the basic rule. And it all comes out. Remember, just tap it out, tap out. Some of these are gonna be like, how do you count this? Go slow, go slow, Tap it out. 1234. And this guy's constantly going down, up, down, up, down, up, down on 1234, down on all the AMS, all the pluses are going up on the ease and the other has the E and the a. It's like an, alright. Okay. Last one, we have 1234 e eta. Looks like the pattern here is we just keep on adding one after the one beat 1234. All right, so we've got, well, Good job. Good job. Alright. Get to work on doing some fast and furious. 16th note strumming. See you in the next video. 20. Arpeggios - Full Fretboard (page 53 - 55): Let's talk about playing arpeggios all across the fretboard. So we already talked about the basic major and minor arpeggios. How they're used. Arpeggios are made from cords. Any chord can be turned into an arpeggio. Arpeggios are meant to be as soloing tool. So we're going to solo with arpeggios. We went through the basic major and minor shape for the, for the root node being on the low E string. So what we're going to talk about today is going through the entire fretboard in one octave to do a single arpeggio. And really what this is about is giving us a lot of different shapes. One of the themes that comes up a lot with learning the guitar is redundancy. We need to be able to do the same thing and a lot of different places because we don't want to be stuck in one place. So we want to be able to play a G chord all over the fretboard. We want to be able to play G major scale all over the fretboard. And we also want to be able to play a G arpeggio all over the fretboard. It's really important that we're not stuck in one position, that we've got the flexibility and the freedom to move around and play around with it. So in order to play all over the fretboard, we really just need to be able to get our arms around one octave. So that's 12 frets. If we can get one octave or one register, same thing, an octave and a register, or the same thing. If we get one octave than weren't really good shape because that just repeats itself after that. So for example, if we imagine from open, from the nut all the way 12th fret, the double dot. This is one register or one octave. So all the positions that we learned in this one octave, it just repeats itself all the way from the 12th fret too. I don't have 24 friends on here, but if I did, the 24th fret would be right about here. So all of the same shapes would just repeat. Because this would be the same as the nut 12th fret would be the same as starting from open. And everything just happens again up in this register. So what if I started on the third fret? Because we do a lot of stuff starting in G. So if I start in G as the third fret, there's an easy rule when you're jumping around to different octaves. You either add or subtract 12 because of the octave is 12 frets. So if I'm on the third fret and I want to go to the next octave was three plus 1215. Jump all the way to my 15th fret. So I'm on three, uh, jumped to 15. It's like starting all over again. So like if I'm playing a G arpeggio down here, I jump all the way to the 15th. Fred and I do the exact same thing. It's just an octave higher of the exact same thing. So all the shapes I can do and what octave just repeats. Okay, so getting our arms around one octave is hugely important. Okay, so let's jump into the full fret board arpeggios. We're still focusing on just the majors and the miners today. However, I do want to point out that like a lot of things and guitar theory, they are cumulative. Kinda like math. It's cumulative. So whatever we learned in lesson one, we're going to talk about in less than two. And then all the stuff we learned in lesson two, we're going to talk about less than three. So just keeps building on itself. Which is great because if you know the basics, then when you start getting more advanced, if you want to start getting into learning more about, for example, extended chords or running, jumping between modes within a song. Changing keys. You're going to be using the basics all the time. And the, for example, the basic arpeggios are the building blocks of any more complex arpeggio that you're ever going to have to learn. So if you know the very basic major and minor arpeggio shapes for you to learn anything more advanced than that and extended arpeggio, we're making an arpeggio based on some insane looking chord with a really long name. The foundation of that chord with a really long name, you're already going to have, it's going to be the basic arpeggio, either a major or minor. So you're already, you've already started covering ground on that. So that's great. You're doing good. Okay. Also, Morgan is for you, is that we've got three positions here. So looking at position one, this is major and minor position one, position two, major and minor in position three, major and minor. And same as before. We're dealing with the G major arpeggio and then the a minor arpeggio. Just because no particular reason, just like where they are. It's an easy visual. And like I said, we're doing a lot of stuff. Acute GI to start out with. The good news is that you should already know position one of both the major and the minor. So in order for us to cover, to spend one octave, the fret board, okay, for us to go one octave on the fretboard, we need three positions total. And you should already have the first position of both the major and the minor. So some of the stuff is pretty self-explanatory. What I mean by that is you've already got the basic positions. So we charted out the other two positions, which you can see you've also gotten your pronounce. But what I'm gonna do is explain to you a little bit more about what's going on, where they come from. But more importantly, I'm going to show you some really good ways to practice them, some drills so they can in your head and get them so that you can do some rapid-fire. You can start pulling these out quickly. And using the arpeggios is going to start getting a lot easier for you once you get these extra positions down, there's going to be a lot less movement that you have to do. So you don't have to jump all over the place to get to the arpeggio when the chord changes. If you know all three positions, lot of times you'll be able to stay put just by changing positions. You can stay put even though the court is changing. I'll show you how that works. Okay. So let's just review really quick. We've got G-Major position. One should already know it on the we talked about it in the caged cord video. This is based on the bar chord, the E bar chord, the E major barcode. So this is E major chord, F sharp, G, a G bar chord. So this arpeggios based on the shape of the E or the E major bar squared, but as a G major chord. Okay, So position Major, I'm circling the root notes. If I ever circles something's going to be the root node. The root node in position one is the first notes, the three on the low E string. So we know this is a G. So when I move it around, I'll know exactly where to put it. Okay, Let's jump to position two of the G-Major. Alright, So now the reason we've got a couple of different circles on these guys is that there's a few different ways you may choose to think of it where it could be rooted. Sometimes, if I'm focused on the low notes, route on the low note, and I'll build the arpeggio from there. Sometimes if I'm up high on the highness doing a solo, all see the root note there, and I'll build the arpeggio from the high note. Because remember, melodies and solos, they ascend and they descend. They ascend and descend. Melodies go from low to high, and melodies go from high to low. So depending on where you are, you need to be able to build it from that point. That's also true with position one. So if our root node is here on the three, we could say I3, this guy right here could also be considered a root node. It's also a G strings. Okay, moving on position two. So here, the low root node is starting on the a string and it's on the 10th fret. So we do have a ten before we get to that. Okay? So from the very low string is 1010. Again. There it is. There's my g on the a string and Tim for it. So we could think of this node as being the root node. Let's just play through it and see what happens. Great, great, great. I also circled the eighth on the B string. This also, a lot of times I will think of this node as being the root node in this position. And okay, so let's first talk about this shape and easy way because right now the shape may look like I got to remember that shape. Yeah, you do. But it's not that difficult because this shape actually it looks like. It looks like the C chord from caged. If I just look at the 787, okay? Well, so 787, right off the bat looks like a D chord. Alright? That looks like a D chord. So it's actually a G chord, but it looks like, is it a G chord? Because my middle node is a G. My root nodes for this position. Like I said before, the more you understand about arpeggios, the more you're going to understand about chords in chord construction. So there's a lot of stuff about core construction you're going to discover on your own. I just wanted to give you the tools that you can start figuring this stuff out when you're going through playing the guitar and looking at your fretboard, or meditating on your fretboard. And just picturing it in your mind's eye, you're going to be able to, for figuring stuff out on your own in discovering these chords and arpeggios and all these shapes and seeing the root nodes. Okay, so we've got 787, looks like a D chord. And then we've got the nine and the ten. What I'm gonna do is I'm going to borrow the seven is right here, okay? Sevenths may get this eight right there, get the nine and the ten. Alright? Now if you just look at these fingers right here, this looks like a C chord. Looks like from down here doing a C chord. So this is one of the things that we've talked about from caged. It's just about taking an open chord shape and sliding it up and compensating for the open strings. So that's the G chord. It looks like it's in a C-shape, but it's actually a G chord because down there on the B string. And as always, we're going to fill in the extra little notes that were missing length is low ten. This high-tech. Okay. Hello Tim. Alright, awesome. That's position two. So like I said, if we move this around, so I'm starting on the 10th fret. So let's say if I go to war frets, okay, I'm gonna do an, a major position of the G-Major, but I'm moving it up two frets, so it's gonna be a major. Mood ups, the 12th from it. Let's go back to G Major. Very cool. I can move this anywhere if I wrote it down here on the a string. So as I know where my root node is, golden. Okay, Let's look at position three. Position three. And we're looking at the G major. So position three, G major. Alright? This one, my first root node is the same one. Alright? So it's the 10th fret on the a string. Again. I've got two more rudeness on here. Let's jump through it. See what it sounds like. When I came up here. This 15 high note. 21. Single-String Scales (page 56 - 59): Let's talk about single string scales. This is a really exciting way to play the scale without having to rely on a box shape or have to memorize any patterns. It's really just as simple formula. Okay, let's take a look at it. So what I did here was I wrote it down in two different ways. The first way is what you see most of the time. People talk about WWF H, www H. So the W stands for whole. It's a whole step. And that's two frets. And the H stands for half, a half-step, which is one fret. So what this means is whole step, whole step, half step, whole step, whole step, whole step, half step. In other words, to Fred's, to Fred's one fret to phrase to phrase to Fred's one fret. This is a formula for the major scale, the full major scale. And this is the best visual for this is to do it on a single string. So down here, I wrote this out. This makes it a little bit more sense. Probably. The r is root, your root node. Whatever your root node is. You start on your root node and you go to frets and then another two frets and then one fret. And then to friends, to friends to France. And then one Fred. And when you get up to that last one Fred, that's your root node again. Okay, so let's test this out. So what I usually ask is ask someone to play any note on any string. Okay? Let's do this. Is a G, The third fret on the high E string. So I want to construct a G major scale. I'm just going to play it all on one string. And I'm going to use this formula. So I'm already on my root node, already on the R. So now I go to fronts. Fronts again. One Fred, two frets to friends, to friends. And then one front. In that last one, Fred puts me back on the root again. So if I wanted to, I'm here, which is the root. So I could just keep going. So I want to keep on climbing route. So I go to one friend and I ran out of run out of for us. Okay. Let's try it somewhere else. Let's try it. Just going to spin the wheel. Perfect. Okay. So this happens to be a flat note, okay? So this is gonna be my new route. Okay, so I'm going to go to Fred's, to Fred's one fret, two frets to Fred's, to Fred's one, Freda, last fright plus b should put me back on a flat note. Okay, so flat threads, threads. One for me back on a flat. Perfect. Okay. Let's try another one. Let's go. Yeah. That'll work. Okay. D, one front, right. Okay. So this is a great way to start playing around with soloing in a linear way, getting out of the box, literally getting out of the box shape and playing a linear way. So for example, if I just stayed with D, Okay, I'm going to grab this D right here. It helps if, you know a little bit of the chromatic scale. So you can just start out with the starting. You want, like, I want to play D major, grad, play a D note somewhere. Okay, so take this denotes, I know, I'll practice it a few times during the formula. So from there, I can start messing around with it and playing. Solo me a little bit. I can start skipping, jumping around. I can only play these notes. But I searched skipping around, jumping around to try to make a chord melody. You'll notice what I'm doing this. I'm usually using a belt, one finger to do it. I like to go with my middle fingers. It's good. I feel very rooted on my middle finger. So you may wanna do a run and use a couple of your fingers to do run. Awesome, awesome. Let's try that in a different key, UK. So we spin the wheel and we're looking for F sharp note, so G flat. So we're going to just do the good. So you may have noticed a long history going back a little bit. Okay. So we can always we have two roots. The whole thing is enclosed the two roots. So when I hit my high route, I'm going backwards is just the same as me going backwards from this point. It's the exact same thing. I know I can go back. One for you for right? Okay. So that's the major scale, the two scales that you're going to be dealing with most of the time, or the major scale and the minor scale. So we just covered the major scale. And this is the formula for the major scale. So this works in any key. And the great thing about it is you don't have to have it worked out. You don't have to know when a box shapes. You don't have to know any shapes or patterns at all. And you don't have to know the names of the notes in the scale. All you have to know is whole, whole half, whole, whole, whole half. Or an easier way to think of it is just to, for us to Fred's one fret, to friends, to friends to friends, one fret. And then you can play it backwards. So you may have picked up on this. It's popped up a lot of times when we've talked about relative, relative connections, the relative major, minor relationship. This pops up in the modes between the Ionian and the Aeolian mode. The first six, there's a three fret difference between a major and the minor. Major is the high scale or the high key and the minor is the low key. So what that means is that if the root is based on the major, three frets bags minor scale. If you're trying to do this linear pattern using the minor. So there's one front and 23. So this guy right here is going to be where the minor scale starts. Okay? So let's look at it like this. If I am on key of, let's say I'm in the key of C. C. So I go back, one front. So I want to see, so I'm on this guy right here. And so I have to go back one frame. And then I go back to more Fred's 12. Okay. So alright, now I am on the minor. A minor. Okay. So let's say we're playing in a monitor. I just want to think of it in those terms. I'm still relative to my C major. I still have this formula. I'm just going to think of it from two front or from the three fronts, back from the root. So I'm still thinking about the whole, whole half, whole, whole half based on C. I'm just kinda putting my attention on this anos. Okay? So normally I would go to pretty much attention on a node because I want to play the minor. Cool. All right, I grab this, which is true friends back from my seat. That kinda makes sense to you. See, when Fred today. So this is a great, great opportunity for us to. You can, sometimes, you can sometimes engage in a more melodic solo going in a linear way. Kind of feeling your way couple, few intervals at a time, a couple of friends at a time. By going on some memorize box shape. I say box shape. I'm talking about all of the mode patterns that we've learned. The scale, major scale, a minor scale, that stuff, these memorize patterns. Sometimes this way, you're just going up and down one string. And you're kind of meandering around finding your way. You're only thinking far enough ahead to get to the next note or maybe jump it. Maybe jumping twice. If you're feeling pretty adventurous. If you are using memorize patterns, this is, which is fine. I mean, that's fine. You should be using everything you can. This is an awesome way for us to move between those shapes. So if I'm playing something, let's say I'm playing something in the a minor scale. So I grabbed my a load. Okay. I went to my nose and I just started moving up my C three-fifths. And I can just keep on counting from there. And then to two to one and so on. Back from seed to get to the egg. So hopefully this will give you some new ideas on how to start moving around it a different way. When you're soloing. Going up one string at a time. I would start out by really getting comfortable with just the major scale in various keys. And don't stick to just the high E string, move it around. Strings. Find your root node, whatever the key is you're soloing, can find it on the different strings. What's really cool about this whole thing is that the pattern just keeps on popping up. It's always the exact same pattern to first to Francois for it to phrase, to phrase two frets, one fret, then it goes backwards the same way. So it's always gonna be the same pattern. It's just going to start at a different point. But when you realize it's the same pattern, every time, you're going to start noticing little things like how it goes up to for us to Fred's from the root node. And it goes back one fret to Fred's from the root node. So you're going to start picking up on stuff like that. And you're gonna get quick little when you're on the root node, you're going to quickly see these little tricks on ways to move it. So you're not going to always have to be counting it. You'll go to a node that you've maybe never gone to it there before. What you will see things that you can do just because you know, the major scale. It's two frets up, two frets up. Or if it's one from back to front setback. It's always going to work in, anytime you're in any key fits the major scale, go into the minor scale, you know, to do their back one friend and then back to frets, and you're on the minors, minor key. So hope this will give you some cool new ideas on ways to solo. Open up some understanding on what these other great guitar players are doing. Especially some of these blues players. When you see them just like rocking out on one string. This is what they're doing. So get to work. 22. Dyads (page 60): Let's talk about dyads. So the textbook definition of a chord is that it has at least three different notes. So what happens when we want to just play two notes together? It's called a dyad. It's a 2-node harmony. And dyads are really cool. Actually. They're, they're the perfect in-between of a solo. And according. So it's really pretty difficult actually. Is it? Are you playing chords or are you soloing? To me? So improvisational that they're more on the soloing side, but it's using these punchy little, little mini courts. There dyads. There are two note chords. So let's take a look at them and how to use them. There, any two nodes that are played at the same time. So like we said, a court has to have at least three different notes to be considered a chord dyad as any notes played at the same time. We don't get into much finger style in my universe. But we could do any two strings far apart. Dyads. So any two notes are going to be considered a dyad. I'm a flat picker. So I put all of my focus on playing with a pick. I've got actually several years of finger style training. I made a decision a long time ago that I didn't want to be okay at finger style and flat picking. I wanted to pick one and be great at it. And I won't flop pick. The way that we're going to approach dyads is adjacent strings. Any two adjacent strings, any two strings that are right next to each other. We're going to experiment with dyads. And there are so many possibilities you're going to love it. So let's take a scale, let's take the G major scale. The G major scale. Great. Okay, so the deal is any two strings, we're going to only use notes from the G major scale because we want it to sound good. Okay, So here's how you can play around with it and experiment with it. I'm going to show you how to go through the permutations, okay, So let's just start on the low E string into three. Now, let's go through the notes in order on the next string, the a string. So we've got the two. Let's hit these guys together. Cool. Now we're going to stay on the E string and hit the three on the a string. The two 3's together. Okay? Three on the E string and five on the a string. Okay, now, on the E string, the low string radio for the five, because that was our next note on that string and the scale. So you've got that five. Now let's go back and do the same sequence on the a string with five, with 25 with the three, and the five with five. Okay. That's crazy. Yeah. Okay. We mixed up those two guys. Now let's do the a string. We'll start with the two, and we'll just go in order. We'll do the two on the a string and the two on the D string. Right? So the D string, we have 245, so we'll go, okay, interesting, the three and the a string. So we'll go to 45. Again on the D string. We have the file on the ostream. So we go to four or five again on the D string. Do it all the permutations, all the possibilities. Right? Okay. Now D string, second fret. On the G string, we're going through 245 again. So starting with the two of the D string, two to four to 54 on the D string. So two to four to five. Five on the D string for five. Alright? Alright, G string to the G string. And then we just have 35 on the B string for the G string. And the three of the five of the B string. Five on the G string and the B string. Okay, three on the B string, and we've 235 on the E string. Then we have five on the B string and 235 on the E string. All right, so those are all my permutations that have gotten just in the G major shape. So there's a lot of cool stuff we can do there. Okay, let's play around with the a Dorian. Actually. Here's what I'm gonna do. I'm gonna start going full fret board, okay? And I'm going to try to play around with a Dorian sounds, but I'm going to go through all the different mode shapes relative to G major. I'm going to try and make it sound like a Dorian though. Okay. That's pretty cool. So I think you are getting what I'm talking about. It's definitely got a lot of aspects to it. But I'm soloing it like it's a skill like playing a guitar solo. It's very punchy though. And so every time I hit a dyad, it's just got this punch to it. These are things that you should be throwing into your solos. So while you're playing single notes, you can throw in a dyad anytime you want to. So again, we're on a Dorian. Very cool, Very cool. So this is something that works over all all the keys. And you want to just use this as another tool to start beefing up your solos. It's also going to help you quite a bit with understanding your chords. The reason that dyads or in their own category, they are not necessarily a chord, is because with a lot of dyads, they're ambiguous as to what they could be. You an example, if I play this right here, just these two nodes, I've got a, G and E. So this could be number of different things. This could be part of an E minor chord. This could be part of a C major chord. This could be part of and a C7 chord or a minor seven chord. What else could it be? Could be part of the G6. So just two notes. It's not enough information to tell us exactly what's going on. That's why we've got the court rule has to have three nodes. So that way we know what it is, we know what's going on. In the harmony. Dyads. They could be many different things while you're playing them. There's sternum hone in a lot more than just a single note, obviously a single node. It's like name that tune. Could be almost anything, just one node by itself. When you give it a second note, it's like, okay, well it could be this number of things, but then you give it the third note and it's like, Oh, this chord. Diets start playing around with your diets. 23. Harmonics (page 61 - 67): Let's talk about harmonics. Harmonics are a technique, but they are such a cool technique that they deserve their own video. So harmonics are a really cool way to embellish your playing using the natural properties of the string. Let's take a look at how they work. Okay, so over here, I'm listing all the different places on the fretboard that we can use harmonics. First thing we want to talk about is how to play them. My first set of harmonics is on the 12th fret. This is gonna make sense to you in about two seconds. So what I'm going to do is I'm going to put my finger right on top of the, right over the metal, right on this string, right over the metal of the fred, the 12th fret. This is my double dot. So the metal right above the double, double dot is actually the 12th fret. So for example, this is the first fret. This whole areas the first fret, but really this first metal pieces is actually the first fruit itself. So we don't have the first Fred, but if I was gonna go right over the first fret, I will be right here directly over the metal with my fingertip. Okay, but we're on the 12th fret. So I've got my finger, right? I'm touching the string gently, gently touching the string. I'm not pressing down. I'm not going down into the fretboard. Just gently touching my skin is touching the string gently. I'm not pressing at all. Okay. And my fingers directly above the metal of the 12th fret. I'm going to pick it pretty hard though. So I'm going to pick it pretty hard, but I'm touching it really gently. Just letting my skin touch the string. I'm not pressing. Pick it nice and hard. So I'm gonna do this on all of the strings is going down right over the 12th fret. The 12th fret harmonic. Okay, Pretty cool, right? Alright, next one that we see is the seventh fret. So we're gonna do the same thing. I'm going to put my finger right over the metal. Actual Fred itself, the seventh fret, very gently. I'm a picket, pretty hard though. Right after it hits the harmonic. I can take my finger off. It keeps ringing. I don't need to keep it. If I do, I might accidentally muted so it gets free. You can take your hand off. Let it ring. That's the seventh fret. Pretty cool, huh? Okay. And then the next one we have is the fifth harmonic. Alright? So what's going on here? They keep getting higher, the lower again, it's kind of strange, but this is the physics of the string. And so what is happening here is that when I'm pressing on the string, we're getting the natural property that's coming out is we're getting these harmonics, harmonics literally of the string. And so you may not think about this, but the properties of major, what we deal with, with major chords, the major arpeggio, things that make up a major arpeggio, and even the properties of the major scale. These are actually naturally occurring things in nature. So it's not like some really cool dude in Greece couple of thousand years ago said, hey, look at what I invented. He didn't invent it. He discovered it. This is naturally occurring in nature. These are natural harmonics. So we have these two nodes, we have our saddle and are not. These are the two nodes in-between. We have this vibrating body. There are these naturally occurring harmonics that happen in, inside of it. And what we're doing is we're looking for the locations of them. Okay? So when you're on the string, there's a couple of ways to figure out these are all notes. So let's figure out what these nodes are. Okay? So you've got your printout. So be checking this L. The 12th fret is the same note as the open string name. So if I go like that on the E string, harmonic is an octave higher of my open E string. So then this B string. That's a Bihar. G string, G harmonic, harmonic, harmonic, E harmonic. So it's just like strings. Harmonics instead, natural harmonics. Let's go all the way down to the fifth fret. Now. We're just going to skip right to the fifth fret. The fifth fret. These are also the same note as the open string. So if I go to the low E string, that's an E note. It's two octaves up. So this is the 12th fret, one octave up. The fifth fret is another octave up, or all the inodes. So if I want to do in a harmonic, mean a string, I can go on the 12th fret or the fifth fret. They're both anos. Do I want the high one? I got to the fifth fret. Draw the logo on the 12th fret. And D harmonics. Monica, be harmonious. And E hormones. Okay, so 12th fret and fifth fret are the exact same note name as the open string. Alright, let's look at the seventh fret. The seventh fret is interesting. It's the same note as if we're pressing on that fret. So if I go to the E string, the seventh fret, That's actually a B note because butt press down on the seventh fret. It would be a B note when I do the harmonic there to fight. But it's the same note. But as an octave higher, it's a high beam. If I do the B string, so Fred, that harmonic is an F sharp. Because if I press down here on the seventh fret, It's an F sharp, so that harmonic is an octave higher of an F sharp. G string, it's a D node. D string is a string is E. And the E string is a bientot again. So seventh fret is like, just like if we're pressing on the Fred, it'd be the same node as if we press on the front. Okay. Moving on. The fourth fret is the best way to say it is that it is a major third of the original string. So the fourth fret is kinda like the seventh fret. It's the, if I go to the fourth fret and the fourth fret is a little bit harder to get to come out. But it is like if I was pressing on the fourth fret, It's like if I was pressing on the fourth fret and then I had an octave higher. So this would be a G-sharp, fourth fret. So that's a octave higher, G-sharp. So the a string fourth fret going to be a C-sharp octave higher. So actually it's more like, okay, D string, F sharp. Again. G string is a B. The B string is a D-sharp. And the E string again is the G-sharp because it's like if I was pressing on the fourth fret, but I want to get a super high note of what what would normally be pressing the fourth fret. Okay, moving on. The third fret is actually in octave higher than what we were getting from the seventh fret. I know that sounds crazy. So for example, if Eastern Front, now, I come down here and see the third fret here, how that's an octave. I made a little in parentheses down here. I wrote 3.2 for all of these third fret harmonics. It's really like the third, three seconds. So it's not right on the third fret, it's just slightly above 3 to this three-point to fret. You can imagine that slightly beyond the metal, not right over it, slightly past it this way. So that's an octave of our seventh fret. So if we know are some Fred is the fronted, this would be a B. So then over here on the three-point to Fred, a B also is just an octave higher. So all the three-point two frets are going to be the same as the seventh fret, fretted, just an octave higher. And then lastly, we've got the second fret. Again in parentheses I wrote down here 2.4 is the 2.4 fret. So 2.4 is about here. It's going to be an octave even higher than our fifth fret is the same as the note name of the open string, right? And it's an octave higher than the fifth fret harmonic. So we have, let's look at this e, 12th fret E. Then we have fifth fret E. Then we have the 2.4 fret. The harmonics get harder to make the closer we get to the nut. But want to touch it really gently and pick it really hard. So picket hard. So if we look at this just one string at a time, we can really start to see all of the harmonic properties that are coming out. It's pretty cool. And that's all harmonics just on the E string. So I'm just getting like 1s, 3s and 5s. I'm getting the major third and the perfect fifth of getting all these different natural, naturally occurring harmonics coming out. It's very cool. So I could do this on any string. Take the a string 7543.22.4. Okay, Awesome. Um, I also at the end, I wrote 24. So the 24th Fred is just a redundancy of the fifth fret is the exact same as the fifth fret harmonic in the 24th fret. Let's see if I can find it. It should be right around the edge of my sound hole. There we go. Yeah. There should be the exact same as the fifth fret. So you want to find the sweet spot. That's an important concepts when you're doing natural harmonics. So we say things like go right over the 12th fret. You're going to start playing with. And you'll see that a millimeter this way or that way it will make a huge difference in making it come out. At the beginning. You may be just doing this, trying to make it come out. And if you just go a couple of millimeters direction, just try to get it right over the Fred. And it just starts coming out. That's what we started to realize with a three-point to Fred. And the two-point for Fred is, if we find the sweet spot, then we're going to be right on. Okay, We do some really cool stuff with that. And so that is all of our natural harmonics. So when you're playing, you can throw these in anytime. Guitarist use these all the time. And we are just focusing on right now natural harmonics. But there are some guitarists out there who are just geniuses with this stuff, who have really explored it. And I'm thinking about Chet Atkins, Eddie Van Halen, Tommy Emmanuel, Andy McKee. These are guys who have just taken playing harmonics to the next level. And so you can really get inspired to integrate them into your playing. Go watch some of these guys. And yeah, it's really fantastic. So whenever you're playing, That's why it's important to know what the notes are so that you're not randomly just saying 12 friends from everything. I mean, isolate what you're doing. If you're, say, doing a G chord. I know that I can make these little mini G chord harmonics by just going for by D G string, because that equals to G chord. So I'm going to go, I can do 12th fret. We're here with fifth fret, three. Or I can maybe go 1275 to do that little harmonic run. If I'm playing something in the key of E, that's an obvious one. Okay, got something going on e. Now what I just did was nothing that I, I hit the G string. I don't want to do that. I'm playing an E chord, right? So I want to make sure that I've just focus on the safe harmonics, the B and the E, okay? Okay, Thank You. Get the idea. Know I've got an anchor. So I'm looking for different places where I can play my a or anything that comes from the scale maybe that I might want to do. I can play a D chord right here in the seventh fret using my D string, string, string. So there's a lot of different possibilities if you dig in and he started thinking, okay, so these notes are here in, these notes are here. I can play these two harmonics together and it will make a cool little diad, harmonic dyads that I can do. So there's a lot of different possibilities there to go with the harmonics, the natural harmonics. Okay? So when you are reading something and you are supposed to play natural harmonic, it'll say n h over it. That's your clue that you're dealing with a natural harmonic. And sometimes the notes, a lot they'll have, there'll be a diamond. So it'll look like the love diamonds on the outside of the diamond with a 12 minute diamond with the 12 and a diamond with a seven in it, whatever. Nh over saying natural harmonic. Okay, let's take a quick look at artificial harmonics. Artificial harmonics are, they build on the entire concept of natural harmonics. If you understand natural harmonics, which you do now, we can get an artificial harmonics. So the most basic idea, premise of a natural harmonic is the 12th fret, right? It's one of our strongest harmonics. Artificial harmonic. So what we're gonna do, I'm gonna press here on the first fret. High string, first friend. Okay? Now we said 12. That's an easy natural harmonics make. So what's one plus 1213? Okay, so here's what I'm going to do. I'm going to take this finger, i'm, I'm picking hands. I'm going to gently touch the 13th fret on that string. And I'm going to come underneath it with my thumb, my thumbnail, and I'm just going to pick it with my thumbnail while I'm touching on the 13th fret right here. Okay? Okay, I'm making an artificial harmonic because it's 12 fronts and we need to all friends to make a harmonic. This is artificial because I'm pressing down here. That's what makes it artificial. So if I go up one more threat to the second fret, and this guy go to 14 on the 14th fret, just touching it gently. Warm, touching a picket with my thumbnail underneath so I can make it sound. 14. I'm going to come up here. Go 151617. Awesome. Okay, let me go back to one for a minute. 113. Okay? These are artificial harmonics. So some of the strongest harmonics that we have, our 12, Seven, and five. So I can apply all that stuff to the officials. I just have to keep in mind. I went up a fret because I'm on the first fret. So their team. And then the seven is now gonna be an eight. And the five is going to be a 66813. Awesome. Let's try this in the low string and see what happens. 138. Good, I'm gonna go to the second fret. Now. It's all just going to shift up and always shifts up 11497. There we go. Okay, so that's basically how artificial harmonics work. What if you want to start really blowing that whole concept dub? You could do something like, okay, check this out here. Alright, so anything that's open is gonna go on the 12th fret. Anything that's fretted. I just have to count up however many friends. And I'm going to do an artificial harmonic. So I've got 0, I've got one, so I have to go to 13. Now I've got 0 again. Then I've got to, I've got a 14. Then I've got three, so I have to go to 15. So doing artificial harmonic up here based on my C chord, if it was open, it's on 12th. If it's unwanted on 13 on that string. If it's onto its on 14 on that string, and if it's on three is on 15 on that string. So I'm basically just kinda where I would do a C-corp here. It makes sense. Let's do D chord, okay? Same thing that goes through it right off the bat of 14. There we go. Okay, Awesome. Let me try a little mini F chord. Makes sense. These are artificial harmonics. So they build on the whole concept of natural harmonics. So really familiarize yourself with the natural harmonics. And then if you want to keep on exploring it, you get into artificial harmonics. And like I said, they're just named a few. But I would, Chet Atkins, Tommy Emmanuel, Eddie Van Halen, an admin key. And there are plenty of other men and women that have done unbelievable things with harmonics. So I would recommend you spend some time and really think about what the notes are that you're playing. So we're not just blindly bang on harmonics. You want to put them in context of what you're playing. If you're playing a G chord, try to hit a G harmonic. If you're playing a D chord, D harmonic, you've got a bunch of them actually it's not like you're limited to one. And with the addition of the fourth Fred's and the seventh fret, we've got a lot of extra notes we can hit, including some sharps. So lot of cool stuff you can do. Go play your harmonics. 24. Relative Chords (page 68 - 70): Let's talk about relative courts. Relative chords are amazing because they own, unlock so much music theory. And we start tying together all of the modes and arpeggio and chord theory that we've been talking about so far. We can learn a lot about arpeggios and modes and scales and how they work. By understanding more about how the relative chords work. This is one of those moments where you're gonna get a huge piece of music theory that ties together everything from the harmony to the melody, and just leaving spaces open for things like rhythm. Alright, so the first thing I want to talk about over here in the corner, we have this little box I want to talk about that first. Says w, wh, www. H. W stands for hole, and H stands for half. Whole and half. That is a formula. And whole, whole half. Whole, whole, whole half. Whole is two steps, or one whole step, which is two frets. And the half is a half step, which means one for it. So if we think about it of what it looks like on the guitar, let's say I'm just here on the third fret on the genome. So here, if I want to do a whole step from this node, have to go to friends because a whole step is two frets. So 12. So that's a whole step. Whole step. Half step is one frame. So whole steps and half steps. What this is, is it's a formula for every major scale. I want to just give you a quick brief how we come to all this stuff down here in the grid. If you are on any note. And then you start performing this formula, you're going to play a major scale. You may not even know where you are, what key you're in, but you are going to wind up with a major scale using this formula. So let's try it out. Let's just spin the wheel and randomly, I'm going to go into this. Nope. Okay. Let's do the whole whole half, whole, whole, whole half. Just see what it sounds like. Okay, so I'm on this note, I go hole which is two frets. All three holds. Then a half. That gives us a major scale. Pretty cool. It's in the key of a. By the way. They'll spin the wheel again, go to any string, any note, any string. Let's go. Okay. So on this note, we're going to go. Very cool. So that's how you get the major scale, that's how it comes into being. Okay. So you don't have to know that, but it's just kind of a cool thing, like weird do the scales come from? How did they get created? How do I make a major scale? If, if I don't want to use my ear or maybe my ear is not that good yet. So how can I just instantly make sure I'm getting a major scale out of this thing. Okay? Once we have the major scale, now we can start unlocking a lot of what's relative. Okay, so let's jump into it. Got a lot of stuff going on here. Relative chords. And these are rows, the rows, they're not columns. So we're not looking at them as columns. There are rows, looking at them as rows. Okay? So we've got seven different things, right? If we look up top, we've got seven different things going on. We've got seven different notes from the major scale. As matter of fact, every single mode has seven individual notes. We repeat them because we have all these strings, but there's only seven different notes. So when you play it will say the major scale or any of the modes. One, it was seven different notes. From each of those nodes. We can branch out and create a chord. So for example, from if we're in the G major scale, first rows based on the G major scale. First know that G major scale is G note. From that genome, we can branch out was to create a chord with cord goes with the G note. It's going to be a G chord. Okay, So what kinda G chord though? So up top, we have a quick Nashville chart style Roman numeral system. Where we uppercase Roman numerals, telling us to make it into a major chord. And the lowercase Roman numerals telling us make it into a minor chord. I think we've seen this before. So lowercase just make it into a monitor uppercase, it's a major. Also, the degrees really important here. What degree it is tells us what the other chords are. So that's really important. If we're dealing with a one or a four or a two or whatever. So 1234567. And the seven is got a seven flat five next to it. That says that it's a minor seventh because it's lowercase. It's a seven, that's lowercase minor seven. Then it has a seven flat five. So that simplifies, added to the minor seventh degree. Okay? Now below that, we have all of the mode names. So we can start attaching the modes to these chords. That's very cool. So you have, the major scale is the first one. So all of this stuff is branched off from the major scale. All begins with the major scale. A major scale helps us create the Big Bang, create all the other stuff based from it. Which is also called the Ionian mode. And I'm abbreviating a little load names here. So you have the major scale, which is the Ionian mode, is going over the first-degree, the Dorian mode. Second degree Phrygian mode is the third-degree pH RY, Phrygian. Over the third-degree, the Lydian goes over the fourth degree. The Mixolydian goes over the fifth degree. The minor scale is the sixth degree, which is also called the Aeolian mode. And it was spelled A0, a EOL, I am, but it's pronounced Aeolian. Minor scale or the Aeolian mode is the sixth one. In the Locrian. Locrian is the seventh degree. Okay. Just, let's back up and quickly. We already have some cool stuff to learn from this. Right off the bat. I'm seeing that the major scale, the Ionian mode, is major, obviously because it's called the major scale. But it's over this major. One. Uppercase one means it's major. The Dorian mode is underneath the lowercase too. So right off the bat, I can see the Dorian mode is a minor, some minor mode. Because it's next to a lowercase number two, Phrygian mode, same thing, it's a lowercase three. So the Phrygian mode is some kind of a minor scale. Lydian mode is major, Mixolydian also major. So the two, what I call the Lydians, the Lydian and the Mixolydian. They're both majors because they're both uppercase. The Aeolian mode is also known as the minor scale. So of course it's going to be minor. It's got a lowercase too, but it's the minor scale. Aeolian mode is the minor scale. So of course it's gonna be monitor. Locrian is a minor scale. Also. It's actually more than minor, so it kinda gets its own third category, half-diminished. It's minor. That's true. But it gets even more than just minor because it's got that flat five, so that would be flat. The five is a diminished. Anything has got a flat five is called diminished or scale or an arpeggio. We've just got a flattened fifth degree in it, then it's called diminished. Actually, that's all that dimension means is that the fifth has been flattened. So if you have anything, five is flat, then you're dealing with some kind of diminished thing. Arpeggio, diminished arpeggio, diminished scale, diminished mood, diminished chord. It just, everything else could be whatever, all the other nodes could be, whatever. But the fifth has to be flat. One frame down, and you've got a diminished something. Okay? So already we're seeing how the modes relate. So if I was going to ask you, is the Phrygian mode major or minor? It's minor, right? It's got the lowercase three. Is the Mixolydian major or minor to major. Okay, you've got the uppercase five. Okay? The Mixolydian, by the way, let me point this out. I made this little note right here. I wrote Dom, DOM in parentheses with the arrow going all the way down. The Mixolydian is dominant. Ok? Any of the fifth degrees or dominant anytime you have a fifth degree from the major scale, you're dealing with predominant stuff. We saw this when we talked about. Or you will see it when we talk about extended chords. Anytime you're dealing with something called y's over the Mixolydian, you're dealing with a dominant concept. So what that means is that anything that's dominant can be a seven chord. Just a plain old seven chord, like the ones that you first learned when you first started learning courts, just plain old seven chords. Any of those courts? Over the fifth degree. Okay, let's backup. So these are rows. So if we're saying we're in the key of G major, we've got seven notes in the G major scale, G, a, B, C, D, E, and F sharp. We're branching out. We're creating courts from each one of those nodes. Let me give it to you visually. I take the G major scale, just taking it through the first register, okay? Sure. There's G again. We don't care about the octave though. We already have the first node, the G, G sharp. From each of these notes, we're going to branch out and create a chord. And so what we learn from this chart is that we can follow these major minor, minor, major major minor. And then the minor seven flat five. Major, minor, minor, major, major, minor, minor, seven flat five. If they do that every single time you have any, any key or ID for the major scale. Okay? So if the notes of the G-Major, G, a, B, C, D, E, and F sharp. Then g is gonna be a major courts over the genome. You could play the G chord over the a note. It's here in this under the lowercase too. So we're going to do a minor chord, B lowercase. So it's gonna be the monitor. I'm going to play B minor chord. The C is going to be major because it's under the major. For uppercase for things. The same thing, it's under a major, so we're going to do major D. The D we said could be a seven, so you can play it as either a major. That's totally its natural state, or you can do as a seventh chord. So seven e is going to be a minor. So you monitor. Good. F sharp is under the minor seven flat five, so we have to make this one into that minor seven flat five. Show you how to do that, because you may not remember. G, a, B, C sharp minor seven flat five. Lay it over here on the roots on the a string. So starting on the a string, it goes 910. Just the four middle strings. 910910. A lot of people figure out with four fingers. I do it with three, but I'll show it to you with four 9s. Then I grab the tens, 910910, and that's what we do over the next sharp, over the low green degree, the F sharp, this is F sharp minor seven flat five. This is also called the minor seven flat five chord is called a leading tone chord. Certain styles of music use it more than others. So you may be into his style of music where this court rarely comes up. If you, a lot of country or heavy metal, you will maybe never see this chord. Rock and roll may have it in. Occasionally. If you start getting into alternative, that you'll see it more, if you use, you'll start to see a more full. And then in classical and jazz, you see it actually more, way more frequently. It's a leading to him cord. So the way it's meant to be used is it brings you back to the one. So for example, if I say fluff five gene, which is my one-quarter, is the release. It's kind of the extension. Shoulders up. Leading to inquiry brings us back to the one. Okay, so let's recap these chords. We've got minor, D minor, F-sharp minor seven flat five chord, the one chord. Okay, so that's very cool. Well, we just did was we play the G major scale in a harmonic way. We played with the course. Notes. The G major scale. Or we could play the course. Very cool. Okay? We're just staying on the G row for right now. Because if you understand that G row, then you'll understand all the other rows. By the way, I only wrote down three rows because my whiteboard is only so big. But we could do this 12 times 12 different rows in every single key. So I could have done this, for example, with 0. And then I could have done the G-sharp row and then the a road row and the row and the C row, which then the C-sharp row and the d Rho and the D-Sharp row, and the E row and the F row and the F sharp row and the G row. We have the Jira. And actually that brings us full circle. Could have done 1212 different rows, which there are spillovers. Here's a quick little side note. They wouldn't be sharp major scales, They B flat major scales. So what I mean by that is we would have 0. And then next is G-sharp. But you don't really have the key of G sharp. You have the key of a flat. We have the Jira, the A-flat row, than the arrow. After a comes a sharp, but we don't call it a sharp major scale. We call it the B-flat major scale. So you have to be flat route than the biro than 0, then the C-sharp row, but we wouldn't call it C-Sharp. We call it what? Rights? D-flat. So we'd have the D-flat row and then you would have the d row, and then you'd have the E-flat around the E row and the F row ends the G-flat row. And then that brings us full circle. Okay? So we're just going to stay on the G row. If you understand the G row, then all 12 rows will make sense to you. All I have to do is understand one row, really. Okay? So the reason that this is important is because number one, we're combining all of our moods and arpeggios and our chords all into one musical concepts. This is great stuff. The first thing that we want to look out for is we're going to stay with the idea that we're playing in G-Major. If we're playing a song in G-Major, let's do something simple. I have a song and it goes GCD. So something like that. Many approaches here. One approach would be if I want to do some fiery solos, and I don't want to just stay put on the G position, the major scale position. First thing I can see here is that I can start bouncing around between these three different mode shapes. So I can play around with the G-major over the G chord. And then I want to change Record. I can play around with the C Lydian. Then want to go to the D chord and clear out the D Mixolydian mode. So, so that's one way to instantly start moving up and down the fretboard is to say, well, I can actually change the mode every time the chord changes because they line up. Okay, Well that's very cool. Well, how would that work if false, do another one. Was that some minors in there? So we'll go G to do a minor, and we'll go G, a minor, and E minor, C, what that sounds like. So two measures of each one. Ionian Dorian scale. Alright, so we can do that for the major and the minor modes doesn't really make a difference. Whatever the court is, you can just bounce around to the different the different mode shapes. So that is one very cool reason to know this stuff. I think the most important reasons to know this stuff is you can start anticipating the core changes. This is a tool that songwriters use all the time at anytime they wrote a song. This is basic classical harmony theory. When I say classical, because this has been around for hundreds of years, this exact idea, there's nothing new here at all. This is very old, super old. Actually the way that a lot of songwriters operate, modern songwriters operating is they start with this as their foundation, and then they'll throw in something to break the rules. They'll break maybe one of these rules and they'll throw in some kind of a chord that's not supposed to be here. Sounds awesome. Unexplainable, sounds. Great. And so bam, you've got the song. And it sounds like something that no one's ever heard before. If it's truly great song, it'll sound like something no one's ever heard before. Because they broke the rules just a little bit and they threw in something that didn't belong and it just sounded cool. But you have to have some kind of foundation. And this is the foundation. Okay? So songwriting tool, you can use it for soloing, improving your soloing. Anticipation of courts. If I'm playing a song in the key of G major. So I got to see the beginning of the song. It's a G and a, C and a D. It shouldn't blow my mind. If I see a B minor get thrown in there, I should kinda be maybe it'd be Monro get thrown in there because it'd be monitors in that key. If I'm playing in the key of G-Major, it shouldn't surprise me if I see an E minor. So I'm kind of expecting these things to pop up anytime I'm lucky. I'm like, Okay, just kinda be quickly on the lookout if these scores pop up. I'm talking about if I'm playing something, I'm not familiar with it. I didn't not familiar with that song. I should be kind of expected. If I'm trying to work out a song by ear. I noticed in, let's say, Gee, I noticed songs and G, and I'm trying to work it out instead of having to go through every single chord in the chord book, that's the size of the phone book, by the way, those or you don't need that. That means you haven't studied any music theory. If you have a codebook, the size of the phone book, you look up, flip your page and flip to this section and subsection and then that subsection and make sure you're in that key flipped to that key and that's ridiculous. You haven't studied music theory, you don't need that. Court looked at big. If I know I'm in the key of G and I'm trying to work out this song by ear. Got to probably be one of the seven courts. The chord that you're looking for, What's that change? So that changes it. I see. Yeah, sure. I'm understanding it right. But it's gonna be one of those courts. More than likely. Unless it's, like we said, a very cool song, in which case, you'll figure it out. They're only going to throw in that chord probably once or twice. So this is going to help you decipher songs by your super fast. Okay? Okay, we're making good progress. Now, let's talk about, Let's quickly go one more thing. While we're in the key of G major. We talked about this with arpeggios, or shall I say, we're going to talk about this with arpeggios. If you haven't gotten there yet. Every major and minor chord is made up of just three nodes. So if it's any major chord, it only has really three notes in it. If it's any just plain old minor chord, it only has three different incident. Yeah, it may be a six string chord, but there's just three notes and we're repeating a bunch of those notes. He's gotta g of B and a D in it, but we repeat those big G. So it's just the same. Or an organ, a minor chord, a, C and an E, but we repeat some of them, so it's just three different notes. All of these chords in this row with the, sorry, these courts in this row has notes that are in the G major scale. So the G major scale has only seven different notes. And all of these chords in a row, the notes of those chords are in the G major scale. If you already figured that out. But all the notes of this three nodes, the GBD. So we've got that and then the AC and E, We've got that. Then the B, the D, and the F sharp. F sharp, F sharp is the only accidental, and, or the Olin sharp in the key of G, B, D and F sharp, C, E and G. D, F sharp and a sharp. And then E, the G and the B. Yep, this one's crazy. It's actually got four names on it. We've got F sharp and a, and C and E. But all those four notes are here. Sharp, C. Um, what else do I say? F sharp, a, C, and E. Okay. Awesome. So that's part of how these are relative to the relative because they're all made up of the same stuff. Like family members, family members that are made up of the same DNA, the same genes, same bloodline. These have that. They're made up of the exact same stuff. That's why they are relative. Okay, now, let's talk about the very cool thing about how relative chords work. It's also the same thing as how relative modes work. And it just opens up everything totally cracks at wide-open. Okay. Everything we've talked about. G-major. We don't have to be, not every song is in a major key. Write. Some songs are in minor keys, are, some songs may have the main chord, maybe like a seven chord. So what about that? Great, it's great. It's relative still. We just need to know which degree it's on and we can figure it all out. So we can have a song that's in the Dorian key. The actual first chord is the court that goes over the Dorian. So we could have a song that goes over the Dorian. It's gonna be awesome and we're going to use all the same stuff. And everything would just talked about is still true. It's just that the one chord will be the a minor instead of it being the G. We're not going to be in the G major scale. We're going to be relative to the G major scale. And that's how you talk about it. You would say were relative to G major. But we're really in the dorian. Dorian. So you might have a song. The best way to describe this is to give some examples. Real quick. If we have a store with G, okay? If we said knocking on his door. So the course is GDC. Okay, so obviously that's the G major. A Dorian. Alright? What does a dorian sound like? Okay, let's, our one chord is going to be the a minor. And then let's grab this d over here. Let's just shuffled back and forth between a minor and D. It's gonna be like evil ways by Santana. So if we have like, uh, and if you're playing that the Dorian is the scale that you go after. Okay, Moving on, BMR. So let's do a Phrygian jam. There are certain modes that you don't see as the key, the main key. Very often. Phrygian, you don't see very often. Neither do with the Lydian or the little green. But let's try it anyway. Okay. So Phrygian, let's do be monitored to see, I think we can get a familiar sound out of that. As a little bit of dark Latinate sound. Okay, Lydian. I said also known as often, but you may hear sometimes. Let's go just basic C to D. We're going to go for a Lydian willing backup over that Phrygian thing. We just did use all the Phrygian. Okay, So this time we will solo with the Lydian C and D. So cool. It's got like an area kind of feel to it. When we tried to route on the Lydian solo, the Lydian C Lydian over that one. And for all of these, when I say things like you would solo the C Lydian on that one. Yeah, that's a 100% true. You can also open up all of these other mode positions. For example, the G major scale, the G Ionian. But while you're on it, you'll have to kinda be focusing on that C note because we're in C Lydian. You can use the a Dorian shape to solo it. Keep in mind we're in C Lydian on that one. Okay, moving on. Mixolydian, pretty common to be rooted in the key of the Mixolydian. For this one, let's do Sweet Home, Alabama, d, c, g, DCG. And we're in D Mixolydian. Good, good, good. And that's the D Mixolydian. Yep. Okay. Same as before. We can use the entire fretboard. G major scale, Dorian, Phrygian shapes, c Lydian shape. Any of the other relative mode shapes would work well. We're well over those chords we can plan, but we're in D Mixolydian. So if I come down to the G major scale, I can play any of them. But when you're playing it, you want to really work around that Dino, not the genome, even though we started This nodes, D is worth d. So when I'm driving through my different shapes, I want to make sure I'm focused around that denote if I'm in D Mixolydian. Okay, moving on. E minor, E minor, Aeolian. Alright, so let's dou, E minor, D, C, D. This is like all along the watch tower by Bob Dylan, or 200 students crave version of it. We're gonna do it in the key of E minor though this time, just to see what it sounds like. Great. And that's the E minor scale. Once again, we can use all of the seven different mode shapes relative to G major to solo it. And you should, you should move around. You can just stay put up here in the 12th fret, the Aeolian mode, where you can start moving around to all these other ones, but make sure you keep in mind wherein the key of E minor or E. So wherever you are, find the eNode to stay around it. Okay. This is the most daunting task of all trying to get a core genome based off of the low grade. It's not done. Maybe there's some obscure jazz songs. Where were some guy did it? We're gonna do, we're gonna go F sharp minor seven flat five chord, C chord. And that would be the F sharp little green button. Trying to find, working around the arpeggio to try to find F sharp. And as I'm going through the G major scale that a Dorian Phrygian, looking for that F sharp note, because that's how I bring out the sound of the Locrian. With the Locrian sounds like I tried to make it sound like G-Major. If I focused on the genome, I would be making a sound like G major. And I don't want to do that if I'm supposed to be playing an F-sharp Locrian, you to focus on the F sharp note. Okay, Well, this is getting very cool. So now if we were in the, let's go back to the, the, let's go back to the, let's go back to the E minor example that we were talking about. The launch tower, E minor, D, C, D. They don't do this in the song, but if, should I be surprised? It won't play this. I be surprised if B minor popped up. No, I should not be surprised because it's in a row. So these seven chords are the main chords that could pop up if anything is going to pump up. Should I be surprised if an a minor pops up? No. How about a G? Now? Be ready for those cores, they could pop up. Okay, This is really cool. Make a lot of progress. Your minds should be just trying to get us, let me just say one more time about the fifth degree. The fifth degree is dominant over the Mixolydian. Anything over the Mixolydian, or the fifth degree from the major scale is dominant, which means that it gets the plain old seven chord. There's a lot of different kinds of seventh chords. There's a minor seventh chord. There's a major seventh chord with the big M, sometimes as the triangle symbol. There's a diminished seventh chord. And then there's the dominant seventh chord. There's also the minor seven flat five chord. Five different kinds of seventh chords. So we could do all those in the same key. So the five different, so you have d, d minor seven, D major seven or dominant seven, diminished seven, D minor seven flat five. So those are five different Ds. I'm talking about the dominant seventh, which is just this one. Or in its purest form is that 212 over here. D dominant seven. The five I showed you is this one. D dominant seven to two. Dominant is the most basic seven chord. If you have any other symbols next to the seven, then you're just not that one. Does a different one. If it says minor seven or major seven or dim seven, or Microsoft law five, those are all different kinds of seven-fourths. Seven, just saddened by itself. That means it's dominant. Just as a seven. That means it's dominant. Sometimes they don't trust you to know that and they'll write the word DOM in there. Okay. So rho g, d is the only one that she'd be getting that seven, that dominant seven, just the plain old D7 should not do a seven over any of these other courts, only the, over the fifth degree. So D is the only one that gets that seven. Got it. Okay. Moving on. Everything I just said is true for the key of a major. Everything I said is also true for key of C major, and that's true for all 12 keys. So in the key of a major, major scale, great. We've got the a chord. A minor, C-sharp. D chord chord. Short monitor, G-sharp, minor seven flat five, which is our leading tone chord. Let's do a quick jam in the key of a. Good. Okay, let's do a quick gym. Be dorian. Dorian. Let's do that same thing we did before. It's gonna be monitor to eat kale, see what it sounds like. Beat Dory by the way, it'd be Dory, right? So I'm on the seventh fret. I could play the beat Dorian or the a major Phrygian, C-sharp Phrygian or the D Lydian Mixolydian. F-sharp minor scale, where the G-sharp, blue-green. I've got all of those at my disposal. Let's move on. Key of C. In the key of C. I'm gonna do a quick little. C, j, m, C, F, and G. C major. So eighth fret, right? And I can play anything relative to the C major, so the e Phrygian, and that'll be agreeable to do over C of G chord. Moving on, I want to do a little loop, just shuffle all the way to the Mixolydian. I wanna do g Mixolydian. G Mixolydian. So I'm gonna go G, F, and C. Yeah, This one should ring a bell for you. Steve Miller, taking money and run. Good. So over that one I've got the g Mixolydian, which means I can play with the C major scale, d Dorian, Phrygian, anything relative to C major. But I'm in g, g, g Mixolydian. So I have to, whenever I'm moving around the mode shapes, I have to keep it in G. Look for the G note, keep it around there. I want it to sound like I'm in C major, wanted to sound like I'm in G. Okay? Think that about covers the relative courts. One of these rows can occupy you for at least a couple of days. So my advice is to focus on the keys that are conducive to the style of music. You play. Key of G, key, a key of C, also the key of D and the key of E. Those are good ones for the guitar. A lot of songs in those keys, the major keys, then also the relative minor keys to that. So they're on the pronounced live the printouts and have a good time. One last thought real quick. I said that the Phrygian, Lydian, and the Locrian are not used to be. The songs are not in the key of these modes. Given to you in order for big ones are the most popular. One is the major scale. Most songs are in the key of E, major scale, number to the minor scale, number six. The second most popular song is in the minor scale, roland Aeolian mode. Number three is going to be the Mixolydian. Number five. Most popular songs are going to be in the Mixolydian. And number four is the Dorian. Number two. Number two mode, fourth most popular key. It's going to be the Dorian. So cool into that. When you're trying to figure out a song and what the key is, is probably going to be the major scale. And if it's not, it's probably going to be the minor scale. And if it's not, it's probably gonna be the Mixolydian. And if it's not, it's probably gonna be the Dorian. All right guys. Good luck. 25. Blues Chords (page 71 - 73): Today we're going to play some blues chords. So the blues is one of my very favorite styles. I love it. And I'm talking about the delta blues. So this is the real birth of the blues. There's a lot of different styles of blues. We've got Chicago, which is electrified, and Memphis, Texas, Piedmont. Then you've got jazz blues. And then eventually rock and roll. I wanted to take us to the original Delta blues. Alright, so first thing that I want to cover off on is how to get the feel of the blues. So this is what most people screw up on. I want to get it right off the bat. Swing feel. Okay. Swing feel is just something that is expected of you when you started playing the blues. This is what it looks like up top. Okay. I've got four sets of eighth notes or eighth note triplets, and I've got an eighth note rest in the middle of it. You don't necessarily need to know how to read this. It would be great if you could read it. And we cover off on this and the rhythm videos that we're doing. But this is more of a field. So I'm going to explain how the fuel goes and I want you to get the feel of it. But what we've got is eighth note triplets. We know we're dealing with triplets up here because we've got this bracket over them and there's a three over each sets. Anytime you're dealing with a triplet, you're going to have a bracket and it's going to have like a three or a six or nine, or 12 or 15. Usually it's three or six. That's how you know, you're dealing with triplets. Well, that means is we're breaking a quarter note into three pieces. Okay? So if the beat, we've got four beats in a measure. So if the beat is going 1234, those are coordinates. 1234. We're breaking each one of those into three pieces. Here's how you count them. I'm kinda giving you the finished product here, but you counted one triplet because they're called triplets. So we're going to do the syllables of it. We're gonna go one trip, palette to trip. Three or four trips. Put it together without any pauses or arrests are spaces. So if the original coordinate was 1234, when we add in the triplets is going to be one triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet. Good. We're getting really close now. We're going to this restaurant here in the middle of them. When we're saying one triplet, I exit out the trip. On all of these, I exed out the true extent, the trip extent the trip. We're not going to play the trip, we're not going to tap it. I would recommend trying to tap this on your LED on your leg, like I'm doing right now. Alright, so we're going one trip to triplet. Triplet, triplet, don't hit the trip and everything else hit the one in the plot, the two and the plus, and the three and the plant, and the four and the plant don't hit the tree. Resting on the trip. One triplet, triplet, triplet, triplet, triplet four trip. That's good. So there's no spaces. I'm only rusting of the trip and everything else is going evenly, okay? If I do without, maybe I say it in my head. Alright, so it's gonna be one triplet, triplet, triplet, triplet, triplet, triplet, triplet. Good. Okay, That's the swing fill. And it's called the swing fill or blues feel. That's how we're going to play the blues. Always. When we're strumming this, we're going to strum everything down. Alright, so this is one measure. Alright, we're going to trump everything down. Low key. Let's now move over to this guy. 12th bar. It says 12 bar. All sevenths. Don't worry about the whole sevenths. Now, actually let's do all seven. So let's jump right into whole sentence. So we're going to play all of these as a seventh chord. A7, D7, H7, A7. The word bar is the same as the word measure. They mean the exact same thing. So we could call this 12th measure blues, because there's 12 measures, 123456789101112. Remember the dashes are the measure breaks. So every time there's a dash, it's a new measure. 12345678910111212. Measure blues, or 12 bar blues. People call it 12-bar blues. Alright, we've only got three chords, the a chord, the D chord, and the E chord. We're going to play all of them as a seventh, as in a dominant seventh. Let's start out just by doing a basic open courts and see if we can get this swing feel. So when you're getting into it, you can try, say it out loud. One triplet, triplet, triplet, triplet, strobe, everything down. Okay. You can start out by just struggling everything. Don't worry about the rest right off the bat. True? True. True. True. True. True. True. True. You get the hang of that. We're going to throw the rest in a resting on the trip every time that when we do that, we keep everything else. The one true, true? True? True. No arrests. I just keep going. I'm just going to rest on the trip. And then we're going to have the swing field is going to sound super bluesy. It's gonna be great. Okay. So I'm going to add in the rest of the trip. Trip to trip, trip for triplet, triplet, triplet, pre-trip. Okay, Now, let's throw it in over the courts here. So I'm going to follow this progression. One measure of a, D, and then two measures of a, two measures of d, and then two measures of a, and then one E, one d E. Okay? So for each measure, one full sequence of one triplet, triplet, triplet, triplet. Alright, it's going to sound like this. Good. I'm gonna do it one more time. Count it out loud this time. So play along with me. True? True. True. Good, good, good, good, good. Sounds like the blues. Alright. So we've got our swing feel. We got through our toolbar progression, playing all sevenths. Now let's, let's make these chords a little bit more interesting. Okay, we're still going to keep it just that. We're still going to keep it just sevenths. What I'm doing over here is I'm giving you. For different shapes to do a seven chord, just a plain dominant seven. But one of the fun things about the blues, the blues is simple form. Okay? The Blues is not a song, it's a form. So there's unlimited songs in the forum. What you wanna do is play around with the chords and see how interesting you can make them to kind of just doing a little differently playing around. So this first one, you probably already know, it's just your basic bar. Alright, so these are all A7 courts. This is an A7, this is an A7, D7, and this is an asap. So they're just different shapes of the same chord. But it's good to be able to move them around so we're not stuck just doing these open chords all the time. So the first one is our bar chord. It's like a, a bar chord with the pinky off. Asap. And as always, I circle the root node. So five on the low E string, to make it a sharp, G, G sharp. Okay, over here, I've got this guy going from the high string, three-to-two too. So it kinda looks like an, a chord with a 222. But I've got the three right here and the high string. So I can actually do this with two fingers just to keep it simple. Very cool sounding seven chord. The root node on this one is gonna be on it, a, or it's gonna be on the G string. The a and the G string, which is that two G string. It's a chord. Okay? This guy over here, you may actually know this one also, the third one. This is rooted on the a string 12141214. Okay? You know what this is? This is like if we did this, open A7 bar or opening coordinate, 0 twos or two. But I just moved at 12 frets up. Are these guys? So that's another A7 renewal here on the a string. This last one is very cool. I'm starting on the high string, it's 989. Okay? It's a little tricky to get the root node and put it in parentheses over here. It's ten. It's not even in the court. That's what's interesting about it, is ten. So here's the chorus. Is ten on the B string. That's what I'm calling us, the root node. It's a hypothetical route. Oh, it's not even in the court. We don't have a 989 is no way. And so there's no actual root node, it's a rootless. A7, has no root node, has no way that this shape right here, it looks like an open D7 chord. See that? See how it looks like a D cell, D7 chord. And we know that here, and this is a D, this would be my D note on the B string. The string, no, Here's Medina. Take it off. That's why when I come up here, 989, my pinky note, which I'm not playing, my hypothetical root. So that's how I know that this is an A7 one front back from that node. Okay? So let's go through the 12 bar progression, this one. And let's just use the first court. Every time changes, I'm going to have to shift this guy up. Alright. Okay, that sounds way cooler than the open chords right off the bat. One of the reasons that sounds cooler is because when I'm using bar chords, I can mute right at the restaurant. I depress, depress. I just stopped pressing. I'm still in my shape, still touching the strings. They're just stop pressing. So it gives you this little staccato mute. It gives me a little bit more of a rhythmic attack. So I can go, I can keep oppressed or I can depress and skip that attack. As opposed to the rather everything bleeding constantly. All the notes are bleeding into each other and everything is constantly ringing. It's hard for me to control it. So Mark words are great for the blues when you want to really control the rhythm. Really show the swing, fill the key. So let me bounce around and try the second one through the progression, I'm going to go, here's a, here's my D, all the way up here on my ears up, and I remember my root node is G string. So good. So true, true. True. True. True, true. Very cool. Okay, moving on. Third one. Okay. A7, D7. D is a string on the history, older and older. Okay, so the first trick that I use that popped up is when we're at the last line in regarding the e to the D0. I walked it down. True, true, true, true. True. True, true. So before the four and the plot, I want Fred in-between. The walk, walked down into it. This is something you can do in any position. So if I was using this shape, our second shape, I'd go if I was using the bar chords, first position. Okay? And if I was using the last position, we have d, E. D is actually a regular open D7 and E seven over here on the third fret. So I go, okay, let's move into our second trick. Okay. Second trick is going to be whatever my destination Court is, the court I'm going to I can do my seven chord shape, whatever shape I'm in. I'm gonna do it, uh, fret behind and come into it. I'll show you. Okay. So my first chord is a. I'm just going to jump right into it with this. Charlotte has one truck behind it. There is going to. What I'm doing is I'm combining these shapes now starting to move them around. So I don't have to use one shape goal or the fretboard. So if I just use shape one, shape three, because they're pretty close to each other. Shape one, say, here's D, Here's E. Okay? 145. That's the basic makeup of the Blues. By the way, I wrote that down here at the bottom. 145145 is the of the Blues One 45. So if we're in the key of a, B, C, D, E, a is one, b, c, d for He is 5145145 is the basis for not just the blues, but country, bluegrass, folk music, rock and roll. I'm sure some other styles I'm not thinking of right now, but all the major styles of popular music. 145 is the foundation. So, okay. I'm going to use tripped over to walking into the court. And it's on the it's on the planet. For whatever I do, it's gonna be on the plug force. I'm just going to start the plight of four before this. A right here. For trip. Trip. Good, good, good. Let's try with some of the other shapes. Very cool, right? Okay, so I'm combining all these shapes and I'm using trick one and trip to trick one was where I just walked down from the five to the fourth. When I go to the D to E is just to record what Fresco hide wherever I'm going to play for, right? The last thing that was right before B1. Okay? Okay. Let's change keys because I want to see what this looks like an, another key. So let's do the key of E real quick. Do the same thing. All sevenths. We're going to use these shapes. But I just want to show you 145. You could play the blues in any key, wants to. These forms are pretty common. So 12 bars, 12 measures, and it actually goes in this sequence. This is the most common sequence for 12 bar blues. Memorize this. The older like says e, e, e b, a b. That's the key of G. Because it's just going to put four or five and you just memorize it like, you know, I know that the second measure, I go to the four and then I do two measures of the ones that do two measures over 42 measures of the 15415. The same way here, 1411, talking about these Roman numerals here, 141144115415. That makes sense. Okay, let's do this one right here that we're gonna do. Seven's over everything. And I'm going to mix them up quite a bit. So 23. Okay, pretty cool, huh? Alright, so that about covers it. Let's talk about one more thing real quick before we finish. This is all major blues and we can do minor blues. Minor blues will still have a Springfield, and it will still be 12 bar. And actually the progression will pretty much be the same. All we do is we turn every chord into a minor chord. Okay? We have to use, we're not using dominant 7's anymore. We can use minor seven chords. But let's just jump up here. The a again, just turn everything into a water. A minor, D minor you bought. Let's just see what it sounds like. We can turn everything into a minor seventh. Like I said, we'll just play around. We'll use the same tricks if you want to, that I did want to treat two. Let's just see what happens. Richard, everything into a butterfly. It sounds great. Sounds very cool. Okay. So we can take any toolbar progression, turn it every chord into a ladder, and bam, you've got a whole different sounding song. It's now Minor Blues. Got a lot to play with there. So I want you to focus on going through the courts and just getting those changes as interesting as possible. Doing your slides and your walk downs and try to just keep on getting it. Seventh chords is many different shapes as you possibly can. There are more than we've covered off on today. But you can definitely get a ton of sounds out of the blues playing like this. And I didn't want to talk about soloing over the Blues today because it's Blues courts. But I will tell you one of the funnest things to do. Again, most people screw it up. They don't do it right? Most amateurs screw it up. So professional screw it up to. So two things I will tell you about soloing the blues is use mixolydian, following every chord. So if we're playing blues and I play the a Mixolydian mode over the a chord, D Mixolydian over the D chord. And then back to the a Mixolydian for the a Courts. And then the D Mixolydian over these de corps. And then the a Mixolydian or the aqueous and the E Mixolydian over that E chord, D Mixolydian over the D and a Mixolydian, E Mixolydian wherever the core changes, you do the Mixolydian in that key. So the Mixolydian mode following the core changes is a very solid way to play the major blues. And the dominant arpeggio is another solid way to do it. Basically just a dominant seventh arpeggio. Extended arpeggio, or using the dominant seven. So same concepts just as the, use the arpeggio. Every time the core changes, you move the arpeggio to follow the court. Makes sense. You're literally arpeggiating courts. So that is one of the smartest things that you could do. It's going to sound great. So over the major blues, That's the way I would approach it. The Minor Blues is actually relative. So if whatever you're playing the Minor Blues, whatever the first chord is going to be the minor scale. So like the Aeolian mode. So like when we just turn this into a minor, D minor and E minor, that is all going to be the a minor scale. So the Aeolian mode, which is relative to C major, by the way. The first chord is your minor scale or the Aeolian mode, the number six mode. Alright? I think that covers off on the blues. You have lots of work on. 26. Rhythm 4 - Rhythm Theory (page 74 - 76): Today we're going to talk about some rhythm theory. Thought it would be a good idea to make a video to cover off on some of the some of the rhythm concepts that are going to pop up. And you may be thrown off like, what is that? So if you want to be a Rhythm Master, you have to know what these things are and how to deal with them. It's not that complicated. It's just a matter of knowing what it is and how to count it. But these are all primers getting you ready for the 40 exercises video. In my opinion, that is the if you can get through the 40 exercises, then you are in awesome shape rhythm wise, and you are doing good and you're just a practicing musician at that point, practicing guitar player. So just try to get you ready for that. So let's jump in, okay, just a couple of rhythm theory concepts that you really want to know it. Okay, So actually, I'm going to start in the middle here. I've got these three things, pulse, tempo and meter. These are the building blocks of rhythm. So pulse, pulses, probably the most important one. It's, it's self-explanatory maybe. But the pulse is the driving force of rhythm. So this is usually what's going to be the quarter note. It's just this the pulse. It's the thing that everyone is feeling where you're tapping your foot. It's where all of the other notes and beats are gravitating towards that pulse. That keeps the whole thing together. And also winds up establishing the other two things that we've got here. It establishes the tempo, how fast or slow that pulse is going. And also starts giving us the sense of meter, which is how the pulse is being distributed. Okay, So pulse, and this is what you want to establish when you're playing. This is what I do all the time when I'm playing constantly, I'm trying to establish the pulse. Because if I can establish the pulse and I can have you here, my pulse, then I'm going to be connecting with you. And so that's really what play music is all about, is connecting with other people to get them as quickly as possible to tune into. Oh, I hear that. Oh, yeah. I hear that. I lock into it like a heartbeat. So that's what it is. You want to establish that you're playing. And if you're bang on chords, you want to bang on them in a way that establishes the pulse. Okay? Tempo. Tempo is how fast or slow the music is. I wrote it in parentheses right next to it. Bpm, BPM beats per minute. That is how we gauge what the tempo is. How many beats per minute? How many beats per minute? So, for example, the clock, if you see the old clock with a ticking secondhand. So that ticks at 60 beats per minute because there's 60 seconds in one minute. So every time it takes, that's a beat. So clock ticks at 60 beats per minute. That's a really slow tempo. What is a, an average tempo is somewhere between a 120. So if we just say 120 beats per minute is a good kind of slightly above average tempo than it would be two beats for every second. Every second hand tick, there's going to be two beats. That would be about 120. Between a 100120, if you ever get a metronome and you're working with a metronome, you want a good tempo to set it at anywhere between one hundred and one hundred and twenty is gonna be a great tempo to work on anything. So that's beats per minute. Next we have meter. Meter, we said is the pulses are divided. So I wrote down four things over here. We've got duple, triple, simple, and compound. Duple is when the time signature is divided is divisible by two. That's doable. So if you have like a 24 or 44, there'll be duple time. And when we have triple meter, that's where it's divisible by three. So like a 34 time. Guess we can talk about the time signature. This is kind of connected to that. Let's quickly go through this simple and compound. Simple and compound are talking more about the pulses. So it's not so much about the bees, but the pulses, because you can manipulate the pulses in different ways regardless of how many beats you have. So when we're doing simple meter, then we are dividing the pulse in, or dividing the measure into two pulses. Or is divisible by two or four. Like if we had say, 44 time, then you could say that simple meter would be. So if you had a 44 time, which is 1234, okay? But what I'm gonna do is I'm gonna put a little accent. I'm going to play a little louder on B1 and B3. So we're gonna go 12341234. So when I play louder now in establishing a pulse, okay, even though there's more v is, there's the two and the four beat, but I'm pulsing on V1 and V3, 12341234. So I've established two pulses. Compound meter would be if we have three pulses in a measure. So if I had, say, 68 times signature where I've got 6 eighth notes. So we're going to have 123456. I want to establish three pulses out of that. So I'm going to do an accent. I'm going to play a little louder on B1 and B3 and B5. Okay, so we're gonna go 123456123456123456. So I've established three pulses there. Okay? So that in a nutshell, is meter. Meter is how you divide the pulses. And meter is something that it can be used. I personally haven't used it that much in the sense of, to me, meter is more of an intellectual exercise in talking about the music, talking about the rhythm. Instead of writing it or playing it, we're going to describe it using words, which I guess is what music theory is. And that's fine. That's basically what a meter is. Meter is if you had to communicate somebody, play me something in compounds meter. And they say, okay, 123456123456. Okay. Give me something in a triple meter. Okay. 123123. So you could do something like that, but you could also just as easily say plenty something on a 34 times 123123 or play B68 and give me an accent and every two beats, 123456123456. So my point is that meter is cool and it definitely has value. It's one of the, one of the huge components of rhythm. It's just all in how you use it. It's all in how you use it. Okay, So now, type signature. You must understand how this stuff works. The beginning of a piece of music, you will have a time signature. And it's going to tell you how many beats in each measure, more or less. We have up until now, dealt exclusively with 44 time, which is also common time. It's the most commonly used times four for the way that time signatures work is, they're not fractions. The top number tells you how many, and the bottom number tells you of what kind, how many of what kind. So in the case of this for four, it's telling you there's four quarter notes. The bottom for saying it's a quarter-note, the top for saying there's four of them. This 1234. The bottom one is what kinds of still quarter notes? The top one is saying three, play three quarter notes. Okay? This one is saying played two quarter notes in the measure. And the bottom number is always going to be a four. Or eight. So that's where you're gonna be dealing with, is either a four or eight. Let's grab the guitar and let's just check out some of these different time signatures. They're pretty easy. And everything that we've talked about, rhythm wise and beats wise and rests wise totally applies even to different time signatures. It's still applies, is just that the measure will be either shorter or longer than four beats. That everything still works the exact same way. The measure is just how we divide all the beats. Some kind of almost like a punctuation. We know where it ends and where the next thing starts. So it's not just like all run on together. We can take it in little pieces. And all the time signature is telling us is, here's how you break up the pieces. And based on whatever the time signature is, it's usually going to establish both the meter and the pulse. Will see that here. Okay, So for, for, you know, for, for sounds It's 1234. So we've got That's what we've been working with up until now. Let's take a look at 34. So there's three quarter notes in a measure. These three zeros can be broken into eighth notes or 16th notes or whatever. Okay? So everything still works the same way. We just are limited to only three quarter notes in the measure now. Alright. So this is going to start giving us a different meter. And our pulse is going to feel a little bit different now. It's going to feel a little faster actually. I'll show you next. So we've got to count to three. And then the next, next measure. Like I said, we can turn these quarter notes and eighth notes if we want. We can go right away. We have a little bit of a different field. We've got a different pulse is going a little faster now because it's not waiting for all four beats. It's coming up after every three beats. That is, meter impulse are intertwined. We can also turn these into 16th notes if we want to. So the 34 times going. Now I'm going to go. So we can still manipulate it any way we want to. Eighth notes 16th does it all works the exact same way. We just have three beats per measure. And 44 is the most common time signature, and the next most common type signature after that would be the 34. So you do C34 quite a bit. It's a very cool time structure. It's got a built-in different meter to it. The pulses go a little faster. Okay? 2424. You don't see it as often, but sometimes you will have compounds, time signatures. Compounds time signature just means that maybe will be playing something in a 44 or 34. And whoever wrote the music wanted to stick an extra two beats in there. So they may change the time signature to a two for just for one measure and then revert right back to the 34 or four for whatever the rest of the song is. If you just want to throw in an extra couple of beats and it doesn't work with your time signature and you just change the time signature. You can change it midway right in the middle of them. If you want to just pop in a two for an extra two beats. And then right after that measure go right back to a 34. You have to write down the 34 at the beginning of the measure so that everybody knows, hey, we just changed the time. But you can do it in any type of audio. It's pretty cool. To four is just 121212121212. Pretty simple. Okay, now we've got the 68 and the sudden eight. Having aids as our bottom number means that every beat is now going to become an eighth note. I'll say that again, every beat is going to become an eighth note. Okay? So it's telling us that there are six, because the top number is how many? There are 6 eighth notes. And the bottom number is telling you what kind of beat it is. So now if we were playing something in 68, then every eighth note is going to be a beat. We're just going to treat the eighth note as a beat, and we're going to count it that way too. So you would not count this like 123. You don't count like that. Every eighth note as a beat in a 68 time. You would count this as 123456123456123456 because it's it's an eight time. 12345612345668. Also is manipulating the meter and the pulse because it starts giving us this built-in different field where it's kinda like a grouping of three. 46812345612345663. Pretty cool. We can make the top number, any number we want. We can make it a 58, we can make it a 98. We could make it a 38. We can make it a 78. Like I said, sometimes when you have compounds time signature, compound time signature just means that we've got different time signatures in the same song. So if you just randomly want to add in an extra couple of eighth notes, quarter notes, you just changed the time you put in whatever beats you wanted. And then you change the time back when you're done to whatever you had. Originally. 78. Okay. So we've got a 78 here. And I did the grouping of two pairs of eighth notes and then a set of 3 eighth notes. The 78 is an odd time. So it's an odd literally it's an odd time because it's seven. So you try to group it as either twos or threes when you're putting it together. So we've got 123456712345671234567. Notice how I'm accenting the beginning of each group. 1234567812345671234567812345671234567. Okay, so let's see what that sounds like. I can add in 16th notes into the mix. You would actually count them as ends. So like 123456712345677 n. So you can add in the 16th note and you just do it with a double beam, two beams to make a 16th note. But you're just going to count like an end. So it's kind of like we just revert to half of what we would normally be doing because of the eight. So eight makes every eighth note of beat. So if we're going 34567, and I want to throw in those 16th notes. I'm just going to throw on the UPS. 78. Alright, pretty cool, pretty cool. 30-second notes. Okay, 30-second notes. We will be encountering these a little bit. And they'll pop up from time to time. They're kind of intimidating looking. They've got 33 beams. So 16th notes have two beams. One beam, 16th notes have two beams. 30-second nodes have three beams. And so what we have here is 832nd notes. And I'm saying 812345678. There's eight of them. Eight 30-second notes equals one-quarter note. Yeah. Okay. Let me show you how to count and there's a trick. So what you do is twice as fast as 16th notes, right? So what we're gonna do and reuse the same thing for strumming. So I'm going to just tap out 16th notes on one hand. Okay? So that's how we do, is we tap out 16th notes on one hand, 12341234. And now with my other hand, are going to play in-between. Okay. So if it's one, and I'm going to play in-between with this hand, 11111 and one for time. Right now I'm just kind of want to be one for 111111111. So if we're going faster, well, you have to be able to do is to establish the 16th notes in one direction or with one hand. So 12341234. And not even counting what's going on here. I'm just counting the 16th notes. And the 300k end of 4123412341234. Alright, that's 30-second dose. So strong it would be the same concept, right? I'm going to have to do 16th notes, but all strumming in one direction, so down. Alright, so I've got my G chord. I'm gonna go one, had three. I'm gonna do the UPS in-between the two. So it's all about getting the 16th notes going in one direction so that you set yourself up to double it with the opposite motion. Good, good, good, good, good, good. Okay, That's 30-second notes. Now, let's talk about dots. Dots. Dots are actually an essential rhythmic tool. We need them. They're there. The only way that we can represent certain times. Here's our dots work. You, when you have a node that has a little dot next to it, See that little dot? It's got no stem or anything like that. It's just a dot. So it's telling me that I need to add half of the value that node to itself. Okay? You add half of the value of the node to itself. So it's a half note. So I have don't gets two beats, 12. Okay? So what is half of 21? So I have to add one to it. So they're already normally gets two beats. And half of two is one. So I have to add one to the two beats that already has. That equals three beats. So it dotted half note, three quarter notes because three-quarter account. So the dotted half goes 123. It gets held for three beats because it's dotted. Half of, you had half of the value to itself. So half-note, half of the half notes wouldn't be so one plus two is 3123, okay? And then we have a coordinate for this measure is 1234, right? The reason that I said that dots are essential is because some other stuff that could be done but it would change it. So for example, if we put a rest there, that might be what you're thinking. Just put a rest there instead. Yeah. But with the DOD is telling you to do is to sustain that note for three beats. Sustaining the no for three beats. So even though we're tapping right now, but what if we were maybe on an electric guitar and we have some sustained going? And you can hold the note outfit three beats. That's what it's meant to do. So that's when you use a dot 1234. Now this measure right here, we've got dotted quarter notes. What's half of a quarter note? An eighth note. It takes 2 eighth notes to make a quarter note. So when you see a dotted quarter note, you have to add an extra eighth note to it. This is where it starts getting a little dicey. The thing about Dodds is that they make it sometimes a little difficult to see where the beats are because they change the value of the beat. A dot adds half the value to the B, adds half the value to the beat. So it's a quarter note. Dotted quarter note gets one beat, and the DOD adds an extra eighth note to it, so that dotted quarter note equal to 1.5 quarter notes, a quarter-note plus an eighth note. So we have another one here. And then we just have a regular quarter note right there. Has, the measure has to equal four beats in this case. So we have 1.5 plus 1.5 equals three. And then there's one. That equals for counting, it gets a little bit tricky. So we're gonna go in great account with eighth notes because the dots we have 212 and 34. The first one gets 12. Now we're hanging on the end of two. So this next one gets hit on the end of 234. I'm gonna do my fingers again on that one. 27. Rhythm 5 - Triplets (page 77): Okay, Let's talk about triplets. So up until now, we've talked about mostly stuff in duple time, stuff divisible by two triplets are very cool because there are divisible by three. And it's a way for us to break up the beat, the quarter note, or the pulse into three pieces or things that are divisible by three. So we can do break a quarter note into three pieces. We can bring a quarter note into six pieces as opposed to just doing 24. So it can give us a completely different feel. And this is also a lot of blues and jazz and swing. This is, this is the device that we're going to use, is the triplet. So let's take a look at how they work. They still have mostly the same rules as everything else in rhythm. Let me just start off by saying, you will know that you're dealing with a triplet because it's always going to have a bracket over it. And it's going to have a three, or it will have a six or nine or 12 or something divisible by three. Usually it's gonna be a three or a six. And you'll know it's always going to have a bracket and it's going to have that number over it. So you're going to know you're dealing with a tripling. It's not gonna be a duple time. So right here, we've got a set of triplets, and we see that it equals one quarter note. And a good way to count a triplet is just by saying it like one triplet, triplet, triplet, triplet, triplet, triplet. And it equals a quarter note. Eighth note triplets also equals to eighth notes. And set of eighth note triplets will equal 4 16th. Notice anything that equals a quarter note, 3 eighth note triplets will equal a. So we just count it. One triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet. And just by saying it out loud, you start getting that whole feel of that three-time one triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet. When I am strumming eighth note triplets and their eighth note triplets because they have one beam, same rules apply, same rules apply with the beams. One beam, it's an eighth note, and it has got two beams, or two beams, that is going to be as 67. So when I'm strumming eighth note triplets, I'm just going to strum down on everything. So if I'm going just like that, okay. So triplets are pretty simple. So this is what I just played. I gave you a message of eighth note triplets. That's it. That's it. Now, when we want to sell us the Springfield, I just put a eighth note rest in the middle of it. Still have the bracket, still have the three. So we know we're dealing with triple time, okay. But I have the rest in the middle of it. So we're going to rest on the trip, right? One trip. But I'm going to rest on the trip. One trip. So I'm not going to strum the trip. So I'm gonna go shred. Just like that. That's going to give us a swing feel. If I speed that up a little bit, it's going to sound like. We start getting that blues sound. Okay, very cool. Down here. I've got a 16th note triplets. These are also called Six tablets. Six tablet. There just 16th note triplets. And so there are six of them, right? And we've got a six underneath the bracket. And that's how we know we're dealing with a triplet. And so one group of six, 16th note triplets or 1 sixth top lip equals one quarter note, which also equals 2 eighth notes or 16th notes. Six tablets are going to be down, up, down, up. So we're gonna be like down, up, down, up, down, up. We can just count. These are kind of tricky to count. So an easy way to count as just 123456123456123456123456123456. And each one of those equals one beat 123456123456123456123456. Just like that. So if I was going to do a measure of six tablets, like four of these, that I'll go for each count. I'm going 3456, down, up, down, up, down, up, down, up, down, up, down, up, down, up down. 123456123456123456 and for each B. So these are very cool tool to use if you want to get some speed and your strumming, you may already be playing something fast. And if you want, just kick it up another notch. You can go from 16th notes, 16th note triplets. And you can get some really cool speed going on. So if we go a little faster, 1234, six tablets. Very cool. Okay, Let's take a look at the examples that we have done here. We've got 12 triplet, 34 triplet. Let's try that one out. Same as with everything else when counting eighth notes or 16th notes. I want to count everything, everything that it could be playing. The smallest beat that I could be using, in this case is eighth note triplets. So even though I'm holding up these coordinates, I want to go one triplet, triplet, triplet, triplet to make sure I don't rush or drag the beat. Okay, let's look at the next one. Here. We are combining eighth notes and he's note triplets. So this is where it starts getting fun. We are combining duple and triple time in the same measure. This is very cool stuff. Okay? Important account, right? Very cool. And as always, just tap it out if you need to. So 12 triplet 34 triplet, 12 triplet, 34 triplet. Pretty simple. Okay, good. Now we have six tablet and an eighth note, triplet, and then two quarter notes. 123456. Triplet 34123456 because that's the weekend. The six doublet, 1234562, triplet, 3412345634123456234. So that is how you play triplets. When you can start combining the duple and triple, getting regular 16th notes, regular eighth notes mixed in with eighth note, triplets and six tablets. In the same measure. You are doing some very, very high-end real stuff. And you're really manipulating and controlling the pulses and the rhythm in a very cool way, very cool way. Exactly where we're heading. So it's good to start playing around with all of these 8th and 10th note triplets. I'm throwing in arrests in different places. As long as you just remember to count one triplet, triplet, triplet for triplet, you're going to be fine. So one triplet, triplet, triplet, triplet, right? And you just rest where you to rest. One triplet, triplet, triplet for truth, or one triplet, triplet, triplet, LET, or one triplet, triplet, three trip but for trip, but the six tuplet is counted 123456123456. Alright. So if we're going to have a arrest anywhere in there, you just don't tap, don't strum on the rest. So maybe there'll be 123456123456. Maybe will rest on a 51234561234561234564123456123456, Norris on 312345612, 123456123456. They will rest on the 21234561234561234561234561123456123456. So they do get tricky and they are high. And like I said, this is pretty advanced stuff. That's exactly where we're going. When we look at the 40 exercises, which I would recommend you take a look at, see how many of them you can get through, see if you can get through all of them. That'll be great. But yeah, this is great primer for you to start getting into your triplets. So I hope you enjoy it. 28. Arpeggios - Extended (page 78 - 84): Let's talk about extended arpeggios. So we know that arpeggios can be built from any chord that exists. Any kind of large named chord can be turned into an arpeggio. All we have to do is we have to figure out the notes that are in that chord and then play them in chromatic order. Saying chromatic order, like ABCDEFG, just play them in the order that the notes would be in an acrobatic way. After that, you've got any kind of extended arpeggio that you could possibly need. Now when we talked about the major and the minor arpeggios, which are the building blocks for extended arpeggios. They are played in chromatic order. What I mean by that is, when we go through all of the shapes for all of the major and minor arpeggios. If we were playing a G arpeggio, G major arpeggio, the notes of the G-Major arpeggio, R, G, B, and D. It's the nose of the G major chord, G, B, and D. So when we do any G major arpeggio, if we play the shape and order, we're just going to play, She's B's, D's in that order. Just going to keep going, g, g, g. And then when we do it backwards, it'll just go in backwards order. So I'll go position to just show you the G, D, G over ascending, it's going in order and when we're descending it's going in order backwards. So that actually helps us quite a bit when we're doing extended arpeggios. So you've got your printouts. So you can look at all these shapes and study them and get familiar with these extended arpeggios shapes. Up here. I got most of them up here. We're gonna go through. But I want to give you some tricks on how to quickly figure these out. Because it can be daunting sometimes if you feel like you need to memorize tons of stuff. If you have to memorize tons of different bar chord shapes are tons of different scales or different arpeggios. It's a lot easier if you, I have memorized a couple of the basic things. You understand the music theory behind it. And then you can figure them out on the fly while you're playing. So that's what I want to show you how to do. So first off, we, since we're going in chromatic order, if we normally the name of the chord is going to tell you what the special note is. An extension, just to reiterate that the extension is telling us it's a note beyond the 135135 first, third, fifth, a block of a major or minor arpeggio. Any other notes for intervals beyond that or the extensions? So for example, if we have our first one right here is a seven, that one actually happens to be a dominant seven. I know that because it's just a plain seven by itself, doesn't have a lowercase m or an uppercase M. It's just a plain old seven, so it was a dominant seven. So what that's telling me is that I need to have the 135. And the three is a major third. So I'm grabbing from the major arpeggio. So I've got everything in the normal measure That's all in there. And then I'm just going to add a seventh in it. Now this seventh is a minor seventh interval. So if we said we're going to do a G7. And I left these all keyless. So we're going to just punch in the keys when one of them will do a G7. If you think about the G7 chord. Once again, I've said this several times. Watch the intervals video, read the intervals printout, learn the intervals that helps quite a bit with a lot of the stuff that we're talking about. You'll find this when you talk to other musicians that it helps to one. So it says, Oh yeah, that's the, That's the flat file or that's the minor herself, to know what they're talking about and to know what you're talking about. When you play a dominant seven. The seven is actually a minor seventh interval. And you know, if you play a G7 chord, you could be playing a G sub bar core, or could even be just a super basic open G7 chord. The special note in this chord is this f note. We're doing regular G major arpeggio. And the special node is the node, that's the seventh. F is, by the way, it's two. From G, G to first bag. My F, that's myself. So if we do a normal G major arpeggio, but we have to add in, in F note. We have to add it in, in order. Okay? So I'm playing G, B, D. Before it gets minus g, I have to play that F because F comes before G. F, G. And my next note is G. So I've split it before we get there. I can. So that's a G dominant seven arpeggio area. Okay. I couldn't even these. We did full fret, we're pegged use. And what I want you to be able to do is I want you to be able to figure out how to do these over all of the shapes, because we could be playing this in any shape. This is really what makes improvising the arpeggios a lot of fun is that we can start looking for the extra notes outside of our shape. So if I've got another effort there, if I come up here to position two of the major, G major or video. All right, so there's my g. There it is. So I know that F is going to be right next to the gene, It's right below it. So anytime I go to my root node, just make sure you hit the F. That's two fronts back. And that's the kind of thing we're talking about is that it's easy to see your notes because that's the thing we're constantly looking for is our rudeness. Well, we're playing arpeggios. We're always moving up and down the fretboard, looking for the root notes so we know where to play it. So if you know where the root node is, seven is right next to the root node, the root node is one or eight. So seven is right before eight. So if I know, I'm going to do position three. I'll start from the high. Again. Root is two frets back. Renewed again, G, two frets. G. I can go to this F. So just figuring out where to do a dominant G7 on the fly. Most of the time we talked about this. You can kind of blow past the extension. It just play the regular major or minor arpeggio. So if the court calls for G7, lot of times I can start out by just playing a G major. And then while I'm playing it, I can look for my ETH and try to hit the F along the way. Okay, good. Next up my intercept. Okay, So here's the thing. It's minor lowercase m liner. So that's my third. So I'll be accessing the minor arpeggio. And I have to hit a sudden. The seven is gonna be the same as seven plus two fronts back. That's what a seven by itself means. You can have a little M next to it. The little m, The lowercase m means something. It has nothing to do with the sudden the lowercase I was talking about the third note. Saying make the third note monitor the difference. The third is the difference between major and minor. So the lowercase m has nothing to do with seven. Okay? There is actually the exact same as this. So this lowercase m is saying, make the third a minor. That's what makes the arpeggio different, or the scale, or the chord. The third, That's what the minorities and that's what the major muscle cell. Okay, So we're just gonna do it. Let's do a minor, a minor arpeggio. Position one. Good. We're going to look for the seventh. It's gonna be too fresh right behind the root, same as before. So 135 years by one again. So I know. Just two frets right behind the 113. And then one is here. So my seventh is gonna be just 2.5 steps back from that. So this note, which is also your genome, to friends back from the A's, the genome. And this is where the printouts come in a little handy is that instead of how to do this big shift that here you can kind of see the quick way to get it all in one position. But you be able to figure this out on the fly. Look for it in one register. You have to do the whole shape right off the bat. One register, meaning just that's it for the first day, the next day. Then for the seven. That's it. That's a minor seven arpeggio. I'm going to make a little mental note that the seven is a genome. Okay, So now when you continue through the shape, you made a little mental note that you've got to hit G know also is as your seventh. Continue. Genome. Nice. That's an, a minor seven arpeggio. Let's look through one more shape. Let's go through position number three of the isolate this guy. A minor, okay, so that's the normal position, three, a minor, one by one. So two bag is made. My mental note is G. Here's G again. A minor seven arpeggio. Nice. Cooling over here. We have an uppercase M seven. So major seven. I know what you're thinking. This uppercase M has nothing to do with major or minor in the sense of the third. Okay? We don't have to have an uppercase M to tell us that the cord is gonna be a major cord, as in, it's going to have a major third, we just leave it alone as default is going to be major. The only difference between a major third, a minor third is the lowercase l. Seems confusing right now. The uppercase M means the seventh note is gonna be a major seventh interval. So this is not talking about the third note. It's telling you about the seventh note. Uppercase M7 means major sub, and it means that set of the seventh being two fronts back from the root, it's going to be one front back from the root. So major seventh, upper-case M. Major. Uppercase M means measure. Means that we're talking about a major seventh has nothing to do with the third chord could still be Monitor. Now, you'll see this as a triangle. Sometimes, sometimes they'll just have a triangle. So you could see a coordinate is G with a triangle next to it. G triangle. The triangle means major seventh. The seventh, which is a major seventh, which is one fret behind the root. G triangle, or G major seven, or G capital M7. That all means the same thing. So let's do. We have all the same stuff from the G major arpeggio. Just adding in that major seventh note, which is Fred, the root. We're going to do a G major. Are you adding in front lines G? G, seven. Seven, Seven. Very cool, very cool setting. Because there were the major seven chord obviously. Okay, moving on. Minor seven flat five. A lot of times the chord is going to tell you exactly what to play. So you just read it and do it in order. So it's a minor, it's a minor chord. It's got a seven. Keep in mind. Unless it's got an uppercase M next to it or triangle, that seven is always going to be two fronts back. Okay? So unless it has an uppercase M, The Seven always is going to be two frets back to France, back to France, back. 29. Soloing with Modes (page 85): Today we're going to talk about soloing with nodes. We've got a lot of ground to cover, so let's jump right into it. Actually, the first thing I want to talk about is this shifting keys box over here. Hopefully you've been studying your mode shapes and you feel like you've got your arms around them. The ionian, Dorian and the Phrygian, Lydian Mixolydian, the Aeolian and the Locrian shapes. Or mostly anyway, be great. If you know those different shapes, you may be starting to feel like, Okay, I know all these different shapes, but what do I do with them? That's what we're going to talk about right now. This fretboard diagram is the same as the relative mode basics video. It's the G major fretboard. So this is the breakout of all of the modes based on the key of G major. G major a Dorian, b, Phrygian. C, Lydian, Mixolydian. E. Aeolian, f-sharp Locrian or F-sharp Locrian. What's 12th? Plus two? Sharp is here on the second fret. What's 12 plus 214? This would be where the Locrian starts over again. Then 153 is G, So three plus 12 is 15. Alright, so 15 is where the g Ionian starts over again. So we were playing G major scale, or G Ionian. Come up here to the 15th fret. The whole thing starts over again. Then 17 would be a Dorian and 19 would be the Phrygian. Okay? But what if we're playing something in the key of a major? Or what if we're in C major, D major, or what if we're in F-sharp minor or a minor? The a Aeolian mode or what if we're in g Mixolydian? Okay, So when you're shifting keys, let's just focus on the major for a second. Because if we can shift the major key, then everything else falls into place. It's simple. You just literally move everything up however many friends you need to. Okay, So down here we've got the breakout up top, I've got the mode names, abbreviated mode dams. And then down here, It's our miniature little tone row grid. So if we're in the key of G-Major, that's the, the tone row. We've got G, a, B, C, D, E, and F sharp. Those are the towns of the G major scale. What that means is that from the key of G major. So as g Ionian, that a would be Dorian, the B would be Phrygian to see would be Lydian, the D would be Mixolydian and the E would be Aeolian, f-sharp would be Locrian. If I want to shift from key of G major, it's the kid, a major. Shift up, I'm in the key of E major. Everything's just shifts up two frets. Everything shifts up two frets. So I'm in the key of a major, so good. So a Ionian. Then the V is going to be Dorian because Dorian was a before, so as to shift up two frets. Alright, so now it's going to be beat orient, so great. C-sharp, because the Phrygian before was in the key of B, right? So it has to go up two frets. So it wasn't being C-sharp, C-sharp Phrygian. Remember we started with a major. A major was two friends from GI. Dorian is two frets up from the G major so as to be up two frets in the key of B. Then the phrygian is to Fred cell from the Dorian there. And then the C is one Fred up. So from C-sharp Phrygian, C-sharp Phrygian. We're gonna go to the D Lydian. So the D lineage was C Lydian before. Now, d is two for us up from the D Lydian is two frets up to the E. Mixolydian was D Mixolydian before it's two fronts up. It's true for itself, E Mixolydian. Then two frets up from there. It's going to be the F-sharp Aeolian mode. I can play it up here on 142 friends up from E. That's getting kinda high. Luckily I got to cut away. But if you didn't have a cutaway, I would come down here to the second fret of 14. What's 14 minus 12. Okay, too. So that's what we're gonna do. The F sharp Aeolian mode. And then two for, up from that is the Locrian mode. So that's G-sharp Locrian mode. That takes.com today. Alright, so that's how we shift keys. And you'll kind of get used to how the whole thing works. We also have the method of the whole, whole half, whole, whole, whole half. So those are our steps. A whole step, half step, whole step is two frets and half-steps, one frame. So the formula for that as a whole, whole half, whole, whole, whole half. So two holes and a half, and then three holes and a half, whole, whole half, whole, whole, whole half. So for example, if I want to start in the key of D major, D Ionian, d Ionian, D major scale. And it's like jeez, that's a long way to count from G. Just do the whole, whole half, whole, whole, whole half. So in 1D, so there's my Ionian. The first hole is E, there'll be Dorian. Then another hole that's gonna be F sharp, which will be the Phrygian that I have a half. Okay, that's good. G Lydian. Just come down here. These are down here, G Lydian. Then I go, I've got three holes to go after that. So I go hole is going to be the a Mixolydian whole. Again, it's gonna be the B Aeolian, last hole, the C-sharp Locrian. And then my last half, back home to D major scale. So just whole, whole half, whole, whole, whole half. I can figure out holes, two frets, half is one fret. Whole, whole half, whole, whole, whole half. If I'm in the key of C, C major, whole, whole half, whole, whole half. So C major. So I have one quick and dirty way to do it. So C major, D Dorian, e Phrygian, F, F, Lydian. G Mixolydian. For a Aeolian. B, Locrian, half way up high on the C, Ionian to get to me all the way around the world. And that's what we're looking at and it's very bottom line. So the sea major, C major modes, the modes relative to C major. If I want to do something, none of the Gradebook, f, last one, we'll do f k. So f major, whole, whole half, whole, whole, whole half. Okay. Then I just plug in the inductor peppers laboratory. Many are lost. In is the ionian Dorian. Phrygian Laboratory. Whole. Many Mixolydian or Aeolian Hall, lost Locrian half an eye out and takes me around the world. Okay, that's the most of the Relative to F-major. We do this in any key, too quick and easy way to find the key. So when you shift keys, you can play the modes in any key, all 12 keys. This is just three major keys, G, a, and C. Just only three of the 12 major keys when you do any key of B-flat, E-flat, A-flat, D-flat, key of whatever it could be, any of the chromatic notes could be the key of the major scale. And then from any of those notes, we branch out to all of the relative modes of the seven modes branch out. Okay? So we've got that shifting keys. So this is something that you're going to have to practice can use to on the fly. I like to start us out in the key of G major because g is just a great guitar key, there's tons of songs in the key of G. We deal with g all the time. So it's good to be the most familiar with the stuff that you deal with the most often. Like it's not a great use of your time to master the key of E flat major. If you never play in the key of E flat major. So you want to make sure you're great at the stuff that you play frequently. Qg for most guitar players will come up all the time. Okay, now, let's get back to this stuff. The true mode sound, okay? The true moon sounds means if I am playing the Lydian mode, I want it to sound like the Lydian. I don't want it to just sound like a bunch of notes. I want to make sure it sounds like the Lydian. So let's say I'm playing in the C Lydian mode. We talked before about the way to make it sound like it. Tendency is to hit the root notes. We play any of the nodes in the Lydian C Lydian mode, but we want to focus on those root nodes quite a bit. I'm actually going to extend that out to all of the arpeggio notes. The major arpeggio notes the first third fifth. So a good quick and dirty way to hit the first third fifth. If you're a little shaky with your arpeggios, or if you're still working on them, then you can just count up through the skill Shaped 1234567. You could do this on any mode. After seven, it goes back to one. Let's say we're on C Lydian, let's try it. We're going to count to seven. And after seven, I go back to one. Just keep counting. 123456712345671234567. Awesome. Do it again. 1234567. When I played backwards or what I descend it, I have to count backwards. Okay. This high one was 33, Five, 432. On the way up and the way back. Ones are always the ones that whose rows, the twos and threes row is the 3s. It always is going to be the same thing. So you count ascending and then you count backwards for descending. Okay? So if I'm just looking to isolate the 1s, 3s, and 5s. And I'm a little shaky on my arpeggios. I can just quickly rattle off. That's your C major arpeggio. Those are the nodes I'm talking about. We can find it just by counting 1234567 and paying attention to where is the one, the three and the five. Okay? You could do this on a major or a minor mode. So it works over both the major and the minor modes. 12345671234567. Okay, so we got two. Alright? So anyway, the way that I approach it is you want to start off by getting comfortable with the root nodes to play them frequently, to use those as punctuation. But I like to expand that to any of the arpeggio notes, the 1s, 3s and 5s, all of that can be used as punctuation. So let's try it out. So I'm in C Lydian. So knocking through all of the notes, I can hit any of the nodes and the Lydian. I don't want to be scared about hitting the notes. I just want to look for the 1s, 3s and 5s and use them as actuation. That's how I get this true sound of the Lydian to come out. Okay, let's try it. A reminder. Let's try it over that. A Dorian mode, number two mode. So right now, I've got that. But I wanted to do the 1s, 3s, and 5s, and we use the exact same trick I just did. I'm going to count 123456712345. I count backwards to go backwards. Three more, 32. All right, Cool. So when we isolate the 1s, 3s and 5s, 1234567, 5671. We wind up with, which is your basic minor arpeggio. So if you're shaky on the arpeggios, you can just use that quick and dirty method for getting your the scale intervals. It's a cool thing to practice even if you do know your NGOs. Because sometimes you want to look for the, for the seven, you want to be able to quickly count and get that note. So all of the modes only have seven nodes. So we can do this on any mode shape and just kept sudden. County forward for a sound and can fabric. Okay, so let's jump into the a Dorian. Let's see if we can get that true. A Dorian shape using all the 1s, 3s, and 5s as anchor notes. Good. It sounds like the Dorian to me. Awesome. Let's try something more exotic like the, the, the Phrygian. Phrygian, right? Trying to get the true mode sound to come out. Okay. So gods, the 1s, 3s and 5s of the b Phrygian. It's just the minor arpeggio, the basic first position, minor arpeggio. Yeah. It sounds like the Phrygian. Okay, Awesome. So that's getting the true mode sounds. Alright. Okay, okay. Let's now talk about the full fret board mode. To me, this is one of the most important pieces of learning. The modes is the ability to go full fret board in one mode, okay? So sometimes, sometimes you're going to want to use the Foley for on the trees out of the mode. Sometimes you want to play whatever the court is to play the relative mode over it. So for example, if we have a talking about tree mode sound for one more minute. If we have a basic chord progression that goes, let's say two measures of g, two, see, two layers of D, okay? That's gonna be the G Ionian, the C Lydian Mixolydian. Okay, I'm gonna do two measures of each, so we have lots of time. Get the chords in our head. So it's gonna be like, Okay, now what I'm gonna do is over the G chord, I'm going to play the G Ionian mode, the C chord, I'm going to play the C Lydian D chord. I would play the D Mixolydian, playing the relative mode over each chord, whatever the court says. When do that relative mode. G Ionian over G chord, C Lydian over C chord, D, Mixolydian over the D chord. We're just going to solo with no accompaniment to see what it sounds like. Regards to the G. Let's go again. So when I use the true mode sounds and I focus on hitting those arpeggio notes. And I stay in the box where we've got our roots on the low E string or the high E string. Focus on those arpeggio notes. It sounds like the true load. Sounds like the G major scale or the G chord sounds like the C Lydian mode or with a C chord and the D Mixolydian over the D chord. That is one approach to solo it. You can actually move the mode shapes while the chords are moving as the core that you have to pay attention to the courts. And every time the chord changes, you move with it to the relative mode that goes with that word. If it's an a minor chord, in the key of G, a minor chord, it's going to be a Dorian, right? So whatever the chord change is, that's what you're going to hear solo trying to get the true load sound. Okay? Because otherwise you're really, if you don't go for the true mode sounds, then you are just bang on nodes and you're relying really heavily on your rhythm section, your rhythm guitar player, your bass player, piano player, whoever's playing the chords, you're really counting on them to make sure that the song keeps going. Because if they stopped playing, the rhythm guitarist up doing chords on the piano, stopped playing piano. Or if they stop playing bass. And it was just you doing your solo. If it's either going to sound like it's going to reflect the song, the chord changes, or it's just going to sound like a bunch of notes. So you want it to reflect this all you want to sound like the song. Alright, so that's how we go for the true mode sounds. Now the full fret board mode. This one, cutting back. This one is, I think the most important aspect of learning and those are the biggest payoffs, is to get the full fret board mode. Lot of times a song, what we just did was Long cords, lot of beats over each chord. So as long time to every core change, a lot of songs will have quick chord changes. And when you have quick chord changes, like orangey, like a, G, E minor, C, D. Let's try some like that. Something like that. Those chords are going way too fast for me to go on. G, Ionian, e, Aeolian, c Lydian Mixolydian g is two beats on each one and hide tab whites too fast, too fast. So we don't want to be trying to change the mode shapes like that. Instead, what we wanna do is we want to say it's in G-Major. That's it to G-Major. Okay. So all that's going on. You're playing around in G-Major. That's great, and I'm having a good time doing that. But I would like to start moving up the fret board. Okay, so this is where it gets fun. All of the seven mode shapes have the exact same notes as my G major scale. The thing that we did when we were talking about true mode sound was we're routing on the low string. So it's really all about root node. You can get True mode sound by routing. On the note that you want to route on. This is where we start getting into using the modes as shapes. We're not going to try to get the true mode sound. We're just going to try to grab the shape and bend it to our will. So when we do that, for example, I'm in the G Ionian, a shift up to the, a Dorian shape. I'm not going to try and make it sound like an, a Dorian. I'm just going to take the shape of the a Dorian. So I'm doing the shape of it. But I'm looking for my G note. Where's my G notes? Genome here, of genome here. Okay? So if you note on the eighth fret of the B string, genome, on the fifth fret, D string, that I'm on a Dorian shapes. I'm using a Dorian shape. What I'm going to route on these genomes fit for a DStream eighth fret E string. So let's try one more time. Slip into the b Phrygian shape. Don't want to focus on this. B knows to route on exactly what to focus on the genomes. I'm in the b Phrygian shape, and I want to focus. You got the same route here on the B string. G on the a string, Tim Fred, Okay? G on the a string to Fred. Fred be straight. So I'm going to slip into the C Lydian shape. I have access both of these root nodes and I can also get a, I could also get a G note here on the 12th fret Maybe. Okay, let's take a look at it. Slipping into the D Mixolydian. Now, same route here. I've got the G string, 12th fret. Amanda, D Mixolydian, but I'm not trying to make it sound like D. I'm not trying to go. Trying to accelerate g. Go from my genome. Ladino, Gino's. Okay, so now I'm going to slip into the Aeolian shape looking for my genome. So I've actually got three of them on the shape. I've got the 15th fret on the E string. I've got the G string on the 12th fret. Right? Now. We talked before about there are seven shapes. That's true. But I think I may have said sorta is because the Locrian, the seventh shape is that it occupies the exact same space as the Ionian. The seven shape, the first shape occupy the same space to 35. For me to go into the little green shape is just like me being in the Ionian shape. So it's not really a new position for me. That's also true for the Lydian. Lydian, the fourth shape. It's sort of this halfway between our Phrygian and our Mixolydian. So a lot of times when I'm going full fret board, I'll consider the seventh and the first shape is the same position. And the third and the fourth shape is the same position. I kinda go from the Phrygian Mixolydian when I'm going up. Okay, Now, this is the fun part and you got to stay on your toes. But let's put it all together. So I'm going to jump through these shapes. Iga, ionian, Dorian, b, Phrygian, kind of skipped. C, Lydian, go to the D, Mixolydian, e Aeolian. And I'm going to just keep it in G-Major the whole time. So as I'm jumping through these shapes, I'm looking for my genomes. Good. That's a lot of fun. That's a lot of fun. Okay? So that is one way to think about going full fret board. And yes, while I was doing this, it wasn't just my genus that I was looking for. Was also accessing a lot of the arpeggio notes because that is how you do it. So you don't want to just go for the root node. So you want to go for the ones, the 3s, 5s, they're all very strong punctuation points. Okay? What some people like to do is before, because this is something I would recommend you sit down, you say I'm going to play full fret board in the key of G. I'm going to sit and play full fret board in the key of G for the next hour or for the next 20 minutes. So when I say things like play in G for 20 minutes or an hour, that's what I'm talking about. All the core stuff, all the arpeggios stuff, and just playful fret board. I mean, I was just doing, I could go on and do that and push it and keep looking for different things. I could easily do that for an hour. Okay. You may map out all the Gi's before you get started and just make a little mentally, mentally, don't do, don't do an arts and crafts projects. Some people like to spend a lot of time writing things down, making pronounced, eliminating them, having them color-coded. Don't waste too much time on that. Get it in your brain and just get used to being quick on your quick on your feet. It's going back to silver, early lessons about getting fast with the chromatic scale. How fast can you find a G on every string? That's really what we're doing here, is how quickly can we find a G and a restraint? If you get comfortable with that, then start looking for the best Ds, which are the thirds of the fissile. So okay. Then we can start doing this where we're going to ship our keys. You shift your key. So we say we're going to play full fret board and cube, a major, not a Dorian, a major Ionian. Ok, so everything is shifted up. So you say I'm going to play full fret board in the key of a major. Maybe I'll do a chord progression that goes like the same thing as we did before. So I'll go a F-sharp minor, D and E. I should do it. Shifted up 2 first. And I can mess around with that. That's a lot of fun. I want to keep rolling here. Okay, Let's go back to the key of G. Alright? So go back to the key of G major. Now. What if we wanted to do full fret board in the key of a Dorian. Okay, Now this is where it gets exciting. So now we're going to play a song in the key of a Dorian. Playing some, something in a monitor is the Dorian. Great. So obviously I've got a Dorian mode, the second mode that we learned, but I've also got all the sudden shapes. So this time I'm going to go through G ionian, Dorian, Phrygian solidity, Mixolydian, the Aeolian, f-sharp Locrian. But this time I'm looking for a note. This time I'm looking for my **** because we're in a Dorian. So when I do the exact same shapes, but this time I'm going for my a node. And if I do it right, it's going to sound like a Dorian. There. Awesome, awesome, awesome. Okay, that's full fret board and the QA Dorian. And I would want to spend quite a bit of time playing with that and familiarize myself with how to go everywhere. Go for the email to make it sound like a Dorian. Let's try another one. Let's try D Mixolydian. D Mixolydian. Okay, so we've got this almost like a sweet home kind of chord progression, D, C, and G. Got the GOARN. A Dorian, Phrygian, c Lydian, D, Mixolydian, E, F-sharp Locrian shapes. The shapes. But I really like D note, okay, it's all about the denote. Awesome, awesome, awesome. Okay, really good. So that is something extra, spends quite a bit of time playing with D Mixolydian all up and down the shapes. I'm looking for my d nodes. Okay? If I, this also works with the shift of keys. What if we were going to do something in D, Dorian D to orients relative to C major. So we've shifted up, we've kinda familiarized yourself with the C ionian, Dorian, Phrygian, F, Lydian, g Mixolydian, that a aeolian, the b Locrian. Within all of those seven shapes, looking for the d nodes because the D is Dorian. This is all based on C major, C major, all of the modes based on C major. So all of our shapes have shifted up quite a bit. I'm looking for by d nodes because I'm at D Dorian now. So D minor chord. So we've got the C major scale, the D Dorian, e, Phrygian, F, Lydian, g Mixolydian, a aeolian, the b Locrian, and the C major scale. Okay, So go D minor to G chord, D Dorian. So going through these shapes and I'm looking for Medina. Okay. Okay. Good, good, good, good. So I think you kind of get the point of how that's working. I'm going through all of what are the relative shapes or that God will leave from a OneNote. And that's going to make it sound like D Dorian, in that case, for fretboard, whatever the thing is that I'm looking for just one mode sound. It could be the Dorian, whatever key or the Ionian or whatever key, the Mixolydian and whatever key could be the Phrygian and whatever he or the Aeolian and whatever key. And you want to go up and down, try to make it sound that way all across the fret board. Alright, good, good, good, good, good, good. I think we're making a ton of progress. So let's wind down with two quick more points. I want to hear the bottom. I've got this thing that is a breakdown. I've got major, minor and half-diminished. I wanted to point out that there are three major modes. Are major ish, ionian, and the two Lydians, the Lydian and the Mixolydian, Ionian Lydian Mixolydian theorem major because they have a major third. If we were going to do an arpeggio over them, you go major arpeggio, major arpeggio, major arpeggio. Because they, all three of them have major thirds of them, so that makes them major modes, even though the Ionian is the major scale, the Lydian Mixolydian are also major in nature because they have a major third. There are three minor modes because they have minor thirds in them. The Dorian, Phrygian and Aeolian are all three of those are minor modes. The Aeolian is the minor scale. It's the only one that's the minor scale, but all three of them are minor ish in nature because they have a minor third. If we're going to play an arpeggio over them, they would all get minor arpeggio. If we're going to play a quarter of room, they'd all get an, a minor chord, relative minor chord, whatever the key is that it's in, we get that minor chord. Same with these guys. These guys all get a major chord for whatever key there. And the Locrian is what we call half-diminished. It gets its own category. It's half-diminished because it, it has a flat five in it. That gives it sort of half-diminished kind of feel. It's not fully diminished, but it's what we're going to call half-diminished. Just got that flat five. So everything else has a normal perfect fifth. The Locrian mode has a flat five minutes, so we're going to call it half-diminished. So it kind of gets its own category. And it gets that crazy minor seven flat five chord. Okay? So let's also talk just quickly. I just want to plant a seed here, relative versus parallel. So everything we're talking about so far is relative. Meaning that when we're using these shapes, they're relative to each other. They all have the exact same notes. So that's why we're able to, when we go full fret board like this, we're able to move around and don't worry about hitting wrong notes because as long as we stay in the shade, as the shapes change its laws, we adhere to that shape. We're gonna be fine. We're not going to hit wrong notes because their relative, relative versus parallel. Parallel is another way to use the modes where you actually, you take the shape. The most common one is the Mixolydian. And you move that shape to another key, same shape, just different key. So basically works the exact opposite of how relative modes work. Then relative Moses, the shape changes, but the notes are always the same. With parallel is the same shape. We move this same exact shape around. The notes change, the notes will be different, but the shape is always the same. You see this a lot blues. You see this a lot blues and you see it in songs that have key changes. We're going to talk more about that later on. But I just wanted to point out that it does happen that parallel, It's pretty common with a lot of blues and jazz. And then there's a lot of cadences that ends up songs where there'll be a key change. We're just songs in general that have key, rapid key changes in the middle of them. But a quick example, finishing up of a parallel mode, how that would work is if we said let's do the D Mixolydian. We go D Mixolydian. Then I'm going to take it to a g Mixolydian and then we'll take it to an, a Mixolydian. So I'm just going to take the exact same Mixolydian shape and balance it on those three keys. Okay, let's take a listen. Let's go one more time on that. You mix Elaine. She makes a mixed. Mixed. So that would be just a very simple, basic way to introduce you to the blues and also to the parallel modes. It's the same modes. You already know the shapes, you're not learning anything new, you're just moving them in a different way is called parallel. When do that, same shape moves two different keys. When we do that, the notes do change. So functions the exact opposite of relative modes. Okay, I think we've covered a lot of grounds. The two takeaways from today's lesson would be work on getting your true mode sound and work on doing full fret board votes one key at a time. 30. Extended Chords (page 86 - 89): Let's talk about chord extensions. Extensions are a very cool way for us to start improvising with the course that we're playing. You may think that you need arpeggios and modes and scales if you want to improvise. But if you know a little bit of music theory, then you can take the set chords and improvise within them, start mixing them around. So it's very cool. Okay, the first thing we need to do is we've talked about the national charts. National charts or courtroom. It's a way for musicians and songwriters to communicate with each other without having to establish the key, necessarily. The way that they do that is they use these Roman numerals. So this is relating back to a lot of other relative core stuff that we've talked about. Or maybe we haven't talked about it yet. But this starts tying into the relative courts, which we're going to talk about. It also ties into the modes. We're at that point with the music theory where everything is storing a rap in an intertwined. As a matter of fact, this grid is very similar to a grid that we see when we're studying the modes. We're talking about the modes trying to use them. So the modes have a grid that's very similar to this, but that would be the mode grid. This is going to be the chord grid, one of the core grids using the exact same music theory though it's all the same stuff. It's just one perspective is the melody perspective, which is scales and modes. That's the melody. And then the cords or the harmony would be what we're looking at right now. It's the same theory though, same concepts. Alright, so the first thing that we want to understand is that scales and chords, they're one and the same, they work together. So every major scale has seven different notes. It doesn't matter the key, every single key of every major scale has seven different notes. If the easiest key to talk about is always the key of C, C major, there's no sharps and no flats. Major. It's the only key that has no sharps or flats. C major. If you are looking at a piano, pianos have black keys and white keys. I don't know if you know this, but the white keys are all natural notes like a, B, C, D, E, F, G. And the black keys are all the sharps and flats. So if you ever sit down at a piano and you just play on the white keys, you don't touch the black keys, you just play the white keys. You're playing somewhere in the key of C major. So that's pretty cool. So anyway, the key of C major, you have C, D, E, F, G, a, B, seven notes after being, in fact to see it again, the octave or the OneNote. So there's seven different notes in the key of C, seven different notes in the key of every key, in every major scale and every key. The one that we've studied to start out with is the key of G major. So with our modes, all that stuff, we just happened to start in the key of G major. So what I'm doing is I'm giving it to you the key of G major. So we can kind of relate it back to the stuff we've talked about. Alright, Roman numerals. Don't know if you remember this from school, but we're gonna do a quick one. 234567. So the uppercase to lowercase I's three, lowercase I's the v with an I before it. V is five, so it's five minus one. So that works, it's four. And then the view by itself is five. And then the view with the one after it. So it's five plus 16. And then as the eyes as five plus two, that's seven Roman numerals. The way it works in music is it just goes up to seven. You don't have to do anything too extreme. Just get them up to seven. If it's an uppercase Roman numeral, like we have an uppercase here and we have an uppercase here and uppercase here. That means the cord is going to be a major. Because these Roman numerals are all talking about courts. They're all showing courts. You don't know it yet, but I'm about to explain that to you. So these are course, these Roman numerals role represented courts. Uppercase is a major chord. Lowercase is a minor chord. So anytime you see a lowercase Roman numeral is telling you play that as a minor chord. Uppercase played as a major chord. This guy over here, it's got this extension. The seven flat five over the seventh interval. We saw that before with minor seven flat five chord. So it's going to pump up again. Okay? So 1234567, these are the intervals that we're taking directly from the major scale. Which was, gee, we said we're going to talk about G today. So G is the one. The two, these are the three Cs, the four, D is the five, is the sixth. F sharp was our seventh note from the G scale. Still confused on what I'm talking about. If we took the G major scale, That's what you've been working on. But if we just played the first seven notes, and then the next note is that G again, one octave. So 1234567. So we have the note F sharp, G again. So all the notes are natural, except for the F sharp. C sharp, G again. Okay? So we took the notes from our G-major scale and we put them in order and we wanted them up with our Rubin new roles. These Roman numerals are set. These are sudden stone so they have to be uppercase, lowercase, lowercase, uppercase, uppercase, lowercase, lowercase. Alright. Now, what's happening is that we have these extensions that we can add to each column. The first column can be turned into six major seventh or Major nine chord. The second column can be turned into a minor six, minor seventh, or a minor nine chord. Third column can only be turned into a minor seventh. The fourth can be turned into a six, major seven, or major 95 can be turned into a 67911 or 136 column can be turned into a minor seventh or monitor nine. In the seventh column can be turned into a diminished seventh. Diminished seventh can be considered an altered chord is not extended. And extended chord is, or that has an extra note that's taken from the scale that is already there. It's not something that we're adding into it. It's something that's already existing in the scale. So it would be something, in this case from the G major scale. So you have extended and you have altered, when you're altering the chord, you're adding a note into it that's not supposed to be there. So it's something that we basically added that was not meant to be there in the first place. Okay, so when we're going through the first column, Let's take a look at that. Gutter. G6, G major seven. G major nine, the uppercase M, beans major. And I made a note that down here, uppercase M means major seventh. Actually talking about the seventh degree. The other asterix says the lowercase m means minor third. So we know that when we're dealing with a lowercase m, that it's a minor chord. And that means that the third is minor or third intervals bladder. That's a universal thing. Anytime you have anything that's minor, it could be a minor arpeggio, minor scale. Lighter mode. Minor chord means just one thing. That's somewhere in that third node is a modern note. We can learn more about that when we get into the interval studies, this specific interval. But right now, just take my word for it. The lowercase m means it's a minor, like a minor chord or a minor arpeggio or minor scale. That's, that's actually a guitar one-on-one. A minor chord has a lowercase m, so that hasn't changed. What is a major chord? We never had to say that before. And that hasn't changed either. The uppercase M is not telling us that it's a major chord. It's actually telling us that it has a major seventh interval limit. Again, that's going to get into our arable studies. We'll talk about that later on. So it's actually possible to have an uppercase M next to accord extension and have the core be a minor at the same time. Because upper-case M doesn't mean it's a major chord. It means just that the seventh note of that chord is going to be a major heritable. So when you are going through your house, you want to play these in order so that it makes sense to you, so that you can start improvising with it. Okay, Let's go through the sounds of some of these six. She made yourself. She majored. Sounds pretty good. We've done the exact same chords over the fourth. So if we're in G, we could do the exact same chords over the sea. C6, C major seven. C major nine. Sounds really nice to switch back and forth between G and C, because the one for the exact same courts. Let's look at the to the three and the six. So here we're dealing with the minor chords. Let's see what they sound like. Six or seven or nine. The third, which is the b, it's only got one extension that we can do is the minor seventh. So normally we would only do play a D minor chord. We've got the one extension we can do. We can kind of play around with that. Not a whole lot to do, but it's a little bit we could do with it. Let's jump over to the sixth, okay, stick with the miners. We've got a minor seventh or ninth, or the E. Okay. E minor seven. D minor. Normally we would just have the E bladder. Okay. That's pretty cool. Let's actually, let's just jump around between the miners for a second, which are the 23 and the six. So we've got a, E, B. Okay, got a couple of like shapes going on there. Now, let's take a look at the five is special because it's dominant. So the dominant gets its own set of chords. It does have six, just like the one of the four d. So we can do a D6. The rest of these chords are unique only to the fifth because the fit is dominant. We talked about that before. Whenever you have just a plain old seven chord, it's called dominant. And that is because there's a lot of different kinds of seventh chords. And we need to differentiate between them. You've got a dominant seven, minor seven. Major seven. You have a diminished seven. We have our minor seven flat five. Lot of different kinds of seventh chords. So when you say play the seventh, you can clarify sometimes by saying play the dominant seventh. Now that were dominant gets added to all of these courts. So you could say play the ninth. You know, we have that same issue though. We've got a minor nine, we have a major 99. So you can clarify by sending play a dominant knife. Play a dominant 11, dominant 13. And it just lets you know that you're dealing with a dominant is based off of the fifth interval. So when you're on D, D gets its own set of chords, its own sound. It does have the six, we can play the six also, but it's got the dominant seven, just the plain old seven, which is called dynein. D 11, d 13. This one's a little tricky. So go through your pronoun and get familiar with these shapes. The cool thing about what we're doing is like I said, you can take one chord and expand on it. So if somewhere in the song, you were, but you're in the key of G. Or any of these. She's relative to G. And you're meant to play just the D chord. The dominant says play a D chord. So if you want it to do something besides, obviously you've got the bars, but you can start doing these extensions. You could say, That's all just coming from a D chord. And none of those notes that I played would ever conflict with anything that's going on in the key of G major? It all works out perfectly. That's how extensions work is that we're just taking those that are already in the scale. We're not adding anything else into it. Okay? Last thing we want to take a look at is the F sharp, which our normal chord would be the F-sharp minor because it's lowercase Roman numeral seven flat five. So that one would be 910910. This would actually be the normal extended chord. It is extended in nature because we're adding in the other notes. All these notes would normally be in the G major scale, so we're not adding anything in. This is the normal extended chord. Exception to this whole lesson that we're talking about today is this quarter here, this diminished seventh chord that would be in altered, altered, record a borrow. If we wanted to play around with you got to have something to play around with for all these scores. So we're going to have to grab an altered chord because we have no. Real options on this guy. So for the F sharp, we can go from the minor seven flat five. Nighttime, nighttime, starting on the a string. Or we can grab the diminished seventh, F sharp, diminished seventh. Cool thing about diminished seventh chords is that they move three frets in any direction indefinitely. And it's the exact same chord, has the exact same notes. It's a symmetric cord. So you can take your diminished seventh chord. And sharpener seven, I'm moving, say three for its back. Exact same notes as I've just played. Exact same notes. Again, it's the other two, all the same stuff. So those are all F sharp diminished seventh chords. Alright, now, gone through all of these. If we put it together and we start saying, I just want to play around with these seven chords. By the way, the original courts that we had to work with would be the G minor. A minor. B minor. C is major, D is major. We have F sharp, F sharp minor seven flat five. Now what we're gonna do is progress are branching out and trying to make this a little bit more interesting. Just going into C major. Finally, right? So you may not want to go through every single leg extension that exists. When you're planning, you may just want to grab your favorite. You may want to find something you think would be appropriate for the Sawyer plane. So now I want to show you one more thing before we finish off these off. And let's do another key we've talked about, right? We've talked about C major. C major has all naturals. Easing key to work with. Look, works the exact same way. We just changed keys from juicy. C, D, E, F, G, a, B, and C as major, D minor. E minor. F major G is not only major but as dominant, because the fifth is always dominant. A is minor, and B is what we can call half-diminished. Half-diminished, the butter seven flat five. But these extensions are going to work with everything in the QC. So courts would be C minor, seven flat five to see. But I want to throw in some extensions. So your setup. Very cool, very cool. And I was just going in order, right? So if I really wanted to play around here, What's cool about this is that if I just want to free form, it, just being stuck with these seven chords, want to start bouncing around and just using course to improvise, going to use the steady towards whatever I feel like it's appropriate monitoring. So get to work on familiarizing yourself with all these different extensions. Start changing the keys every time you practice to get used to how the relative coursework and how the extensions always stay the same. 31. Country Strumming & Walking (page 90 - 94): In today's lesson, we're going to talk about country strumming and walking into chords. Let's start with countries drumming. This is a very cool technique. It's got a couple of different names. Some people call it Carter style playing. As in June Carter of the Carter family. She made this style of playing popular. It's really simple and it's going to add a lot of life to your, your strumming. Okay? Because right now when you play chords, you're probably doing something like this. Or maybe you're doing something a little more interesting like or maybe you're doing something more interesting like or even something like. So, you know, if you've looked at some of the rhythm videos, then you should be doing some pretty cool stuff like that. This is a different kind of technique. So I call it country strumming. I don't want you to think that means that this is only for country music because I use this for rock, jazz. Of course I would use it for country or bluegrass or folk. But I do use this technique when I'm playing jazz. If I'm doing like Miles Davis or John Coltrane, I would use this technique. I would use it for rock. So it's something you can use in almost every genre. So I'm going to explain what it is. It's pretty simple. Whatever the cord is that you're playing. I'm undo GQuery. So the rule is whatever the cord is that you're playing, you first pick the lowest note of that chord that you're supposed to play. The G chord, the lowest note I'm supposed to play is that the low E string. Then what I'm gonna do is I'm going to strong the rest of the course. When I strum the rest of the course, I'm not hitting this note again. So I just hit this note down. Then I strung down the rest of the chord. Pretty simple right? Now what I'm gonna do is start getting a beat going. Okay? So over here I wrote low, high, low, high. That's it. You're just going low, high, low, high, low, high, whatever the court is, you play, you pick the lowest note of that chord, bass note that you're supposed to play. And then the rest of the course. I say that you're supposed to play like in a D chord, the lowest note that we're supposed to play, the D string. Rest of the course. So I don't want to hit the a string. For the E string. That doesn't make sense. It's the D string is the lowest note of the D chord. The C chord is the, a string is the lowest note. I don't hit the E string. What I'm doing, the C chord. I hit the a string is the lowest note that my C chord. Okay, so it's low, high, low, high, low, high, low, high, low, high, low, high. Then over here a road corridor or eighth. So we're going to establish either a quarter note or an eighth note. We'll talk about that in a minute. I'm gonna go back to my G chord. Okay? So let's just get this thing rolling. All right, What's happening now is we've got from a drummers perspective what I would call a boom, boom, boom, boom chick. It's like a bass drum and a snare drum. It's the low, high, low, high. That's the effects that we're trying to create. So we now need to decide if we want to attach a quarter note or an eighth note pattern to it, doesn't really matter. The quarter note just means that every thing we do, every peak and every strand will be a quarter note. So if it was coordinates, then we would go like three. Alright? So if we put that together without the pauses. Like there'll be quarter notes. Every thing gets a B, a quarter note. Eighth notes, eighth notes, or counted like 1234, and they're twice as fast as coordinates. So if we're gonna do an eighth note, 1234, and everything is down. I picked down and I strum down, everything is down. No ups. Okay, So let's go. Eighth notes. Country stroke. So this is a technique that you can start using all the time. It's not appropriate always. Some songs you don't want to do it on, but it's something you could do. You could try it over most songs is going to be a cool technique. You can try. It's really bringing out the rhythm. I would go through like every chord, you know, and just try to start getting the countries from pattern going. The hardest thing about it a lot of times for people to get started is just identifying that lowest note that they're supposed to hit. Because it changes from chord to chord, whatever the lowest note is. It's just kind of getting precise with getting that low note. So you want to go through a bunch of different courts. If I was a little bit more focused, I would be a little bit more precise. So we want to start going for all the different cores that we get and try to get that low, high, low, high, low, high. Alright, country strumming. So when you're going through his song, you want to try to figure out if it's eighth notes or coordinates. A lot of times the tempo is going to help you figure out what to do. If it's a fast tempo, the chords are really going quick. Do a quarter-note. For example. Sonya like to play is the Bluegrass song, Blackberry blossom. The courts go real quick. They get about two beats per chord in the first part. So that's what it looks like on paper. So if I was going to do a country strum over that, since the courtroom so quickly, I'm gonna go coordinates. So each beat is gonna get its own low or high. So let's go again. 234. And it just already sounds cooler, right? Let's try that again to speed it up. Still coordinates are still going coordinates, but we're just gonna go faster. Okay? 1234, sorry, it's going faster. 1234. It's going faster. Okay, 1234. Let's go faster. 1234. Awesome, awesome, awesome. So when the chords are moving quickly, you wanna do quarter notes, drums on the country stroke, okay? Now eighth notes. So when you get to hang on the courts for a little bit longer, we'll do eighth notes, 1234. So what if we have some kind of progression where we were going like maybe like a measure of an a minor and a measure of d k where we're going like attaching the country structure that guys, so we're going to go like, okay, makes sense. Also. This country strumming. Pretty simple, pretty simple. Okay. Now, moving into the next part, walking into courts, this is something that a lot of people are very interested in. Johnny Cash. So a lot of people think Johnny Cash when they think of walking into courts, but tons of, tons of people do this. Alright, we need to kind of premeditate this whole thing before you walk into a chord. There's a couple things you want to, we got, do you want to do tonight? Walk or three? Don't walk. You could do afford a walk or a five-minute this unlimited how many notes you can use to walk into the court. The reason I say premeditate is because you walk into a chord. You do the walk before you get to beat one. So before you even get to be one. For example, b1 is. Before I get to that, I'm going to walk into a G chord. Before I get to the first stroke of the G chord, I have to do my walk. I need to know what is it gonna be a tuna Walker, a three-note walk. Let's say it's a two note walk, okay? And let's do eighth notes. Okay? So if I'm gonna do a two-note walk using eighth notes, then I want to do 444, and then I need to know what I'm going into this bass note of my G, right? That's my walk. I'm going to walk into the base note of whatever chord is. The base note of that chord, kinda like country strumming, the bass note is going to be my destination. So then I want to say, what key is the song? And then I'm playing, well, I'm doing a G chord, so it's probably in the key of G. I'm going to use g for this example. Down here, I made you a little cheat sheet of the nodes of G scale. The G major scale, G, a, B, C, D, E, F sharp. So I've got to play two notes before I get to my G. Two notes before it gets my g. So the two notes before my G, or F sharp and E, I need to go at E, F sharp, G, G is one. I'm gonna go like 41, like that. 41 E, F sharp, and G. So this is my destination, my 1D. Okay? So I have an F sharp right below it. Might open E. Okay, so that's what we're gonna do. We're gonna go sharp G. And a lot of times when you hear walking, it's within a country strong contexts. The whole idea of walking is that we've got this note that's happening. It's really interesting bass note. And so the walk kind of takes us into that interesting bass note. And a lot of times that base know it's gonna be doing this kind of low, high, low, high. So for every time we get to four, we have to start our walk right on beat 41. So if I'm doing a country strung on g. Okay, Now that's walking from below. I'm coming from below my genome, walking into the G chord. Here's what's very cool is that we can do walks from, coming from any other chord. So let's say in our imaginary song, I'm coming from a D chord. D chord. I still have to do the same walk for and with E F-sharp going into my g, Let's say I want a D chord. Maybe I'm on a D chord. And see how that works. I could do it from any court. I just stop what I'm doing and go. Maybe I'm on a C chord. Maybe I'm on an, a minor chord. So let's try that from a few different courts. So good. And right now we're just walking into the G chord from below. Awesome. So you just, because you're on whatever chord you're going to the G chord, you kinda just stop what you're doing and I'm four and you start your walk. Okay. So we're on the two-note walk. Alright, let's now walk into some other chords. We're in the key of G major. So we want to walk into our tech. We're going to go to New Walk. This lowest note is C chords or destination to note walk. So we need two nodes before the C chord. It's a B and an a. It's actually going to look pretty much like it did for the G. We're just gonna do it on the a string. So let's say I'm on the G chord going into a C chord, okay? I'm going to forget, it's always going to be four. And if we're doing a two note walk, it's always gonna be forehead one. Okay. Let's go between R c and R G. Okay? So we're on C. Let's go into a D chord. What's two nodes below? Or D chord? C and the B. Okay? So that's going to be me. See? Okay. So let's try it from the C chord. Let's try that again. Well, this is pretty cool. So you get the idea. Could be any of the chords in our G major scale cord row. So if we were going To, could be maybe in a minor, we could go to an, a minor chord. What's two notes before a minor? G? F sharp. F sharp, G to F sharp, G. I went into my BMR. I just wanted to an E minor. So we have E minor chord. And now this is my low note. Then I'm having a hard time walking into it, right, because there's nothing below open. So I'm gonna go for this next unit here, and I'm going to walk into it from that C, D, E, right? So when I hit that high, what's left of the high after that? And then I'll resume normal countries struggling. So it's like and so that is the two don't walk. Then we've got, we've got the three node. Three to walk is a little trickier because we're going to come in on the end of 33434, ends. Go back one extra note. So if you go back one extra notes, Let's say we're going into our Zhe. And again, we ran out of notes. So I just grabbed the next highest G. So G, F sharp, E, D. So we're going to go 3413413. I hit the rest of us left with the court of the high YOLO. Three. If I'm going to go into a C, it's gonna be three. I just have to go back one extra note of what I was doing for the two-note walk. Three, going from the G to the C. Okay, so it sounds very cool. There's a ton of different possibilities for walking. Two nodes, three nodes. And we're just in the key of G by the way. So if we were in a different key, you want to just think about what key you're in. If you're in the key of C, then all your notes are going to be C, D, E, F, G, a, B. C is the key that has no sharps and flats. You want to just think about that as you're thinking about walking back to what notes you can go into the chord. This asterisk right here says from above, we can walk in accords from below. That's what we've been doing. We can also walk down into the core. So we just apply the exact same concept. Let's go back to 2-node still forehand, still forehand. That doesn't change. But we're just going to come at it from above and from below. So once above G, a and b. So b, a G says can be 41. Okay. We've got and see her. Sorry, I wouldn't. Let me go to the a minor, a minor chord. So it's gonna be, so I'm going to have the F sharp, right. So what's very cool is where you start changing the direction. Like sometimes I'm going to walk from below and sometimes I'm going to walk from above. Whoa, That's very cool. So what's a good idea is to say, this is a key that I play a lot of songs and maybe it's the key of G, C, and D. And to say, I'm just going to spend a lot of time, maybe an hour on those basic chords. What some people refer to as the cowboy chords. It wouldn't be all seven of the scale chords. It might be the five basic skill cord. And you're going to just walk in each one and come up with walks from below, from above. And in-between, you're going to be doing the country strumming, right? So you're always doing the country strumming and we're going to start walking alongside of the country strong. 32. Arpeggios Within Modes (page 95): We've talked a lot about how to use arpeggios to reflect the courts. When you're soloing. You always want to show the cords or at least be hinting at the courts that are happening in the background, the hypothetical courts. Let's talk about how we can use arpeggios to bring some clarity to our modes, to make our modes more coherent when we're soloing. A lot of people, when they first start learning the modes and trying to use them to Solo, have an issue with just sounds like a bunch of notes. It's not clear. It's just a mess. So using arpeggios within your modes will help clear all that up for you. Okay, so let's talk about the first thing that we've got over here. Got two basic things on our graph. We've got all of the mode names. And then below them, I did a relative cord row in the key of G major. So these are abbreviations of the Ionian mode, which is the major scale. Dorian, Phrygian, PHR, why? Fridge? Ian, Lydian, Mixolydian, the Aeolian, and the Locrian. The Aeolian is the minor scale, by the way, the Ionian as the major scale, G major, the chords that go with each mode. G major scale, ionian mode. Because the G chord, and then a minor chord, the minor chord, C chord, D chord, E minor chord, and the F sharp minor seven flat. So what that means is that over the major scale, we get in the key of G, we get the G chord. And over the Dorian mode and Q, we get a minor chord in the Phrygian mode, the key of B, we've got a B minor chord, Lydian mode in the key of C, we get the C chord, C major, Mixolydian mode. And the key of D, you get a D major chord or D7 because Mixolydian is dominant. The Aeolian mode, or the minor scale in the key of E, is the E minor chord. And the Locrian mode in the key of F sharp. Because the F sharp minor seven flat five chord. Okay, so let's take a look at it. First thing that pops in my head is that we've got three major chords and we've got three minor chords. The G, the C and the D are major. So the Ionian and the two Lydians, Lydia and the Mixolydian. These guys are all major. Now we've got three monitors, Dorian, Phrygian, and Aeolian. Now when we're using arpeggios, you just simply look at the coordinate. What's great about this is we're starting to see how everything comes together. How the scales and modes tie-in to the cords. And that ties into the arpeggios. They're all working as one. Okay? So when the court says it's major chord, you just play a major arpeggio. You don't really have to think too much further beyond that. It says play a G major chord. You do a G major arpeggio. It says do an a minor chord, you do an a minor arpeggio. We can bring that same logic into our mode playing. Okay? So Let's look at it like this. In the Ionian mode. Let's say if you're in the key of G, You've got the G major arpeggio in there. All of the modes have seven different notes and that repeats. So G-Major, for example, 12345678 is the same as one, so it's the same as one. Dorian mode has seven nodes, 12, phrygian, 234567, and so on. All of the modes have some different notes. There are seven votes. And that's why each one of them has seven notes, or vice versa. There's seven nodes and that's why there are seven nodes. And that's why there are seven skill courts. Number seven pops up a lot in music theory. You could say it's based on the fact that the major scale has seven notes. And from that we get all the other stuff. Okay? So in the, if we've got seven different nodes in all of the modes, and we've got three notes. The arpeggio, major or minor arpeggio has three notes. The one, the three, and the five. So the 135 is going to be in all of these modes. And all we have to do is plug in the respective is it a major 135 or is it a minor 135? And just plug it in based on what the court says. In G, Ionian G major scale. We have the 13555, but this is all within the G major scale. One, 1234546. So it's in there. So imagine when you're playing. We've got all seven notes at our disposal, but we want to really show that we're playing in G major. So let me give you two examples. The first is how not to do it. This is how not to do it, but these are suggestions. If I am soloing and G major. What if it sounds like this? Okay. So that was not very clear. It wasn't clear to me that there was a G chord and the background. And I want it to be like when you heard a G chord, that background, it would just make perfect sense. So let me try it again. This time the way I'm gonna do, I'm still going to have access to all the nodes of the G Ionian. I'm just going to put a lot more focus on the one. G major arpeggio notes. I'm going to put a lot more emphasis on those notes. Still going to play all seven. Just going to focus on that 135 of G major a lot more. Okay, let's try it again. And L1 was all that clear because if you hear the G chord behind, yes, of course, matches up perfectly with it. Alright, now, let's take a look at, let's stick with these measures. Actually, let's stick with these measures. Okay? So the C Lydian is up next C Lydian. So I've got the C Lydian mode. Okay? Now the 135, the major one through five of this C major arpeggio is three of those seven notes, same as it was before. C major arpeggio. Those three notes are all in the C Lydian mode. Okay? So again, if I just start playing the C Lydian randomly, yeah, so horrible. However, I want to show the see more. I can actually bring out the Lydian this of it. If I focus on the arpeggio. Okay, let's do it again. This time, let's do a lot more emphasis on the arpeggio notes, the 1s, 3s, and 5s of C major. Most, but it works good. Let's try D Mixolydian. Same deal, Same deal. Major. Okay. Good, good. Good, good. Because if I just start randomly playing the D Mixolydian mode, yeah, yeah. Okay. But it's just a little bit random. So I want to focus more on those one through five. Still have access to all seven notes. I just want to really punch the fact that we're alright, awesome. Now let's take a look at the miners. So we've got a minor Dorian going to do are you going to have access to? So I've got access to all of the Dorian notes. I just want to really focus on the arpeggio. So good. Matches with that a modern nicely. That's what the Phrygian, okay? This one is a tricky one for a lot of people who come out. So we're going to focus on the arpeggio. Okay, we are really trying to make this Phrygian pop. The Phrygian. I said it's what we wanted when we hear that chord, we want it to be like, Yes, that's it. Good. Okay. Now let's take a look at the E minor Aeolian. So over the E minor arpeggio, over the E minor scale, 234. Hey, now I'm using the arpeggios to anchor and B punctuation for little, little bursts, little bit audit births, little phrases that I'm making. And I say punctuation. I mean like I'm playing a bunch of nodes. And then I rest on one of those arpeggio notes. So I kinda stop on one of the arpeggio notes. And it just lets you know once again, we're an E minor. Good, good, good, good, good, good. Okay. Let's do the little green real fast even though it doesn't really pop up that often, but we'll do it anyway. So the chord is F sharp minor seven flat five. The Locrian mode is this F-sharp Locrian. Trying to get this one to come out is really tricky with the arpeggio. Arpeggios and extended arpeggio. So we're going to use the arpeggio of the chord, exactly what we're supposed to do. We're going to use an F sharp minor seven flat five or video. So if sharp root third, flat five, root third 57. Alright, let's see what we can do with this one. Which is giving us though. So it's not a stable cord on its own. It's not meant to be. But it gets the point across. Okay, good, good, good, good. We've got the basic idea on how to use the arpeggios within the modes. And we can extend this out to when we're using the other positions of arpeggios. If you are playing modes, full fret board. For example, you're playing a G major scale, G Ionian, but you're running through the other relative mode shapes. So we're playing G major scale. And you're using all of the different mode shapes, the Dorian, Phrygian d mix, so the Aeolian. And we're using this mode shapes, but we're trying to keep it G major the whole time. So we'll be Phrygian. It doesn't sound like b Phrygian. We wanted to keep sounding like G-Major, even though we're using the Phrygian shape, because it has the same notes. And when we're in the e Aeolian mode, we don't want to sound like e Aeolian. We want to sound like G-Major because we were in G-Major, this example. So the way we do that and keep it together is by using our videos and we're using the full fret board arpeggios. So for example, position one lines up of the position one arpeggio lines up with the Ionian mode, but position two lines up with the Phrygian mode. So that's an easy way we kinda covers round. There's three positions and their large positions. So they kinda span maybe cross two modes. But the position two of the video is directly over the Phrygian. B Phrygian. It's right around the Lydian, all that kind of stuff over there. So I can use it to combine the b Phrygian and the G major arpeggio to get some very cool sounding teenager stuff. Okay? If I use position, if I start playing around with position three, G major arpeggio. And I could be either on the D Mixolydian shape or it could be on the e Aeolian shape, either one that kinda covers of both of them. I'm actually going for the notes of the shape that are just kind of muscle memory of the D Mixolydian or the Aeolian mode. But I'm trying to come back and anchor on the arpeggio notes of G major in these. The third position up here. When I start doing this full fret board, kind of doing a few things. I'm going through three arpeggios shapes, the position one, position two, position one. And then I'll go through the different motions also. So whatever mode shape bomb over, I'm going to say, okay, Also what arpeggio shape of I over just the G major. So I want to be able to solar full fret board. And this is one of the approaches that I like to take. And I think it'll help you if you start working on full fret board practice when you're improvising. This is an opportunity for you to get a lot of arpeggio and mode practice all worked into the same practice time, same exercise. You say, I'm going to improvise and the key of G major. And you're going to work on all of your arpeggios and all, all at the same time. This is a great workout, great exercise. It's improvisation time. You're combining all of the seven shapes, all of the three arpeggios shapes. And looking for all the different patterns that you can put together. Alright, so you've got your work cut out for you. Go practice your arpeggios within modes. 33. Modes - Advanced Soloing (page 96): Let's talk about doing some advanced soloing with the modes. So at this point, you should be pretty familiar with all the mode shapes. And you should be practicing going up and down the fretboard, trying to find a single mode sound throughout all of the sudden shapes. And then also bringing out the true mood sound of whichever mode you're trying to plan. You bring out the true sound of it no matter where you are. That's kinda what we're going to focus on for today. Before we talked about the tree mode sound, we were in the shape that we learned the mode. And so for example, if I'm in the G Ionian, I'm going to bring the true mood sound out of the G Ionian. When I was traveling up the fretboard, I'm in a Dorian and I'm trying to bring out the g Ionian sound from the Dorian shape. I'm in the b Phrygian shape, and I'm trying to bring out the g Ionian sound. No matter where I am trying to bring out the g Ionian sound. We did that through out the modes. What we're going to do right now is we're going to do some more rapid-fire mode changes. So instead of just ticking one mode sound and playing with it for a long period of time. We're going to try to do the same concept where we're still full fret board. But the root note is going to change depending on the chord. So the chord is going to dictate what our root node is going to be while we're going full fretboard. So this is going to require you to be able to quickly find the note of the chord and also be on top of what shape you're in at the time. Okay. So same as before. I'm giving you the full fret board layout in relative to the key of G major. So for right now we're just going to stay with G-major. Number one, I'm going to start us off with something easy. Alright, so we've got a G chord, C chord, D chord, and a G chord. We're doing four beats on each one. We've got. So I'm going to start off in my first position, I G Ionian position. I needed to make the G chord sounds like, Gee, I'm looking for my G node. Next chord is the C chord. So I need to go for my scene out of staying in the G Ionian position. I've got all of that shape to play with. But now my C note is the note D chord. So I'm going to go from I denote bags. Okay? Okay, now I'm going to start traveling little bit. So I'm going to go up into my a Dorian shape. Keep with this chord progression. If I do this right, then what it's going to mean is I can start launching into solos and I don't need an accompaniment. I don't need somebody to being at the chords for the changes to be a parent. So that's pretty cool. Let's see if we pull off a Dorian shape going for G, C, D, G. Hello. Here. Pretty cool. Alright, sounds like the chord progression. Alright, let's move on to number two. Number two is a little, it's got a little twist to it. So it's another Latin rhythm. This would be a pretty typical Flamenco chord progression. It's relative to G major. That G-Major relative courts, same as number one, GCD, G, but there's a twist at the end. So the B7 with the G Major relative cords, you have G, a minor, B minor, C, D, E minor. And there is the F sharp minor seven flat five. So here we have E minor, that's good. We have dy, the C chord, that's good. The b is supposed to be B minor though. The Phrygian mode goods is the monitor mode, and it gets to be moderate cord. But we have a B7 in this progression. Okay? So what we need to do is we can be modal for the first three chords. So E is the Aeolian mode, and D is the Mixolydian, and C is the Lydian. When we get to the be the B7. So the easiest thing for us to do would be to play an arpeggio. This is one of those outlier chords are the anomaly chords. It's one of the course that doesn't classically belong in the scale court row. But it sounds very good. So we are going to play it and we need to be able to deal with it. So the arpeggio is going to get us through that. We can do one of two things. We can do just a regular be major arpeggio, or we can do a B, dominant seventh arpeggio. Now the arpeggios, we've worked on full frontward arpeggios. So you should be able to play the arpeggio if you don't feel comfortable doing the dominant seven arpeggio, full fret board, the major. So wherever you are, you looking for that B major arpeggio. Okay. Let me just back up and say that every time no matter where I am. So when we're doing this first progression here, and no matter where I am, when I'm focusing on the G notes, I could be here over the Phrygian shape. But when I'm playing it like I'm focusing on the genome. Technically, I'm playing in G Ionian, doesn't really matter where I am. As long as the, imagine somebody that didn't know anything about guitar or somebody who's blind, or there's a recording of what I'm playing, they have no idea what shape I'm in. And people that don't play guitar don't really care anyway, they don't care about the shape. No one cares about the shape. It's just what does it sound like? It sounds like it's in the G Ionian. That's the G Ionian. We are guitar players so we love shapes. And so we talk about a little bit as the b Phrygian shape or, oh, it's the Aeolian shape. That's the G Ionian, doesn't matter where I played with. It sounds like sounds like it's G-Major, that as G-Major, if it sounds like it's the C Lydian. That's the C Lydian. G, Ionian shape. But like I said, don't play guitar, don't know what the XYZ shapers, we will have no idea where the shapers. It sounds like it's in the C Lydian. So it is ceiling no matter where you play it. So this is where the whole of the language. We're speaking, we're talking about shapes. But these are kind of guitar things, guitar players talking to each other. But in the very pure sense, wherever you play, it sounds like a C Lydian. Lydian. And if it sounds like it's a G major, G major sounds like it's e Aeolian, that is e Aeolian. So this is advanced soloing. Sometimes when people are learning modes, they get to a certain point where this concept really bothers them. It's like no. But in the b Phrygian shapes. So that's a guitar player and you're thinking about shapes. Don't worry about the shape. That's what you use to help you learn it to kinda get over the hump with the modes. But now it's all about the sound. If it's if the note that you're focusing on is your honor shape, but the No, you're focusing on is something different. It's whatever it sounds like. I could be other b Phrygian shape, but I can make it sound like all seven modes. So it's up to me to make the sound come out. I'm just using the shape is just a tool for me. Okay, good. Moving on. Number two. So we're going to do modal. So I'm looking for my ease, D's and C's for my Aeolian, my D Mixolydian and my c Lydian. And then I'm going for it. Arpeggio, major arpeggio, B7 chord. Let's just listen to the course real quick. Okay. Very good. I see. You'll sleep. Very cool, Very cool. So I hope you were kind of catching what I was doing. They're just going through the shapes relative to G major. And following these chords of my head, this is a habit that I want you to get into, is. Before you start soloing, try to memorize the courts as quick as you can, because you got to be on top of those courts. If you're the kind of player who is obsessed about having a music stand and you always have to have your music in front of you. Try to start breaking that habit. Tried to start memorizing your chord progressions. A lot of times people will have the music or the book in front of them constantly, even after they've gotten memorized, they just crush it makes them feel safe to build looked down at it like what if I forget? I looked down at it. If you know it, then put it away. Start by just turning it over. Turning it over and you look down at it and you'll realize, Oh, I know what, I don't need to look at it. And so you know it, you've got it memorized. You don't need to have your music out. You only have to have your music out if you haven't memorized it yet. Once you've got to memorize, put it away, store using your brain, you're going to think a lot faster. Okay? If you're going off with memory that if you're going off site, you should always be running the course through your head while you're soloing. Okay, So let's go one more. The Rumba. Rumba. It's a fun one. We got a lot of changes here and okay, so we're got the same thing going on with the Rumba that we have over here in this Flamenco. Number two, that'd be sad. So when we get to the B7, We're going to go for an arpeggio. We could do a major or a dominant seventh arpeggio. Good. This wasn't the course. One more time. Very cool, Very cool, Very cool. Okay, So hopefully you were watching what I was doing. I was doing a lot of linear motions there. At the end. This is where I'm just taking notes. And instead of treating the shapes as the box shape, I'm just moving up and down the string. And I'm, I still might even look at the boxes, but I'm just looking at the ones strength through the boxes. So for example, if I take this E right here to start off the progression, narrows the a minor. I got my egg, go into my D. I'll just grab this high D right here. So it's always about where am I going, where am I going? So go into g, c, by going doing a lot of layer walking. So sometimes I'll just go ones and I'll walk it until I lands in a shape or a box that I like. I don't want to stay there for a minute. And then I'll grab a node and then I'll go linear. I'll just lock that one string until I get to another place that I want to meander and hang out for a minute. So this is what I want you to start working on now with all your chord progressions. Because it's good to just take one chord, one scale and work on it for long periods of time just to get really familiar with it. But now I want you to start working on the rapid fire movement. Really get your brain going. So the first thing we wanna do is progression. Start with basic chord progressions because at first this can seem daunting. But you'll be surprised that once you get into it, changing the courts at a faster clip, you can do it. You'll just need to train your brain to keep thinking about the courts. As long as you can keep on thinking about the courts, you can pull this off. So keep thinking about the courts. Stay on top of the beat in your head. If you need to. If the bead is giving you a problem, than just do something basic like keep everything uniform, do everything in quarter notes. Okay. Where everything in eighth notes or everything. So if we just said we're going to do everything in quarter notes, okay? We're gonna do eighth notes. That's just gonna go twice as fast. 234. So if you keep it uniform and then you keep on trying to push your, your smallest beads. So go for 16th notes, go for a 16th note triplets. Keep on pushing to a smaller bead and just see if you can keep up with it. So happy practicing. 34. Blues Soloing (page 97 - 98): Let's talk about blues soloing. So we've talked about doing blues courts. And when you're playing Major Blues, the chords are all going to be seventh chords, dominant seventh chords. We also touched on really briefly with the modes. 99% of everything we've talked about with the modes has been relative. The relative modes. So there is a companion to it, which is the parallel modes. When you're playing parallel modes, you are taking a mode shape and you're moving it to another key, playing the exact same mode shape, but you're moving into another key. When you do this, the notes will change. And that's where the word parallel comes in. It's the same looking shape, but it has different nodes. Unlike the relative modes to have different shapes but the same notes. So it's completely flipped, it's complete opposite. Alright, so there are two main tools that we want to use for playing Major Blues. The, the safest one to use, I would say, would be the or dominant seventh arpeggio. So I've got the key of a here for you, of the dominant seventh arpeggio. And all it is, is it's just a, a major arpeggio and we're adding in that. My root node is the lowest note, the circle note as always, circled it. So it's on the fifth fret. If you want to open it up and give yourself some more possibilities than the Mixolydian mode is the one you would go for. So here I jotted down the Mixolydian mode. We'll go through it. And obviously the five, the fifth fret is our root node because it's a nice. Okay, Good. Now here's the deal. Here is our 12 bar blues progression. 12 bars or 12 months, because it's got 123456789101112 measures. And these should all be seventh chords. So there is just kind of assumed that they're all going to be some courts. Dominant seventh chords, D7, A7, E7, isa, a sub E, so E sub B7, B7. So these are all meant to be dominant seventh chords. What we're gonna do is every chord is going to get the Mixolydian mode, or the dominant arpeggio in the key of the court. I just wrote these down in your bedroom. But we need to be able to play the E arpeggio or the E Mixolydian mode. And then we're going to shift to the key of a flat arpeggio over the Mixolydian mode. And then we're going to shift back to E. So these guys are going to move depending on what the court is doing. So we've got three different keys. We've got to do e and a, and b. And whatever the court moves, we have to move also. Okay. So we've got here on the fifth fret. Our first one is E. We do it all the way up on the 12th fret. And then B. For, if we start out by saying we're going to do the dominant arpeggio. Okay? So let's just run through real quick. We had a and then we'll do b, which is on the seventh fret, the same shape as this, but starting off on the seventh fret. We're gonna do e to this guy again, dominant arpeggio, e, 12th fret. Nice. Okay, those are the dominant seventh arpeggios perfect for playing major blues. Let's go through the cords real quick just to kind of see how they sound. I'm going to play it with a sway feel like a triplet, feel like 123123123123. There'll be one measure. I'm doing all those drums down by the way. Okay, now let's jump into the dominant arpeggio. So I've got to keep these chords rolling through my head wall. So I know when to shifts to the different the different keys. Easy way to get doing it. Because you may be still kinda getting used to counting and getting the count right so that any change on the beat, if we just went like 123123123123, we just made sure we played all those notes. So that way we know when to change. So let's do that. We start off in E. We're gonna do this Darwin arpeggio, but starting here on E, so that's 12312312. Then we go back to e. Do you feel good when we did the turnaround? Okay, so we've got that. Now let's try to relax a little bit. Let's, we got the beat our head now we know how the field goes. So let's try to improvise a little bit more. And let's give it a couple of risks in-between. What does nose hanging a little bit more. Okay. 234. Second one. Pretty cool, huh? Starting to sound like Blues. Okay, good. So we got the dominant arpeggios following the courts. Now let's take a look at the Mixolydian. Alright, this one, can you get to nobody on it? If you just run through the skill too much, it could get vague at times, but let's see what happens. Let's try it out. So every time the core changes, I need to move the Mixolydian same as we did. Exactly the same. Okay, to muster with a0 to a3. Alright, we can see a lot more possibilities going on with the Mixolydian. Okay, let's try it again, and let's try to relax a little bit more on the Mixolydian. 234. Cool, cool, cool, cool. Okay, so now we've got two tools that we can use to play around with it. If you ever start feeling like it's getting lost and you're getting to nobody and revert back to the dominant seven arpeggio. Let me also point out that the dominant seventh arpeggio has four different notes in it. The regular a. Whenever a major arpeggio will have three notes at it. And since it's dominant seventh, the seventh is the fourth note. So four of the seven notes in the Mixolydian or in arpeggio. So we're getting a lot of the arpeggio in the Mixolydian. So if you just need to rein it in and pull it back a little bit, get off the Mixolydian, just go back to the arpeggio. Okay. Let's go one more pass through. 234. Nice, nice. Okay. So one of the things that can be really interesting is we're playing parallel modes right now. Every time the key changes or the core changes, we change two. We move our exact same shape to the new key within that moment while we're in that chord. So for example, we start off and we're an E Mixolydian. E Mixolydian until we have to change. And until we do have to change where an E Mixolydian wall were an E Mixolydian were also relatives at everything that E Mixolydian is to. The E Mixolydian is the fifth of a major. So all of my relative things that I can do in the key of a major, a major scale. I can do wall wherein E Mixolydian. Then we go to a, a Mixolydian. So any a Mixolydian is the fifth of D major. So any of the relative modes in D-major, I can play well, where in the a Mixolydian. And then when we go to the b, b is the fifth of the Mixolydian, so it's the fifth of E major. So when I'm in the B Mixolydian, I can play anything relative to the E major scale. So even though you're doing a parallel thing, the relative aspects of the music theory are always still present there. They're just constantly changing. They're only true for a short amount of time until the change and then it all changes. Let's take a look at how that works. Okay? So if we're in E Mixolydian, It's the same as being a major. Then we'll go to the, a Mixolydian is the same as being in D major. And then when we go to the beam Mixolydian, it's the same as being an E major. Is interesting. So let's try that out. 234. Thank you. Interesting, Interesting. Alright, so that gives us a lot of different possibilities to play around with. So if we can quickly see the different shapes between in E Mixolydian, I've got anything that I can play with in a major. So for example, I've got the B Doria. That's the shape that I think is really nice to do some quick runs on. Then when we go to the, a Mixolydian is gonna be the same as the E Dorian. I like the Dorian. It's a nice shape. Then when we go to the b, I'm just going to be the same as the E major. And so that's like playing the E major scale. So if I want to play all of these changes, and I'm going to be still parallel, but I'm going to use it in a relative way. Then over the E mix. So you mix over the E chord. Then I'm gonna do the E Dorian mode over the a chord. Because E Dorian is relative to the Mixolydian, which is relative to the D major. I know that was several jumps there. Let me say that again. E Dorian is relative to D major, D ionian Dorian. And that the D major, D Ionian is the relative to the a Mixolydian A7 chord. So when you do the E Dorian over the A7 chord, and then the Mixolydian B7 chord is relative to E major, while we're setting everything up in the key of E. So I can just do the E major scale, E, I, O, U, and the V chord. Quick recap. Make so over E, E Dorian over a E major chord. So I can keep everything wrapped up here at B and still get my parallel changes. Let's try that one more time. 234. Dorian, E major. The majors. That make sense. Alright, so we've got a couple of different moves here we can make on the blues. Let's take a quick look at the Minor Blues. The Minor Blues is straight up relative. So there is no parallel stuff that we have to finagle on that one. So when we're doing minor blues, I took the same 12 bars, but we're just making everything monitor not exactly the same, but change the on the last line to two Bs and to ease yet. Okay. So if it's relative than these are just the relative minor mode straight out of the G major scale. So the E is the Aeolian, the a is the Dorian, and B is the Phrygian. So this one is very straightforward and it sounds completely different from the major blues. The major blues. Can, if we play it right, I mean, you got to play it right. You got to swing it. To give it that kind of triplet feel. And I think the challenge is to not go for the obvious notes you want to dig deep and find the really interesting tones. Lighter blues is a completely different field. Let's listen to the courts. So really make all these minor sevens if we want to. Very cool, okay, so let's try a solo over it. And this is gonna be pretty simple because it's just relative modes following the changes. E Aeolian, Dorian, Phrygian. So whatever the court tells you to do, you hop on it okay. To three. Okay. That's great. Sounds like a lot of fun. And it's got a completely different sound. So these are some great options for you for when you're playing blues. Ends, I would say of all the different genres of blues. This would be the foundation for all of us. So this stuff is going to work over almost every style of blues that you play. If it's Texas or Chicago. Piedmont jazz blues. This stuff is going to serve you pretty well all these tools that we've talked about today. And the, we did everything in the key of E or E minor today. So the one thing that you want to clue into as loses, 145, the changes are 145, the intervals are 145. So if the E is one, a is four, and b is five. That's just the same thing for minor. It's 145. E is one, a is four, b is five. So if we look at it on the guitar with the shape, so if we say he is one and one fret lower on the a string, it's the fourth. Then to Fred's up on the a string. That's the fifth one. For that kind of tells us. This is just an easy way to get a shape to find these 14 or five intervals quickly. 145. So if I wanna do it in a different key, let's say if I want to do blues in the key of x, OK, and I've got an agonist, so go on to the same move. Good, Same for extra. And then two friends albums, a string. Okay? So you just kinda plug them in. So that's the one that's before, that's the one that's the one that's the forward as before, as the one that's the one. That's the five. For the one. And that's the five. You just plug them in, whatever the new courts or the new key could be found in blues and G. G, C, D, E blues in the key of C. Okay, that's good. One. For c, f, g. I was just plug it in. Just like I wrote here, which would sound like the key of C, C, F and G would be like, you got, forgot to see you again. And play with my Mixolydian and C, or my dominant or seven arpeggio in C In the fall of the changes. These guys, whenever the chord changes, got it. Have fun plans and blues. 35. Deciphering Song Keys (page 99): This is a trick for quickly finding the, say, the major scale key relative to the course jumbled up in a song. You're looking at some random song and chords, chord scores, and you're trying to quickly figure out what the key is. First rule of thumb is the first chord might be the key. Good chance that the first-quarter of the song is going to be the key, but not always. And so there's a couple of tricks. I'm going to show you a few for quickly identifying the key. Okay, so up top, I've got the Nashville numbering system up here. So the uppercase Roman numerals, the major chord, lowercase is the minor chord. We've got seven of them. And below it, I just went ahead and put the chords in the key of C major. So the relative scale chords in the key of C major. So the first trick, and this is something that's just a one-shot deal. It only happens once in every row is the four and the five. If we see the 45 right here. And it's got two major courts, each one has a major chord and a two frets apart, the f and the g. So f and g Support. So if you ever in any songs see two major chords, they don't have to be right next to each other. They can be anywhere in the song. But there are two major chords. And if you did put them next to each other, they'd be to Fred support. The lower one is going to be the four and the higher one is going to be the five. So that tells you, like say we're in the key of C. And that's the end of the story. We've got a song. And let's say the chords and the song are going to be, let's say we've got an a minor and then we've got an F, and then we have a D minor, and then we have a GI guy. So let's take a quick look at that one. So we said we've got a monitor diviner to achieve. So I instantly know that the F is going to be from the Lydian and the G is going to be from the Mixolydian mode. And so I can kinda duct from that, that if I know that g is the Mixolydian, I can count up and it takes me right back home to my C major. So that's a quick way to find two major chords to friends apart. Anywhere in the song. You scan the song, get all the chords in your mind, write them down if you need to, and to match scores to French spark. The low one is the Lydian, or the fourth, and the higher of those two is the Mixolydian or the fifth. So that's the first tip, the seconds, and that only happens one time in a row. It could only be the fourth and the fifth. That's what I'm trying to explain to you. It could be any of the 12 keys. So let's just do one more real quick. I didn't write down. So we have chord progression and time. The chord progression is going to have a minor and it's going to have and D, and then it's going to have an E minor and a C. Okay? So we said a minor, D, E minor, C. It's listen to it real quick. Okay. Hope you already know what the answer is so deep. The C and the D, the C and the D, the C chord and the D chord. There are two major chords to Fred support. So the C is the Lydian. Mixolydian sees the four, the five, and that tells me that the key of G major. So that opens up all these different things for what I can do. I know that I can use the G major scale to solo over that progression. I could use the Aid Dorian. I could use the D Mixolydian, any of the seven modes relative to G major. So once I figured that out and unlocks the whole fretboard, and that rule about the two major chords to Fred support could only possibly be the four and the five. Okay, next, we've got the exact same situation going on with the two and the three. The two and the three, they're both minor chords. And there's your friends apart. Exact same situation. So if we see in a song to minor chords that are two friends apart, the lower one is the second, and the higher one is the third. The second would be the Dorian, and the third would be the Phrygian. So let's do it. Let's say that we've got maybe our chord progression is. How about, how about a minor to D, to B minor to a C? Well, okay, so we've gotten to a B minor, C. Alright, well, we do have the D and the Cn-1. We also have the a minor and the B minor in that one. So the a minor, G minor is another clue. Let me do a little bit harder than that. And that tells us that we are relative to the key of G. Because if the a monitors the two is Dorian is a Dorian. So I know it's relative to G-Major. The beam honors the three, which is the Phrygian. Phrygian is the B, and again, it's relative to G major. So now I've got G major, a Dorian, Phrygian. Any of the modes? E, Aeolian? I've got the dynamics, let all those modes. So let me do one more, a little harder on this one. Let's go. Let's do D minor to a, to a, G to an E minor, D minor to G to an E minor, D minor, and E minor. That's what I'm looking for. And so the D minor is gonna be the two, which is the Dorian and the E minor is the three, which is going to be the Phrygian. So that's from okay. That one was a good one because E minor and G pop up a lot in the key of G major. But then D minor, D minor was the thing that changes at all. Okay, So two minor chords right next to each other, two friends apart. The low ones, the two and the Highland is the three. That only happens once if you look at the whole thing, even if you think of this thing as being a circle, the seventh, just connect your weight back to the one. It only happens one time to monitor courts, to friends apart. In song. Again, they don't have to be to Fred's part in the song. They could be anywhere, but if you took them and put them together, then you can easily figure out how to get to your relative majors key. And that just unlocks the entire fretboard of the relative modes. Okay, hope this is making sense. I've got one more for you and then we'll finish up in my row here of the Nashville numbering system on top over the five, I have a seven right next to the five. So that is telling me that the fifth is dominant. You should know this. The fifth is dominant and the dominant gets the seven chord, the dominant seventh chord. There's a lot of different settings. There's a minor seven, dominant seven, a major seven and a diminished seven. There's also the minor seven flat five. And then we've got all the ultrasounds after that. When we say the seven, we're talking about the dominant seven. There's only one primary dominant seven that happens in any row, and it happens over the fifth, 12345. So the fifth gets the dominant seventh is the only one. Dominant sound is just a plain old seven. It's like the first one you ever learned. Alright? And so in the case of relative to the key of C major, G would be the only one of all of these chords that gets a seven. So it'd be G7. It could be just G, but it could also be G7. So what that means, you are looking at a song, courts, Courts, courts. You see, maybe there's only one chord. That's it. Just a plain old dominant seven. That chord is your fifth or your Mixolydian. And that is going to help you say, Oh, okay, so applying something. And I've got a G7. So maybe we're going like they were going to F. Alright, well, we've got two clues in that 1. First of all, we've got two major chords that are two frets apart. Alright, so that tells me that the F is the four and the G is the five Lydian Mixolydian. That g is also going to be a seventh chord, dominant seventh chord. So that is definitely lacking in the fact that that's Mixolydian is going to leave me right back to the key of C major. Let's try another one. Last one, okay, I'm going to do a few different courts. Got a minor D7. Alright? The D7 is the fifth or the Mixolydian. What's going to lead me right back to it? D is the fifth, leaves me right back to the G major. And you can refer to your relative scale cord grid to help you with this one. If you haven't got them memorized, you should be working on memorizing some of the basic keys. You should work on memorizing the key of C, The que je, maybe the key, the key of D, E, the good guitar keys. If you're not playing a whole lot of jazz, then I wouldn't worry about memorizing E-flat and A-flat. You probably don't play in the key of F too often. So focused on the keys that you do play in a lot and memorize those seven chords. You see a D7. It's a seven chord, it's the only one. So it's got to be the Mixolydian. That's telling us we're in G major. So that tells us G-major scale, a Dorian mode, e Phrygian mode, and so on. And so that unlocks the whole fret board for how to solo. So when you're looking at chord progressions from now on, we're going to be on the lookout for these three things. You've somewhere in song to major course two parts apart. The four, the five to minor chords to friends apart is the two and the three. And if you see only one chord, the song that is a dominant seven, just to seven, then that is definitely going to be the fifth. So hope this was helpful and start deciphering your songs. 36. Other Chords (page 100 - 102): Let's talk about all the other courts that there are. You may have heard me mentioned before that there are Chord books that are the size of phone books. If you don't know what a phone book is, a book that's about this thick full phone numbers. So yeah, those are useless though. You don't need those. All you need to do is understand a little bit of Qatar theory and a couple of shapes. And you can figure out courts on your own. If you understand a little bit of guitar theory, you can figure out how to make a chord that you've never made before. Okay, So let's jump in. Let's get right to it. Got all the different chords that I want to cover off on here on the board. I think this is pretty much all of them. These are all the ones that I could come up with that we haven't talked about so far. Okay. Sub2 and sus4 chords. The SAS stands for suspended. So we're suspending the three. Actually what's going on in that one? You take a chord. You take the third out of it, and you actually raise the third to the fourth note, where you lower the third to the second note. Sub2 and sus4 chords have no third. That means that they're not major and minor. Remember the third is the node that makes some major and minor. So when we take the third and raise it to the fourth, It's a sus4. It's not major and it's not minor because there's no third in it. It's a sus4. And what do we take? A chord could be major or minor. We lower the third and take it to the second note, then is a substitute. Again, no third, so it's not major non-liner. So sus chords are a cool way to trick. Major and minor. Give you some common examples. D chord, we have D chord. And if I go with my pinky here and the third fret of the high stream. For because D chord, I noticed my third node. So when I go pinky on the third fret of the third to the fourth. So this is a DSS for. Now, when I go back to the D chord, and I said, I know is my third. So if I go open on it, I just lived off. As my second note of d E is the second node of D, D E. D E says the second node. So that's, that's my DCIS to what's interesting about that is that I could do the same thing from a D minor chord. Okay? So if I do D-minor, now, note is my third. If I raise up to the fourth, which is the same for the sticky note on the third fret. Fourth from the D minor, but it's not linear anymore. It's just a DSS for. If I go back to my D minor and go to the second node, which is the e. So I looked up D, E is the second node. T cells too. So that's how so scores work. Pretty cool. If you have a chord, C sharp node on the B string is my third. So if I go up one to the third fret, if I go lift open and go to the B string open. Because a, b, b is my second node. Two. You can do these anywhere. The general rule of cell scores is you want to find the third or third and kick it up to the next node or back to the back note whenever the node is from the scale. So this is where knowing your intervals comes into play. So you may want to study up on your intervals so you're sure what your third is, what your fourth is, your second. But it's not hard at all. Started all you can do sus chords, two chords you've never asked before. And yeah, they're very cool. So I have an E chord. I'm going to go E sus4. I'm going to go to a G sus4 on it. Go Jesus, to doing those notes and the low end. Okay? So SAS works. And sometimes in a lot of times actually in core charts, you'll see it just a sus. It doesn't tell you the two are the four. It'll just say SaaS play DCIS or ACIS, whatever. What that means is it's giving you the option. So that's pretty nice. You can choose if you want to suss it up to the floor or back to the two. So that's kinda nice when they give you that option. They're basically saying Don't play the third Sus, sus up or down. Okay, moving on. The five chord, this is commonly known as the power cord. When you see it written, it'll just say G5 or F5 or the flat five. But it's a power chord. Power chords are super easy if you've gone through your backwards. So let's say this is a G bar chord, basic bar chord. In my shape. G chord. I'm just going to take the bottom three notes of it. 35555 chord because my only notes in it, or 1, fifth octave, octave, one. So 15 basically all I have. So the five is really the only interesting thing in there. It's the only other thing other than the one. I could do the exact same shape just down a stream. A stream 3555, It's a C power chord. Root node is the load of so it's a C 355 on the eastern. Most guitar players will do power chords, five quarters power chords, root on the E string or the a string. These are pretty cool. I use these a lot actually because they're easy way to just show the root, the key of this. And they have no third power. Courts have no third. So you don't know if it's major or minor. It doesn't say it's not telling you. It's just power cord could be major, could be monitored. We don't know. So a lot of times you hear all throughout rock and heavy metal. I think the reason is because of its versatility. You could be using power chords for the, for the main part of the song. And then you could play a solo in a solo could be in a major key, or it could be in a minor key. As long as it's in the same keys with the chords, are you play a major scale or a minor scale? They're probably both going to work because the courts haven't told you play a major or minor because of powers. And there's just this one shape as the bottom part of a bar chord. Our course, you're right. Okay, Moving on. Dim seven, that's a diminished seven. Basically it's a diminished chord. Almost every diminished chord is a diminished seventh chord. So the diminished seventh is a symmetric cord. Let's look at it. Maybe look at the key of C. Starting on the a string. I'm gonna go three to four. Again, starting on the a string, 344. You've heard it before. It's a diminished seven chord, C diminished seven. There's a lot of different positions to play these chords in. I'm just going to keep it in this position. It's a symmetric cord because there's a trick that you can use on diminished chords, where every three frets, it goes indefinitely, three friends and every direction. We've talked about this briefly and the extended chords video. If I'm on C minor seven, I go up three frets. Same shape. One, 23, exact same shape. This chord has all the exact same notes as the C chord, the one I just played, the C diminished seven. And I can go three more fresh. 123, do the exact same thing. Same exact notes as the previous two shapes. Refresh 123. Same exact notice as the previous three shapes, and then 123. And this is just an octave of the first one I did. So you can bounce this one around forward and backwards, three frets indefinitely as far as you want, until you go full circle. You're always going to play the same. For notes. They just get shifted the order that the red, but it's always the exact same four notes. That's why it's a symmetric cord. So diminished seven, diminished seventh are used as a leading tone cords kinda like the minor seven flat five. So a lot of times you would use them in between core sequences. Let's say that I had jazz. You hear this in jazz a lot. You're not in a jazz, then you might not use this too often, but real quick, Let's say we have a pattern were just climbing up. A C chord, C major, D minor. During these respective seven, E minor, C major seven. D minor seven. E minor seven. Chord progression is pretty cool actually. All right, that sounds okay. But I want to fill in the gaps. I'm going to in the frets in-between, I'm going to go, I'm going to do the diminished seventh chord. Half-step before my next chord. C major seven. C sharp diminished seven. Minor seven. D sharp diminished seven. Sounds like they keep going. The general rule is, play the diminished seventh chord. One fret away from your next chord. Whatever your next chord is, play the diminished 71 friend away from it. Like before you get to it. Some people do use them going backwards, descending like one Fred descending into it. Like if we're going to a C major, then you would go to R7. To the C. I think they sound better ascending. So if I'm going to C major seven, I'll go be diminished seven. Okay? Moving on. Secondary dominance. Secondary dominance aren't really a new shape for you. They're just seven chords, dominant seven chord. Thing about them That's very cool is the theory that they use. Here's how they work. When we talked about relative chords and chord extensions, we said that in every skill cord row, there's only one chord that gets the dominant seven, and it's the fifth degree whatsoever, the Mixolydian. The fifth degree. You're in the key of G major. The D chord is the only one that gets the D7. If you're in the key of C major, the seven chord. So there's only one chord per row that gets the seventh. The dominant seventh chord is the, the dominance, the fifth degree. So you only get one chord per sequence of chords. Secondary dominance, blow that wide-open. If you've ever played a song and there's a lot of different dominant seven chords in their different kinds. That's what's going on. They're using secondary dominance. The way it works is that a fifth away. You can play a fifth away from your destination. You can play a dominant. So for example, you can go into a minor chord. You can go from May to a major chord or a minor chord. Here's an easy way to see what's a fifth away. Let's say that my destination cord is something rooted on the a string, maybe on the third fret here. Let's say I'm going to see cord, right? Regular C bar chord. The third fret, my fifth away. The same friend and just on the E string below it. Okay, so my destination cord. And I'm gonna go to denote right below it. Which is a G. So before I play that, see, I'm gonna do a G7 because the G7 is right below it. So my G7 is gonna be my secondary dominant, this case G7 chord. Okay? So what if my chord is my destination cord, where I'm going to end up is gonna be, let's call it a one if it's a D minor. So I'm gonna, again, over here on the a string, fifth fret, D minor chord. I'm going to use the same fret, just the note below it. So I'm gonna go A7 before I go to, I'm gonna go A7 before A7, then to the destination cord, which is the D minor. Seven. D minor. So that A7 was my secondary dominant. Okay, let's, let's try a few of these. What if my sequence, of course by destination chords? I'm gonna do the same thing we did a second ago with the diminished. I'm going to go C major, D minor, E minor, F major, secondary dominance before I hit all of them. So if I go 3578, I'm going to do bass note as a seventh chord every time before you hit them. So Remember, keep going ten for it. I'm going to go to the G Komen hit the DSM first. What I just did, what I ended up, I went to a G7 at the end because G is the normal dominant. It's what I would call the primary dominant. Because in just the normal C rho, g is the fifth, C, D, E, F, G, G is the fifth. Fifth is dominant to the normal dominant, we'll call primary dominant. I like that word primary. So if g is the primary dominant, I can still hit a secondary dominant over the primary dominant. So D7 to a G7, and it sounds cool. Okay? So you can have a love from the secondary dominance. They really blew open the ability to use dominant seventh chords. Okay, secondary dominance. Add courts. Sometimes you'll see things that say add six, add nine, add four. What it means is that sometimes when you're playing extended chords or even sus chords, you're meant to move around or get rid of a note. Like in the case of a sus chord, we're getting rid of the third. So if you had a cord and it said, let's call it, well, let's call it, We had our D chord before. We're doing a DSS for. So, what if we had a D add four? How would we do that? How do we do it? For? It's kind of tricky one. I got it. Okay. So here's what I'm gonna do. D chord. This is what I'm talking about. Sometimes you have to work these out on your own. What it says to add, it means don't take anything away, leave everything that's supposed to be in the original chord alone. Just add this to it. So when we were doing a sus chord, we have to get rid of the third. Just move the third up. Actually, that makes it a whole lot easier to add it sometimes it's tricky, sometimes it's easier, sometimes it's hard to read. You just roll with it. We have to keep all the components of the D chord. And we have to add in four, which is gonna be a G note. So I have to figure out a way to get a genome into here without getting rid of my basic components. Here's what I'm gonna do. Right here. My string is redundant, so because I have here also is my third fret. So my D string is redundant. So I'm going to get rid of it and play a G right here with my pinky. The D string. She is the fourth of d. So d at four. Got, it. Got kind of a cool sound. What if we were meant to play a G at six? Okay? She had six. And the reason is that a lot of times the six chord and pure six chord, like a G6 court would have no fifth. That's just one of the rules with the sixth chord is that you raise the fifth of collagen. So scored. When we play six, the six squared has no fifths. So this time, if it's gonna be a G, F6, they're saying, we want the fifth to still be in the G chord. Just added six into it. Okay, here's what I'm gonna do. The sixth of g is an enough. My hygiene right here is redundant. I've got to others. I've got my G string gum line down here. So I'm just going to open up my hotkey. So I've got mine at six is behind one of the G chord down here, the geodesics. So that's how chords work. The key, moving on, I'm going to come back to you was look at slash chords for a second. Slash scores pop up a lot. Slash chords are kinda cool. Sometimes you can completely disregard them. Explain how they work, then you can kind of make up your own mind. So two examples that I wrote down, a slash G. Okay? And I know that in my chord progressions all use slashes to show play that chord again. You want to just kinda look for the spacing and stuff to see if it's meant to be a slash chord, or if it's actually meant to say play that chord again. Okay, so a slash g. What is it telling you to do is saying play an a chord and make the lowest note in it, a G. So basically put a G in the bass. It's an a chord though. That's really what you're doing. The first chord is really what's going on. You're really playing a chord. And it's saying, make your lowest note a G note, very lowest note of the chord. So you, so you have to add in a note a lot of times it's a base node so that you're playing in a chord but you're very lowest note is gonna be a genome. Okay, let's take a look. A quarter here. My lowest note is a note. It says to make my lowest note is G node. Okay? I see it easy g right here. I can grab finger that a little differently. This is how I would play. Can you hear that? That's my a slash G. A lot of times slash courts. They're cool and they're showing the baseline with the bass player would be doing. They're also walking us somewhere. A lot of times. There's some pretty intelligent stuff going on with the music. When you see slash chords. In the case of playing a song and it says play a slash G, I could choose to just stay on the a chord and just keep it pure symbol a. But if I read ahead in the music that it's doing that for a reason, It's probably trying to walk me somewhere. And so it could be saying, do it for two and a slash G. Then I may say a slash, F sharp. A slash, eat that whole thing going on right there. So if I go a to an a slash G to an a slash F sharp to a slash E, then there's something happening right there. Actually, you know what sound coolers. If we went to a slow chef at the endoscope, a G to a slash F sharp. A slash. Beatles. Okay, slash chords. Now, if I disagree. Slash chords and just played in pay the whole time. It will sound like this. Would be missing out on the whole thing that they're trying to get to come out of the music. Okay, another d slash, C. D chord. The lowest note, a, C, a, C, a C right here. I'm gonna actually kind of shuffle fingers a little bit like this. D chord. D slash. Shuffle your fingers. A lot of times there's gonna be a finger shuffle is going on to get to the slash chord. Sometimes you may say, I need to kinda like we did with some of the cage to the extended park words. You may want to kind of shift, dump a node, get rid of a node here and there. So it's going to make more sense to you. So what if we went d, d slash c, d slash b, d slash b flat. Kinda like we just did an example like this. It's going to sound beetle z. Again. See, I'm getting all those based on somebody. A string sounds a whole lot better than the aged walking down, well as Modi, okay, slash chords, That's it. So the first part of the chord is really the core you're playing. And then what's at the end of the slash is saying, put that in the base, make that your lowest note. Okay? Augmented chords. Sometimes you'll see these represented as just a plus sign. Could say D plus. Okay. So when you're augmenting a chord, you are raising the fifth note. So you're, you're keeping everything else where it's supposed to be, but we're shipping fifth. So if I have a D chord, my notes is my perfect fifth as my normal fifth. So if it was D plus that, I have to take this a node, kick it up a fret. But I've kept everything else in the D chord where it was. So you can think of it like this. That would be a D plus. They're easier bar shapes where we could just push this around really quickly. Like from the a string, 5433. Quick and easy. D plus D augmented. A little bit of a different voicing. One more thing about augmented chords, they're also symmetric. We talked about how the diminished seven or symmetric every three frets, we can move them indefinitely. Every three frets for diminished chords. We can do the same thing every four frets with augmented corks. They're symmetric. We could every forefront so we can move them the exact same shape. And it's going to be cord. So for example, I've got D plus D augmented fifth fret here, five, Four, Three, Three. Want to go for Fred's here to the nine. The exact same chord. I'm going to go up another four threads here to 13. Exact same chord. And then they come home again. Before I started. The exact same chord, the exact same notes. Augmented or plus courts. Okay, Let's come to altered. Last thing we got to talk about altered. Altered as opposed to extended. I think we've talked about these very briefly and extended. You have extended chords and altered courts. Extended chords are the courts where we're just, we're making the courts different by taking notes from the scale that are already there. They're already relative. So they're meant to be. For example, I'm going to play around with the G chord, but a decent extended chords like a G major seven or G-Major nine, G6. I'm taking notes to make those extra cores that are already in the G major scale that's extended. When I do altered on grabbing notes that don't come from the scale to altering, completely changing things up. Alright, alters work like this. The fifths and the nights, we can flood the five or sharp the five or flat, the nine or sharp the night. Those are the things that we're going to use. We're going to do alters over dominant seven chords. So we're always going to start out with a dominant seven chord. And then we're going to alter it by flooding the five or the nine, or sharpening the five or the nine to five of the nine stay sharp or flat. We can combine them or just do 11 of these four, or combine any of these all, or any of these that we possibly can. And they sound kind of crazy. Sometimes they sound good, sometimes they sound awful. It just depends on how you use them or how good you are with them, because they are tricky, they're not easy to use. You have to use them in the right sequence and music. Okay, So first thing about ulcers, they have to be used starting with a dominant seven chord. You don't alter other chords, you altar dominant seventh chords. So start with that. I'm gonna show you an easy position to mess around with soldiers. Here, I have a little g seven. G dominant seven. It's kinda like if I'm doing this G7 right here, the G7 chord, but I just got rid of the bottom two strings completely. Right? So from the high string, from the high EM going 3343, okay? It's a little G dominant seven. Okay, so let's start with fifths. My fifth is here on the B string, third fret of the E string, that's my normal perfect fifth. So first thing I'm gonna do is flat it, okay? I want to keep everything else where it was. And I'm going to flat this guy. So I have to do a bit of a finger shuffle to keep everything else where it was. This is a G, seven flat five, okay? Because the starting cord was GCF. We said G dominant seven. So it has to be some kind of a seventh chord. We're doing g, Just because G7, and we flooded the five. So that chord, I just did the G7. Here on the B string, a flat, G7 plot five. Let's do G7 sharp five. My G7 again, 3343. Perfect fifth is on the third fret on the B string again, same place. Raise it, one, goes up one. So it's going to do it like this. Bar by threes. So from the high string is 3443, G7 sharp five. These are altered. Now let's mess around with the nines. Flatland. A nine is the same as a two. So if the octave is the same as the one in the octave is eight, the octave is 88 is the same as one. So that means that the nine is gonna be the same as two. So the ten would be the same as the 311 is the same as 412 is the same as 513, is the same as six. In courts, we don't talk about tens and twelfths. You just talked about 9s, 11s, and 13s. The reason we don't talk about tens and 12s is because ten is the same as the three ends. The 12th is the same as the five. You have to have those in a normal chord anyway, it's the foundation of a accord is the 135. So the eight-tenths and twelfths as 135. We don't need to mention those. Of course, they're in there. If we're doing something with the court to extend it or alter it. To extend it. You're going to be extended or or alter it. Then you want to talk about the nines, where the 11s and we're the thirteenths. The nines in the case of altering and the fives. Fives are just fives. We don't get into the whole twelfths. So getting back to it, 99 is the same as two. So if we're in the key of G, G, a, so a is the normal to that we would have. So we're going to flat. So it's gonna be a flatter G-sharp, your flatline. So let's figure out how to do this. We start with our G dominant seven flat. Okay? So that's our G7 flat nine. She said. Interestingly enough, this G7 flat nine chord is the exact same chord as a G-sharp diminished seven. Different fingering thing we did before, but it's the exact same chord. Say that one more time. This G7 flat nine Record is a G-sharp diminished seven. Okay? So by that rule, and we can remember the 33 frets, G7 flat nine. Now let's do G7 sharp nine. Okay? We ever G7? We set our normal nine. Was this a nine is the two. So we're going to sharp it. Go. G7 sharp nine. Crazy sounding chord. Okay, hope this helps. And I hope that you're able to feel like you've got your arms around all these other chords that you do not need. The big phone book sized cord book, ever again. You can throw the fireplace. You don't need it. 37. Rhythm 6 - 40 Exercises (page 103 - 108): Okay. You guys made it to the 40 exercises. Good job. That's great. I can't believe it. So at this point, you should have all the tools that you need to be able to read and play all 40 of the exercises. Some of the stuff in there is going to look new and a little bit foreign to you, but you should have the tools to be able to figure that out on your own. So that is my goal is to get you to the point where you can start figuring stuff out on your own. You, you don't want to have somebody telling you, here's how you do every single little possibility. You just need to know the rules and then be able to say, well, maybe I'm supposed to just try like this and you'll have it and you will have it. So you'll notice that on the whiteboard behind me it just says rhythm practice, 40 exercises. What I'm gonna do is I've got my printouts right here. And I'm going to go through them and tap them out. As we go through it. I'll mention anything that I see that would be of interest. But what you should be doing is going through these, trying to tap them out on your own, tapping them out in your lab. Once you can do that, then you want to grab your guitar, strum it out. So the purpose of this video is for you guys to double-check your work and see if you are doing it right. Also for some of this stuff that is new and different looking, I want to help you try to get through it. So we'll try and get through it together. Some of the stuff is pretty tricky. But if you can make it to the end, get through all 40 these exercises. Like I said, you are doing amazing, amazing rhythm wise. Okay, So let's jump in. I'm going to sometimes just count off so you can login to the tempo and the pulse, then I'm gonna do that. Okay? So number 11234. Okay. Let's do that again. Number 11234. Good. Is it okay, Number 21234. Let's go again. Never to 1234. Good. Good. Good. Okay. Number 31234. Excellent. Excellent. Okay. Let's move on. Number 41234. So a number four, we've got some dots. The dots we've seen the very beginning, we've got a couple of eighth notes, they're dotted, so each one of those is gonna get 3 16th account. Okay. Let's do number four again, 12 341234. Okay. Good. No number 51234. Goes to that one again, that was pretty tricky. Number 51234, good. Number 61234. That's a cool one. I like. Number six, we are incrementally increasing the speed going from duple and triple eighth notes to eighth note triplets to 16th notes to 16th note triplets. That's pretty cool. Let's go again. Number 612. 34, right? Doing good, doing good. Okay. Number seven. Real quick on number seven. The brackets will sometimes have a six and I'll sometimes have a three could have at nine. Is just telling you how many of the triplet or six doublet notes there are. So you can see it three bracket, but it's over 16th note triplets. So it's not telling you their eighth note triplets is telling you that there's three 16th note triplets. The number is just telling you how many of them there are. And they can sometimes be connected to normal doable notes like 16th notes. Normal 16th notes. And we'll see that shortly coming up, I think. Okay. Number 71234. Okay. Let's do that again. 1234. Good. Okay. Great. 1234. What's happening is I'm slowly starting to introduce some different themes. That last measure in number eight with the 16th note triplets connected to an eighth note at the end, is that. But the sound, Let's do number 81 more time. 1234. Okay. Number nine, I see some ties. Okay? So we're gonna be doing a lot of counting, holding a whole note into half-note into 1 16th note. My advice is to be counting everything as sixteenths. Number 91, Two, Three, Four. Good. Let's do that again. I'm going to count it out loud this time through the time number 9123412341223. Good. Okay. Number ten. Um, I see quarter note triplets, the second measure. Okay? So three quarter note triplets will equal half-note illegal to beats. Alright, Number 101234. Okay, let's do that again. I think I kind of screwed up the second measure, 1234. That's better. Yeah. So when you're doing the quarter note triplets, you really want to kind of drag them, okay, to kind of go three beats to fill the space of two quarter notes. I'm going to go one more time, a number of times I screwed up the first time. 1234. Good. Awesome. Okay, Number 1112. Three, for that second measure was doing the 0s in the US. When I'm tapping it out, I will, a lot of times I'll go with my left hand because I'll do a right hand to start a B1 or the Android. I'll go lefty on the ease in the US, it's not the same as when we're struggling. We go up on the ease and go down on one and end up on the ease of us. So my left hand is the ease and let's go again. Number 111234. Good. Alright. Number 121234. That was so easy. Oh my gosh. Okay. Moving on. Number 13 is payback for being so easy. Alright, number 13. And here I'm noticing a couple of things. We've got brackets of the, the 3s, um, and sometimes within these brackets it includes a rest. So that rest will be attached to the triplet. Just counted. Like it was six template 123456123456 and just rest where you see arrest under the bracket and hit the note where there's a note under the bracket just counting 123456. We've also got an eighth notes connected to these. So the eighth notes, we'll just take up half the beat. So if you see an eighth note at the front end, you can think 123. And if you see an eighth note at the back end of the bracket, you can just take 456. It just gets held held out for one or the other. Okay. Number 1312341234. Yeah. Okay. At the second measure of number 13, we've got three 16th note triplets. Goods are to 16th notes. That's going, we're kind of at the second end of it, we just slip in a 16th notes. Slightly slow down. Then we've got the that we saw. And then the third beat, we've got 123. And then at the end, because it's no longer got the brackets, so we're back in 16th notes. And then again, the more one more pass number 13123 or let me go one more pass. Okay. 1234. Awesome. Alright, number 1414. Okay, 1234. The second measure of 14 got a 16th rests and then a dotted eighth note. So it's kinda, it's on B2 is the rest, so it's like two. And up to the same thing happens on beat 44. And it holds out starting on E to E and then for E and a. So let's do foresee and warm side 1234. Good, good, good, good. Good. Number 151234. Okay. Kind of rush that quarter at the beginning of the second measure, scores are 151234. Awesome. One more time of 15234. Deans, cool because we've got the opposite of what we saw before. Where we're at this time exponentially going, reducing in our speed. And you can only do that for going from duple, triple duple, triple, duple, triple. Because if you just go from ethnos to 16th notes, you've doubled. But if you go from eighth nodes to the triplets to 16th notes, now you are. You're going in between the double, so it's very cool. Okay, number 16, moving on. 1234. Seems pretty easy. Let's try it again. 1234. Okay, good. Not a trick. Yeah, That was pretty easy. Alright, good. Number 17. Of course, this is payback for that being so easy. We've got three measures. The first one has got quarter note triplets. There's a third measure that has half note triplets. These are extremely difficult to count, will do the best. We can. Have no triplets, so there's three of them. So we have to span out these three. Have no triplets over four beats or the entire measure. Okay? We'll do the best we can. Alright. One, 234. Let's draw the more time there were 721234. Okay. Good, good, good, good. I think those have no triplets. Could've been better, but pretty close. All right. Number 18. 1234. Pretty simple. Measured two. We're just resting on 1234. It was hitting the Vienna. Vienna. 18 again, 1234. Good. Okay. Awesome. 1912. 34. Sounds syncopated, but you just keep on rolling the 16th notes. Kinda what I'm doing as I'm going through these. I have not got these memorized. I did write them. I did come up with them. But by no stretch got that memorized. So what I'm doing is I'm going back through them right now before I play them, I'm scanning. I'm to see, okay, what's the smallest speed? It's 16th notes is a 16th note triplets. I'm kinda wanna doing my count off, 1234. I'm in my head. I'm either going like one to 234 or ongoing. 123456123456123456123456. Gearing up for what's coming. Okay. Let's do 19 again. Here's where yeah, 19124. Okay. Awesome. Number 20. Number 20, one. Then this one should be gear up for this 16th note triplets 123456. We've got a couple of these connected to 16th notes. So let's jump in. One, 234. Awesome. Number 20. If I look at beat number two, the whole chunk of beat number two is two regular sixteenths connected to three 16th note triplets. So that would be like up, up, up, up, up, up, up, up, up, up, up, up, up. It goes a little faster at the end. So let's do number 20 again. 1234. Good. One more time. 234. Okay. 211. 234. Okay, let's do that again. 211234. Second measure really sneaks up on you. They're all eighth note triplets. They're put together in a crazy sequence is. So I was like one triplet, triplet, triplet, triplet. And the contrast between the two sounds crazy. Let's go one more time. And 211234. Good. That's it. We're doing good work. Oh, my goodness. Making good progress. We are over halfway there. Okay. 2222221234. One more time. 221234. Lots of contrasting stuff going on here. And I mentioned this in an early rhythm video. I may have mentioned this in the blue is also, this is just a truth about rhythm. When we combine duple and triple times. Like when we combine regular 16th notes with 16th note triplets or regular eighth notes with eighth note triplets. And we start mixing that stuff together within the same measure. We are doing some very high-end rhythm stuff. And we are really on top of it. If we could do that and pull it off. So the fact that you're watching this right now, contemplating what we're doing, this is awesome. You're doing some very high-end or themselves, even if you can't play this right this second. I hope you really try to get this because this is high, high level stuff. Probably 99 out of 100 guitar players could not do. So. We want to do it and we want to put it on our guitar. So it's going to make us dominators, rhythm dominators. That's what we want in a good way. Okay. Moving on, let's go number 23231234. Okay. Those pretty easy. So the first measure is literally just the swing field. We've talked about that before. The swing field, this is what you use to play the blues. One triplet, triplet, triplet, triplet. And then measure two is one triplet, triplet four. So we put it together. Number 23234. Pretty easy. Good. Okay. Twenty-four Twenty-four. Lot of dots here, but it's mostly just galloping. The kind of girl being 16th notes. 12, three. For the Gallup is 24's the first bead, first couple of beats, it just goes one, E and 12. So that's the Gallup, 123. It's the Gallup 241 more time. 1234. Awesome. Okay. Twenty-five. Twenty-five. Twenty-five. Looks a little crazy, but it's just a matter of counting 123456 and resting on wherever you see the rest. We've just got four big brackets of 16th note triplets and couple arrests put in there. It looks like it's on the tube for the whole first measure. Trick that drummers will use some times when you're working on a tricky rhythm is hit the air. If you just go 123456 and you're going 123456, you hit the air on the one you're supposed to not hit. So it's two in this case, for the first measure on 25. You'd go like 1234561234123456. That makes sense. You hit the error on the one you're supposed to rest on, 123456123456. All right. Anyway, let's jump in number 2512341. More time. 123 or okay. Now that bulb, another bud, 26. One 234. Extremely easy. Okay. That was so easy. I want to do it again. 26 I don't trust it and are trusted to be that easy. 261234. That's it. That's all there is to it. Okay. 27. Um, got a good mix of stuff in 27. Okay. First measure, we've got dotted quarters. So they're gonna get held for 1.5 feeds each. 1234. Wow. Okay, that one's kinda crazy. Got through it correctly. The second measure though, kind of threw me for a loop at first. The dots on the eighth notes. Okay. Let's go again. Twenty-seven. One, two, three, four. Good, good, good, good. Okay. So what I'm talking about is the second measure of 27. We've got dotted eighth. And so a dotted eighth gets three 16th notes. So that's like 1. Second measure is one, E to E, and that's the first three beats. 12. Dots can really sneak up on you and it makes the music, it visually, it doesn't make as much sense until the dancer over with money to eat. So anyway, that's 2728. What's going on in 28? What's going on in 28 second measure, we've got 30-second notes for the first time. Okay? So remember with 30-second notes, we're going to have to tap the 16th notes all with one hand and then we double up in-between, right? So if I'm going 1234, eat and eat, and eat and eat and eat and eat and eat. 341234. And I get the 16th notes going with this and then I tap in-between with the other hand, we've got 30-second notes. Ie. Things are getting crazy right now. It looks like we've got two full beats of 3 second notes. Alright, let's jump in. One, 234. Okay, let's do that again. Mind you I was doing all my sixteenths with one hand. Okay. One I'll just do the whole thing with one hand except for those 30 seconds. 1234. Got it. Okay. Good. One more time. 1234. Awesome. Okay. Number 29. There were 29, right? We've got 32nd notes that are connecting to 16th notes quite a bit here. Okay? So we have to do the 16th notes with one has to get through this. Okay, Let's try it. 1234 to the second measure and lost it. Okay, Let's go one more time. 1234. Again on the second measure. Goodness. I'm going to just start it from the second measure them go. It's not that tricky. Breaking it up, it's putting it together. Let's try from beginning 291234. Go to that time. Okay. One of the wood again, 1234. Good. I'm really thinking 12341 E and really try to like get my Hemisphere only focused on my right hand for that. Okay. Good. We got number 30. Wow. We're making good progress. Okay, number 31234. Rest them on fourth quarter, rest on four. And we've got 30-second notes, the first measure on before. Okay. So again, 31234. Good, good, good, good. Okay. Number 311234. Good. What I'm doing is to do those big bursts. Once again, I'm on 31 is I'm going to write three or four, but in-between one and I'm going what? I'm just hitting the left-hand in-between. So 31 is 12341234. Got it. Okay. Good. I'm 3232. Okay. 1234. Good. Good, good, good, good, good. Sometimes impress myself. Getting it perfectly. The first shot, you'll scared, but you just keep on going with it. It's really good. And this is what I'm talking about, is that we can figure it out. We might not having ingrained in our brain at all. But if we sit down and we think about it and you can figure it out. Okay? Number 32 again, 1234. Good. Good, good, good, good, good. Okay. 33. Gosh. Alright. So now we are getting 30-second notes in the mix width, 16th note, triplets. Alright, you ready? Number 33? 1234. Awesome. Do it again. 331234. And again, they're kind of in the end of the beginning or the middle of the first measure. And then towards the end of the whole 33. We're exponentially going up and then back down again. This time we're just going all the way into 30-second notes. Let's go one more time. 33, sound like that. If we can do that kind of stuff where we go triple duple, triple duple, either going faster or slower. That is, I think some of the ultimate drills to really get in control over the beat in every possible way to break up the view. Exercises like 33 are great ones to really spend a lot of extra time on. 1234. Awesome. Awesome. Okay. Let's go 3434. Okay. So here it looks like we've just got a couple bursts going on. I'm just going to be pretty much right hand is going to be going constantly. And we're just going to burst a little bit with our left hand for this 30-second knows. Alright, 341234. That makes sense. So where you see the 30-second notes just pop in the left hand right there. Okay. Let's go 34 again. I my right hand was just going constantly. Okay. 1234. Great. Great. Okay. Really good. I'm 3535. We're getting close to them, Guys. We have a hi. We have a quarter note tied to a 16th notes and measure one. Okay. 1234. That was it. I'm going to do it again. I'm going to count it for you this time. 35123424. One trip but 23 chip but okay. Good. My gosh. We're making such good progress. Okay? 36. Okay, So the second measure of 36 looks little dicey. First measure we can do second measure. It looks dicey. Got dotted quarter. And then we're finishing with 30-second notes. So what's happening here is it does it again. So beat one, two is the same as b3, and for B1 is dotted quarters. We're holding it for one E and a to E. And then we're gonna go and, you know, with the left in-between for the n says 30-second nodes. Okay, Let's jump in 361234. Watched it already, okay. 1361234. School get 3612341. Okay. Theresa. 361234. Okay. Let's go again because I botched it twice in a row, so gotta go again. And that was right there. That was definitely right. The last time I'm going to go through six again, this time I'm trying to count one for you. Okay. Because we're rested on one. It's only count the one for you. 12341. Okay. Right. I'm gonna go one more time on 3612341234. Makes sense. Awesome. Okay. 37. There are seven, looks like just a bunch of counting. There's dots and ties, just trying to intimidate us with Dotson tires, but we're not intimidated. Dotted half notes and tying into the measure. So you've played the first beat of the tie and hold it through the second bead. Don't play the second beat, just hold it through into the second view. 1234123412, 341234. I'm going to do that again. 3712341234123, 41234. Make sense. Awesome. Thirty eight thirty eight. Thirty eight. Kellogg's like a little bit more of the same. But no dots. So just makes life easier actually. 3812341234123412341234. Pretty easy. Good. Okay. Let's go to 3939. Don't see anything that looks like a problem for 39, okay, 1234. Okay. I think I missed one little beat there in the second measure. Let's go 391 more time. 1234. Yeah. Good, good, good, good, good, good. I see what's going on here. Yeah, I did miss a beat. I did miss a beat. There is something going on here. In the second measure of 39. There's a dotted eighth rests. Dotted rests to dotted rest. It didn't add up to me and I wasn't exactly sure where to hit the two beat is the dotted eighth rest. So dotted eighth note gets three-sixteenths. So in measure to what's going on is we have one E and then a normal eighth rest would be Anda. But since it's dotted, we have to now rest on the two. And then we hit the dotted rest. I knew there was something that I didn't add up. Dotted rests on measure two. Yeah. Yes, you can have a dot at rest. So now, now, you know. So now let's do 39 again and see if we get to make sense of the side. 1234. That's it. Good. And just one more time. That second measure of 39 is 12 and a quarter. Rest of the end. One more time. The second measure, 391234. So dotted rest. We hold it for the E and the two. And then we have the two, then we go. Okay, good. Number 40, last one, last one. Let's see if we can get this. 1234. Nice. Alright, let's go again. 1234. Awesome, awesome. We've got our new little trick of the die, right? So do that twice. Then we've got 30-second notes. Six tuplet. What do you do? Put my six, and then one more connected at the end. Okay. So let's put it together at number 41234. Awesome. And hey, by the way, you know, the 40 exercises has got to end with something interesting. Very last thing that's going on as that rest, rest at the very end. It looks like a hat with a hat on your head to half rest. Remember, the hat on your head is the half gesture and it's got a dot next to it. So once again we have a dotted rest, it's a dotted half rest. Half rest gets two beats. So a dotted half rest will rest for three beats. And that completes the 40 exercises. Gosh, Good job. I can't believe it. Can't believe that you got through it. That's awesome. So code back through these and try to get as proficient with these as you can. These are just an awesome, awesome Crash Course for you to start coming up with all kinds of interesting new rhythms for the guitar. And apply these to strumming, apply these to tapping. And really, the whole point of this, you don't have to memorize these is to get it in your, in your head. All these different possibilities for ways to break up the beat. Ways to break up the quarter note. There's just possibilities, especially when you add rhythm into the mix. A lot of people get so caught up in all the different notes and scales and bends and hammers and all that kinda stuff. That's all left-hand stuff, the right-hand stuff, it's the rhythm stuff and there are endless possibilities with that. Most people don't even explore it. I want you to explore. All of the greatest guitar players have an awesome strumming hands and awesome picking hand. They control the beat, they dominate the beat and the rhythm. That's what I want you to do. This is really something that's going to separate you from all the other guitar players is going to make you write just the fact that you got through this amazing, wonderful job. But I could stand to go through these and practice these myself. It's just a journey. We always want to improve. We want to sharpen the saw. And so I'm going to go through and work on these and I'm going to work on some other rhythms also. And try to improve my skills. And I want you to do the same. Good job. 38. Arpeggios - Chord Tones & Tone Clusters (page 109): Let's talk about chord tones and tone clusters. These are something that deserve honorable mention for sure. It's a trick that a lot of rhythm guitar players use. When we talk about arpeggios. The, the most basic, one thing that's true is that if it's a cord, it can be turned into an arpeggio. When you're playing arpeggios, you don't usually want the notes to bleed into one another. So when we first started talking about arpeggios, we said that that's a rake. So it's not really an arpeggio, it's array. However, if we could take that basic idea and we can isolate the notes and still use the G chord. Just kinda hit those notes one at a time. We could use it a little bit in a melodic way. Then we will be working with chord tones. So if you know the chord, then you can play the chord tones. You don't have to be able to access traditional arpeggio shape. If you know the cord, if you know the chord shape, then you can play the chord tones. Just. This is a great thing to use for bar chords because Barack courts, we have to rest on each thing one at a time. If you do this with open chords, you can do it. Just be careful that you don't let the nodes running into each other because it's going to sound like you're just picking out and open chord. You don't want to give that impression to the listener. You want them to feel like your notes are intentionally chosen. So the deal with courts ohms is that you are just going to pick out the nodes from the chord shapes. How easy is that? We're going to try to put it together and melodic way so it sounds like a solo. We're going to use you guys to the rumba. One of my favorite chord progressions to practice stuff on. Two measures of E minor to a monitor to D's, two measures of g, two measures of seed to voters, and B7. So we are just going to pick out notes from the courts, actually just the chord shapes. We're not even going to use traditional arpeggios, just going to go for the chord shapes. Let's just jump right into it. I'm going to start off with open chords. This is actually going to be kind of challenging because I don't want the notice to bleed into each other. Want to sound a little bit like a solo. 1234. Nice, nice. We can hear the changes. Okay, now let's do the same thing and this time let's use bark works. Okay. 1234. In that cool. Okay. I was really resisting using any other notes from your physio shape, just hitting notes from the course, the bar chords. Okay? So those are chord tones, could be similar. You take the notes of the chord shape and you just pick them out and you try to make them sounds like you are putting a melody together and play them individually, not letting it bleed into each other, okay? Tone clusters. Tone clusters are very similar. Sometimes we might hit two notes on the same string. With a tone cluster. You are taking a little bit of the chord shape and you may hit maybe like a seventh or a note that's nearby and one of the strings. So if we take a look at that, Here we go, got an E minor chord right here. And so I may hit a seventh on this one. And I don't even have to hit all of these notes. That tone cluster could just be three strings. So I may go like on my E, I've got to go for my seventh, my monitor Sabbath. Matter of fact, just want I'm gonna do I'm gonna put a seventh. Let's go Seven. All these guys. So let's go like this. It's going to be respective sentence. Then minus, minus DLB, a dominant seven. G is going to be triangle. C is going to be triangle two. Alright? Those are some rough Logan triangles, but so the G is going to be a major seven, and c is gonna be a major seven, minor seven, dominant D7, dominant B7. So my total cluster is just gonna be the seventh according to hit it on the same string. String with E minor, 1234. Pretty cool. Chord tones and tone clusters. So it's another thing for your arsenal. 39. Open Position (page 110): Today we're gonna talk about playing an open position. If you ever see people that are playing open chords and they're hitting a lot of notes around those open chords. And you wonder, how do they know all the notes that works so perfectly with those chords? Because they're playing an open position. Okay? So it's a little bit of the Relative theory that we've talked about several times. We talked about it with the modes, the relative modes. We've talked about it with the chords, with a relative chords applies here. It's how we figure out which open position to use. Okay? So here are the basics. If you want to play an open position, there are seven different open positions scales to use. They're all in the key of E, okay? Because we're going to regard the open E as our open position. So when we're playing in opening, all of our Open Scale, we're going to start in open E. Then what we do is we just play every single mode. In the key of open E. You have the E ionian, Dorian, e Phrygian, Lydian, that E Mixolydian, the Aeolian, and the E Locrian. After we do that, then we can start saying, I am playing in the key of whatever. And so I need to know what open position on men. And so from there you just the relative jumping around until you say, okay, For example, if I'm in the key of, I'm playing a song in the key of C. In C, I'm using a C chord. Maybe I've got an F chord and a G chord. Now I want to know how to bang around some of the nodes and some of the open strings and some of the notes. Or here an open position which is near the nut. So this whole area, kinda like 0 to 4. Fourth fret, 1234 is going to be my open position. And the open strings. When I'm playing an open position, I want to use them strings as much as I can. That's kinda the advantage to playing open position. We're doing scales and mode shapes that are closed. We have to, we have to press down on every single thing, which is fine. But open position gives us an opportunity to do some very cool stuff. And if you're playing an acoustic guitar, the guitar is designed to play open. It's going to sound best when it's being played open. Electric guitar, you are also going to use this electric guitar plays a little bit more in a closed position, higher up on the neck. But you can still use this on the electric. I use it all the time on the electric. So it's a cool thing and now, okay, so our example is we're playing a song in the key of C. We've got the C chord and EF Core and a G chord. And we want to know how to bang around some of the other open strings and the other nodes around the courts. So what we do is we say, we're in C major, C Ionian, right? Okay. So if we're in C major, what would the IE mode? So if we're in C Ionian, c Ionian, then the next one, the D Dorian. And then the next mode is the e Phrygian. Okay? So the e Phrygian. So we're gonna do the e Phrygian, open E Phrygian. And over here, I listed out their relative major and minor. So e Phrygian open is going to be the same as playing a C major, which is also the same as playing an a minor. So this also applies to the roles of minors if you're playing a song in a minor than the e Phrygian is your open position for, if you want backgrounds, those a minor chords or any of the chords relative to a minor. Okay? So I'm not gonna go through all of these. You've got your printout. I think if I go through one or two of these, you're going to get the idea. So let's do our C major example and we're going to be an e Phrygian. So we look at our printout, we look at the shape, and let's go through the open shape first. So the e Phrygian. So we've got those are that's the whole e Phrygian open. Okay. And the open shapes are going to be very similar to the shape that you learned in the closed position of the mode. It's gonna be similar, but there could be one or two little changes just because we're open. And the reason is because of the nut. So like if there was anywhere in the mode shape where we had to switch back one fret. We can't do that. So the shape may just be slightly altered, but it's pretty much gonna be the same. But that's why it's worth looking at and finding out, oh, that's just that one nodes different. Finding out where the changes are. Okay, So you go through your e Phrygian. Awesome. Now, these are all going to be my possibilities. When I'm banging around the chords in C Major, I can play around with any of these notes, including the opens. So let's just take our C chord. What I'm gonna do is I'm going to look for some of the nodes from that open E Phrygian that I can play around with. I'm going to manipulate this a little bit. I'll kinda take one note at a time. I'm going to keep the rest of the chord, but I'll take one node at a time, can either add it or go open it up. Okay, cool, cool, cool, cool. That's just a C chord. That's just all my C chord. Alright, let's take a look at the F. It's gonna be the exact same scale, same notes. I'm going to have the same possibilities. The G chord, awesome, awesome, awesome. Lots of different stuff that I can do. And I'm just using the e Phrygian, okay? Because all of these notes, or from my C major scale, the exact same notes as my C major or a minor. So maybe my C song all through in an a minor chord. And now I'm just doing the same thing. I'm just moving one note at a time. I'm keeping the rest of the course. You're going to find there's certain notes that you like to go forward or notes you don't want to go for it because it may be difficult to finger or it takes you off the core too much. But there's a lot of different stuff that we can do. Whatever stuff we can do. Maybe I'll grab my E minor chord. Sounds awesome, okay, so those are all possibilities for the key of C major. But what if I was playing something in the key of G? What if I was playing song in G-Major? Okay, well, so we have to figure out what the What the open position is going to be. Okay? Once again, the question is if I'm in G Major, G Ionian, what's my IE mode gonna be? What's my IE mode gonna be? Okay, So G, ionian, Dorian, Phrygian, c Lydian, Mixolydian, e, eolian. Eolian. The sixth mode. Aeolian, relative to G major and E minor. This is your cheat sheet. But if you don't have your cheat sheet needs to figure this out on the fly. This is kinda how you do it. If you know your modes, then you can count up until you get to the IE mode, whatever the IE mode is, and then play it as open. And that's going to be your open position. It's going to make sure that you're only playing the correct notes down here by the nut when you're around your open courts. So the Aeolian, it's a slightly different shape. All of these are going to be slightly different from each other. That's why you want to take the time to familiarize yourself with these seven different shapes. It's all of the modes, but they're all in the key of E. So the Aeolian is different. So that's the needle in the open E minor scale, okay, but it's the same as G major. So any of the courts, when I'm playing in G-Major, this is going to be my possibility. So G chord, D chord, C chord. We're going to be able to use all of those notes. Yeah. Like I said, we want to use the open strings is much simpler. Okay? So any of the chords relative to G major, maybe my chord will have a B minor. B minor is a little trickier to kind of play with them because we, it's a bar chord, but I can do this little thing here. I opened up that a string. So look for a little tricks that you can do this the whole point. I've got an E minor chord. I can do. I have a minor chord. So that in a nutshell, is playing an open position. You have playing around your chords to embellish your chords and make them more interesting, a lot more interesting. And then there is also, you're soloing. You may want to just, you're not playing chords, you may want to just solo open position. And the huge advantage to open position is that it is a, a wonderland of using techniques. So if we're using hammer on and pull off, we could do a lot of the stuff from open, which makes life a lot easier than having to fret everything that we're doing. Lot of different cool stuff that we can do. That was with the open strings in there. That was probably close to half of the notes that I didn't have to fret. So very cool Plano position. So we'll do, we'll do one more quick little test. What if I'm playing in the key of? What if I'm playing in the key of what if I'm playing in the key of a? So I've got a chord and a D chord, E chord. Okay, So what are my spine open position going to be q. So we can do the cheat sheet, or we can say, we're in the key of a, What's my IE mode gonna be? What is my E mode going to be? Okay. I mean a major, a ionian, Dorian, C-sharp, Phrygian, Lydian. E, Mixolydian. Let's double-check it. E Mixolydian is relative to a major or F sharp minor. Okay? So E, Mixolydian. Okay? Playing around a little bit in the a major's going through the courts a, D, and E using the E Mixolydian. So a lot of cool stuff that we can do there. So I would recommend that you save. This can be a little daunting saying, okay, so I've got seven shapes to get used to. Again. Then I need to memorize all the relative majors and minors. You don't need to do that. You could do that, but you don't need to. What I would do, for example, do you play in the key of B major? A lot? Probably not. Do you play in the key of F major? A lot? Probably not. I would pick the keys, one or two keys that you play in all the time. For most guitar players, it's going to be G, C, a, and E, Maybe D. But I mean, gee, that's classic autarky. So I would just take a look at a lot of the songs that you do and focus on just familiarizing yourself. Let's say it's key of G. G chord, D chord, C chord, E minor chord, a minor chord. Maybe throwing the B minor and play around with that one a little bit. And just look for all the different tricks that you can do around those courts. Then also work on doing some cool solos where you're just doing a lot of poll offs, pull off to open or hammer on from open, and just try to do some get some speedup that you normally could do. You're gonna be able to get a lot of speed and open position. Just pulling off to open. We're hammering on from open. So just take one key at a time. And when you get comfortable with G, say, Okay, now I've also got some songs that are in the key of a or the key of D. And just take a look at that and get used to that. But I think that you want to focus on the keys that you spent a lot of time and you don't have to be a master of everything, just focus on the stuff that you can apply immediately. So I hope you have a lot of fun with this. And open position is a great time. Alright, see you the next one. 40. Relative Pitch Ear Training (page 111): Today we're going to work on relative which ear training. This is one of the coolest skills that anyone can learn. And every master musician has this ability. I'm going to show you guys exactly how to do it and use it. It's going to transform the way that you play music and the way that you listened to music. First, let me draw wrongly urge you. If you haven't watched the intervals video yet, strongly urge you to watch that before you get into this. This will make a whole lot more sense if you understand the intervals. Okay? So before we jump into it, there are two kinds of pitch training. There is relative pitch training, and then there's perfect pitch training. Perfect pitch is when people talk about all the time. Especially non-musicians. People talk about, oh, so on, perfect pitch, my friend has perfect pitch. So the deal with perfect pitch is that one out of a million people has perfect pitch. One out of a million. Okay? So the odds that your friends has a friend who knows someone has perfect pitch are pretty slim. Maybe they exist. They say Mozart had perfect pitch. Perfect pitch means that if I don't have it, I do not have perfect pitch. It's also called absolute pitch. Some people call it absolute pitch. Perfect pitch means that I can tell you that my toilet flushes at an A-flat and my the compressor and my freezer hums at a C-Sharp. The bird outside is seeing you in a flat. I could just hear any pitch and I can tell you exactly what it is with no reference point. That's perfect pitch, extremely rare. There are courses that I've seen, not many, but there are a few courses that I've seen where people claim to say that they can teach you perfect pitch. It's hotly debated as to whether or not that's even possible. I jury's out for me. I'm not sure. I don't know if it's possible yet. I've looked at them. I've gone through some of these. I don't have perfect pitch yet, but I do have relative pitch and everyone agrees that anyone can learn it. I've taught it to many, many students. I'm going to teach it to you right now. Okay? Relative pitch relative is relative because what it means is that if I said to you, we're in the key of whatever, we're in the key of a. Let's say here's an a note. And then I'm going to play another note telling me what the other note is. The first note wasn't a note. I need I need you to tell me what the next note is. If the first one is a, what's the next node that I'm going to play? It could be any node to any node of the 12 notes. So here's an, a note or whatever key I will say the key of a. I'm going to play you some random other note. Not necessarily from any scale, could be from any scale, could be any of the 12 pitches. But if you know, you hear that firstNode and you know it's eight because I told you it is. Then based on that, you can use your ear to figure out what that second note is without seeing it just by hearing it. So that's what we're going to work on. It's very cool skill. Okay? So like I said, intervals we're going to use to do this. Some people like to call out the note names chromatically. That is, you can do that, but it's calling out the intervals is better because it's less important what the note name is. It's less important that we're in the key of this. And so the note name is this. E-flat is an F, whatever, that's less important. It's more important that we have the interval because that way we can jump around to various keys anytime we want to and just call it the interval. That's this interval. That's that interval, which just makes life a lot easier. Okay, Real quick, crash course. On the intervals. We've got the root, root note. That's our starting note. In this case it's gonna be a like our example. We've got a root node and then we're just going one front up a time, one frame at a time. So you've got the 2s, the 3s, the fours, fives, sixes, and sevens. And the lowercase is a minor and the uppercase is a major. So you've got a root note that a minor second, major second, minor third, and a major third. The P is perfect, so you have a perfect fourth. And then you have an augmented fourth, which is the exact same intervals of diminished fifth. You have a perfect fifth, minor six, major six, minor seventh, major seventh. Then we have the octave that eight VE. Ve means oxidative. Okay? So you'll see that from time to time. You can see I don't sheet music or different places. Ave means octave. Octave is the same as the root. It's just higher. Octave and root are basically the same thing, just different frequencies. So you've minor second major second, minor third, major third, perfect fourths and perfect fifths. And in-between the perfect fourth and perfect fifth, we have an augmented fourth, which is the exact same as a diminished fifth. You can call it either one. You can call it a diminished fifth, or you can call it an augmented fourth. We have a minor six and a major six, and a minor seventh and a major seventh. The minor interval always comes before the major interval. Then of course we have the object. Got it. Okay, good. Now let's jump in. I'm going to show you exactly how to play this thing. It's a game as a game. So for this exercise hour, we're going to play two notes. Okay? Our first node is always going to be the open a string. Always gonna be our firstNode is the open a string. I'm going to make it simple. Okay? You've got your guitar and you're doing this. You're going to play the open a string. Then you're going to play any other note on the D string after that, okay? Any other node on the D string? So what you have to tell me is what the note on the D string is that you're playing. Now you can't look that it goes against the game. You have to listen. So you're going to play the open a string. Then you're going to any note on the D string. That's a minor seventh. You can't look. It's a minor seventh. It's the genome. So it's two Fred's back from my note. Okay. Let me explain how this works. So I wrote down two other notes here. The first one is that a string that's our root, rho is going to play that first. We're going to place any other note on the D string. We're going to just mix it up and just play all these different notes on the D string, a string, and then some note on the door. And then try to guess what it is. Open a string and then any note on the D string, try to guess what it is. Have you guess what it is. You look and see if you were right. You need some reference points to kind of get you started. Okay? So the two reference points I'm gonna give you are the open D string. So if we go to the next string, and then if you went open D string, That's a perfect fourth. So the open D string is a perfect fourth, because D is a fourth away from a perfect fourth. If we run a string, we go a minor second, second, minor third, major third. Perfect fourth is the same as my perfect fourth. The other reference point I'm going to give you is the seventh fret, which is the octave seventh fret on the D string. So string. And then seventh fret on the D string. Again, the octave 0.4 octants. This is going to help you to kind of figure out where you are on the D string, what the interval is going to be. So I'm not looking, okay? Then I shuffle and I say, okay, that's a major seventh. Because I can hear, It's just like one thread down from the octave. Can you hear that? That if I go up one fread is going to be on the octave. Back on seventh fret. Okay, now, another shuffle. It is a minor sixth. Minor six. I can hear that it's just one Fred above the perfect fifth. So there are certain associations, and I'm right here on the third fret. So if it's four, so then I've got augmented fourth minus six, and that was my note. There are certain associations that you're going to start making. I want you to make them. The first one is obviously the two I gave you. And then octave, you're going to start thinking about things like, does my notes sound like it's from the a chord? Is it like a major third or a perfect fifth or an octave? If it sounded like it was from the a chord, then it would sound like it's got the, okay, there is a perfect fifth. Sounds like it's from the Angkor. Or it could have. Major third. Sounds like it's from the chord fits perfectly with an, a chord. You're going to make that association. Um, you're also, you may say, does it sound like it's from the a major scale? If it's from the a major scale, then there are seven nodes that are in a major scale. We've only got 12 nodes total or 12 intervals total. So it's from the, a major scale is going to be one of the, one of the seven of the 12 notes. So if it sounds like it's not in the, a major scale is going to be the five intervals that are not in the major scale. Okay, let's try another one. Second. Two frets up for my Octave. Now why you're doing this? Sometimes people before they guess they like to move their hand around to see if they hear how close they are to something. Don't do that. You got to stay, put. Stay put until you call it out. Use your ear, use your brain to move the note around. Because if you can associate it with the octave, they want to hear this. I brought it down to nodes, right to the octave. Hey, sometimes you can sing it just like chromatically one note at a time to get to something that you do know what it is. Alright, let's try another one. That is a diminished fifth. Because it's one Fred down from the perfect fifth. Trigger the 13th fret. There's my perfect fifth dimension, which is also an augmented fourth, is the 13th fret. So 12 is gonna be the same as open on the D string, which is perfect for my perfect for Fred up from that is going to be the augmented fourth or diminished fifth. Good. Let's do another shuffle. A string, any note on the D string. That's a major six. Major six guests. And then you look and check yourself. And when I first learned this, the, the person who taught it to me. You can do some variation of this game. If you have, let's say three volts. And the middle bowl has, let's say 20 pennies in it. Okay? So 2020 tries. And you do this and every time you get one right, you put a penny in the right ball. And every time you get one wrong, you put a pain in the left pole. And so the goal is to fill up the right bowl. You get 20 out of 20, right? So what I first started playing this game, my God, maybe like 19 out of 20, wrong. I just couldn't do it. I couldn't seem to get it. And it wasn't that I have a bad ear because most people just aren't good at this. Do it when you start listening because you've been hearing music all your life. You've been hearing these tones ever since you were a baby. You know them. You just need to be able to organize them to give them these names, right? And that's what we're doing is we're organizing them with or relax W stressed out. I'm going kind of fast what I'm calling up my notes, but sometimes you may stop. You may think about it. Keep hitting the key, putting the note, think about it as long as you need to. Take a minute, take two minutes. Just really think about it. Sing it. If you have two. Minor third, six major seconds. Perfect fifth. That's a minor seconds. Again here it's one fret higher than the Octave. Can you hear that? Lighter seconds? There it is. There's the octave. Wider seconds. Okay. Perfect fifth. Major seventh, one fret below the Octave. Do you hear that? Major seventh? One fret below the object? Good. Minor six fret higher than the perfect fifth. That is a major seconds. That's an augmented fourth or diminished fifth. Again, that's a minor seventh. Is a minor seconds. Diminished fifth. Perfect fourth. That is a augmented fourth. Perfect fifth. Major third. Had a feeling I was off on that one. All right. That's one penny that goes into the left. Major seventh. Major third. Here at this time. Major seconds. Major sixth. Major third, minor third. Major sixth. Minor six. Minor seventh. Major third. Perfect fourth. I was waiting to hit and I haven't had that perfect fourth yet, so I kind of cheated right there. So anyway, you get the idea. And so you go through a bunch of these and you just try to get all of them right. And sometimes what will happen is you just need relax, let your ear do its thing because you know these and you may get 20 out of 20 wrong the first time. And then the next time you do it, you'll get 19 out of 20 wrong, and then you'll get 18 out of 20 wrong. And you start getting to the worst shifts, and you start getting all these right. You start focusing on the intervals that are hard for you to hear using your associations. Does it sound like the notes from the major scale? Does it sound waves from the major chord? Does it sound like it's from the minor scale? Minor third, right? No, It sounds like it's from the a minor chord. So these kinds of things, or you may know a couple of the interval, say, it sounds really close to that one. Is it above it or below it? So you want to do this until you can get all of these right. Then you can start shifting around. And instead of using the a string, do the open D string, and then any node on the G string, we're the open E string. And any note on the a string start moving around to different keys. You see this is why we don't want to call out the notes chromatically. We want to use the intervals because we don't want to get bogged down in like the key. And the chromatic names would just want to be able to hear the intervals when a song comes on the radio. You've never heard it before. You have no idea what the key is because you don't have perfect pitch. But you can say, I can pretend it's in the key of whatever. I can hear the intervals. I can hear all the intervals. It could be in whatever key, it doesn't make a difference. But you can hear all the intervals and you can grab your guitar and start playing that song that you just heard for the first time. That is a very, very amazing skill to have. And you'll be able to impress all your other musician friends with it. So start working on this. And like I said, spend a little time on it every day and it's going to transform the way that you experience music. 41. Pedal Tones & Pitch Axis (page 112 - 115): Let's talk about pedal tones and pitch axis. That'll tones are cool trick that you can use. The term comes from the old church organs, which gateway to the modern piano, which has petals at the bottom. And you press on certain petals. And you get this sustained from the keys. You can get these notes to just sustain for forever. And on top of that, you can play your melody or whatever else you have. And so what's going on is you have this droning effect that's happening, and that is the pedal tone. And so what we're going to do is experiment with improvising a little bit using pedal tones. We'll talk about the pitch axis in a minute. Alright? So in the example that I wrote down here, It's real simple. You pick, you pick a note that you want to be your pedal tone. And you're probably going to want to pick like an open string. It's an easy one to get open. Just keep on hitting it. And that's what we're gonna do. We're going to drone on the a string. So we're going to just keep on hitting that a string. And then on top of it, we're going ahead. Notes on the D string. And I just kinda listed out some notes from the a minor scale. It's just an example. You could do this with any skill you wanted. I'm just grabbing notes from the a minor scale. So I'm going to keep on hitting my, I keep hitting it with it. Now I'm going to start improvising using some of the notes on the D string from the the a minor scale. No. Pretty cool, right? So all I'm doing is a big playing in a single string scale way. Just a linear way where I'm just going on the D string, moving around the different notes of the scale, constantly hitting the open a string. We could do this use a county scale. Like I said, if I change the notes on the D string, maybe I want to do the a major scale, so let's try it with the a major scale. Still going to drone the a openings, which is my day job. Awesome, awesome, awesome. Okay, So we can do this. We would just randomly picks the a, the key there to be doing our pedal note on. We could do this using the E string, the low E string, and a string. So just doing the exact same concept, but just doing the bottom two strings. So I could do the D string and the G string to middle strings. My pedal tone. Okay. Pretty cool, right? Okay. So this pedal tones, There's a ton of different possibilities there. But in general, you want to use, note that you can easily drone. So if you were fretting the node, you could pick a fretted note. You're going to not going to be able to move quite as much. But you could do a little bit of stuff. So for example, if I wanted to do this G node as my pedal tone, this low genome, then I'm going to be limited to whatever I can reach. So let's see what happens though. You kinda get what I'm saying. Good use of a Peloton would probably be an open string because you can really just go up and down the fret board. Okay, That's pedal tones. Now, let's talk about pitch axis. Pitch axis is the idea that we can have, we can change the scale right in the middle of the solo. So we're playing a melody and we're in whatever scale, decide to change it to a different scale, always in the same key. Of course, a lot of times you'll see pitch axis combined with pedal toes because the pedal tone provides the base that you need, that drawing base. So for example, let's go back to our example. Worry. We're going to drone, do a pedal tone on a. Now I can start off using the a minor notes like we have here. Now what I'm gonna do is I'm going to start changing the scale. I'm going to hit some different notes that are not in the a minor scale. I'm going to maybe slip into a major or Mixolydian or Phrygian mode. Always keep it in a, I'm just going to mix it around and do pitch axis. Okay, Let's see what it sounds like. And, and kind of grabbing from a mixture between the a minor scale notes that a Mixolydian notes that a Phrygian notes. I can just hit any note I want to as long as I keep on droning, I don't have to be confined to just the notes of the one scale. And that's what pitch axis is. No, no, no, no, no, no, no, no, no, no, no, no, no. Good. See all the possibilities that we've got. Lots of cool stuff you could do. So it starts getting extremely melodic when we're using pitch axis, combining it with pedal tones. So I think that you should go practice doing this. And like I said, just like with pedal tones, we're just randomly decided to pick a nice angle, the guitar nice in the middle of the strings. But we could do this with the bottom two strings, the D, the G, and the D. We do this with the G, the B. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. Lauded ever. So if we could do so, go experiment with your pedal tones and your pitch axis. And if you come up with something cool, write it down. Don't forget it. 42. Jam Along - G Major (page 116): It's time to jam along. So today we are going to play G major. We're going to do a simple little progression. What I'm gonna do is I'm going to play these chords onetime. I'm going to play a G chord four beats, and then a C chord four beats. And I may do it twice. And I'm going to copy it into my looping pedal. I've got a looping pedal, and that's connected to my amp. So my guitar is plugged in C. And I'm going to play the chords once or twice. And then I'm going to loop it and it's just gonna keep on repeating. And I'm going to solo with you for about a minute. And then I'm going to step away and let you keep on soloing. What I want you to do is to focus on the G major scale. Obviously, it's the G major, G major jam. So the G major scale. But you've got all of the modes relative to G major. So the Dorian, Phrygian, c Lydian, D, Mixolydian, the Aeolian, F-sharp, Locrian. All of that stuff would be good to try to play around with going up and down the neck if you know those shapes. Play with some different lakes, try to come up with some cool little licks. Different rhythms. Keep on trying to change up your rhythms and your speed of your going from quarters eighths, sixteenths, triplets. And be creative with it. Try to have fun. And you can throw in some arpeggios also going over the G chord, then the C chord when the changes happen. So I want you to have fun with this. Okay, Let's jump in. Go a little bit on the slower side on this one. Hi. No. All right. Good job. If you weren't done soloing, then replay the video. Keep going. 43. Jam Along - C Major (page 117): All right, it's time to jam along. So today we're going to do the key of C major. Alright, so you can see I've got my guitar plugged in, is plugged into my looper pedal, which is plugged into my app. Here are the courts that we're gonna be playing. Okay, It's pretty simple. C Major got a C chord and then I've got an F chord. So one measure of C, one measure of f, four beats of C, four beats of f. It's a 14 progression. C is the one, C, D, E, F. F is the four. Nice go-to major progression. So what's going to happen is I'm going to play those chords once or twice, probably twice. And I'm going to click my looper and copied the chords into the looper, and then click it again. And it's going to keep on repeating the courts. And I'm going to solo with you for probably about a minute. And then I'm going to step out and let you guys keep on soloing for awhile. What I want you to do is I want you to focus on the C major to scale, obviously. But it's more than just the C major scale. I want you to do all of the modes relative to C major. C major, you've got the D Dorian, you've got the e Phrygian. You have the F Lydian, g Mixolydian, the a minor scale where the a Aeolian mode and the b Locrian. So you can think of all of these different modes as being shapes that are alternatives to the C major position because they all have the exact same notes as C major. Also, the key of C major, it's the only key that has no sharps and no flats. So the notes are all the natural notes, C, D, E, F, G, a, B. So what do I need to do is to just have fun solo, be creative, have a good time. Kind of meander around your fretboard. Tried different rhythmic things. Do some fast licks, some slow lakes, some bursts of quick notes, and then do hold out some notes, mix it up. Don't be constantly doing the exact same rhythms. Use techniques, use harmonics, use pull-ups and hammer ons and slides and bends and trills, do different things and have a good time with it. Okay, let's jump in. Nice. Good. That was pretty, hey, if you're not done soloing, which I don't blame you, I will go back and watch that again and keep on playing. 44. Jam Along - A Major (page 118): It's time to jam along. So today we're going to do the key of a major. It's going to be pretty simple. You've got to courts have an, a chord, one measure, four beats, and then one measure of a D chord, four beats. I've got my guitar plugged into my little looper pedal. And the liver is connected to my app. And so what I'm gonna do is I'm going to play these courts probably twice. I'll just go a day and I'll probably do it again AND for Bth. And I'm going to copy into my looper. And then I'm going to click it. And it's going to keep repeating over and over and over again the courts. Then I'm probably going to solo with you for about a minute. And then I'll step out and let you continue soloing for a little while. Then what I want you to do is to use the a major scale. So this is a good opportunity to start getting familiar with shifting the modes up 11 step. You've got everything relative to a major. So a major, we've got to be Dorian. The C-sharp Phrygian, d Lydian, E, Mixolydian. We have F sharp, minor scale, F-sharp, Aeolian, and the G-sharp Locrian. Any of those are going to have the exact same notes as the a major scale. So you can think of them as alternate shapes that you can use to access the a major scale. What do I want you to do is just be creative, have a good time, really. Just have a good time. And experiment with coming up with different links. The arpeggios. I want you to try different rhythms. Do some fast legs and then some slow notes. Hold a note, outputs arrests in, do some long sustains, and that's what fast runs. Use. A lot of techniques also use hammer ons and pull offs and slides and bends and trills. Use harmonics. And yeah, so I want you to have a good time with it. And by the way, one more thing. You may notice that kind of a theme that I've got when we're practicing over just a simple major key, I'd like to do a 14 progression. So one for it just kinda keeps us nicely in that original major key without doing any big changes. So when we're playing in a major, is the one, d is the four, a, B, C, D, D is the fourth. So when we go to the D for whatever reason, it just doesn't seem to take us too far away from the a. We can kinda hang on. A, sounds good. Alright, I'll talk. 234. Nice work. So if you were not finished soloing, then go back and watch that again. Watch it several times and keep on applying it. 45. Jam Along - A Dorian (page 119): It's time to jam along. So today we're going to jam on some a Dorian, the, a Dorian mode. So I've got the chords here. It's pretty simple. We've just got one measure of a minor and then one measure of D. And I'm probably just going to play the chords once or twice. And I've got my looper pedal down here, which my guitar is hooked up into. And the looper is connected to my amp. And so I'm going to play the chords once or twice and copy it into the looper. And then I'm just going to keep on repeating the courts. And I'm probably going to Seoul along with you for about a minute. And then I'm going to set my guitar down and step away and let you keep on soloing. So what I want you to do is to, we're doing a Dorian. So a Dorian would be the best thing to go for. And you can use any of the shapes that are relative to a Dorian and put it in parentheses down here, G major. So they Doreen is the second mode of G major. So G major scale would work just fine. So would the b Phrygian and the C Lydian and the D Mixolydian and the Aeolian, f-sharp Locrian, all those shapes would work. They've the same notes as a Dorian. This is a pretty cool jam. Want you to try to come up with as many cool licks as you can and see how the notes interact with the chords. And you can use the arpeggios when the core changes to a minor arpeggio, D major arpeggio, try to experiment with the rhythms and the different timing of the rhythms. Fast runs, hello runs using techniques than him. Rollins pull off slides, fro and techniques, and have a good time. Alright, let's jump into it a little bit faster on as well. All right. All right, good job. If you worked on play and then go back and watch that again. Really good job. 46. Jam Along - D Mixolydian (page 120): It's time to general. So today we're going to do the D Mixolydian. So the chords up here. What we're gonna do is we're going to do two beats of D chord, two beats of a C chord, four beats of a G chord. D, D, C, C, G, G, G, G. And what I'm gonna do is I've got my little looper pedal down here. I've got my guitar plugged into it. You can see. And I'm going into my looper and then my looper is going in. And so I'm going to play these chords once or twice and copy them into my looper. And then I'm just going to click it and it's going to just keep repeating the chords over and over again. And we're going to solo over it. And what's going to happen as I'm probably going to solo with you for about a minute. And then I'm going to step out and let you have some fun just soloing and trying to be creative over the D Mixolydian. So what we're doing is obviously D Mixolydian, but I wrote in parentheses down here, G major D Mixolydian is relative to the genome scale. So if you are shaky on the Mixolydian mode, you can always play the G major scale. It's going to work just fine. Anything relative to G major also is going to work. A Dorian, Phrygian, the C Lydian. Obviously D Mixolydian, that e Aeolian, e minor scale, and the F-sharp Locrian. All of those modes have the exact same notes as the D Mixolydian. So you can think of them as shapes, alternate shapes that you can jump into to represent D Mixolydian. And also I want you to play around with the arpeggios. Try to throw some arpeggios where you can come up with some cool legs, try different rhythmic thing. So when you're picking hold-out some notes, throwing them rest, do some quick runs. Go from eighth nodes to eighth note triplets or 16th notes to 16th note triplets. Play some slowness and fast nodes, mix it up, really mix it up, and throw in a lot of techniques. Hammer on and pull off slides, bends, trills, do some different techniques. Try to make it sound cool. Have fun with it. Just have fun with it. Okay? Oh, and by the way, this chord progression may sound really familiar to you. You've heard it in many, many different songs. Alright, so let's jump in. You can recognize that one. Well. So good job. If you worked on soloing and then go back and watch it again. 47. Jam Along - Canon in D (page 121): It's time to jam along. Today, we are going to play Canon in D by pocket bell. It's an old classical song which guitar players love to play because there was a couple of shred guitar players that did some really cool versions of it. And it's a fun one to jam. It's in D major. But first, see how I've got my guitar plugged in. So it's plugged into my looper pedal, and that's plugged into my app. And so what I'm gonna do is I'm going to play these games three words behind me. Once or twice. Probably wants. And I'm going to copy it into my looper. And then I'm going to hit it and it's going to keep on repeating the course. And while it's doing that, we're going to solo over it. And I'll probably sold for about a minute with you. And then I'm going to step out and let you have some time to really just solo. It provides be creative with it, have fun with it. I want you to have fun with it. That's really important. So we're in the key of D major. So you've got all of the modes relative to D major two, access. You've got d Ionian mode. You've got the E, Dorian, f-sharp, Phrygian. You have G Lydian, Mixolydian, the B minor scale or the B Aeolian mode, and C-sharp Locrian. So you can think of all of these as shapes where you can access the D major scale. So I want you to play with your rhythms. Do some fast bursts, and some slow nodes hold out some notes, put some rests, put some sustain and some notes. But also do some fast licks with 16th notes. Maybe. Use your techniques like your hammer ons and your pull-ups and your slides and your bends and your trills and vibratos. Use some arpeggios. You can throw some arpeggios in over the cord if you're on top of where the cord is in the loop, play off the arpeggio. Or you can just use the D major arpeggio because it really is very centered around the D major. And the chords in this progression are two beats on each one. So it's d, a two beats on H, B minor, F-sharp minor to be telling each G, D, G, and a. Okay, Let's jump in. All right, beautiful, beautiful, really good. Hey, if you wanted to keep on playing that, just go back to the beginning and keep us all. Don't let me stop you. 48. Jam Along - Blues in A Major (page 122): It's time to jam along. Today we are going to play the major 12-bar blues in the key of a. This is going to be a little harder than the other jama lungs because we're not going to be able to use the relative aspect of just one scale for the whole jam. So I'll explain. But first, you see how my guitar is plugged in, is plugged into my little looper pedal, which is plugged into my app. Behind me, I've got the Courts. It's 12 bar blues, so it's the 12th measures. You'll notice every single chord is a seventh chord or a dominant seventh chord. A7, D7, H7, A7, D7, D7, H7, A7, E7, D7, H7, and E7. There is a blues chords video. So this is kind of a follow-up to that. I wanted to give you guys a, sometimes they actually practice soloing over the actual toolbar, major delta blues. So this is the opportunity. So what is going to happen is I'm going to play these chords and I'm going to copy it into my looper. And then I'm going to click it. And it's going to keep on repeating the chord progression back. And I'm going to solo probably for about a minute with you guys. And then I'm going to step out and let you just keep on playing and having a good time. Alright, so want you to use a lot of your techniques like hammer on and pull off some slides events. There'll be a great idea. Way to play around with rhythms. Doing some fast runs, some slow nodes, mix it up, mix up your rooms quite a bit. We have a pretty hard guideline over here on how to solo. So there's not just one key that we can say. The whole thing is that because the major blues is parallel, so usually we're dealing with relative stuff, but a lot of music has parallel nature to it. So it's got to serve practicing and because it's gonna come up enough. So parallel, what that basically means is that the asterisk over here, mixolydian or dominant arpeggio, following the chords. You can use the dominant arpeggio, which is like the seventh. The seventh arpeggio. Easy, easiest thing to do would be to use the Mixolydian mode. Refresh yourself on it quickly. What we're gonna do is while the A7 courts being played, you're going to solo the a Mixolydian mode. Then on the D7 chord, you're going to play the D Mixolydian mode. Here you're back to the a Mixolydian mode and the Mixolydian mode. And here you're on the D Mixolydian mode. It's always the Mixolydian. D Mixolydian again, the facts that a Mixolydian and a Mixolydian here you're on the E Mixolydian. Here you're on the D Mixolydian, that a Mixolydian and the E Mixolydian. It's always the exact same scale shape. But we're going to change the key every time the core changes. So that's what's gonna get a little tricky about it. Every time the core changes, we change qi. But it's always the Mixolydian mode. So you're gotta really be on top of the Mixolydian mode, but also really the core changes. You want to just be kind of like rolling these in your head, all these changes. This is super ultra basic 12-bar blues progression. I didn't do anything fancy here, and I didn't modify it at all. This is the most common tool bar blues progression that exists. Alright, so let's, let's jump into a Mixolydian following the courts, okay. So you're constantly running these courts through your head while you're soloing, just getting ready to change. While I'm soloing and may not be quite as obvious what I'm doing, but I am doing the Mixolydian, following these scores, jump into it. I'm going to give it a swing field with triplets. One, three. No. Wow, Good job. That's pretty hard to do. Really be on your syllabus. Go back and play it. Don't let me stop here. 49. Jam Along - Flamenco in A minor (page 123): It's time to jam along. Today we are going to play some flamenco in the key of a minor. So you guys can see that I've got my guitar plugged in, and it's plugged in into my looper pedal, which is plugged into my app. And what I'm gonna do is I'm going to play these chords behind me. And I'm going to copy it into my looper pedal. And then I'm going to hit it and it's going to keep on looping. The court's going to keep repeating the course back at me. And we're going to solo over the courts. Probably what's going to happen as I will solo with you for about a minute. And then I'm going to step out and let you just keep on soloing, having a good time. So I want you to improvise over this, be creative, have fun with it. Experiment with it, try different things, experiment with different rhythms. Or we do some fast rhythms and some slow rhythms and some quick bursts and some long-held up notes. I want you to use a lot of techniques like hammer on and pull off some bends and trills if I brought us and harmonics and use arpeggios also, this is a good opportunity. Certain chord progressions lend themselves to arpeggios more than others. You could definitely use our opinion over this progression. This is a form kinda like the 12-bar Blues is a form. Kinda like the rumba is a form is a Rumba. Rumba is a sub-genre of Flamenco. Me calling this Flamenco is a little bit generic. Kind of like a salsa. I guess it would be sub-genre of Latin, latin music. But to Latin music, this would be like what the 12-bar blues is to lose. So we're in a monitor. Down here. I wrote down C major minor, Aeolian mode. It's relative to C major. So we've got all of the modes relative to C major, C major, D Dorian, e, Phrygian, F Lydian, g, Mixolydian. And then of course back to the a minor again. The courts, we've got their W2 measures of each chord. So it's pretty simple. Part of the reason I said arpeggios are very doable thing in this progression. To measures of a minor, two measures of g, two measures of F in two measures of E. So it's pretty straightforward. With one exception, the asterisk over here that says arpeggiate the E chord. Arpeggiate the E chord. So turn the ijk coordinate to arpeggio. The reason for that is, if you happen to remember from the relative chords lesson, the C major scale quadro. The chords are, they should be like a minor, G, F, and then E minor in the key of C major. It should be an E minor chord. E major chord. But this is something that happens frequently in music. Is that for whatever reason, the third-degree, c, d, e, The third degree. What happens over the Phrygian? Classically it's an E minor, but a lot of times it gets turned into a major chord. I think just because it sounds cool, sounds very cool. So anyway, you could play the Phrygian over the E chord, but there's gonna be a slight clash, slight clash. So my suggestion is to do an E major arpeggio over the E chord. Try to shoot for it. Alright, let's jump in. One, 234. No. Nice, nice, really good. Keep going through that one guys, go back to the beginning and keep on playing. Play until you've got blisters on your fingers and you've got a guitar well in your chest. You doing good. 50. Jam Along - Minor Blues in A (page 124): It's time to jam along. Today, we are going to play the minor blues in the key of a minor blues. So you can see, I've got my guitar is plugged up. I've got it hooked into my looper pedal, my little demo, which is connected to my amp. So over here I've got the chord progression. It's 12 bar blues, but this is actually going to go pretty quick. So I got a minor, D minor, a minor, a minor, four be tonnage. Second line, D minor, D minor than a minor, a minor. Then the last line is E minor. E minor than a minor, a minor. It's gonna go pretty quick tempo. So the whole thing is in the a minor where the a Aeolian mode. Don't know if you've got a chance to check out the blues videos yet. But basically, the Minor Blues is relative major blues is parallel minor blues is relative. Minor blues, which is what we're playing is relative. What that means is that we don't have to do any special tricks. We can kind of pick it scale, pick a key, and just stay on it for the entire jam. Down here in parentheses, I wrote the C major, a minor. The a Aeolian is relative to the C major scale. So we've got all of the stuff that's relative to C major that we can play with. We have the C major scale that D Dorian, the e Phrygian, The F Lydian, g Mixolydian were in the a minor or a Aeolian, and we've got to be Locrian. You can think of all of these shapes as being alternatives to the a minor scale because they have the exact same notes. So what's going to happen is I'm going to play this progression probably wants. And I'm going to copy onto my looper. And then I'm going to play it back and it's just going to keep on looping over and over again. And I am going to solo with you for probably about a minute. And then I'm going to step out and let you guys keep on soloing, just having a good time to have fun with this. So I want you to relax. I want you to be creative. Try to come up with some cool stuff. Try to run up the neck, try to use different mode shapes. I want you to experiment with the rhythms a little bit. So do some fast runs, then hold out some notes and sustain some notes. Hang for a little bit, put into rests. Use some triplets every now and then, try to throw in a triplet. Eighth notes, 16th notes, and then some big long half notes or whole nose. Use techniques. Used techniques, this is blues, even though it's minor blues, It's blues. Use hammer on and pull off some slides, Benz and trills. And just have a good time. Okay, Let's jump into it. This is going to go fast. 1234. Nice. That was fun. Alright, if you work done Janet on that one, then go back to the beginning and watch it again and keep on playing. 51. Jam Along - Rumba in E minor (page 125): It's time to jam along. Alright, so we are going to play the rumba. Got the chords up here. What I'm gonna do is I'm going to play the chords one time and I'm going to copy it into my looper. Got a little looping pedal down here. Got that connected to my m. My guitar is plugged in, as you can see. I'm going to play the chords one time and then I'm going to repeat it. Just keep on looping it over and over again. So the chords are E minor and then E minor again, and then a monitor, and then a monitor again. So two measures of every chord, D and a, D, G and a, G, C and then C, B7, B7. So the whole point of this is you're supposed to solo over the courts were getting the chords loot and they're just going to keep repeating. And I wanted to spend some time soloing, using the skills, being creative, just making stuff up. The two scales that we're going to be really focusing on are the E minor scale or the Aeolian mode. Because it's really the role of those in the key of E minor, which is relative to the G major scale. So you could also use the G major scale. You can also use any of the modes relative to G major. So the a Dorian, Phrygian, the C Lydian, the D Mixolydian, E minor, the Aeolian, f-sharp Locrian. Any of those are going to work. So I want you to play around with that. Going up and down the fret board. If, if you know all those shapes. And also play around with different rooms doing little different lakes, trying to come up with cool licks. You can throw the arpeggios in over the courts. We're really just going to wind up with about four beats on each. I'm going to, once we get the courts going, I'm going to solo with you for about a minute. And then I'm going to set the guitar down and step away. Let's keep going. Here we go. Nice. Real good job. If you weren't done. Go back and watch it again. 52. Putting It All Together: Let's talk about putting it altogether. I know that it's easy to get overwhelmed with all of the stuff that there is to learn. Especially when it comes to practice time. You may have a stack of papers and they have all these different things that you should be working on. You've got all of these different songs that you should be working on. You've got all these different things that you need to memorize. There's a ton of stuff, but you're busy in your life. And you've only got so much time in practice. And you just don't even know to start. And when you set out to learn how to play the guitar, you thought it was gonna be fun. And sometimes it just feels like work, right? So we are going to address that and we're going to make it fun again, starting right now. So I've got a formula for guitar success. Use it with everybody. I've been using it with you. This video is for me to help you to make sense of it and to kind of work on everything at the same time. Because what That'd be nice. Wanted to be cool if you could work on everything at the same time. All the stuff that you need to within reason. But you can pretty much have a well-balanced practice time every time you sit down to play the guitar. Not just practice time, but playing time also. Because you want to remember that sometimes you should be practicing your guitar, studying, trying to get better at things that you're not good at. And sometimes you should be playing your guitar. You should be doing the stuff that you're good at. Stuff that comes easily to you, the stuff that's fun, stuff you can relax, be creative with. So you want to have a good mix of those two things. You don't always want to be practicing. You don't always want to be kicking your own butt. You need to have some time to make it leisure. That's what it's meant to be. It's meant to be a really nice way for you to tap into these creative feelings that you've got and to channel them. So what we're going to do is talk about Dan's five areas of guitar study. These are the five things that if you do these five things, you are going to be a well-rounded guitarist. You're going to be a well-rounded musician. So here they are. This is a real simple. This is the bulk of all the stuff that we've been doing. All the videos, all the printouts, probably 95% of it all fits into one of these five categories. We've got rhythm, chords, scales and modes, arpeggios, and songs. This is the stuff that you should be working on. Rhythm. It's just everything that's rhythm. It could be tapping, it could be strumming, it could be picking out different rhythms. Rhythm, you know what it is. It's everything that's rhythm. Okay? Courts everything chords. So that could be open chords, bar chords, it could be seventh chords, it could be extended chords. Anything that has to do with courts, harmonies, scales and nodes. That could be you just taking a single scale, a major scale, a pentatonic scale, a minor scale, and just focusing on that one position, just enjoying that one position we're studying and trying to understand all of the notes, some of the different relationships and the notes that you maybe didn't know before. Or it could be you going deep into the modes, which for a lot of guitar players is the, the holy grail of learning how to improvise. It. It's, it really is, It was for me. When you start really understanding the modes, the whole fretboard opens up and you see endless possibilities for soloing. You start to understand how your favorite guitar players do what they do. It's from studying the modes and understanding the relationship between the modes and how everything is connected. Arpeggios, arpeggios are the bridge between chords and scales. So it's like taking the harmonic notes, the notes, the chords, but using them to improvise, using them in a creative sense, in a melodic sense. So we're making melodies, but only using the nodes from the chords, arpeggios. And when we're using arpeggios, we will a lot of times be using them within, within a solo and contacts. So you're gonna be also integrating that with your scales and modes. Number five probably is the most important of the five categories. It's songs. And so this is the whole reason that you decided to play guitar in the first place. Was you wanted to be able to play songs. And so you want to put a huge emphasis on that. I want you to know songs. I want you to know a lot of songs. You've spent all this time practicing and you still are spending time practicing. But I want you to build a play songs, are going to be able to play songs that you want to play your favorite songs, not mine, not somebody else's play your favorite songs. So we've got songs here on the website. I've got a lot of stuff for you, does some cool stuff that you should learn. But I also want you to go out and seek out your own songs. Go on the Internet and print out some of your songs. I'm printing just jot down ideas of songs. Like maybe I'd like to learn the song. I love the song. Maybe I want to learn it. Pronounced the tabs, print out the chords for it and get a three-ring binder. And just even, just get maybe four or five songs at a time and just print them out and stick them in your three-ring binder. And so when you want to sit down and play, maybe you don't feel like doing, practicing as much you want to actually play. Just you'll have those songs, you start flipping through, having a good time with that. And okay, so now let's back up. Let's talk about how are we going to consolidate all of these things? Well, here's the thing. If you're playing songs, you are definitely using rhythm, have to, and you're playing courts also. There is a good chance that there could be scales and arpeggios in there. Actually, that option is always going to be up to you if you're playing a sing-song. What I mean by that is, I love this song. I print out the chords and the words because I wanted to strum it and I'm going to sing it because I love it. That's great. I do that too. And so you've got the song and your three-ring binder. And you've got the lyrics and the courts rubbing and you're singing. And you could do that from beginning to end and just stop right there. And you will have worked on your rhythm and your chords and your songs. That's three of the five. That's huge. That's a good day right there. But you could take it a step further. Because even though maybe the song has no guitar solo in it, a lot of songs don't have guitar solos in it, especially these days. But that doesn't mean they can't or they shouldn't. You know, you can put one in there. And that's part of what we talk about. Part of being the curious guitarist is learning how to play with the music, how to manipulate music and mold it to what you want it to be. So songs are just a skeleton there, an idea, and within them we should be playing around. So if you are planning your sing-song, you're going through records. You sing averse, you sing a chorus. Using averse, you sing a chorus. You play the bridge and then you go to the course again. You can just keep on banging on those course chords. And then you can launch into a solo. Just do a solo, you know, whatever the main chord is that you're playing, That's the key of the song. Probably launch into a solo, do some soloing. Go through the modes, go through the arpeggios, and then go back into the courts and sing the chorus again. Whoa. Now that is a really good day of practice and playing. You're doing everything all wrapped up in one. So that is one example of how we can do everything in one sit down. I mean, that's something you could do in 20 minutes. And you can, can every one of these categories into your mix. Rhythm, how to play with rhythm? So if you've gone through the rhythm videos, some of them or all of them, you need to always be pushing yourself to try to come up with different rhythms. Don't get stuck in strumming the same way in picking your solos the same way. Try to push it and change it. Okay? So if you are, you've only gone through maybe a little bit of stuff. You haven't gone through all the stuff. You haven't gone through all the videos, you haven't gone through all the PDFs. That's fine. My advice to you would be just watched the very first rhythm video. Just the very first rhythm video. And then watch just the open chords. Okay? Just to open chords for the scales and modes. If you just a starting place, I would say go to the major and minor scale, the relative major and minor scale and learn both of those, the major scale and the minor scale. That's huge. Actually, that's huge. Even if you don't go for the modes just yet. Major and minor skill and their relationship with each other. That is huge. There's a ton you can do with that soloing. Arpeggios. Watched the basic arpeggios video. And then songs, like I said, there's stuff here and then there's, there is infinite stuff that you can find on the Internet of your songs that you want to play. And just go for easy stuff. Start off with the easy stuff. And the easier the song is that you get, the more you can play with it because you're not going to be bogged down with all these intricate changes and all of these risks they have to learn and you have to execute perfectly just a couple of chords, couple of chords, and then you can play with it. And so when you start playing with it, you're going to experiment with a strum. When you're strumming, start trying different things out on the rhythm with the courts. Um, you can try playing the chords in different places. So if you've just watched the open chords, you can maybe take a look at the bar chords. And so you can maybe do some of the bar chords or you can substitute some of the chords for a seventh chord or a minor seventh chord. The scales and modes, like I said, if the first, the main chord of whatever song you're applying is probably going to be the key. So let's say it's a G chord. You're probably in G-Major. If the main chord is a minor chord, it's probably going to be in a minor scale. The arpeggios. You're gonna get that from watching that basic arpeggios. When you're soloing, instead of using the skills and modes, you can use the arpeggios to kind of mimic what the courts would be, but do it in a melodic way. And don't forget to. If you're the kind of person who likes to sing, then don't be shy cigarette, sing it. At the bottom here, I wrote other studies. Other studies would be things like, because we always have to have some extra curricular stuff that we're gonna do. And it could be working on techniques. It could be working on art. Our relative pitch, you're training. It could be working on harmonics. It could be learning to read music. These are other things that we could do just to enhance our skills, to get some more tools in the tool belt. So if you are feeling overwhelmed, okay, don't be, don't be. You're never going to have learned everything. I have more to learn. I am constantly studying because I know that I'll never know it all. But I love learning about this stuff. I love learning about music. I love picking up new tricks on the guitar. And not just the guitar or sometimes just about music in general. I just enjoy learning about it. And it always comes back to the guitar when I'm playing. I'm always somehow able to take something and stick it onto the guitar. Every time you learn something, it's going to benefit you. Even if you don't see how it's going to be right away, you're going to just keep getting better. And the better you get, the more fun it gets. So if you're feeling overwhelmed, focus on songs. And within your song, consider these other four categories. Okay? Play with your rhythm, your strung. Try to, instead of doing a G chord and open position triad in a bar position to try to appear in a bar position are down here in a barn position. Just try to move the cord around to different places if you can. Scales and modes soloing, there's so much stuff you can do with that. You can do a two-minute guitar solo or you could do with 30-minute guitar solo. It's your time, it's your experience. I loved doing the 30-minute guitar solos. Just fun. And the arpeggios, the arpeggios are part of the solo. Yeah, that's it. You've put it all together if you do that. So I think that you're on the right track. Just stay with it. And most importantly, keep it fun. Keep it fun. There is always more to learn, there's always more to do. There's always more songs to memorize. There's always more work to do. But sometimes you have to just put that stuff aside and say, look, I'm just going to play. Okay, so I'm going to take one song and I'm going to play this one song. And I'm going to start off basic, just strumming it. Then I'm going to start trying some different strings. And then maybe I'll launch into a guitar solo. Who knows? Stay with it. You're doing good, have fun with it. 55. Jam Track B Phrygian: Thank you. 58. Jam Track E Aeolian: Hi. 59. How to Change Guitar Strings (page 9): Okay, Today we're going to change our guitar strings. This is great because there is nothing better than having fresh strings on your guitar. Bass, a lot more fun to play. So I'm going to show you the essentials that we needed to change our strings. This is a string winder. Okay? This is just for speeding up. The tuning pegs. Don't need this, but speeds it up like ten times. So this cost about $0.50 at any music store. String wonder. It's got a string winder. Wire clippers. These clip the strings off at the end. So this helps out quite a bit. I've got two paper towels, got one that's completely dry, and I've got one that's down. So it's not sopping wet. It's just a little bit damp. Just a little bit. Okay. And I've got a fresh pack of strings. These are Acoustic strings. So if you've got an acoustic guitar, acoustic strings, and if you have an electric and target electric strings makes a difference. These are light strings. These are elixir nano webs. They're good strings. Took me a while to get on board with all coded strings, but it makes a huge difference. They last forever. So if you don't want to be changing your strings every week or two weeks and come back to your guitar and a month or two months. And it still sounds pretty good. Coded strings. They actually coat the strings with this sort of like Gore-Tex material, like what they used to make boots. So the metal never oxidizes, which is what makes him rust and go bad. So they never get exposed to the air. So the coded. Alright, so we got all that stuff. Let's get started. See how quick we can do this. Alright, so lame, migratory down like this. And I've got some nasty just, they're just dead sound any kind of feel. They just, they just don't feel good. They sound that they have, harmonics are gone. Okay, so we're going to get these off. So string winder, string water time. First thing we're gonna do is to release the tension. So I'm going to quote here one at a time. And I'm just going to turn, loosen this string until it's just hanging and bang up. Loosen the tension. Good intention. You shouldn't be afraid of the strings, but construct guitar strings are not going to hurt you that anyway. But sometimes they will break unexpectedly, especially when we're screwing around the tension like we're doing right now. 60. Solo Patterns: We're back. Alright, today we're going to talk about some soloing patterns. Sewing patterns are good because they would be some things for your bag of tricks. If you are not feeling inspired to solo, you need to have things in your bag of tricks that you can use. These are shapes and ideas and sequences and techniques that are things you can easily use to do things that will sound like a solo. So for example, if I said to you, solo for me in the key of G major. Okay, so G-major, good, that was the G major scale, but I asked you to solo for me. She major. Okay. Okay. That was just the G major scale backwards and a little faster. Still not really a solo. Okay? So what we want to do is we want to start mixing up the notes of the G-Major scale. And we can use some patterns to do that. Alright, so I'm going to show you three patterns that I like to use to break up the scales. We can use this over every scale, any scale, every scale, any mode. Every mode can also be used over arpeggios. So any kind of melodic thing we can use the pattern over. So it's very simple really. I wrote down groups of three and then groups of four and then groups of two. And easy way to think about it. It would be just groups of 23 or four. But I'm going to show you in this order, the groups of three is the one that I use quite a bit. So I want to start off with that one. Groups of three. What do I mean? Very simple. The G major scale. We've got the G major scale we're going to use as our example. I'm going to play three notes from the scale. Every time I'm going to play a group of three notes from the scale. Each time is going to start on the next note of the scale. So for example, I played the first three notes of the scale. Okay? And I did that starting from the first node. First node of my G-major scale. Played the first three notes of the G-Major scale, starting on the first note. Now starting on the second note of the G-Major scale, I'm going to play three notes of the scale. Now, starting from the third note of the G major scale to play three notes of the scale. From the fourth note, play three notes. Are on the fifth note. From the sixth note. Every time I'm playing three nodes, each time starting with the next note in the scale. Writes really simple. And then we're going to do this backwards. Okay? So we're just going to do it backwards. Let's just start on the hygienic. Okay, so we're going to play, starting on the hygiene, play three notes backwards from the scale, always from the scale. Now play three nodes starting from the second node back. From the third note back. That's Nowak. Nowak. And I'm like that each time I'm doing a group of three, my group, each time starting on the next note from the scale shape. Okay, let's do that forward and backward. Good. I was alternate picking. Okay. So in everything we're doing with these solo patterns with ESOL parents, we want to alternate down, up, down, up, down, up. Alright. Let's go directly into the next thing we talked about here, which is the pivot note. The pivot note. Okay? So what we've done so far is groups of three. We've got an interesting pattern for breaking up the scale shape. Okay, cool. It's more interesting than just going in order one note at a time. But we want to use this as a solenoid tool. So we want to build a move back and forth, ascending and descending on any note that we want to in the scale. So we don't have to go from the very bottom to the very top, to the very bottom to the very top, we can change direction anytime we want to. We do that by using the pivot note. The pivot note is the thing that lets us do that. And so there's a few different ways you can consider the pivot note. One way is to think of the pivot note is could be any note and as soon as you get there, just count that as the, now's the first set of three just going in the opposite direction. Don't hit it twice late at one time. So for example, I'm starting here, and I want the fifth fret on the a string to be my pivot note. So soon as I get to the fifth fret on the a string, I'm immediately going to start going reverse direction. During my first group of three opposite direction. Let's take a look on 31231231. I'm going to pivot here again. Am I starting note? 1231231212312? Okay. Alright. We can also use the next notes in the scale to be our pivot notes. So there's a lot of options here. We can just go on up to the next note. So for example, I could go 123, just going up to the next node and reverse direction from there. This is going to give us the ability to change direction anywhere we want. And we can, you can reverse direction on any note that you want. So let's take a look at how that works. Okay. Hey there. See how I can just keep on doing this for long periods of time. This is a great one to use. Like I said, I use this one all the time. Groups of three. Groups of three is a wonderful one to use. Okay, let's take a look at the groups of four. This is exactly the same concept. We're just going to do four notes from the scale each time, starting with the next note in the scale. So we're on the G major scale, we're going to do four notes. Alright, we did four nodes starting from the first note. Now we're gonna do for those starting from the second note of the scale. On three nodes starting from the third note of the scale. We're not starting from the fourth note of the scale. Starting from the fifth note. In every single time, we're just starting from the next note in the scale and we're just going to play four notes counting the one that you're on. Okay? So we can treat the group of four pretty similar to the way that we're treating the group of three. When you're doing solely patterns, you sometimes want to consider Rhythm. How'd we want the phrasing to go? When we were doing the groups of three, you may always get a triplet kind of feel when you're going to 123123123123123. What we're doing, the groups of four, we can get a little bit more of a 16th note, one E and a 234, you get a little bit more of a 16th note field. So if we're going backwards, starting from the high notes, the G major scale, you get the sense as groups of four, just wants to go a little bit more like eighth notes or maybe 16th notes, 1234 END. Okay. Now, in regards to pivoting, the way that I like to pivot, to keep them in groups of four is to go up to the next note. So for example, I'm gonna go to my next note and immediately reverse direction. Okay, let me go up a couple of sets of four so you can really hear how it goes. Okay? Jump all the way up. You're going to go up one more notes and reverse direction. Okay? I'm going to reverse direction again by going up to the next note. Let me go back one to reverse direction. Go back one to reverse direction. Go up one to reverse direction. Okay, that makes sense. Good. So that is groups of four. Now let's take a look at the groups of two. This one is very simple but very effective. Also use this one quite a bit. Okay? So we're going up every single diatonic note of our G major scale. But as we're going up, we're going to go to the node above it and descend back. So for example, my first note, I have to go up to the node above it, right? Descend back into my starting note. So now I'm going to my second notes. I have to go to the node above. It. Descends into the second note. Third note, I have to go to the node above it. Dissent back into my starting note. Every time I'm going up the scale, I have to go one higher, hence, hit that and then hit the note below it. So I, as I'm ascending the melody, I'm gonna be doing these descending patterns of two. So going up the skill like that, go into wind, it's going to sound like this. Okay, okay, little groups of two. So for my starting node, it's going to want to be there. For my second node, it's going to be third node is going to be my fourth node is going to be. That makes sense. Now when we're going down or going backwards descending, we're going to actually have to ace and R2 node sequence. So my starting note, so I have to go starting note. Okay? Go back one above it. So it makes sense. Okay? So that is the patterns of two. And what I will do when I am soloing and I'm using bag of tricks. These patterns, I will mix up the groups of 342. In addition to everything else I'm doing. So I may be running through the scale in order and then throw in a pattern. But then I want to mix up the patterns in different ways. Okay, let me also explain this to you. If you're thinking, I need to learn three patterns on every single mode shape and every single scale and every single key. Not really. No, you just need to be good at it in one scale shape, one key, one scale shape. If you can do this and key of G major, you'll be able to play it in a Dorian, Phrygian, c Lydian, Mixolydian, Aeolian, f-sharp, Locrian. No problem. It'll be easy. Even if you've never done it before, if you can do it in any scale than to do it another scale is easy because it's really your brain, is just once your brain accepts it. Your brain says, okay, I'm ready to do this pattern than doing a different scale shapes, different modes is easy, alright? It might just take you about a minute or two minutes to kind of get the hang of going through the New Mode Shape with the patterns. But after that, it's super easy for you. So let's take a look at going through the Dorian mode key of a. And we'll do a group of three. Okay? And it will do group of four. It will do groups of two. Okay? Let's take a look at the jump all the way to the D Mixolydian, okay? And let's go between groups of two. Alright, so Good. I'm kind of in the middle of my shape here. Let's jump into a pattern of four. Geometry and pattern of three. Go back to the power of four. Let's do a pattern. And to do a pattern of three, pattern of four. Let's do a pattern of two. Well, let's just keep on doing the pattern of two down. That makes sense, okay? And like I said, we can combine this with anything else that we're doing, including just going to play through the sequence of the scale shape. I was mixing up just going and playing the scale in order and then throwing it and every now and then throwing a sequence of four, sequence three, and sequence of two. Good. And I am also going in order as I'm connecting and changing my direction as I'm doing my pivot note, I am going in order when I'm changing direction for the most part, every now and then you'll hear me skip notes. I can also skip notes and just jump across a node and start my new pattern from there. And it helps bring a little bit more life and creativity and surprise to the melody. So this is something that I would recommend you work on. Spend a lot of time working on this. Connecting through your different mode shapes, going through your patterns. This is a lot of fun and it's going to bring a whole lot of life to your soloing from now on. So go work on your patterns. And I'll see you in the next video. 61. Sweep Picking: Alright, let's talk about sweep picking. Sweet picking, sweeping. Okay? This is also called economy picking. So the idea here is, for the most part, we are using arpeggios. We are playing arpeggios at blistering speeds. And really what the technique of picking sweet picking is. It's the thinking, right? So instead of doing an alternating pick where we pick every single note one at a time. Alternating each one. We're going to use more of a fluid motion as often as possible to almost do this thing where it's like a rake, where we're going kind of pushing our HQ across the strings in each direction and back, head down and back. There will be some picking in-between. Sometimes we'll take a look at how that works. And we're doing this over arpeggios, so forth. Sweeping lesson. We're going to just use arpeggios, which you would normally use for sweet picking. Anyway. When we're doing our left hand technique, we don't want to finger the entire arpeggio and let the nodes ring into each other. So you want to try to just push down the finger of the node that is being pegged at the time. That's the goal. We picking. We are going to investigate two different moves. Today. We've got the five string move and the three string move. So the five string move, what I would consider to be the larger sweep picking. Kinda going all up and down the strings. And then the street, the three string would be a smaller condensed suite pick. Okay, so let's take a look at the five string. For starters, we are going to use the arpeggio shape. The second arpeggio shape, where we're routing on the a string. So in this case, let's start with a D major arpeggio routing on the a string, the fifth fret. Okay? So once we've got the technique down, we're going to be able to apply the technique to any of the arpeggios using this same sort of shape we can, that was the major arpeggio. We're going to be able to do this off of the minor arpeggio also, and then off of the minor seven flat five, or the diminished or Bengio. This is going to work over anything that uses this sam, amount of strings playing and coming up with sweeping that you can use musically is all about figuring out how many nodes are going to be in the suite. So if you don't have any notes you're going to be using or how many nodes you're going to play, then you can figure out what the rhythm of those notes wouldn't be. So that's why we're using these two shapes today. For the five string, we're going to be thinking of it in one direction at a time. So the down direction is going to be 12345. And then we're going to hit this pinky node. It's going to be our sixth note. So it's going to be like a triplet feel 3456. That's going to be one direction. Okay. So as I'm going down, down strumming, and I'm just pushing everything all the way down to my highest string. Okay? So that whilst high strain was it down. So then my pinky notes, we're going to have to actually pick it up. Look at that again. That last pinky notes. That's actually pick it up. Alright, so that's just going in one direction. Now to reverse the direction, my last peak wasn't up. So I'm going to hit the pinky again. Okay. I hit the pinky note again. This time, Is it down? Okay. Now I am going to sweep backwards through the shape again. Okay? So I hit the pinky note as it down. Then up. My last one wasn't. So that sets me up to do my fifth fret on the a string, my starting node as it down to restart the sweep again, down, down, down. On the high note, the high note again as it down. And then starting from the two. Down, down, down, down, down. Okay. Does that make sense? So now like I said, we can apply this to the minor arpeggio shape as long as we're using the same amount of strings, we just apply the exact same concepts. So for example, if I came up here and I was doing my E minor or video, starting on the seventh fret on the a string, using the exact same strings, but plugging the minor shape this time. Okay? When you use the exact same technique, this is going to make sure that you know your arpeggios shapes. If you are able to sweep, then you're going to know your NGO shapes. So this is going to be good for a lot of things here. So that pinky note, I have to come up and then I hit it as a down. Again. That sets me up to do my backwards sweeping. My last note, which sets me up to reverse direction. You go down to start it again. I can come up two frets and do my F sharp minor arpeggio. Same thing. Come up another friends at the 10th fret, I can do my G-major going along like I'm in the key of D major here. So my G-major come up again. So Fred, do you mind a major? You'll see as I'm going through it, I'm trying to lift off my fingers after I've hit the notes. So this is a pretty, pretty hard technique, takes a lot of time to get used to. Let me also show you the minor seven flat five. So here we've got C-sharp all the way on the 16th, Fred. Okay? So this is gonna be just based on the arpeggio of the C-sharp minor seven flat five, which would be this chord, which leads us back to our D chord. So I'm just doing it up here, so I've got enough space to play it. So 16 front, exact same technique with the right hand. So that takes me back into my deamination. Good way to practice the five strings sweeping technique is to play them according to the scale courts, the relative courts. So if I am in the key of D major, major, then I've got, I've got F sharp minor, G major, a major, B minor, C-sharp minor seven flat five. Then I've got D major. Okay. And sometimes they come out clear than other times, right? Most of the time when you see people sweep picking, you won't see them on the acoustic. You'll see. Do this on the electrical lot. The electrics stranger smaller, the action is a lot lower. And things like a little bit of distortion helped to clean up the little mistakes and stuff like that. You guys, as you know by now, that it's, I play the acoustic most of the time. So any techniques that electric guitar players use, I will usually try to do them on the acoustic. But sweep picking is, you'll see it in heavy metal, shred metal, shred, instrumental. The word shred, synonymous with sweeping. But you also see jazz guitar players will use sweep picking every now and then you will pop up in classical music. Some stuff from the blood heard years ago. Pagani use some sweep picking techniques on his fiddle. So it is something that has been around for awhile, is just dug. I'm pretty popular with guitar players in the last 2030 years. So sweet baking, a lot of fun. Alright, so we've got the 56. Now let's look at a more condensed way to do a sweep. Our three string. So let's base this off of the exact same shapes. Three high strings and my D chord. Now, what I'm going to do here is slightly different picking technique. I'm still sweeping down to get to the, get to the high string. Now when I come here with my pinky nodes, I'm going to hit it. Going to pull off by picky. Okay. So I'm getting two notes out of that. It up. Now my b string note, also picking up, pull on the string note. And then I push down to the three nodes. One more time. Down on to doing the D chord starting on the G string. Okay? I went all the way down, all the way. Now gonna go. Thank you. Note is that I'm going to pick up on the B string. That's okay. And then I just keep on going. Okay? I'm going to apply this to the same positions that we did before. So for the D minor, I've got we've got a little bit more of a stretch there. So when I get to this guy, I go along the string up and then I start over again. Now you may be noticing that I'm doing this thing instead of fingering and like this. Okay? I'm actually coming back with my index finger due to the high string. Instead of holding down the shape like this. Reason I'm doing it is because the stretch is really for me and I've got pretty large hands for me. The stretch for the pinky is pretty hard to do to get a good, solid pull off and to have it feel a little bit comfortable, it's easier for me to just move my index and grab that highest string. Note that it's a lot more comfortable for me to do my pull off. This is for the minor shape which will be based on this one. We're just doing a little half of it. So starting from the G string down, down, down, down, down hole, and then the string. And like we said at the beginning, you always want to know what the count is. It's either 123123123123123 or 123456123456. Okay. So for everything that we're doing, it's 123 or 123456. So we've got the D. We have the E minor. We've got the F sharp minor. We've got the G, G major, a major. We have the B minor. And then when we come up to these C sharp minor seven flat five, it is going to be gonna be the fragment. It's going to look like this. Okay? What's interesting about this? I called it the C-sharp minor seven flat five. But these notes that I'm playing work as a diminished seventh chord also. So we're doing the condensed the three string, string version of the C-sharp minor seven flat five, the full version was right. But what we're doing, the condensed version, which is, you can think of it as a C sharp diminished seventh chord. Which of course takes us back to the D major. As you might remember, the diminished seventh chords can move three frets in any direction. So if I'm doing C sharp diminished here, I can bring it down. Bring it down. Bring it down. Lead on my D down here. Okay, so I've got the diminished. Move it three frets. Refresh, refresh, and then resolve to the D minor. And then C sharp diminished seven. Okay, that makes sense. So sweeping is a really hard technique. I'm not the best at it. And it took me a long time to get to what I'm able to do today. It's not a technique that comes naturally to me. But I've seen other guitar players that they really take to it. And it just seems to come naturally to certain guitar players. So this should be a good launching pad for you to start experimenting with sweet picking. It. I would say the golden rule for sweet picking. Every guitar player will have a slightly different method on how they do it. Some guitar players will use a lot of whole ofs and hammer ons, which we did one of those today. And some of them will just use different shapes. And it depends on the shape that you like and the type of technique that works for you that you understand and can think of quickly. I would say the golden rule that every guitar player has to, has to adhere to is the rhythms have to match up the number of nodes that were hitting. We have to hit the exact same amount of nodes in order to make the phrase makes sense. So you want to be able to do with two nodes or four nodes, or six minutes or eight minutes. To have it work with the series of two or four or eight. Or you want it to be three notes are six notes. So that it works with a series of 36 or 12. What kind of more of a triplet feel? So are you trying to play eighth notes or 16th notes? 1234 and what he ended 234 END. Or are you trying to play triplets? One triplet, triplet, triplet, triplet, or six templates. 123456123456123456123456. So today we are working on the 123456123456. We're breaking up our patterns. Or one to three or 123456. Ok. There are a lot of different ways that you can take just the things we've talked about today and break them up. For example, if we took our D or full D major arpeggio, full de suite, and we send it. Now I'm going to slide up to my E minor position, descends this. So going back between those two, so we're coming up to my G-major up here, and then slide up to the a major and dissented. So the golden rule is that we want the rhythms to match up. We want every single note to come out. And clearly, if you are an electric player, than practicing this with a clean tone or on your acoustic guitar is going to make you that much better when you do crank on the distortion and you're just ready to just push it and make it fly and go as fast as you can. Crack, sing it with a clean tone or on the acoustic is highly recommended. So mixing it up, do a sand on one and then a descend on the other. Also using the relative cores to kind of guide you is a great idea. So this is a good primer for you. Go practice your sweep picking. And I'll see you in the next video. 62. Chord Walking: Okay, we are going to work on a very cool word walking technique today. So if you imagine that you've worked on your relative cords, your scale courts. And you've also worked on your extended chords a little bit. Then what we're gonna do today is going to be so much fun for you. Okay? I've got the key of C here, alright, so the chords in the skill row of C major, C, D minor, E minor, F, G, a minor, B minor, seven flat five. If we were to play these just like the written C, D minor, E minor. Now, gene, a minor, E minor, seven flat five, and back to the C chord. But of course we've got all of the extended chords that we should be playing with. So we know like over the one chord, the four chord, the C and the F, in this case, the one of the four chord. We can play the C6. C6, where a C major seven. I can play a C Major nine. I can play a C. I can do all of that over the F chord as well. Major 976. And then I've got the 69. Okay? So that's what I'm talking about over the D minor chord. So D minor chord or my two chord, I can play the E minor seven. Or I can play the minor nine. I can play the minor six. So that kind of stuff. Working on the extended chords in chord substitutions. It's a lot of fun. To improvise using course substitutions. We're going to take it a step further today. And we are going to walk in between our chord substitutions using two courts. One chord is Eric, diminished seventh. Alright? So the diminished seventh is, is probably best used when we are ascending into a chord. And the way you use it, a simple one fret behind the destination cord. Behind the destination cord. Okay, So let's imagine we're just going in order here. I play a C chord or a C Major seven. Okay? And I'm going to my D minor chord next. But before I go to my D minor chord, I'm gonna do my walking chord, one Fred before the destination. So here it's one fret before my d fourth fret. And I'm going to play a C sharp diminished chord. Now I can go to my D minor chord. Let's look at that again. I went from C, C major seven. C diminished, C sharp diminished seven. D minor seven. In any chord that I'm walking into, it can be any of the extensions or substitutions. So I can walk. I can go from a C major seven chord. Do my C sharp diminished seven. I can walk into a D minor nine if I wanted to. I could walk into a D minor six, or D minor seven. The D minor six. C major seven. C sharp diminished seven minor seven. Okay? Now I'm going to go into my E minor chord. But before I get there, I have to play my D-sharp diminished seventh chord. Then I can go into my D minor seven. So I'm going from a D minor chord. D by d sharp diminished, to my E minor. E minor can be any of the extended chords that I'm able to do. Alright, my next chord is the F chord. Now the EF Core is already one fret away. So I just have to stay on my E, E diminished. Then I can go to my F-score. Then F sharp diminished chord takes me to G. G-sharp diminished seven takes me to my a minor. A sharp diminished seven takes me to my B minor seven flat five. And I can play a B diminished seven, right on the beak word. That takes me home to my C major seven chord. Let's listen to that again, a little bit faster. Really nice. Okay? Does that make sense? What you're ascending into a chord, one Fred behind your destination cord. You will play the diminished seventh chord. Now, as we are going on the descent, as we're going backwards, we are going to use this nine flat five chord. Nine flat five. So it's kind of like playing a nine chord. So here's a non-core, here's a C-sharp nine. I'm going to just take my finger all the way down so I can get this high string note. Also, my index finger is going to sound like, sounds like that. I'm going to use the same rule, but going the opposite direction. One frame before the destination cord, but one frame above it this time. And that is when we're descending. So for example, if I'm going to my C major chord, before I get there, I'm on C-sharp. So I can play my C-sharp nine flat five chord, and then finish it with my C major seven. So this is a descending option for you. What have I just took it up here for my a minor. So I'm going to take it starting from an a minor chord going into my g. So g, I have to go G-sharp, G-sharp, nine, flat five. G. Now I'm going to my f, So it will be F sharp, nine flat five. Okay? I'll go into my E chord, so I'll play F, 955, E minor. Then it'll be E-flat, nine flat five. D minor. Then C-sharp nine flat five to my C major. That makes sense. Okay? So it's kind of like I can ascend using the diminished and decent using the nine flat five chords. So C, C sharp diminished, D minor. C sharp, nine flat five to C. C sharp diminished seven. D minor. C sharp nine flat five. Good. Really good. Okay, one more trick, and this is another alternative for descending for you. And it's simple. It's just about using this diminished seventh chord. Again. All we're going to do is remember how our diminished seventh chord. Moves three frets in every direction and it's always the same chord. So instead of going one frame behind the destination, we can always go to Fred's above the destination cord. So for example, I'm on sick. And I want to go into my D minor chord next. So I'm going to go to Fred's above the D minor, which is here on E and play diminished seventh chord. Then do my D minor. Then I want to go back to my C chord. So I'm gonna go to forensic, love to see and play diminished seven on the D. And that'll take me back to my C code. So you can always think of the diminished seventh as either being one fret behind the destination cord or two frets above the destination cord, which gives you more options. When you are descending, you can use the nine flat five chord or you can use the diminished seventh chord to Fred's above. Okay? So many possibilities, they're just going between the C, D minor and E minor and just going back and forth. There's so many possibilities there. So when I am going back and forth on my scale court rows, there are just, it seems like endless cord improvisation. Things that I can do. As I'm changing keys, I'm just going to apply the same principles. This is something I want you to work on, is walking in-between your chords. Walking in-between your chords. Diminished seventh, nine flat five, diminished seventh that can be used when you're ascending. One for it behind, or two frets above if you're descending. And then nightclub five is one fret above the destination port. If you are descending. I think you got it. So really good. Goal. Practice your court walking, and I'll see you in the next video. 63. Dim7 Chords: We're talking about diminished seventh chords. So let's jump right into, how do we know we're dealing with a diminished seventh. So it's going to say dim seven. Most of the time. You're going to see, see them seven, e flat them 78, M7, a flattened seven, whatever. So that's gonna be one indicator that you're dealing with. A diminished seventh chord, dim seven. Then there are the symbols. So there's one symbol. So we've got a circle, a full circle looks like a full moon with the seven next to it. So I wrote that on the immature called them seven are shown with circle symbol. Like for example, B, circle symbol seven. The circle is a full circle. And I am making a point about this because there are, there's another symbol that's a circle with a slash through it, a seven next to it. While we're talking about here, is a circle and a seventh, that's a diminished seventh chord. A circle with a slash through it is our minor seven flat five chord, which is a, it's called a half-diminished chord. So this is an area of confusion. Lots and lots of people get confused by. These have been confused in the past. So the circle, full circle means diminished seventh or fully diminished. And the slash is a different chord, okay, the slash through it is a minor seven flat five chord is actually one of our scale chords. So that is Semmelweis, what we're talking about. What are these diminished seventh chords? So a diminished seventh chord is, it's made up of a minor third. A minor third is telling us it's a minor chord, but it's more than minor. It's like extra, extra, extra monitor. So it does have a minor third, minor third. Then it's got a flat five. And the flat five is part of the diminished. If we were just going to have a diminished chord, like straight up diminished. Because like what we're talking about here is a diminished seventh. If we got rid of the seventh that we just went even more basic diminished chord. So for example, like play me a diminished C chord. You're going to have a root, a minor third, and a flat five. So that would be like having a minor chord, but then you just flip the five and then your minor chord, C minor, would turn it to a C diminished. Okay? So it's like a minor chord and flat the fifth, you're dealing with a diminished chord. It's actually very rare to see straight up diminished chord. You don't see them that often. Usually you will see either a diminished seventh or you'll see the half-diminished all the time, a minor seven flat five chords. To go from a fully diminished the one minor third flat five. And to go to the diminished seventh, we have to add in this diminished seventh interval. So we know that we've got, usually we're dealing with two different kinds of sevenths. We have either major seventh, which is one fret below the root, or we have a minor seventh interval, which is two frets below the root. A diminished seventh interval is three frets below the root. So this is a third kind of seventh interval. Now, N harmonically, it is the exact same note as a major six. So like for example, if we're in the key of C, C, Then R6 is going to be the a note, right? So the major six would be in a note. So that means that our diminished seventh interval is going to be in a note. Think about it like this though. If we're in the key of C, one fret below C is a, b. So that's our major seventh. One fret below that to be flat. That's our minor seventh. One fret below the B-flat is an a. So that is going to be our diminished seventh. Okay? And so that is essentially what's going on with the diminished seventh interval. But it's, like I said in the image, it is a double flat, so you might not be referring to it as an a. You might be referring to it as a B double flat. Okay, moving on. So that's what they are and how they're made. And we've talked about. How to recognize them, the dim seven or the full circle, with the seven next to it. At the top of the image, I'm giving you three different shapes. Now, what these images are as tablature were, the six lines represent the six strings on your guitar. That top line is your high pitch E string, and your bottom line is the low pitch fat E string. The numbers on each line represent the frets on each string. So in the top image, I'm giving you three different positions of a C diminished seven coordinate. I've got one rooted on the low pitch E string, so the eight, so that's our c root note for this diminished seventh chord. The second position is the root on the a string. The third fret, That's our c Note, RCA root note. The third position is on the D string. The 10th fret is our C root note. So these are three different shapes to create a diminished seventh chord. Alright, moving into the middle of the image, it says dim seven can move three frets or three semitones in any direction indefinitely and always contain the exact same notes. As in these chords. The E-flat dim seven, F-sharp dim 78, M7. See TM7 are the same chord with different inversions. What does that mean? And also it says, these are the only listed four of them, but there's five in the image. Okay, so there are four different inversions of a diminished chord, and they are all the exact same shape. And there are three frets apart. They all have the exact same notes, but the notes are just mixed up in different orders, but they all have the exact same notes. As long as we keep on moving the shape three frets and you can move it three frets higher, or three frets lower. And then from that position you can go through friends lower again. And then from that position you can go through first lower again, and then from that position you can go through friends lower again or higher obviously. So if you took any of these positions, in this case, I started with the E-flat 1212, starting on the D string, the one on the D string first fret is an E-flat note, because the lowest note for all of these positions is our root node. So if I go three frets higher from the first fret, then that puts me on the fourth fret. So that means that the F sharp diminished seventh chord is the exact same chord as an E-flat diminished seventh. If I had to play E-flat diminished seventh, I could actually play it on F sharp. I could do an F-sharp diminished seventh instead. Or I could play an aid diminished seventh chord. If I did play an F sharp diminished seventh, I could play in a diminished seventh door in E-flat diminished seventh. They're all the same courts. They just, the notes are in different orders, this different root node, but all the notes are in there. If I had to play in a 27th, I could also play a C diminished seven, or an entrepreneur seventh or an E-flat timid South. They all have the exact same notes. If you go through and analyze all of these for the first four shapes here, E flat seven, F-sharp demo 78, M7, and see TM7, that E, E-flat them seven at the end. So 13141314 is just we've done around the world. We've gone we kept on going up three frets until we hit that E-flat him seven again, and then just keeps on going three frets indefinitely, forever and ever. If you analyze each of the nodes of each of these chords is going to have the exact same notes. The E flat, F sharp, a, C notes. So each of these courts has only these notes. It's pretty neat. And this is actually a trick that you will hear. It's a, It's a super easy trick to do that is you've heard it a bunch of times where whenever somebody is asked to play diminished seventh chord, they may just play the inversions of it just to kinda bang, round up or down the fretboard. So it is a symmetric core, which is why we have the ability to do this in, gets hard. There are only a few things that are truly symmetrical, as the diminished seventh chord is one of those things. So it just makes playing them all over the place really easy once you get the hang of how to move them around. Now. What are they used for? How do we, how do we do stuff with a diminished seventh chord? Most of the time, these are used as walking or passing chords. What that means is that if you, if you are going, you have a chord progression and before you get to your next chord in the regular chord progression. So like if you're playing in the key of C major and you have a C chord, and then your next scale chords, the D minor, right? So you have C chord and D minor chord. You play your C chord. Before you get to your next chord, your D minor, one fret before you get to it, you play. A diminished seventh chord. So it'd be like a C sharp diminished seventh. So if you're supposed to play a C chord and then a D minor chord, you go C chord, play it. And then before you do your next chord, one fret before it, you play your diminished seventh. So like a C sharp, diminished seven, c-sharp is one fret before I do. So you go C sharp, diminished seventh. Then you play your D minor chord. And you have to do this rhythmically also, like so you're going 11 fret before we get to our destination cord. But you also have to do at least a beat, maybe an eighth note, a bead, maybe two beats before we get to the beat of the destination cord or the destination beat. So it's kind of like you want to leave the original chord progression exactly alone and just insert into it these diminished seventh chords as walking or passing chords. So in the example here, I'm saying, I've given you two ways to use them. You take any chord progression. And this is a lot of fun because you really could do this with almost any chord progression. Tried to do something that's simple to get started like maybe one chord per measure to give you about four BCE to play with. Some chord progression where the courts don't change too quickly, like at least four beats for each chord. Then maybe on beat four before you get to the next chord, throwing that diminished seventh chord, one fret below the destination cord. So for example, if your next chord is a C chord, you'll play a, B diminished seventh, a beat or two beats before we get to the C chord. So it makes sense. And then examples 12 here and the image at the bottom. I'm showing you, the first two measures are what we're going to call our regular progression, like an A7 chord. And then it goes to a D minor seven chord. So then the next two measures are going to be how we insert into it. So we have our A7 chord. Then, before we get to our D minor seven, we're going to throw him that C sharp diminished seventh chord. And that makes sense. Example two, same original progression, a seven, D minor seven. And this time what we're doing is we're going to throw in E diminished seventh. Because I said that we can also, before our destination chord, we can do it two frets above. And the reason we can do it from two frets above the diminished seventh chord from two frets above is because two friends above is the same as one fret below is three frets of distance. Does that make sense? If our destination chord is that D minor seven, like in the examples, the D minor seven is our destination. So forget the minor seventh is D. So one fret below a D is a C-sharp. So what's three friends above C-sharp? It's an e. So we can do C sharp diminished seventh to the D minor seven. Or we could do an E diminished seventh right before we go to the destination cord, which is our D minor seventh. And we can also, of course play a G diminished seventh. And we can also play a B flat diminished seventh. And then after the B-flat word background the world to the C sharp diminished seventh. So all of those are gonna be options for you, for your destination cord. But the two that seemed to be really easy to visually see is one fret below it, or to friends above it. And then go right to your destination corn. There's a really cool thing you can do right away to start spicing up a lot of your chord progressions. And this is actually something that you see in a lot of more, I don't know. I would guess what we call smart music. Stuff where the harmony is really moving around a lot. Stuff like James Taylor, Willie Nelson, even more of the modern guitar players will use diminished course just to fill in the blank spaces. So this is a player's preference decision. Do you want to fill in the spaces? Do you want to leave them blank? Sometimes the tasteful thing to do is to leave the space blank. Leave the, leave the rest there. But if you're feeling energetic and you want to show that music, then you want to fill in the space, fill in the rest. And an easy way to do that is with a diminished seventh chord. Anyway, I think that about covers it. There is more to diminished seventh. And what we've talked about here, there's a lot of stuff that we can do with diminished seventh. And they're not always used as walking. You're passing chords, but they are not stable. There are songs that will have a diminished seventh chord as a change. I've seen that for sure. I'm not often though, like where the change will be a diminished seventh chord for maybe a whole measure by itself. They're just not very stable. But anyway, you're going to start to see them. When you see them, I want you to be completely confident. And if it says, if the music is telling you play a C diminished seventh chord, right now, I want you to know that you can play that C diminished seventh, or a diminished seventh, or F sharp diminished seventh or E-flat diminished seventh, because they're all seated there sevenths. So any of those movements have three frets up and down. Those are all C diminished, so those are all CDM sevens. So just you don't have to route it on the root node of what it's telling you to do for the dim seven. Does that makes sense? And also this is just chords we have not even touched on scale stuff, but there is diminished scales that accompany this and diminished arpeggios. So this is a pretty deep subject and a rabbit hole you can really get lost in. But if we want to keep it simple, that's what we're talking about here. Diminished seventh chords. So go work on these. Good job. Thanks for staying with me all the way at the end here. And I will see you in the next lesson. 64. Relative vs Parallel Scales: Let's talk about the difference between relative and parallel scales. So the difference between relative and parallel scales. In music theory, we talk about relative in parallel all the time. You're always playing in either relative or parallel. So what does it mean? When we are playing something in relative? It is a relative. Those are relations or relationship. It has the exact same notes. Okay? So two things that are relative of each other, same notes. What that means is that if we took something like the G major scale, and we look at the G-major scale. And then we look at something that we call relative to it, like maybe the Dorian mode. Okay? Well these two scales, these two modes have completely different shapes, but they have the exact same notes. They just play the notes in different words, but they're the exact same notes. Okay. So when you're handling relative things, it's telling you that they are made up of the exact same notes. They are in the same family. So relative can be different shapes, but will always be the same notes. And it's part of a musical family. So other things that are relative, besides scales and modes will also be courts. We can have chords that are in the same family, so they are made up of the same notes or they are drawn from the same pool of notes. So that is what relative is. Relative is also a big clue because when we hear the word relative, then it'll start telling you, Oh, okay. It's relative to this, then that means it's relative to these other things. Also. For example, if we are in G major, and if we said that a Dorian is relative to G major, then you can say, Oh, a Dorian is relative to G major. That also means it's relative to the C Lydian, where the D Mixolydian or the e Aeolian e minor scale. And we now know, because we've heard the word relative to, relative to G major. That is all, all the things that G-major is relative to. That is relative. So as part of a family of the same nodes, parallel is when we have the same shape, but in different keys. And when we do that, the notes will change. Some of the nodes will change. So we can take the exact same shape, but we will put it in a different key. And that way we can have the same shape in different key and then those will slightly change. So good example would be what if we did the g Mixolydian mode, okay, so the G Mixolydian. But then what if we play the a Mixolydian mode? Okay? So we have the exact same shape. But now the nodes have changed because we can't just take the same shape, sick in different keys and have the nodes be the same, the notes are going to change. And this is what you see a lot of in blues. Jazz music, is the parallel motion. So this can also happen with courts as well. So unlike relative modes where we're taking from a pool, from a family in parallel, we can be borrowing from all these different keys. And so in parallel you will a lot of times have scales and chords that would not normally go together. But we can make it work because we are going through parallel motion. When you're playing in parallel, you can almost think about it that every time there is a shift, a core change, that the key is also changing. And so that is parallel motion. Now a lot of times in music, you have something parallel happening. You can also have the relative stuff happening as well. So both can be coexisting. So for example, if I do a parallel shift, I go from g Mixolydian to a Mixolydian. For the time that I'm in the g Mixolydian, I will have all of their relative scales of the relative modes of the g Mixolydian until I change to the a Mixolydian. Then while I'm in the a Mixolydian, I'll have all of the relative modes of scales of a Mixolydian. Then if I went to maybe the D Mixolydian, I'll have all of the relative scales and modes of the D Mixolydian. So when we're in parallel, you kind of think about it as each time something changes, it's almost like a key change and all of the relative stuff will move along with it. This is why it's so important in music theory to study and understand relative theory, relative chords, relative scales, relative modes. Because when we start getting into more complex music like parallel and parallel motion, then every time there is a shift, we still can rely on the relative music theory because always be present, it will always be there. It just is moving around because of the parallel motion, the parallel changes. So anyway, that in a nutshell is the difference between relative and parallel scales. So I hope you learned a lot and I will see you in the next video. 65. Secondary Dominant Chords: Secondary dominance. We are sticking with our theme of talking about dominance. Stuff comes up all the time. I see people talking about it all the time. And it is a huge concept in music theory. So that's why we're going through it. Secondary dominance. Secondary dominance or a tool that are used all the time, all the time. In, usually in songwriting. Because it is a songwriting tool, it makes it gives you the ability to have a lot more than just your sudden course. If we look at our seventh skill courts, That's good. You can write a lot of songs with that. But if we start adding secondary dominance is that it makes, you just really spend it. How many courts you can pull from to write, drink chord progressions? How do they work? We know how the dominant works, right? So the dominant is our fifth chord is a seventh chord. If we were the key of C, C minor, E minor, F, then our fifth G would be G7. However, you play your G7 chord, a minor, B minor seven flat five. And back to C major chord is going to be the g seven. Now, you have seen this a bunch of times is a songwriting trick, is to go from the fifth chord directly to the one chord. If we're in the key of C, C is the one chord. The fifth chord is a G, okay? So a lot of times when you are writing a song, you'll go from the fifth chord, or G7, back to the one-quarter, which is a C. Okay, Let's try that again. Of course, then it resolves beautifully, your results perfectly. So that's a dominant to a tonic progression or a five to one progression. A secondary dominant is taking that exact same idea and applying it to any chord we want. It's really cool. Check this out. I'll show you an easy way to figure it out. Okay? So in our G to C idea, we went from g and g is here and the lowest string on the third fret. And then we just go same fred to the a string. That's our one. So it's like 511. Okay? That's the easy way to say the low one, the fifth. And then the a string node is r one. So for us to do a secondary dominant, all we have to do is before we play our chord that we're supposed to play, we're going to play our fifth and the same fret. And we're going to superimpose a fifth. It's a fifth. Neither does it fit, does not in our relative courts. That's why secondary, because it doesn't really exist. We're superimposing it. So for example, if I have a C chord and then I have D minor chord, okay, so my D minor chord is here. But before I hit my D minor chord, I want to do a secondary dominant. So here's my D minor root node. So in the same Fred, I go to the low string. I'm going to play an A7 chord. Now I'm going to play my D minor chord. That sounds cool. Okay? Now my next chord is supposed to be an E minor chord. But before I play, I'm going to go on the low string, play a B7, the dominant seventh. Now go down to the string and play the E minor. Oh, let's listen to that again. Okay, So we have C chord, A7 to the D minor, V7, E minor. Alright, so already you can hear it just sounds cool. These chords are working together. In the key of C. There is no Mesa, there is no B-cell, but they're secondary dominance. We put them in our writing. Interesting chord progressions. And so you can do this for any chord you want. Okay? So the next chord would be an F. So before I play my F, I'm now going to do a C7, where the key of C major, and I'm going to play a C7, the C dominant seven. That's like we're Devlin are supposed to do that, but we're adding a secondary dominance so we can, so C7 to an F chord. Okay, let's just go through one more time. So D minor, B7 to the E minor, EF Core. Now, that's taking us all the way up to our cheese, which is our original dominant. I call it the primary dominant because it's the, the first, the original dominant. Primary dominant tastes back home to the tonic. The one is C. So this is just a real cool thing that you can do to start expanding your group. Of course, they've got access to. These are what we would call passing chords or walking courts. But experiment with this. So when people talk about secondary dominance, you will have a little bit of an idea on what they are and how to use them. And they go quick, but they're very cool. So when you see a song has got tons of seventh chords all over the place, chances are, you're dealing with a lot of secondary dominance. Now you know what they are. So go play around with them. And I'll see you in the next video. 66. Hybrid Chords: What is a hybrid new chord? Well, most of the time when we're dealing with coordinates, we have either open chords or we have our imports. So it's gonna be one of the two. Now of course you've got things like You've got to jazz records and you have country cores, and you have walking cores, and you have all these different, of course I got power cords and records Mel chords. But still they're going to be either an open chord or a bar chord. A hybrid cord is when we're combining both the barcode and open chord. So it's gonna be half of an open chord and a half of a bar for it. You don't hear about them as often because you have to really understand your fretboard in order to create hybrid courts. And they tend to be a little bit more signature of a hybrid cord would be really descriptive of a signature style. Let me show you what I mean. So the easiest way deploying hybrid courts would be to start with some of the basic open course. Let's start with an a chord. And the reason we wanted to do that is because we want an open string that we can have, probably be in the base. So my a string. Now, all I'm going to do is I'm going to start bringing the fingering of your neck. Going to continue with my open a string. I just want to get the notes of the triad up the neck. So for example, I'm taking a little bit from my bar chord shapes, but I'm just still playing the D and the G and the B strings. So I've got a little, a hybrid cord right here. I keep on climbing up another hybrid cord here. Then I keep on coming up with a hybrid cord. And so what this will let me do is I can start moving up the neck long, droning on my open a string. And this is really cool thing because people are going to watch you doing this. They're going to see you do it and have no idea what's happening. They're not going to know what you're playing to just gonna know it sounds pretty cool. Another thing that we can do taking these exact same shapes is I can just get rid of the B string and the string has gone. Okay? So we've got a lot of options on how we can do that. Let's do a minor, so we're going to start off with a lighter color and do the exact same thing. Right? And then we're going to do a little fraction of our bar horn shape. I'm going to come up here and do a minor bar chord shape, miniature. You may know this one for a part of an arpeggio. We can do the same thing again. We're going to get rid of the D string. So let's just get rid of the beast, right? Very cool. Yeah, you accidentally hit the B string, not the underworld. In that particular case. We can do this anytime we've got an open string that we can drone on it, we probably want that open string to the root note for the court. Doesn't have to be could be a third, could be a fifth. But you're going to get a different flavor. It'll be a little bit, maybe harder to drown it if it's the third or fifth, but you can definitely use those notes as well. Just need to be able to climb up the core shape while you're drawing on that note. Let me give you an example. Let's go back to a, a major. So I've got my ease, my fifth, the acorn. So I've got my little incoherent. Open a. I'm just going to do the three high strings, okay? My drone node, in this case. Be my height with me. So I'm just going to go to too high. So I'm going to start climbing up on the B string and the G string. And every time I'm going to make whatever shape I need to make to do a piece of an, a chord and keep hitting mine. I Eastern. Okay, That makes sense. Okay, Good. So the third indicator is C-sharp. We don't have it open C-sharp, so we can't draw on that. But we wouldn't be able to, if we were in a different key. We, if we were in a different key, Let's say that we were a little bit in Q, C, okay, so if we're doing a C chord, so now our high E string is going to be the third. So let's give that a shot real quick. Okay. Same thing with the string and the G string. Remove them up using my bar chord shapes. Drawn by high E string. Third, QC. Okay, that makes sense. So that is a basic idea on how to do some drawing. Drawing using the hybrid courts. Now this is something that you can use all the time. This is something that you have an opportunity to play a hybrid cord. Do it, use it. So cool. I would say technically it's an open port because the rule is if you have at least one of them is a string and it's an open chord. If you have no constraints, then you're dealing with a bar chord. But the high record is really, it really is using both of these ideas. Were taking a little fraction, a little fractal piece of our bar chord. And we're adding in the droning open string so that we can really start playing around with it. One of the things I like to do in practice, this is an a minor to a D chord, okay? So this way, we are able to get both of the minor and the major ideas. And we still have the five, both major and minor triads or dyads to add in. Did you catch that? All right, Good enough. Gold practice. You are a hybrid course and I'll see you in the next video. 67. Modes Crash Course: Let's learn all about the modes. The modes are one of the things that guitar players talk about as the defining moment for when they learned how to improvise or they learned how to break up the fret board and they learned how to solo and to be creative on the guitar and a monumental way. It was that way for me to. The modes are a game-changing event. Once you understand that a meridian, explain them to you right now and the way that should hopefully tie this all together, sense for you, there are multiple ways of thinking about them. I'm going to go through some of the basic ways to think about the modes, what they are. First of all, what are they? We know what a scalars, hopefully a scale is, just a series of notes and we use it to create melodies. We may use it to solo or improvise. So the most common scale and the world is the major scale. The major scale is one of the oldest and most common in pop music in the last, I would say, 5600 years. All music has been rooted in the major scale. I'm going to play the major scale in the key of G. So let's take a look at the G major scale. The reason that I'm going to focus on the key of G for this entire lesson, is because g is a great key for the guitar. We play a lot of songs. In the key of G. The G chord is our best friends. This is especially true if we're playing the acoustic guitar. But even if you're playing the electric, the key of G, as you know, it's just a very agreeable key for the guitar. So we're going to do the G major scale. Okay, let's listen to it. Great. Okay? Now, the major skill really only has seven different notes. Okay? We've got so many strings on the guitar that I can play it twice in two different octaves. So let's just listen to the seven different nodes. So the G major scale, That's it. The next note is the octave, were the first note. Okay. So that's the same as the stirring up. The octave is the eighth note, so eight. So that's the eighth note is the same as the first node, 1234577. Different notes. Notice where it starts all over again. It starts all over again or there another octave. So that is the G major scale. Okay, So now the modes are based off of the major scale. There are seven different notes in the major scale with the loads are, is, if we said we are going to create a new shape or scale, each one is going to be based on one of the seven different notes from the major scale. So we're going to create a shape. And each one is going to start on one of the different seven notes from the major scale. We've already got the first one is the major scale. It's the major scale itself. Now they all have these Greek names because it was the Greeks that came up with the idea of the modes of how to break up the major scale. And the names all come from the different regions. The ancient regions of grace that developed or discovered all of these different mode possibilities. So the first mode is the Ionian mode, and it is the major scale. It is the exact same thing as the major scale, also called the Ionian mode or the first mode. So notice my fingering on the Ionian mode or the major scale. I'm starting with my middle finger. I'm starting on my root node. That's gonna be true for all seven of these modes, is that I'm going to start, the first node will be the root node. Right? Okay. Major scale or the Ionian mode. And I'm just doing therapy with Fred. I don't want to do any kind of shifting or movement of my hand. I'm just drawing with my middle finger. Everything else is getting its own fret. Now, this second notes of the major scale is, so I'm going to come up here to do the second mode. This is called the Dorian mode. Alright, let's take a look at this one. All seven of these modes are going to be different shapes. They're going to be different skill shapes. That's the most challenging thing about learning the modes, is you have to learn seven different scale shapes, seven different patterns actually. So they're going to be different patterns every time you learn a new mode shape. But once you have all seven of them, then you'll have it down. And once you understand the theory, a matter of shifting to the different keys because they're all related to each other. So these are the guitar modes. Some people will call these the relative modes. I like to think of them as relative modes because they're connected to each other. Each one of these seven modes in the correct relative sequence has the exact same notes. Even though they start with a different note from the major scale each time. And they are completely different patterns and shapes. They are the exact same notes, same seven notes every single time. Somebody won't call these the church modes also, we'll talk about that little bit later, but let's look at Blue Number two, the Dorian mode. This one is in the key of a, because I'm starting here on the fifth fret, and I'm going to read it with my index finger. Watch, my fingering position. Shifts back to the fourth fret, back up to the fifth fret. Okay, let's do that again. A Dorian and shift on the D string. Back up on the B string. Back on the G string. A string. Good, good. Great. As the a Dorian mode, where the second mode. Now let's look at the third mode. So the third node of our G-major scale and B note, okay? So we're going to come all the way up here to be right. And this the Phrygian mode. P H RY, GIN, fridge, pH or as a fridge, pH, RY. This the, the fridge. F sound fridge, Phrygian, Phrygian mode. This one starts rigid on the seventh fret and we're not going to have to shift anywhere on it. It's completely finger to a friend. Don't have to ship anywhere. Okay. So that is the b Phrygian mode or the third mode. Let's take a look at the fourth mode. What is the key gonna be? Whatever the fourth note of my G major scale is on 234. So the fourth mode is called the Lydian mode. The Lydian mode. So the sea Lydian mode. Okay? So this one has a pretty bizarre shape. And some guitar players will finger these most differently. I will occasionally finger them in slightly different variations of the shape. But as long as you have at least one shape under your belt, then you're gonna be good to go. Okay? So I'm trying to give you the most common shapes. I am starting here with my index finger on the eighth fret, the C note. So the fourth mode shift up to the a string. Back on the B string. Infrared. Stretching. I'm doing big stretch on the two highest trunks. Some people will approach the big stretch differently. Some people will, wants to hit the eight and then the ten with their ring finger and then the 12 with their pinky, which is completely fine. Some people like to do the eight and the ten with their middle finger and the 12th of their pinky. I tend to do, but either one is fine. Okay. As long as we get the notes that we're looking for. And let's go through it again. Shoved up on the a string, back on the B string. That is the fourth mode and the C Lydian mode. Let's do the fifth mode. What note is it going to start on, which he's going to be in? Here's the G major scale, 12345 items and the note, alright, during the D mix, so Lydian, we just did the C Lydian. Now we're doing the De, make. So Lydian, it's called the Mixolydian mode. It's the fifth mode. This one, I'm going to start, I'm going to read it with my middle finger, is very similar to the major scale or the Ionian mode. First mode. I'm going to start with my middle finger on the tenth fret. On the B string. That is the D Mixolydian. Let's do a backwards. Right? Okay, so the D Mixolydian fifth mode. Let's do the sixth mode. What note? He's going beyond? G-major scale. One isn't enough. Okay, so we're going to do the e Aeolian mode. A lot of people pronounce this eolian mode. It's A0, A0 alien mode. The Aeolian mode is the exact same as the minor scale as in the natural minor scale. The sixth mode is the natural minor scale. And a lot of classical music theory will focus on the major scale and the relative minor scale. The relative minor is lifesaving the Ionian mode, mode one, and the Aeolian mode, mode, or six, is the same exact thing. So, well, number one is the mode, number six is the E, E minor in this case. And so that is the relative major and minor scale relationship. We'll take a look at that a little bit later on. Let's look at the position for the number of six e, e Aeolian mode. Routing on the 12th fret with my index. Shift back on the G string. She's back up on the B string. Again to a friend. Index. Shift back on the G string. Shifts up on the B string, back on the G string, on the D string. Okay? That is the Aeolian mode, the minor scale, the number six mode here. And by the way, I know we said they were relative major and minor of the G major and the E minor. Instead of making it wait for it. The third fret here. If we add 12 to any of the lower frets, and it will show us where the octave is up here. So the third fret here, we add 12 to three to see where it is up here. 12 to three is 1515 is just right here. So if I started here on the 12th fret for the six mode, the Aeolian mode, and the major scale, the Ionian mode is, repeats itself again up here, 15. So there are three throwing three frets apart. So that's where the major, minor relationship is. That the major is three frets higher, the miners three fronts lower. We saw something similar to this with the pentatonic scale. So when we're looking at the pentatonic scales and how to figure it out if you're playing in the major and minor. The same idea here, the three friends apart. The full number six. Aeolian mode is on the index finger. And then the relative major or the Ionian mode, the number one mode. Because with the pinky. Let's do it one more time. Great, great. Okay, Let's do the seventh mode. What is the key of the seventh mode? Let's go back to the G major scale and find the seventh note, 34567. It's an F sharp. F sharp. F sharp. Okay. So we could come all the way up here to 14, But let me show you a reverse trick. I said if we're down here and we add 12 to it, we can find out where it is applied. If we're up high and we subtract 12, then we can find out where it is. Low. So here's F sharp on 1414 minus 12th to the second fret. So I've got an F sharp here. Second fret. If I add 12th to the 14th fret, if you're a PI, you subtract 12. If you're above the tool frog 12 to find out where it is down here. And if you're down here, you add 12, find out where it is a pipe. That makes sense. Okay, so let's do the number seven mode, the last one in the key of F sharp, this is called the Locrian mode. The Locrian mode. This one starts on the second fret with index finger. There's no shifting involved finger to a friend. Grace. Do it again. You notice that the number seven mode, the Locrian mode and F-sharp, occupies almost the exact same shape as the number one mode, the Ionian mode and the key of G. We play the G Ionian mode, the first mode. Again, watch carefully. Start here on the third fret. Now I'm going to play the number seven mode, the Locrian mode and key of F sharp, string on the second fret. Watch my fingers. They are identical shapes. The only difference between them is that the Locrian mode in F-sharp starts on the second fret, with the index in the G Ionian mode. Major scale starts on the third fret with the middle finger. Only difference in the shape. But this is leading us to a really wonderful place now with the modes. So we've got a, we've got all of the sudden mode shapes. So once we start learning these shapes and getting comfortable with them, we can start applying them and using them. That's the whole point. That's the whole point of this. So how do we use them? Well, the first thing that I want to point out is that they were all a certain distance away from each other. And that's because we started at each one with the next node in the major scale. So if we play, if we start with a major scale in a different key, then all these moves will also be shifted to a slightly different key. We can play these modes and any key we want, they're just shapes. But they will have the exact same notes as each other. If we keep them a certain distance apart from each other, like we just did. So for example, when we did the G Ionian mode, because g was our first node. And then we did a Dorian mode because a was our second node. And then we did the b Phrygian mode because the 123 V was the third note and the C was the fourth. Knows who to C Lydian 12345. D was our fifth note, so we did the D Mixolydian and so on. When we get the mode shapes all positioned like that, they have the exact same notes. Because I am only drawing from the major scale. So even though the patterns are completely different, and we're starting on a different node every time. If we look at all the nodes in all of these seven shapes, they're going to all have the exact same notes, no different nodes and all the exact same dose. Which means that I can use them all together in the same song, in the same key. Different shapes, but I can jump from one to the next. Okay? Now, this is starting to lead us to some interesting discussion. Let's take a look at the number seven mode and the number one mode. Locrian and F-sharp. And the Ionian energy. We saw that it has the same shape. It's literally the exact same position on the guitar. So what's the difference then between the F-sharp Locrian and the g Ionian. If it occupies the same shape, there is a world of difference. And the modes are all capable of having their own sound, even though they have different root nodes and they're in different keys, they can all have their own unique sound. So even though they've got the same notes, since they have their own root node. And that is what you really want to focus on. We just talked about this before, about the idea of using the root node position. Think of it as punctuation. So with all of the modes, we've got the renal position. Here's the G. And then I've got a g also in the same fret on the E string. Another possible root node. And then I have on the D string to Fred's up on the D string, is like a middle root note. For my, geez, I've got my g. Then two friends up on the D string. Same fret. On the highest E string. Those are all my juice. So if I wanted to play something and make it sound like it was in G Major, G Ionian. I want to play some notes from the shape. I want to try to end the phrase or the melody with a root note. Genome. Genome. Genome. She knows. She knows. She knows genome. Okay, good. Now, I want to do this for all of my loads. So for example, if I was going to do the a Dorian, I need to do the same thing. When I go to the Dory, I'm here in the fifth fret, but my root node, my Octave shapes, will be in the exact same place. So just shifted up two frets. So the threads up to Fred's on the D string. Of course the same fret on the other Eastern. So these are my a's. So even though I'm in a completely different pattern now, a Dorian mode, number two mode. The way that I make it sound like it's in a Dorian mode is I play some notes and I finished a phrase, a musical phrase with one of my rudeness. Give it a little pause. Let it rest for a beat, and then play another bunch of notes. Then finish it with one of my, a rudeness and pause for a beat or two. Okay, let's listen. Hey, hey, hey, hey, hey. Okay, good. Let's do that in the Phrygian mode, the third mode, okay, so refrigerated number three on the front. Good. My rudeness will be in the same place. They will always be in the same place. All seven loads. Okay, So here we go. The two E strings on the seventh fret and then the distributor to Fred's up. Those are my b root notes. So I placed the notes and I want to punctuate the melody with one of my B, rudeness. This is how I'm going to make it sound like it's in the b Phrygian mode. Okay, good. So this is what I do for all seven nodes and I can get a unique mode sound from all of the seven modes. By doing this. This is one of the ways to access the modes and to use the modes. So you can think of the modes as not being shapes so much. There a way for us as guitar players to understand our instrument. And this is what is very confusing to guitar players, and this is what a lot of controllers argue about. Also, I've seen. I've seen this a lot. Guitar players will argue about this. Really smart guitar players that have their way of understanding how the most work. And maybe some guitar players have a hard time communicating exactly what the modes are and how they're used. Interpreters argued about this a lot, but there's no need to argue about them. It's just our instrument is very difficult to understand and to see visually. It's not like a lot of instruments is not like a piano where everything is laid out or it's not like a horn instrument where you press on this key and it makes this note. The guitar has all of these bizarre things happening with it. So without getting into that too much, It's a difficult instrument to understand how to play in the Modes, help us to understand how to play the guitar. So we've got seven different sounds that we can create, and they're all coming from the exact same scale. Now since all of these shapes have the exact same nodes, is really important that we focus on the root node of whatever sound we're trying to make. Because we talked before about the number seven mode, the little green and the number one load, the Ionian, have the exact same position. Examine how to get to different sounds from the exact same position. Okay, so the G major, we already did that. Feel good. Now, let's see if we can get the F-sharp Locrian to come out. I'm going to focus on mine and my 2 second fret, second fret, and then two friends up on the D string. So this is my F sharps. All I'm gonna do is access the same shape, but I'm going to route on the edge sharpness, sharp, sharp, sharp, sharp. Right away. We're getting completely different sounds, even though we're using the same shape as the G major. We're focusing on that sharp node, starts feeling completely different. Okay? Now, I can take this idea and expanded to seven different possible routes over one shape. So if I can take this one shape and I can make it sound like the G major scale, G Ionian work and make it sound like the F sharp Locrian. Then why couldn't I make it sounds like a Dorian by just focusing on a node. Well, I can do exactly that. It's focused on the AV node, B node. Can I make his own be Phrygian? Absolutely. On the B note about the C, kind of focus on a C note to make it sound like the C Lydian? Yes. Focused on a C note about the deed to make it sound like the D Mixolydian? Yes. 2345. Okay, so how about the E Nodes? Make it sound like it's an E minor or The Aeolian mode? Yeah, 123456. How about the F-sharp Locrian? Well, we already did it. Let's do one more time. So I did all seven mode sounds just using one position, the major scale position, or the Ionian position, which is the same as the Locrian position. That's true. But now, if I wanted to try to do all of this. Using the second position, Dorian position, could I do that? Absolutely. Make all of the mode sounds by routing on the note that I want the Dorian shape. Does that make sense? Okay, So let me show you real quick. Okay, so the G, I want to find my genome, genome that Adrian show. Here's my genome. Makes it sound like the G major, Las Vegas, Alec, a Dorian. Okay, good. Now let's make it sound like the b Phrygian. So let's make it sound like the C Lydian. Okay, so That's pretty cool. Let's try the D, B, C, D. Okay, so let's do the E. Okay? So let me see. Okay, good. And let's do the F sharp. D sharp. Okay? I'm not going to do all of them because I think you get the idea. I can also do the same thing using the b Phrygian shapes starting on the seventh fret, do the C Lydian shapes during the eighth fret of the D Mixolydian shapes during on the 10th fret. I can do this across all modes. Every time I've got a position I can route on any note. I want to. Now, let's finish with the idea of when to route and what approach for using all of these different mode shapes. Sometimes you're going to be following the courts. Sometimes when you follow the chords, you will say, well, this cord comes from the Dorian mode. So I know that when I'm soloing over this a minor chord, it's going to be a Dorian mode. And then when we change to D chord, hypothetically speaking, it's the D Mixolydian mode. So you may be following the chords when you're soloing over the moves. A lot of times though you're going to be hanging in one particular route, one particular key. So for example, if we were in any of the seven possible mode keys, but let's just call it G major scale. G major scale, G Ionian. Since all of the seven patterns have the exact same notes. Well, we can do is we can travel through the different shapes. And every time we're kind of looking for the root node that we want. In this case G, because we said we're going to do g. We're playing a song that is in the key of G major. We're soloing using the G major scale. So we'll start with number one. I'm going to split into the second mode shape. But I'm looking for my G even though still a Dorian shape, which it is, I'm not looking for the a, I believe for the G. And the a is here. I don't want the g because we're we're trying to stay in G Ionian. Okay. I'm just trying to stay with that. So Grace my genome. I'm going to go right into my b Phrygian and look for my CI note. C Lydian, I'm going from a genome. Go into my D Mixolydian looking for my genome. I'm going into my e Aeolian mode leaf from a genome. And then as I'm coming up into my the low grain shape, it kind of takes me around the world because the Locrian shaved the seventh shape is the same as the first shape. So it's taking me around the world. What's 15 minus 123, right? So that is the same as where we started. Okay? So let's do that again a little bit faster. Okay, so if I started here on the third fret, I'm just going to collide with those friends, you know what, every time. Okay. All right. You get the idea. So I can do this with all seven of my possible node keys. I could say we're playing a song in a Dorian mode. So really our new song now it's going to be really focusing on that, a minor chord. But it's a Dory, specifically the door. So I want to do the same thing. He only had shaped like a Dorian shape might be Phrygian shape. I'm going to go from one to the next. And every time I am going to be looking for my notes. Does that make sense? So really what I'm doing is I'm just kinda looking for my note and then I've got the pattern of the modes access underneath it behind it. So I'll know to hit the notes, the options that I've got without hitting any wrong notes. Okay. So I'm not guessing around. I can see the options, I can see the scale patterns with the mode behind the note that I want. So in this case it was a okay. So I think that should be a pretty good crash course on the modes for you. A lot of different ways to think about them. And when people argue about the modes, what they're usually, are you about is the difference between a pattern and a mode of being in his true root form. What that means is that I was going up playing, say, I was in the G Ionian shape, the first position, but as playing a Dorian. So when I do that, I'm really playing a Dorian. Even though I'm using the g Ionian pattern, I'm really playing a Dorian. So that's what, that's what people have a difficult time understanding is that it's really a Dorian if it's put together with that as the key and that is the root, then that'll be what the mode is. Even though you as guitar player may be thinking about it as well. And so over the G Ionian shaped the G major scale. That's true. But it's really a Dorians while you're playing, because the way you're playing it, does that make sense? So this is the a Dorian and this is the a door. And this is a Dorian. Even though I'm going through the different shapes. Even though I'm going through the different shapes, It's always a Dorian because of the way that I'm playing it. And I keep going for that, a note and finishing resolving on the anode. So that really is what the modes are all about. Okay, hope this was helpful. I hope you learned a lot. I hope I answered more of your questions than wasn't too confusing for you. So that's my goal. Alright, so start working on your modes and I'll see you in the next video. 68. CAGED Chords - major: We are talking about major caged chords. So the deal with caged is each letter of caged, C, a, G, E, D. Those are your basic open chord shapes. So think of the open C chord, the open a cord, the open G chord, the open E chord, the open D chord, that spells caged. Now, what's unique about those five chords is that those are the typical shapes for making all kinds of Mark warns. The most typical bar chords are based on these five shapes. So we are looking at the tablature, we've got the six lines. The top line is the high pitch string, the bottom line is the low pitch E string. And so we can see the C chord. And then to the right of it, if we moved up everything two frets, we can see it creates a D chord. And that's why the d is in parentheses. I mentioned in the text that when you have open strings in an open court, then you want to make sure you have to move those open strings up also. So for example, we take the C chord and if you move it up two frets, then you have to also move the open strings up two frets, so two from zeros, the second front. That's why both of those open strings from the C chord are now on the second fret. To make what's going to be our D chord. What is a good idea for most caged chords is to try to make the basic open chord without using your index finger at all. For example, make a regular C Corp. You're open C chord without using your index finger. Now you're able to move up to whatever fret you want it to be at. The root node, by the way, is going to be that lowest note on the a string. If you're playing a C chord without your index, it'll be your pinky note that a string nodes is going to be your root node. That's why in the example we put it on five and it's a D chord because that's a D note. The fifth fret on the a string. If we had it on the sixth fret of the a string, it would be a D-sharp or in E-flat chord. If we went up to the seventh Friday, it would be an E chord, and so on. We can put this anywhere we want that. All you have to do is make sure you move the shape up and know where your root node is. The a chord is moved up two frets. And it's a beak cord. So if you imagine playing the a chord, instead of using all three fingers to finger, you're a chord. Making the a chord by just laying your ring finger across all of the twos. Just bar all the 2s, 222 with your ring finger. Then when you slide it up two frets, your index is going to go on the second fret because that's 0 to two. That's how we do it. Now you have a B bar chord. If you want to. Another fret to the third fret of the low E string, you'd be on a C chord. And if you went to the fifth fret, we'd be on a D chord. And we would say it's a D bar chord using the a shape from caged. Or previously it would be if we were playing D chord using the C shape from caged. Moving on the G chord, G chord I broken into two pieces because moving all those open strings up is too hard. We don't have enough hand to do that. So I do the bottom four strings of the G chord. Just like we said, we're going to try to make a G chord with no, no index finger at all. So I'm going to start with the pinky pinky ring open, open for the 32 open, open. And then when I move it up two frets, I'm just going to bar the 2s with my index finger. That's why we're not using our index finger to make the open chord is because we're trying to save it up for when we slide the chord up to get whatever open strings we needed. So the root note here is the low E string, and so that's the fifth fret. If we put it on the fourth fret instead, and it would be a G-sharp chord or in a flat. If we put a fifth fret, it's the a chord. If we did sixth fret, it would be an a sharp corner or a B-flat chord, and so on. We can do all 12. The bottom row. This is the top part of the G chord. So if you imagine hitting that, are fingering that three with your pinky, then we can slide it up and hit all of those opens barring with our index finger. Okay. So if we moved the high three to the fifth fret, this shape, the high string, the high E string is your root node. So we went from the genome to an, a note for the fifth fret. Then we're just going to bar two to two with our index because that's where all the options were. And now it's an a chord. If we go 5, fifth fret with her pinky, to 22 to the a chord. Go sixth fret with her pinky, 333, there'll be an a sharp or B flat board if we want 7444. And that would be a B chord. Makes sense. These are actually shapes that the broken G I haven't used all the time, like guitar players will use the broken G shapes a lot. You just have to think of it as being like a part of the G chord of partial cord partial the E chord. The E chord and the a chord from caged are the two common bar chord shapes that you originally learned. So if we do the E chord with no index finger and we slide it up to the second fret. Now we're on F-sharp major. If we slide it all up to the third fret than we are on the G major chord. Fourth fret is a G-sharp or in a flat. And of course we're leaving that index finger open from the open chord so that when we slide it up, our index finger can bar or fret any of the open strings that we need. Lastly, we have the D chord, and the D chord is a little bit of a hard one to finger, but same as before. Tried to finger the D chord with out your index finger. And then when we slide it up, the open D string was our root node. So the D string, second fret, that's an E chord. If we go the third fret on the D string, it's an F chord, and so on. So caged is a huge eye-opener for you, and it can really make playing the guitar and understanding shapes a whole lot easier and a whole lot of fun. Work on getting comfortable with all of these. But you really don't need to memorize any of these because if you understand the concept of how caged works, you already know all of these open chords. You already know a C chord, a chord, G chord, and E chord, and a D chord. Hopefully, you at least can count your way to the notes that you need on each string. You should have learned the chromatic scale so you can count up, and for example, what's the second fret on the D string? There's the third fret on the D string. Was the first fret on an E string. What's the third fret on an E string? For example, just counting up on each string and finding the node if you know that and you can find your root nodes than caged is very easy. And you have just seriously expanded your bar chord knowledge base. So I think that's about it. This is caged chords, major, and major, by the way, is all that most people really consider caged to be major chords. But of course, I wouldn't be making a big deal about calling it major if there wasn't something else going on here. So be sure to watch the caged chords minor video. And we'll just take a quick look at how that works. Alright, go work on your cage chords. I'll see you in the next lesson. 69. CAGED Chords - minor: We are talking about caged chords, the minor caged cords. People don't normally talk about minor caged because they have a hard time putting all of the caged chords into a minor shape and open position. We're going to fix that right now. So the two chords that are the problem, or the C minor chord and the G minor chord. There is already a popular open D minor in open E minor and an open a minor. So those chords are basic chords. You learned them early on when you were learning your basic open courts. But guitar players that have been playing even for 20 years have oftentimes never tried to play an open C minor chord. Don't even know it's possible, or an open G minor chord. Most guitar players don't even really know it's possible. But it is, it's just a little tricky because you have to be a little careful with your picking. We can see right off the bat, the open C minor chord starting on the a string is 3101. By the way, this is tablature. So six lines representing the six strings. The top line is the high pitch E string. The bottom line is the low pitch E string. So open C minor chord. What's tricky about this one is that we want to make sure we only strum the middle four strings. Because what makes C minor minor is that as an E-flat note as opposed to the E note that the C major chord has. On the outside strings. Obviously they're both 0s. We don't want to hit those. So that's an easy way to screw up or to get a lot of weird sounding dissonance is to accidentally hit the open E strings. Don't do it if you can avoid doing that, then by all means, open C minor. You can impress all of your other guitar friends. When we are playing any kind of caged, be it major or minor, we want to try to start off by playing our open version of the chord. So in this case, the open C minor, you want to start off by trying to play it without using your index finger at all. So that sounds kind of weird, but try to make the chord without using your index finger at all. The reason for this is that when we start sliding it up the fretboard, we're going to use our index finger to cover up the open strings that have also moved up. In this case, it's the G string. We take our open C minor chord and we slide it up two frets. So from the third fret on the a string to the fifth fret on the a string, that's a denote, it makes a D minor chord. Your index finger will now be on the G string. Open G string has moved up to the second fret. This is a D minor chord from the caged shape, from the C minor of caged. Okay, So if we took the C minor shape and we moved it up to the sixth fret. It'd be a D-sharp minor or an E-flat minor chord. If we moved it up to the seventh fret, a string note with our pinky is on the seventh fret. That would be an E minor shape. Alright, let's move on to the a minor chord. A minor tried to make this one without the index, slide the whole thing up two frets. And the open a string will now be on the second fret for your index finger, that's a B minor chord. Move the index up to the third fret. The whole shape goes up to one fret as a C minor chord, move it up to the fourth fret. It is a C-sharp minor chord. And you would say C-sharp minor chord using the a minor shape from caged. That makes sense. You can say it's using the a minor shape from caged. Now moving on the G minor. So very, very much the same as how we did this for the major caged, I would break the G minor into two pieces. So the G minor, G minor open is definitely playable. All we have to do is we're going to do the double 33 and the high strings. So the B string is also going to get a 333 and the high strings. And then you're just going to stretch your index down to the one would normally be on the second fret on the a string. We're going to slide it down to the first fret on the a string. And that's a very solid G minor chord. Sliding it up, however, is a problem because we are using our index finger. We can't. We've got nothing left to use on the open strings. So we're gonna do the bottom four strings, 3100. We're going to make that shape without using our index finger. It'll be pinkie, middle. Pinkie, middle nothing, nothing. Or put an open or a slide that up two frets. Now it's five with your pinky, three with your middle. And the 22 is going to be barred with your index finger. Okay? So that would be an, a minor, a minor chord. So you can say that this is an a minor. Using the G minor of caged. We can also use the high part of the G minor chord. And so if we just start out with our pinky, barring those two high threes, 33 with our pinky and the high strings. We slide that up, say one fret. Now we're on for four. And we're going to bar 11 on the D string and G string. That's a G-sharp minor. Using our index finger to bar that opens. It was sprayed up two frets, so we'll go 55 with the pinky and the high strings, T12 with the index on the middle strings. That's an a minor. Okay, Another way to do on a monitor. Now actually, but we're using the high part of the G minor shape here. These are actually a little bit more of like a five chord, as in, there is no third here, but that is still going to be really solid way to get a caged minor chord, okay? Moving on the E minor, by the way, the E minor and the a minor, or the two minor chords that you originally learned. If you learned just some basic bar chords, you learned the E minor shape and the a minor shape. Make an E minor open chord with no index. Just use your pinky and your ring finger. On the two to everything else is open. Slide that up two frets and your index is going to bar everything on the second fret. That's an F sharp minor. If you did it all the first Fred and it would be 133111. There'll be an F minor chord. If you did it on the third fret, there'll be 355333. It'd be a G minor chord. You would say a playing a G minor chord using the E minor of caged. Playing a G minor chord using the E minor shape of caged. It's a mouthful, isn't it? Moving on the D minor chord? Okay. Make this one without your index. If we slide it up two frets, the D string, the open D string is our root note. So r goes on the second fret. It's an E minor chord, alright, slide up to the third Friday. It's an F minor chord. The third Fred, it'd be 3564. And you would say, I'm playing an F minor chord using the D minor of caged. So somebody would say, Oh, D-minor of caged. Yeah. I know what that is. And so you do that and you said you were playing the F minor chord using that shape. That is how you would communicate it. So this is a very cool way to take your cage playing to the next level. And the C minor and the G minor are really game changers because a lot of people don't spend any time on caged minor. But I don't know why they exist. These chords are here. We just played them. So there are real. And also the C minor gave us one new shape that we can use. And the G minor has given us to new shapes. One's actually a minor and the other one is like a new way to do a five chord or a power chord like a pie. By the way, one last point is that when you're dealing with caged chords, it doesn't matter if it's major or minor, but these are all just fundamental starting places. And so all of these chords can be tweaked by adding an extension. So we can first start out by making them a seventh, but we'll use all of these same shapes. It's just that we can turn them into a seventh chord with the typical seventh chords would be like your dominant seventh chord. Just plain old seventh or major seventh chord or a minor seventh chord. So all we're gonna do is just a little tweak on that seventh note, whatever it's supposed to be. But we would use all of these same shapes for caged minor and caged major, okay? You just tweak it out to go to the seventh chord. Beyond that, you can also start adding in extensions like 9s, 11s, and 13s. So there's all kinds of stuff that we can add into these shapes. But this will get you all over the fretboard playing chords and all kinds of positions. Last point I think I want to make is that if you ever started playing around with any kind of sweeping or arpeggios, you will also start to notice some of these shapes come out. I'm looking at the C minor shape, the very first one, and also the D minor shape. We moved it up to D minor. This is a very basic way to kinda move a sweep arpeggio. So this is going to open the door for a lot of other techniques and ways to start going through arpeggios and chord tones. It's going to make life a lot easier for you down the road. You'll already have a lot of these shapes under your belt. Okay. I think that we've talked enough that you get it. And if you understand the concept here, then you don't need to memorize these. Just learn your new C minor open chord. Learn your new G minor open chord. And then just keep on saying to yourself, caged minor, caged minor, caged minor as you're falling asleep tonight. And it'll also again. Okay, I will see you in the next lesson. 70. Pentatonic Modes - The 5 Shapes: We're looking at the pentatonic modes, five shapes of the pentatonic scale. This lesson is also going to serve as your pentatonic scale crash course. There's a lot more going on than many people realize. Okay, So right away, we are looking at tablature. The six lines represent the six strings on your guitar. The top line is your high-pitched little E string. The bottom line is your low pitch, that E string. The numbers on each line represent the frets. Jumping right in. Penta means five. Tonic means tone or note. Penta is five, tonic is note, five nodes. Okay? So at pentatonic scale is a five note scale. So that's as opposed to most other scales that we are ever going to play. Most scales will have seven different nodes. Classical scales like the major scale, the minor scale. All of the traditional modes like the Dorian mode, the Mixolydian mode. Even scales like the harmonic minor, melodic minor. These are all seven-note scales. That's why pentatonic. It means it's a five note scale, which is two less than seven. It's smaller scale, it's got less notes. When we look at the traditional modes of based on the major scale, we're going to have seven different modes because there are seven notes. We just said that there are seven notes in the major scale. We can break that into seven different shapes. There are five different notes in the pentatonic scale. We can break that into five shapes. Each note gets its own key. So that means that we can break it into five shapes. And that's what modes are. Modes are taking note from the scale. And we're going to use that as the new root node or key each time. And so we're just going to play the exact same notes, but each time we're going to regard the new note as the key. And that is the mode for as many notes as you have in a scale. You're going to have that many modes. If you had a six note scale, you can have six modes from there. If you had a 9-node scale, you could have, theoretically, you could have nine modes from there. Okay? So the pentatonic scale for people that are very beginner at this, what you're probably thinking, the pentatonic scale is, what is position five here? What we're calling the pentatonic minor scale. Okay, So the bottom position five. So the pentatonic minor scales, what most people think of when they think of the pentatonic scale, just to actually the minor pentatonic. But that's usually the first one people learn. It's actually the first one I learned. So it's a great skill. I still use it all the time. But I'm tonic skills are awesome. But we want to understand how they work so we can really use them even better. So pentatonic minor scale, then sometimes people will realize, did you know there's also a pentatonic major scale right? Now that's position one. Position one is the pentatonic major scale. Position five is the pentatonic minor scale. So we are breaking this into five different shapes because there's five different notes in the pentatonic scale. And let's regard it as the pentatonic major. That makes the most sense. Let's just start with position one. So if we look at position one, the fifth fret on the low E string, that's an, a note. That's why position one is in the key event, because it's an a note. The seventh fret of position one is a B note. That's why second position is in the key of B. Alright? The fourth fret of position one, that is a C sharp note. That's why third position is in the key of C Sharp. Position one. The seventh fret, a string, that is an emote. That's why fourth position is in the key of E. Back to position one. The fourth fret on the D string, that's an F sharp note. That's why fifth position is the key of F-sharp. And back to position one, the seventh fret on the D string. That's an, a note. That's back to position one again. We went around the world. And so there's only five of these that are possible. Each time what we're doing is we're taking those five nodes and we're just keeping them on the low E string. We're moving up the fretboard. Lot of times people will learn the pentatonic shapes, the five shapes, because you want to solo all over the fretboard. That is the main reason that most people want to learn these, and that is a good idea. Part of the reason for this video is because I wanted to make a really important point, which is when you learn the modes, the seven modes based on the major scale, like the classical modes. Each of those skills is able to stand on its own as an independent scale because it contains all of the nodes of the regular triad as n. It's got a either major or minor third and a Scot, usually a perfect fifth. And so 135135, we can make off of all of the seven modes. The seventh mode has a flat five, but that's okay. We still have enough to get us through to a triad. So the classical modes based on the actual major scale, all of those modes can be turned into a triad. From the arpeggio notes. That means that those skills can all stand on their own. If you took the Dorian mode or the Phrygian mode, or even the Locrian mode, the Lydian mode. These can all stand on their own. You can have an entire song just staying in that one key. Okay? The same is not true for the pentatonic modes. That's why I want you to be aware of this. Position one and position five of the pentatonic modes can stand on their own. They've got the traditional triad, they've got the normal 135. So you can play a pentatonic major scale. The whole song can stay in it and it makes sense. You can play fifth position pentatonic minor scale. A lot of songs can stay just in that and it sounds awesome. No problem. Traditional minor triad sounds great. Second, third, fourth position of pentatonic modes don't have that. We have issues. We can't get the full triad out of any of them. If what I mean is if we're rooted on in the second position, for example, second position is in the key of B because it starts on the seventh fret. Seventh fret, low E string, that's a B. Alright? So I see the seven and the nine, so that's one. And then we have a second major second interval. And then we go seventh on the, a string. That's directly to a perfect fourth. So we skip the third entirely. We do have a perfect fifth on the nine, but we have no third. So that's a problem. Let's look at third position. We've got the nine on the low E string, that's C-sharp, that's our key for third position. We go to the 12th. That is a minor third, so very good. Okay, Then the nine on the a string is a perfect fourth, and then the 12 on the a string, that is a sharp five. So that's not going to give us a good normal triad. So that's just not going to sound stable. Let's go to position four. Give the 12th fret low E string, 12th fret, QV. Good. Now the 14, that's a major second interval. Again. 12th. Fret, a string that is a perfect four. So right away, we, again, we don't have a third at all. No third. The 14 on the a string is a perfect fifth. So second, fourth positions are the same in that sense, we have no third at all, but we do have a perfect fifth. So we're getting close on these second, third, fourth positions, but just close but no cigar. We're not getting that triad. So we have the triad in position one, we haven't in position five. Now, on the other hand, the first fifth position, you can have a song rooted in first position. And we can use these modes to run up and down the fretboard as long as we keep thinking about it. Like, say we're in first position, we're in pentatonic major scale QA, okay? So if I go to second position and I'm playing in second position, that's fine. As long as I'm playing it like I'm in the key of a major, I can jump the third position, C-sharp. That's fine. As long as I play it like I'm in pentatonic major scale key of a, fourth position, key of G. Okay, it's fine, but I need to play it like a mid pentatonic major scale key of a first position, always like its first position. And if I go to fifth position, even though it stands on its own, if I start routing it on the second fret, it's going to shift the key away from the SA node, is going to bring me to the F sharp. So I don't, I don't wanna do that if I'm trying to stay in the key of a, so I can use all five positions, but I have to play them as thinking like I'm staying in the key of a the whole time. I can't really root in the key of B or C Sharp or eat. Because like we just said, no triads, we cannot do that, but we can do F-sharp. We can route an F-sharp minor. And we can run through all of these shapes and we can read it in the key of a and run through all the shapes. Now, also, these are all relative to each other. And what that means is that you can put these in any key. So if you're thinking, well, that's great, but what if I have a pentatonic major scale in the key of G, then how does this work? You just shift everything down two frets. So it'll be first position, key of G third fret. Second position is going to be a fifth fret. The third position is going to be, be the seventh fret. The fourth position is going to be key of D, that 10th fret, and the fifth position is going to be the key of E. I would probably do it on the 12th fret. You can either do an open or I would probably do it on the 12th fret just to keep the shape looking the same. So you move these around to any key that you want, all 12 keys just shifted around. Everything has to shift. If the first scale shifts, say five frets up, then every scale has to go by friends up. And that's how you do the whole fretboard. That's how we keep this relative. That makes sense. Okay? So I think that about covers it. There is much more to talk about with pentatonic modes. We'll do that in another lesson. I just wanted to show you how to unlock the fretboard using these five shapes. And also, you should be either focusing on the whole fretboard. Is soloing. Thinking about you're either in position one, pentatonic major or you're in position five, pentatonic minor. And the other shapes are just supporting shapes. They're just ways for us to run through the fret board, but really we're either in position one or position five. Root notes. Make sense. Okay, good job. I hope this made sense and I'll see you in the next lesson. 71. Sus Chords: We are talking about sus chords. Ssas stands for suspended. So when you see a sus chord, you will see usually a sus4. Sometimes you'll see a sus too. But the most common sus chord, I would say as a sus4. And it is a suspended chord, which what that means is that we are creating suspense in the tension of the chord. So a sus chord has no third. We take the third out of the triad. So if you think of the triad of the cord, the cord anatomy is we have a one or root, root node. Then we have a third. And it's either going to be a major third or a minor third. And then we'll have the fifth. And then there'll be an octave. So that is your basic triad. Root, third, fifth, and then usually an octave. So the third is either major or minor. That's how we know whether or not we have a major or minor chord is if it's a major third, major third, perfect fifth, and octave, then you have a major chord. If it's root, minor third, perfect fifth, and octave, then you have a minor chord. Sus chords. Take the third out. Because remember the third is the only node that tells us if something is major or minor. Doesn't matter about anything else. It doesn't matter if some other note has major or minor attached to it. So if you have a like a minor second or a minor six, it doesn't matter. So the third is the only thing that determines whether a chord or scale or an arpeggio is major or minor. The third dose, it's the only one that matters. Sus chord takes out the third note and throws it in the trash. It's gone. And we're replacing it now with either a second, which will be a major second interval, or a perfect fourth interval. Basically just the regular second or the fourth from the major scale. And if we replaced the third with the fourth than we were dealing with a sus4. And if we replace it with the two, then we're dealing with a cis two. So what that means is that the sus chords are, they're not major, they're not minor. They're neither. We don t know. It needs to be resolved. And that's what the suspended. There's a feeling of needing to be resolved. And what we're looking at is tablature, the six lines representing the six strings on your guitar. The top line is the high pitch, little E string. The bottom line is the low pitch that E string, the base E string, the numbers on each line or string or the frets. So what I did was I gave four positions. These are all bar Shapes, bar chords. Because a lot of times when you encounter your first sus chord, sus4, maybe it's a DSS for, I think that was the first one I ever learned was maybe a DSS for. Then you'll come across like an a sus4 or in a stew or DCIS to Jesus. For these, you'll, you'll look them up and you'll probably learn an open position. So in the early years, guitar players myself included, learned open positions of the sus chords, which is great if they're very convenient to know an open position for how to play these, but that you have to keep looking him up every time. So what if I need you to play an E flat? So 4s2, you know, by the way, I think there would be an open position for that cord. So you would have to play it as a bar chord. But even if you didn't, it's just nice to have these basic shapes that we can just put them over any key that we need them in. The first shape is rooted on the a string. The lowest note for all of these, by the way, is the root node. So the first chord, the CSS for starting on the a string is 3556. The way that I would finger this is third front index. And then the 55, you're actually going to bar with your ring finger than to middle strings. The ring finger is going to bar the 55, both of the 5s. The pinky is going to pick up the sixth fret on the B string. That is the seesaw's for the fourth, by the way, is the high note. So that's six fret on the B string. That's the fourth note or the fourth interval, I should say. Because normally if it was 3555, that would be our C chord. And that high note, that high fifth fret would be our regular third. So anyway, that's six. Fred is the fourth or the sus4. Next, we have G sus4. This shape is going to be routed on the low pitch E string. The third fret is a root notes. Third fret, index finger, and then the ring finger will pick up the next three strings, 555, all with the ring finger. That may seem like a lot, but trust me, it's when you need to get to this chord in a hurry. You want to be able to pick this up with only two fingers, index and ring. So index and ring picks up 555. Also the same as before. The high note that on the G string the fifth fret is the fourth interval. So the sus4 is that high note. On the fifth fret of the G string. Next chord, CSS2, 3553. So this one, we're going to play it like a power cord, okay? So rooted on the a string. So the third fret, the C note on the a string, index finger than 55. You'll do the phi phi with your ring and pinky. And we're gonna go ahead and bar the third fret with her index finger. And we're going to pick up the, you're going to pick up the third fret on the B string, also with our index. So index is borrowing the third fret. And we're getting the a string ends the B string just with her index finger apart. Five with ring and pinky. The high note is the SAS two or the second interval. So the three on the B string is the second interval, the second note of the C-scale. The okay, in the next, the last shape is the Jesus to. This one is rooted on the D string. The fifth fret, D string. So we're going to go index finger, fifth fret, D string, ring on the seventh fret, G string, pinky on the eighth fret, B string. And we're borrowing the index finger all the way down. So the index is going to pick up that high fifth fret on the high E string, high pitch E string as well. So index picks up the D string and the high E string, and the ring and pinky pick up the other two strings. I'll same as, same as before. It's always the same. The high note, the fifth fret is the sub2. So that's where the sauce too is. It's the a note which if we're in the key of G, G is the one that the anode is the second note. So that makes sense. Want to mention one more points, I believe, on the sus chords. Um, so we'll, we'll kind of cover off on hopefully every topic at some point. But a lot of people will confuse sus chords with ad chords. So it's not a big deal if you made that mistake or if you know someone that made that mistake, it's not a big deal at all. It's just a tiny little nuance in guitar theory, music theory. And add cord is where we're saying we're leaving the original chord exactly perfectly loan. So we're not changing anything in the original chord, we're just adding a note into it. So if you have an ad for like g at four, we're not taking away the third node because a sus chord, we're getting rid of the third node. That's what SAS means. Third is gone and we're replacing it with a two or four. But we can also make an ad cord. And when we're adding, It's just like it says, we're not getting rid of anything. We're keeping the third and we're adding a fourth. So that would be a G add four. We'll cover off on that later. A lot of times with the ad to a lot of times you don't see add to that. Often you see at nine. And add nine would be kind of like that idea for the SAS to. If we had a, let's say a C chord and we wanted to add the ninth. So the idea is that we're going to leave everything alone. And on top of the chord, we're going to put in an extra node, which is 9th, which is the same as the two C89. It'd be like putting in a D note in addition to everything else that's there, including the third. So not a big deal. Like I said, the ad for at 69. That's different because we're leaving the cord alone and just adding in another note into the mix. When we have a sus chord, we're saying the third is gone and it's not coming back. And we're replacing it with the two or the four. And the, the question is like tension. It's attention feeling it wants to be resolved, usually wants to be resolved to either the original major or minor chord. So when we're planning a sus chord, there's a huge need to want to hear the third. So eventually you do want to resolve a sus chord to either the regular major or minor chord that it was, that it was meant to be. I think that's about it. I think that about covers the sus chords. So go have fun with these. And I will see you in the next lesson. 72. Power Chords: We are talking about power chords, powerful words, these are also called five chords. So the power cord is the ultimate staple of rock, heavy metal, hard rock. A lot of pop music is using power Court's. Power chords are such a great tool, even if you don't care about heavy metal. Even if you don't really care about rock and roll, you might be playing jazz, bluegrass. Who knows what? A power chord is such a powerful guitar tool that we need to know how to use them. Okay? So what's the deal? First of all, they're very basic shapes, okay, That's part of what makes them so wonderful. They are made up of just a root and a perfect fifth, and usually the octave. So it will usually be sort of like sandwich, like root and an octet on the outside. And then a perfect fifth and the middle. Sometimes power chords, we'll just have a root in the bass and a perfect fifth above it. Or it can really be any variation of that power chords can be any variation of a 151515 octave. You could have a five of the base. You could be five of the base and a one above it. Or it could be 515 or so. Anyway, there's a lot of different variations for what a power cord could be, but it's really just two different nodes, okay, the root and the fifth. When you're writing power chords or reading power cords, these are on paper called five chords. So like G5, A5, F sharp five, E flat, five, b5, whatever. So that's what they're called. Now in the tab, we're looking at tablature here in the examples. And just heads up the tablature is six lines. Six lines represent the six strings on your guitar. The top line is the high-pitched little E string. The bottom line is your low pitch big fat E string. The numbers on each line represent the frets. So in our first example, we've got 355. That's on the loo pitch. E string is third fret, then the a string is fifth fret, and then the D string is fifth fret. So 355, third fret, E string, fifth fret, a string, fifth fret, D string. Play them all together that's stacked up. So that means you play them all together because they're stacked up on top of each other. And that's a G5, that's a G power chord. G5 is a G power chord in A5 isn't a power chord in E5 isn't e power cord. Okay? So I'm just doing a bunch of different ways to kind of show you where they can be. You can do them as 355, that's root, Perfect fifth and octave. But then if I skip ahead to examples, just 35, that's root Perfect fifth. That's also a G5. Like I said, it's any kind of combo between 15151, 158, it could be 51. So there's a lot of different ways we can look at this. Also. Lot of times power chords are routed on the bass strings. So most of the time we're going to see power chords root on the low E string and a string. So our second example is G, a G power chord rooted on the a string. So 101212. That's another G5 because our low note is a G. So one perfect fifth, and then octave, the 12 is octave, so g, d, and then G again. You don't need to know the notes. It's just the shape. It's always the shape. If it's rude on the E string, it's the shape. And if it's rude on the, a string is the same shape. Same shape. You don't need to over-complicate it. Some people will finger these differently. Let me give you the two fingerings that I've always seen. The way that I think are it is index is always on the route. The bottom note, the bass note, and then ring and pinky do the two together. So for example, 355, index on 355 is with my ring finger and my pinkie ring finger and thinking We'll do the 55. And that just is like shape. I've just got so much muscle memory with my left hand. That's just natural to me. Ring and pinky get those two together. And x gets the bass note. I can do that on the E string, a string, whatever. It's easy, super easy for me. Some people will use their ring finger to bar those two nodes together. So what I've seen some guitar players do is they'll go index on the three and the ring finger will borrow the 55. So they'll just mashed down the 55 with the ring finger. That's cool. That's totally fine. I would only caution you if you're new to power chords. You don't want to accidentally go 3555, right? We don't want to play too many fives. If you're, anytime you're borrowing, you need to have control. So you don't want to borrow the way down, you need to be able to stop it. So 355, starting out the low E string, you've got to be able to stop it. 355. If you're borrowing with your ring finger, be sure that you're not also pressing down on the G string. So, you know what I mean? That's why personally, I like to get that with my pinky because it's like make sure that I'm not accidentally going to be playing 35555555555. I just only want to make sure I get those two strings. You know what I mean? The root note is going to tell you what the name of the power cord is like. The first four examples are all G5 because our, our low note is going to be the genome. So genome on the low E string for the first example, second example, the load on the a string is a G. Third example on the E string for two to note, power chord is a, G5, Luna is the G. And then the fourth example is to note power cord or to node five chord on the a string, 10 12th, that ten is a G note. Next example is A5. The fifth fret is an a note. That's why it's an A5, same shape just on the fifth fret. Our next example is 0 to two. It's an A5. Again, our low note is a, an anode. So 0 to 20 to two for the E5 or low notes, the E note, then a 0 to three for the D5. What's interesting is that we can also make power chords on the D string. If playing a D5 is 0 to three, and our root notes on the D string, if we move everything up one fret, sort of like with a caged almost method. Then it will be 134134. There'll be like an E-flat power chord, E flat five. So like 1, first fret on the D string, third fret on the G string, and then fourth fret with pinky on the B string, that would be like an E-flat power chord, E flat five. Does that make sense? So, you know, when you're tuning, I don't know if you've ever learned how to tune the old style of using your ear going fifth fret, fifth fret, fifth fret, fourth fret, fifth fret. If you remember that, then when you go fourth fret, that's where you're on the G string, tuning the B string, you have to go back one. So that means that every time we have to do something on the B string, we have to remember it goes up one extra fret. The theory of power chords in the notes, I said, does not have a third of any kind. So as neither major nor minor. So let me elaborate on that. In order for something to be major or minor, it has to have a third interval as m, the third note from the scale. If we were playing something from the major scale or the minor scale, there's always gonna be seven notes. If you're dealing with a major scale or a minor scale. I can take the major scale or the minor scale and just take the root node out of it and the fifth note out of it, and that's a power cord. But if I take the minor scale and I take the first and the fifth power cord, and then I add the third note. In. The third note is telling me what's a minor third? Because it's from the minor scale. So all of a sudden now that power cord has turned into a minor chord, regular minor chord. Same is true with the major scale. If I take the major scale I play they're one and the five. That's just a power chord. But if I take the major scale, like a 15, which is power chord, and I added the third from the major scale. Well, now it's gonna be a major chord because that third from the major scale is going to be a major third. So that has turned or power cord into a major chord. We've now got a triad, the 135. The third is a really unique note because it's telling us that the third is the only node that tells us if something's going to be major or minor. It's the only note in scales, arpeggios, and chords that tells you if something's major or minor. The word major and minor, the world's major and minor are used a lot when we're dealing with scales, chords, arpeggios, and intervals. But in regards to whether or not something is truly major or minor, it only has to do with the third. If a chord is going to be major or minor, or if a scale is going to be major or minor, or if an arpeggio is going to be major or minor. If you've ever studied your intervals, you might, you might be thinking to yourself right now. Well, hang on a minute. Because I know that minor seconds our thing. I know that minor six is our thing and I know that minor sevenths our thing. So what do you mean? Yeah. Completely true. But none of those intervals tell us that the cord or scale or arpeggios minor. They're just talking about those individual notes. A minor second is only referring to the minor second note. A minor six is only referring to the minor six interval and a minor seventh is only referring to the minor seventh interval. It's not telling us that the chord, scale or arpeggio is major or minor. That is only determined by the third. I hope this is making sense. So this is one of the things about music theory that confuses people all the time is that there's a lot of things with the word liner in it. What you need to know is only the third is really the thing that decides if something's major or minor. Now what that means is if we take the third out and we just throw the garbage, well, it's neither major or minor. It's not either one of them. We just call it a power cord. It's pretty cool and it works in place of either one. If you're not sure if something's major or minor, power cord is the perfect thing to play in that circumstance. You don't know if you're supposed to play a major or minor thing, just play a power cord. Or if for whatever reason you don't really want to lean on. The third, you don't want to lean on the major illness or the minor illness of a thing, then you can just lean into the power cord, the ones in the 5s. It's like a neutral, very neutral, but it also shows the key. So you're leaning heavily to the key. It's very neutral. Okay? So this is, this is your power cores less than your five chords. I will also tell you that I've seen, I've seen bass players, I've seen songwriters that use power chords as a tool because we talked about some music theory just now. It might be your thing, you might love, it, might not be your thing, and that's okay if it's not your thing, power chords are perfect for you. Even more reason for you to really embrace them and play power chords. If music theory is complicated and confusing, use power courts because you don't need to worry about it. You just play the power cord. If so on. If you play through changes of almost any song using only power chords, That's one of the cool things about them. Very few people really get this granite. The song will be missing some little details. But you can get the point across just by using power cores for most songs. You could do this with rock, country, absolutely metal, because most metal doesn't have a lot of metal doesn't have thirds in the first place. So you can even a lot of jazz if you are feeling like you're playing a jazz song and it's just like kicking your butt, you're feeling very overwhelmed with it began you're struggling just to keep up with it, right? I've been in that situation more times than I can tell you where I'd just been struggling to stay on the beat, to stay with the changes. They're moving a little faster than I'm able to handle it. So that's a great time to say back in up, just grabbed the power chords, go for those route changes until you get comfortable with them. And then when you get comfortable with them, you start throwing in those other notes, those colored dots. I guess you'll start with two-thirds. And then from there you can go to your extensions. The power chords will get you through the song from beginning to end. It will get you to the end. And it'll, it'll get you through the end in a way that makes sense. It sounds like the song sublet. Parasitoids are great. I've seen bass players. I've had friends that were bass players. That would. If you're a bass player, you can play a little guitar. Every bass player can play a little guitar, and they will grab guitar and they played power courts. They just kinda banging on power chords as if they're playing the bass, but that's how you play the guitar. And it's really, it's cool, Sounds, great. Actually, I've seen songwriters do the same thing. It's where you don't want to get bogged down by the theory and you just want to knock out the changes. It's all about the changes with power chords. So anyway, to recap, power chords are neither major nor minor because they have no third. It's made of the one and the five. Sometimes the octave. They can be mixed up. You can have the five and the base. That's not a problem. They are usually routed on the low E string and a string. You'll see them sometimes rooted on the D string. Just remember that high note, if you want to add in that third note, the octave, it's going to have to go up one extra fret with pinky on the B string. And I think that's about it. Power cords. They can really be your best friend if you just embrace them. So I hope this helps you. I hope you go play a whole bunch of power chords. And I will see you in the next lesson. 73. Types of 7th Chords: We're looking at different types of seventh chords here. So right off the bat, I know some of you are going to be saying, Oh, there's more types of seventh chords and this, There's loved war. Of course there are, there are many more types of seventh chords. These are the typical common types of seventh chords that most people are going to be dealing with on a regular basis. There are, of course, more seventh chords that will be more obscure. We'll talk about that later on. These are the seventh chords that most people will deal with on a regular basis. Also, the point of this video is to let you know that there are more than one kind of seventh chord. A lot of beginner intermediate guitarists think that if they see seven somewhere in a coordinate, it just means that first open D7 chord you ever learned, or that first A7 chord you ever learned. So there's a lot of different kinds of seventh chords. That's what we're going to talk about here. Alright? So we are looking at five images here. These are all tab, tablature. The six lines represent the six strings on your guitar. The top line is your little high-pitched E string. The bottom line is your low pitch big fat E string. The numbers on each line represent the frets friend numbers. All of these five examples are in the key of C. There are also all rooted on the a string. So the first top left example is C major seven. And the lowest note is on the a string. The third fret, third fret on the a string is a C note. That's true for all five of these courts. They're all rooted on the third fret on the a string, which is a C note. That's why they're all in the key of C. These are all types of C chords. We're going to talk about what kind of seven they are. Alright, So the C major seven. The major is telling us that the seventh degree is actually one fret below the root node. So imagine playing a C chord, and then we need one of the sea notes to go back one fret to the B node. So when it's a major seven, then you are just moving. The seventh is gonna be one fret below the octave. So in this case, that's the fourth fret on the G string. That's where our seventh is here. The major seventh can also be shown using a triangle symbol. Sometimes you'll just see a triangle symbol. And the triangle symbol is also telling us major seven. Sometimes you'll just have an uppercase M, Okay, so there's a lot of different chord symbols. Uppercase M means major seventh, upper-case M and a seven is major seven, or it could be MJ seven like we have here. That's major seven, could be triangle, could say C, and then triangle shape, that is telling you major seven. So the major seven, when you see major, it's not telling you that the chord is major in nature. That would be a function of the third note. The third note is the one that tells us if a chord is major or minor. If it's got a minor third, That's minor chord. If it's got a major third, that it's a major chord. When we see major seven, that has nothing to do with whether or not the chord is major or minor. A while ago I did a video on the major and the minor major seven chord. The minor major seven chord is a minor chord with a major seventh in it. And I just wanted to do that to show you that we, the minor lowercase m is talking about the third note. That's not really what we're talking about here. The major is talking about the seventh. Anytime you see major or uppercase M or triangle, It's only telling you that the seventh degree is going to be major. Doesn't have anything to do with whether or not the chord is major or minor in nature. Does that make sense? Okay. And also, as we get into further extensions of chords like 9s, 11s, 13s, the major will still have the same impact. So if we're talking about major nine, major 13, something like that, or triangle nine, triangle 13. We are still talking about the seventh being major. So even though it's a further extension, you can always take those extensions back and kind of reverse engineer them back to the original seventh chord. And it'll be a major seventh. So triangle nine, triangle 13, it always comes back to you. It's a major seven. That's where the triangle told you. Or mage 913, uppercase M9, uppercase M 13. It's always telling you, come back to that major seventh. Could have a 13 or nine interval in the cord, but it will also have that major seventh interval was one fret below the octave. Good. Moving on to the right, c minor seven. This can be shown a few ways also. So we've got MIN seven minor seven. C minor seven could be lowercase m seven, C lowercase m seven. That's telling us minor seven. And it could be C dash seven. The dash is a symbol for minor minor chord world in music, when you're dealing with minor, minor, is only referring to the third. Okay. So when we see minor, It's only telling us in accord context. It's only telling us that the third is going to be minor. So when you see a chord name and it's got minor in it, It's only telling you that the third is minor. That's all it's ever going to meet. Which means that the core itself is a minor chord in nature it is minor. So this might seem a little confusing, but we just talked about the major. You see a major in accord name. It's only talking about the seventh degree, always and forever. That's all it ever means. Major in accord name means the seventh degree. Minor in accord name means the third. That's all it ever will mean. It's only talking about the third. So when we see c minor seven is telling us that it's a C minor chord and it's got a seventh interval. Now, here's where things get fun. Seventh intervals and chords are defaulted to be. What is a minor seventh interval for two frets below the root. Two frets below the root. So just to have a seven and no other names or symbols next to it. It's just telling us is the seventh node is gonna be two frets below the roof, two frets below the octave, a whole tone below the octave. That's why we've got three on the a string. Let's see. The third fret on the G string. That's our seventh degree. That's two frets below the octave, which would normally be the fifth fret. That's where our C is again. A three on the G string is our minor seventh interval. But it is, it is just a plain old defaulted seven. The four on the B string is actually our minor third. Alright? So if four on the B string is an E-flat node, that is our minor third. Normally would be on the fifth fret to be an E. E is a major third key of C. E-flat is a minor third in the key of C. So C minor seven, C dash seven, C lowercase m seven, that is minor. Seven. Minors only referring to the third, okay. Moving on bottom left, C7, I have dominant in parentheses. The C7 is the first seven chord that you ever learned. It might not have been C7. It might have been a D7 or an A7 or E7. These are probably the first seventh chords you ever learned. And you probably thought for a while at least that every seven, every time you saw seven chord, it was some kind of like seven like that. This is dominant. I put dominant in parentheses because it's a good qualifier. So technically we can just call this chord C7. And that should be all we need to say. But I like to qualify it with the word dominant. Sometimes you'll see that two, you'll see dominant or DOM, DOM. So dominant Dom C7 is dominant. Dominant, meaning that this is the scale cord from the fifth degree, or maybe over the Mixolydian, or the fifth degree of the major scale. The fifth chord scale degree cord from the major scale is always dominant. It's the only one of the seven core is that gets a dominant chord. If you broke out the seven scale chords in the key of C based on C major. You're gonna get seven different chords. Only one of them is going to be a dominant seventh, even if you turn to all of them into their respective sevenths, only one of them is going to be a straight up seven chord, and it's going to be the fifth degree dominant. So anyway, here we've got the C7. Keep this all in the same key for you. So the coordinates, and that's what we're learning how to decipher here, the coordinate will tell you exactly what is in the chord. So we have already learned that means that seventh degree is major. We don't see bij, then the seventh defaults to what is a minor seventh degree, two frets below the root. So if we don't see that message next to the seven, then we know the seventh is gonna be two frets back instead of one fret bag. If we see the minor or the dash, then we know the third is gonna be a monitor. So when we're looking at the C7 chord, we don't see any other symbols. We don't see. We don't see minor. So right away it's telling us that it's a major chord is major in nature, meaning it's going to have a major third, and that's the fifth fret on the B string. That's that E node we were talking about. So there's that, there's a major third. The C7 is major in nature. It's a major chord. The seven, it doesn't have a qualifier next to it that makes it doesn't exist. It's just C7. And the seven, as we just said, with the minor seven, the seven by itself is defaulted to be a minor seventh interval, meaning that it's two French back from the root or the octave. That's why the third fret on the G string. Let's look at the C7 and the C minor seven. They have the same setup. It's kind of interesting, isn't it? The exact same seventh. Okay, the third fret on the G string. So the C7 has the third fret of the G string. C minor seven also has the third fret on the G string. These are the sevenths, okay? C minor seven and C7 have the exact same seventh. Even though the C minor is minor chord and the C7 dominant is major, major in nature. But they have the same seven because seven by itself, with no qualifier, no major next to it or triangle symbol is defaulted to two frets. Low the octave. Good. Okay? So when you just start learning guitar, the dominance are going to be the ones that you see a lot of the time. And those are the ones that a lot of people think when they see a seven there thinking dominant. But really we've got these major seven, minor seven dominant sentence. There's all kinds of sevens. Moving on. Middle, bottom. C minor, seven, flat five. Okay? So that is a minor. The M is actually a lowercase m. The font I use in this music editor. It looks a little funny, but it is a lowercase m. So C minor, seven, D minor. What is the minor? Tell us? It's telling us it's a minor chord. It's got a minor third, C, that fourth fret on the B string. That's that E-flat note, which is gonna be our minor third. So we know the C minor chord is minor in nature. We've got that minor third, E-flat note, the fourth fret on the B string. We have a seven with no qualifier. There is no major triangle. So we know that the seventh degree is going to be two frets back from our octave, same as it is in the C dominant seven. C minor seven. So that's the third fret on the G string, just straight up seven. Then we've got the fourth fret on the D string. This one is interesting. Here's the flat five. For the previous three chord shapes, we've had fifth fret on the D string, which would be a perfect fifth interval. It's like a normal fifth, perfect fifth, the typical fifth we're going to see here we've got a flat five, so we have to flatten it one fret. That's where that fourth thread is. C minor seven flat five. This is a big coordinate. C minor seven flat five. You just read it like one thing at a time. It's seat. It's minor seven flat five. C minor seven flat five. Okay. Now, this seems like a weird chord and you might be thinking, well, I'll never play that. The reason it's one of the main five types that I put on this lesson is because it does show up all the time. As a matter of fact, this court shows up all the time. I just referenced a minute ago, to seven scale courts based on the key of C major or whatever key you're in, the major scale, you've got seven chords that can break out of each note of any major scale in any key. The last degree, the seventh degree, seventh chord is going to be this chord. Seventh chord is going to always want to being a minor seven flat five chord. So the seventh chord of every major scale, who's going to be a minor seven flat five. If we were in the key of C, our seventh node is gonna be a B note. In the key of C major. It would be a B minor seven flat five if we were in the key of G major, seventh note or lastNode right before we come back to the octave again is gonna be an F sharp. The key of G will have a sharp minor seven flat five. That kinda makes sense if we're in the node right before we get back to a again, in a major scale would be G-sharp, so that would be G-sharp minor seven flat five. This is the actual court that would be from the scalp chords. A lot of people will make the mistake of saying that it is a diminished chord and that is close, but it's not true. So it's very close. And it's not, not really worth quibbling over, but it's not true. So the C or the minor seven flat five chord, all of those notes are part of the scale, okay, so that's why it goes over the seventh degree. What a lot of people will say. And I've seen other teachers say this. And it's not a horribly wrong thing to say, but it's just not, it's just not true, it's not accurate. A lot of teachers will say that the diminished seventh chord is what goes over the seventh degree of the scale cord. And it's close. That diminished seventh is actually a substitution for the minor seven flat five. So we can substitute the minor seven flat five with a dim seven or diminished seventh chord. But it is not, the standard is not what is supposed to originally be on the seventh place. The dim seven does get a lot of wrecking enough recognition in order to go in the five chords that I've got here, because it is such a common chord and we see it all the time. And it has such weight to it. It is not one of the main chords that we see in our skill cord row, but it is used so frequently that we need to know how to play it. Diminished seventh. So you will see this as dim seven, which dim seven means diminished seventh. Sometimes people will just refer to this as diminished. Technically, diminished is without the seventh degree in it, without the diminished seventh degree in it. So diminished chord has a slightly different thing. But a lot of times, people don't really mean for you to play just a straight-up diminished chord. They really mean for you to play a diminished seven. If you ever see them, you can probably assume they're talking about dim seven, diminished seventh, which is this chord, the bottom-right. So 3424, diminished seventh. Don't want to get too deep into this one, so I'll just give you a quick overview. We're in the key of C. It is on the a string, third fret, okay? Diminished seventh is minor in nature. The fourth fret on the B string, that's our E-flat note. We have that in the C minor seven flat five chord, fourth fret on the B string. We also have it in our C minor 7, fourth fret on the B string. Okay? Now usually what diminished, referring to? The first thing people think of as the fifth, diminished. Fifth. Usually the diminished refers to the fifth. We can see that here on our fourth fret, on the D string, fourth fret, D string, that's our diminished fifth, which we also see in our minor seven flat five chord. Fourth fret on the D string, that's the flat five. Flat five is the same as diminished fifth. Things get really fun when we look at the two, the second fret on the G string. So normally we would, the lowest that we would normally go interval lies. Four sevenths would be the third fret on the G string, that's our minor seventh. The fourth fret on the G string would be a major seventh, and the fifth fret would just be the octaves. So we're back to see you again for threats and major seventh. Third fret is a minor seventh. The second fret usually is going to be a major six interval. But when we're dealing with diminished, we have another interval that we can call a dimension seventh. And what it is, a diminished seventh interval is where we go one lower than a minor seventh. So you have major seventh interval, one fret below the root or the octave. You have a minor seventh interval, two frets below. Then you have a new one called a diminished seventh, which is not new, it's old. It's diminished seventh is three frets below the octet, and that's what the second fret on the G string is. A diminished seventh interval. That is going to wrap up all of the typical types of seventh chords. If you are comfortable with these five kinds of seventh chords, you're gonna be in really good shape. You're gonna be able to deal with almost every seventh situation that comes up. Now that seed M7, I said as a substitution for the minor seven flat five. Meaning that if you want it to mix up the minor seven flat five with something else, you can always use the dim seven. But the dim seven is also used as a passing chord. So we'll talk about that later on. We can use the diminished seventh in-between chords. When we're going to record. We can go maybe a front before we get to that destination cord and plant them seven there. So for example, if I'm trying to go from C to a D minor chord, what's the front? And between C and D minor to C sharp or D flat, I'll go to C sharp, or D flat note. I'll play it diminished seventh, C sharp, diminished seventh. Then I go to my destination, which was the D minor. That's oftentimes how a diminished seventh will be used for one of the ways that it's used. And so this will, this will conclude the types of seventh chord lesson. Also. I said at the beginning, of course there are different kinds of seventh chords then this, there are many different kinds. We've got all of the altered variety, so we've got the seven flat five, sharp 57 flat 97 sharp nine, and that all the combos of the flight. Flat five, sharp nine, sharp five, all the combinations that we can have with those with a seventh chord plus all of the extensions that we said going above seventh chord. So for example, we talked about that with the major seven going into the major NIH and the major team. That can happen with the minor seven is also we can go minor nine, minor 13s going up to the extensions using the same starting rules with our minor seven chord. The dominant, or the same way, we can go to a nine chord or an 11 or 13. You notice how the 911 thirteenths and the dominance, they don't have any extra names, no miners know majors. 91113, you know, you're dealing with a dominant. Dominant has no qualifiers. It's just 791113. That's it. You know, you're dealing with a dominant. So that means that if you pair it back down to its original seventh chord is going to be just a straight up. Dominant seven. C minor seven flat five stands on its own over the seventh degree can be substituted with the diminished seventh. And that is it. Good job. This was a lot. I hope you were able to fall along and I'll see you in the next lesson. 74. A minor stuff: We're talking about a minor stuff. A minor stuff. It's just all the stuff that you might do in a minor. And I know that a minor, like how come you chose a minor? How come not D minor or C minor or E minor? Because I had to pick one of the 12th keys. So a minor was just as good as any other one. As matter of fact, it's a little bit easier to write tabs in a minor because fifth fret is very convenient place to do a whole bunch of shapes. This whole lesson is about the idea of if you know a shape, He Qi want it to be in. If you know how to find the notes on your strings, if you know the chromatic scale, you should know this by now. If you don't need to go learn how to find every note on every string, but especially on your low strings, you're, you're low pitch strings because that's usually going to be where your root notes are. If you have a shape, it could be a chord shape or an arpeggio shape or a scale shape mode. Then you will know where the root node is. It's usually going to be the lowest note. And that is telling you, starts here among the key of a, because this scale starts on an a note. I'm in the key of a, because this chord starts on a node's lowest note, I'm playing an, a minor arpeggio because my lowest note isn't a note. This is one of the modes because my lowest node is a node. Okay? So we are looking at tab and all of these examples. The tab is the six lines that represent the six strings on your guitar. The top line is the high-pitched little string. You're a little high E string. And the bottom line is the low pitch E string, the big fat low pitch E string. The numbers on each line represent the frets. So for example, the first thing we see is the pentatonic minor scale. So it's 58, so it's fifth fret low string than eighth fret low string. That has 57. So that's the next string to a string of 7. Fifth fret, seventh fret. The next string, 57, D-string, D string. Then next string is 57, again, says G string, fifth fret, G string. So infrared. Then the next two, the top is 258, that's the B string, the string fifth fret, eighth fret. And then the top line is the high pitch E string, fifth fret, eighth fret. It's the pentatonic minor scale. For the most part. Like when we're learning guitar, we're learning really about as far as like shapes and guitar stuff. It's going to be chord scales and arpeggios. Those are the major things. There's a lot of other music, obviously to learn, to get really good at playing any instrument. Like you want to learn a lot about rhythm. You want to learn about how harmony works and the nuances of relative modes, and how all of these different kinds of things can work. So we can actually put this stuff together to make music that makes sense. But for the most part, a lot of like what are memorizing is all about on the guitar is courts, scales, and arpeggios. So next we're looking at two variations of chords. We've got an a minor bar chord, BAR E. Read it on the low string fifth fret. And then we've got one rigid on the a string, 12th fret. Lowest note is a, both times it actually in every example here, the lowest notes always an a. Okay, moving on to the a minor arpeggios. So the first one starts, rid it on the low E string, 58775558. And the next one starts on the a string 121514141312, and then a big stretch up to 17. So these are both arpeggios of a minor. The arpeggio is telling us is just the notes of the chord. An a minor arpeggio is just playing the notes of an a minor chord. We're playing it like a little miniature scale, but it's just the notes of the court. So if you ever need to just play only the perfect nodes, for example, you're playing something in a minor. You don't know what scale you're supposed to be in. You're not sure. Play the arpeggio, a minor arpeggio. The perfect thing for you to do, because you cannot possibly hit a wrong note. You're just playing the notes of the chord, the a minor chord. So all of the different scales and modes, even though they're in a miner will have these little nuances, which will be one or two nodes different. Arpeggio will be the safe zone. You cannot screw it up, just go for the arpeggio. And like I said at the beginning of the video, knowing all of your notes on all of the strings is really important. I've seen some students argue that point and say things like, well, you just need to learn the bottom string and the bottom two strings, the E string and the string. If you guess, if you want to do the bare minimum, you just learned them to low strings a lot of the time. That's where your root notes are going to be. If you can find all of the notes on one string, then you should be able to do it on every string. So I recommend this on every string. The reason is that we have written notes hidden all over the place. These examples are sort of your starter examples. So all of these things in this lesson can be played in multiple shapes. And when we start playing this stuff in different shapes, the root nodes will sometimes be in different places, could be on the high strings or the middle strings. And it just makes good sense to know what you're playing. When I'm playing, I know the notes that I'm playing. They're not just randomly part of a shape. I actually think about this is this note, this note, this note. I know the notes that I'm playing. I want you to do the same. So learning the notes on all of your strings. Okay, moving on a Dorian mode. This is the number two mode. So if we were in the key of G major, then the G Ionian mode number one, a Dorian is mode number to. The Dorian mode is a, considered a minor mode because it's got a minor third interval in it. So if we look at the third notes that 57828 is the third note, that is a minor third interval from the five. The five is the one or the root, and the eighth fret is the third interval, which shows up a few other times. It's also the fifth fret on the G string, and it's also the high eighth fret on the high E string. Step minor third, it keeps showing up. That's a C note. By the way, the QA, if you're playing a C note, then you're doing a minor. If you're playing a C-sharp, know that you're planning. The C-sharp is a major third. So if you're in Kiev, a C-sharp note, you're playing a major. In these examples, we're going to see a lot of CNO because we're playing minor stuff, a minor stuff. The Dorian mode. Also, there will be songs that are rooted in the Dorian mode. So you will see like Miles Davis, Santana. You'll see stuff like that, where there'll be songs that are just based on the Dorian mode. So it's what I consider to be like funky minor. It's not two, it's not like it's not depressing or dark or anything like that. It is minors, very groovy, groovy, foggy, but it's still is minor. That's the Dorian. Okay, moving on the, a natural minor scale. This is the number six mode, the Aeolian mode. That's a EEO, that's pronounced like a aeolian. The Aeolian mode. So the, a natural minor scale is also the number six Aeolian mode. A lot of people pronounce it alien. Okay, So we're looking at 578. Again, we see that eight, that eighth fret of the low strings to see node, which shows up again on the G string fifth fret, and then the high E string eighth fret again. So those are all the same notes. That's why we're in the a minor, but this is the natural minor and also this the one we call something the minor. If we just say play a monitor, like we're gonna jam something and then play it in a minor. This is the scale that you would play it in. The number six Aeolian mode, the natural minor scale. So if someone just says play in a minor, this is probably what they mean playing the scale, the natural minor scale. Alright, I'm not gonna get too into the nuances between the scales here, but this is the natural minor scale. Moving on to the a harmonic minor scale. This, the harmonic minor is just like the, a natural minor scale. With OneNote difference is the seventh has got a raised seventh in it. Harmonic minor scale has a raised seventh. So I'll show you what I mean. First, we've got 578. See the eight? The eight, it's the C note on the low string, it shows up again. That's the same as the G string, fifth fret, there's a C again, and then the high E string, the little high E string, eighth fret. Those are all see notes. That's how we know we're dealing with a minor. What makes this D harmonic minor? I just said I wasn't going to do this, but I can't help myself. The harmonic minor is the same thing as the natural minor scale, but it has a raised seventh degree. So all of our modes and scales based off of the major scale has seven different nodes. So if we count up 578, there's 3578 on the a string, that's six. And then now the sixth fret on the harmonic minor scale is the seventh degree, or if it was the natural minor scale is 578. That's three. Then the next string is 578. Again. Six and then the D string, the five, that'll be our seventh degree. So for the natural minor scale, that fifth fret is the seventh degree. Fifth fret, D string. We raised that seventh degree one fret. So when we look at the harmonic minor scale, That's 5 fifth fret D string is now a sixth fret D string. And that's it. That's the only difference. Of course, this happens again in second octave. So when we are on the B string on the natural minor scale, it's 568. That 8 eighth fret E string is the minor seventh interval. We have to raise it up. So to turn it into the harmonic model, that could either be the ninth fret on the B string. But I didn't, I don't like to finger it that way. I like to just go ahead and jump to the high string and go fourth fret. The fourth fret, high E string is the raised seventh degree. It's the same as playing the ninth fret on the B string. It would be a G-sharp note. So it's easier just to go one foot behind the root on the high string. That's it, harmonic minor scale, and you will recognize the sound of it. Lastly, we've got the Phrygian mode. A Phrygian mode, also a minor scale. Ph RY is like an f. Sound like the fridge, fridge. You get the food from the fridge. It's the Phrygian mode, a Phrygian 568. The eighth fret of the low string is our C note. That's our minor. Minor third interval shows up also on the G string fifth fret, there's a C note and the little high string on the eighth fret also see nose. So all of our minor stuff has a C note in it. And the Phrygian mode is the third mode. So if you were planning in whatever key for playing in a Phrygian third mode, that would mean, or an F major. So the Phrygian mode is a variation on the Dorian ends, the natural minor. It's like playing the natural minor, but you have a lowered the second-degree, so you've got a minor second interval. So that's basically what it is, is like playing the natural minor scale with a minor second interval. That about wraps it up. This is all the typical minor stuff. We could have continued on to some more stuff like the blog minor and the, and the double harmonic monitor there is, there is always endlessly more stuff. But these are all the typical, the typical things that we're going to see. These are all the common scales and arpeggios and chords. So if you know all this stuff, you're going to be good. Now, circling back to the very beginning, I said, if you can do this stuff in a minor and you know where your root nodes are, you should be able to do this and all 12 keys. So if you know where all your root notes are, if you can find root nodes is the starting note on every shape. By the way, if you can find the notes on your strings, then you should be able to do this in all 12 keys. So even though we're calling this a minor stuff, this is really like minor stuff and all 12 keys. So this would be a good thing for you to practice. Start off doing the a minor stuff in the key of a here, but then branch out and start moving on to doing this in try, try the key of B, add two frets to everything on here, or tried in the key of G minor. So subtract two friends from everything. They say. You know what I mean? And try and moving it around. These are just shapes. If you know the shape, you just stick it in a different place and then you're in that new key. Alright, I think we've talked enough. So good job, and I will see you in the next lesson. 75. Circle of Fifths: We are talking about the circle of fifths. Sometimes this is also called the circle of fourths. We'll talk about that in just a minute. This is probably the most common music theory tool that exists. It's real value to us, is debatable. And what I mean is that if you go through your entire music theory, life without ever understanding or being exposed to the circle of fifths. You'll be okay. Really what it is. It's a whole bunch of different music theory techniques all crammed into one image, one view. So without the circle of fifths, you would eventually come across most of these concepts one at a time on your own. But the circle of fifths is a way for us to look at a number of different things all in one view. So that's kinda cool. And there are a couple of other things that we can easily see going on with the circle of fifths. So let's talk about that for just a minute. Okay? So on the outside we have the keys, the outside circle going clockwise. I say going clockwise. I mean like going right. So if we start at the top, the scene C note, and then going clockwise because C, G, D, a, E, B, and so on. And so that's going clockwise and these are all fits. What I mean is that if we start on C, so the C is our one, we're our route or our key. And then we go to the G. So if C is the one, then G is the five, G is the five of C. So C is the one, and G is the fifth of C. Now if g becomes the new one, then D is the fifth of g. If d becomes our new route or key, then a is the fifth of d. Okay? So a is the fifth of D. Does that makes sense? And it just keeps going around like that. What's very cool about fifths is that fifths and fourths both have the same property where if we just keep on jumping to the next interval every time, we're going to wind up playing all of the 12 chromatic notes until we come back home to our original note. So it's a way to play through every single different key or node, all 12 chromatic notes. And then eventually it's going to lead you back home to your starting node. So for example, right before we get back to C, we're on F, and then the fifth of f is C. We're back home again. That is going clockwise playing fifths. We can also go counterclockwise, okay? And these are fourths, but everything else is going to operate the same way. We're just looking at the outside keys. And if we start on C, the top, high noon, I call it High Noon, like a analog clock. C is our starting note or key. And if we go counterclockwise, we go to F. Okay? So imagine R one or R root, where our key, we're in the key of C. So going from C to F, F is a force. So F is the fourth of C. Perfect fourth. Now, let's imagine F is our new route or a new one. So F to B flat, B flat is the fourth. The perfect fourth of F. B flat is our new route or our new key. Then E-flat is going to be the fourth B-flat. Does that makes sense? And again, we can go counterclockwise, and eventually it's going to wind this back around until we get back to our starting note and we will have wound up playing every single of the 12 keys. Pretty cool. It's very neat how that works. And it's an opportunity for you to practice going through counting fourths or counting fifths, depending on if you're going clockwise or counterclockwise. And just jumping around in your minds to see if you can do it. It's a great exercise to do. That is the outside notes. Now, let's look at there's a circle all the way in the center where we've got more nodes. So if we look into the sea, the top inside of that slice, there's an, a, lowercase a. So we've got the C on the outside, uppercase C on the outside of the top. In that slice looks like a slice of pie or a slice of pizza. There isn't a lowercase a, that these lowercase notes in the inner circle, or the relative minor keys. That's telling you that you're in the key of C major. So that's what the outside is telling you. It's the major and then the inside is a minor. A minor is the relative minor of C major. That's all that is really. The inner circle is also operating the same way as the outer circle will just starts in a different place. So going clockwise on, the inner circle is going to be perfect fifths and going counterclockwise on the inner circle is also perfect fourths. But everyone is going to be a relative minor of its particular slice. So the E, the lowercase e that comes next, is the relative minor in the key of G major. G major, that means it's going to be minor. They are relatives of each other. And relative major minor means that they have the exact same notes. If you're playing in the E minor scale and the G major scale, G major scale has the exact same notes as the E minor scale. They're the exact same notes, no different at all. And they have the same key signature as well. Okay, so inner circle works the exact same way. It's just a couple of intervals off. It's a minor third off. And so think of them as like slices, slices of pie, slices of pizza. So the inner circles, the roles monitor the outer circle is the relative major of the same thing, same key. Let's check out the key signatures Now. This is the stuff in the middle, in between the outer and inner circles. So we see the treble clef. You see the treble clef with the five lines. This is not tagged, this is standard notation. So we've got the treble clef because we see, we see the hook that comes down. And then we see that on C, there is no key signature. The key signature is going to be like if we have sharps or flats on lines or spaces that tell us every time you come to this note, make sure you sharpen this node. Every time you come to this node, flat, this node. Because we're not going to write this on every single measure, on every single bar. We're not going to write the sharps or flats just and also it's a quick way to, before you even start playing the song. You say, Oh, it's in this key because I can see the key signature. For example, if you see standard notation, you see the treble clef, and then you see nothing, no sharps or flats. That's telling you that you're probably in the key of C major or a minor, a natural minor. Let's go to the next notch to the right. G or the E minor. It's got one sharp on the F. It's telling you F-sharp. Don't get too hung up on those. If you don't know how to read music. I'm telling you right now That's an F sharp. F sharp only means it could be G-Major or E minor, E natural minor. And then the next notch is the D major and the minor. The key signature there has got two sharps, so it's the F major and, or the f node and the casinos, so F-sharp and C-sharp. So anytime you see those to you, it's telling you that's got to be a D in the key of D major or minor. Let me also point this out. You don't really need to know that those two sharps are on sharp and C sharp. You don't really need to know that because the way that the key signatures work is that there's only two those numbers science, they look like hashtags. There's only two of them, right? So you're not going to see two of these sharp symbols in different places. They're always going to be only on those two notes. So if there's two, then it's gotta be D major or B monitor. It just has to be, okay. You're not going to see two sharps in a different place. There's always gonna be in the same place it's supposed to be, which in this case is F-sharp and C-sharp to always means the key of D, one sharp always means is gonna be the key of G or E minor. So three sharps, it always means it's going to be a major or F sharp minor. It doesn't matter that is going to be the G-sharp, F-sharp, and C-sharp notes. You'll come to kind of get used to that when you see it. It's like, oh yeah, that's the key there, which means it's G-sharp, F-sharp, and C-sharp. You'll get used to it in time, but it's always going to be those same three nodes that are sharpened. When there's three, it won't be three different nodes. There'll never be a variation on that. If you only see three sharps, it'll always be the same exact three notes. Does that make sense? Okay, So the other thing that we want to pay attention to is that starting on the sea, there's nothing, no, basically know the key signature is that there are no sharps or flats. Everything is natural. Natural mating, no sharps and flats. Then we go one sharp to the G, Then we go to sharps to the D than three sharps to the a, then four sharps to the E. Are you seeing a pattern yet? Five sharps to be? Don't worry about that C-flat, okay, We'll talk about that in just a minute. Next, the F sharp, F sharp now has 66 sharps. I made a note over here also in the image that says, notice the key signature patterns see is all natural than adding one sharp to each until DH key until six, then carrying down flats. So really what happens in the image is that we do one more. Over the C-Sharp or it goes to seven sharps. But I'm not saying that we don't have C-sharp. C-sharp is a legit key. I would say that you're probably normally going to be playing more often in the key of D-flat, which is the same as the key of B-flat, B-flat minor or D-flat major, as opposed to C-sharp major and a sharp minor. That's not a rule though, that before we've got the F sharp, which is the same as G flat major, and then the D-sharp, which is the same as the E flat minor. So this is where it starts getting into. Are we playing in the major or the, sorry, are we playing in the sharp or the flat? So what I mean by that is that F-sharp and G-flat are the same note. They are called enharmonic equivalents. You play them on your guitar, like the second fret on the E string. Either E string. Second fret on the E string is an F-sharp note. It's also a G-flat node. So this gets into what key are you in. And a lot of people will say, well, I like to call it this, and that's fine. But if you want to be technically correct, it depends on what the scale is. There has to be taken out of context, so we have to know what the other notes are. And then from that, we can tell what the courts are and what the skills are going to be. Most often you're going to be if we're looking at the very bottom, G-flat or F-sharp, we're going to be most often in the key of F-sharp major, which is going to be D-sharp minor. And then we are going to switch over to the flats after that. So then we're in D-flat, so we go from F-sharp major to D-flat major to A-flat major to E-flat major. Kinda like that. That's not a rule though, and that's why their enharmonic equivalents. And you've got two options. The one that is the real odd ball is where we've got B and C flat. Now you know that C-flat, you might be thinking that it doesn't exist, but there are circumstances where C-flat could exist. C-flat is a B note, and harmonically, C-flat is the same as b. It happens so rarely that it's not taught, or at least not in the beginning. So it's very rare for that to happen. But it's possible could happen. Just super rare. So it's not, don't get too hung up on that. Don't focus on that. It'd be thinking, see light doesn't exist. Then way down the road, be like, Oh yeah, there is a rare, Rare, Rare experience where you could have a C flat note. And I think that's mostly it. There's one more thing I do want to point out with the circle of fifths, or I said at the beginning that it could be the circle of fourths. So there is an inversion property. Now in music, the word inversion can have multiple different meanings. So you can have inverted chord, which means that if you've got 135, which one of those nodes is going to be in your base. So that's inversions of the chord would be, instead of having the one on the base, you would have the five and the base or the three and the base. Those are inversions of the court. And another way to think about inversions would be it's actually a mirror of what's going on. So let me give it to you like this. If we're looking at the sea, the top C, and then to the right of it we have the g. Now we said that going clockwise is going to be perfect fifths. That's true. So if the C is one, go to the right to the G. That means that G is the perfect fifth of C. C is one, g is five. Just like we said, the very beginning, that's still true. But if we flip it, okay? Now, if we said, now g is gonna be one. We're going to turn the G into one, but we're going to now go counterclockwise. We're gonna go from G to C. We're going to consider g is the one as the root, as the key. And we're going to travel to the C, which is a perfect fourth. Well, that's an inversion. What we did is, from one perspective, we've got c is the root, C is the one, and G is the perfect fifth. And then from the inverted perspective, we've got G is the root, and we're going counterclockwise to the C and C is the fourth. So what happened is that we've got the exact same two notes or chords. And we've got two completely different approaches theory wise. And really this can affect the entire direction of the music, like what the feeling is going to be is if we're going to perfect fifth or if we're going to afford. What's really interesting about that is that we're using the exact same ingredients. The exact same ingredients. All of that has changed is we're saying one is going to be the root. And then the next example, we're going to flip it so that the other one will be the root or the key. That is an inversion. So that's kind of a cool thing. May be a little confusing to you right now, but just kinda think about that a little bit. So that is just a little taste of what inversion is. This would be more of a tone row inversion concepts. So also, I actually have one more or less point I want to make on the circle of fifths or circle of fourths. This could be courts. So these could be cords. And this is a cool way to kind of blast through Bosch courts. A lot of times you would use the circle of fourths. Some people will refer to it as the cycle of fourths also, this could be the cycle of fifths or the cycle of fourths. I believe that when you're referring to cycling, you're talking about core changes. So if we are going to play chords, most often you're going to cycle through the fourths, not the fifths. So you're gonna play counterclockwise, just playing chords, C chord, and then to the F chord, B-flat chord, the E-flat chord. If we do this, the music is going to have a lot more of, It's going to move in a more sensical way. It's going to make more sense. It's going to sound more musical to go cycling and fourths. So if you want to practice going through a bunch of your chords, tricyclic fourths, going counterclockwise. Start a C chord, go to an F chord, B-flat, E-flat, A-flat, D-flat, G-flat, C, sorry, B, E, a, D, G, C. Again, this is a really cool way to practice going through all your chords. You can also do the same thing with your monitors if you wanted to. Or you can break up bouncing between cycling or majors and minors. That would be kind of a cool idea. For example, C major chord cycle to the relative minor, D minor. Next cycle to the relative major, which is the B-flat major cycle to the relative minor, which is C minor cycle to the relative major, a flat major, and so on. So there's a lot of different ways to break this up. I'm not saying you can't cycle fits. You definitely can see chord G chord, D chord, a chord, E chord. Absolutely, You could do that, but it sounds a little bit more musical if we cycle our fourths. Okay, I think we covered a lot of grounds there. So hope this made sense to you. I hope you picked up a couple of new things about the circle of fifths, circle of fourths. And I will see you in the next lesson. 76. Lots of G Chords: Okay, We're talking about playing lots of different G chords, lots of G chord shapes all over the fretboard. This is pretty self-explanatory, so we'll keep this video short. But just as a recap, we're looking at the tablature, which are the six lines. The lines represent your six strings on your guitar. The top line is the little high pitch E string, and the bottom line is your low pitch fat E string. The numbers on each line represent the frets. So your third fret is the number three on that line. These are stacked up, which means their courts. So all of the numbers are stacked up, meaning we're supposed to play them all together. The 0 isn't open string. You don't see something on a string node number that don't hit that string. These are all G chords. There are tons of positions to play. G chords in. There are tons of positions to play every coordinate, really, at least every basic core in every major and minor chord. When you get into more obscure chords, you're going to get fewer position possibilities. But with basic major and minor chords, there are tons and tons and tons of different ways to find these chords. So let's take a look at the bottom of this image, the notes that I made. So the first note says these are all G major chords, except the G5 chords which are not major or minor, they're undefined. So let's keep reading. The G major chords contain the notes G, B, and D, which are the first third fifth intervals. Then it says G5 chord is contain the notes G and D, only the first fifth intervals. Okay? So in order to make a major chord, we need a first third, fifth, first third, fifth intervals. And the third, you may have heard me talking about this before. The third is the thing that defines something as being major or minor. So if it is a major third interval, then the thing is major chord could be arpeggio, could be a scale. But if it's got a major third interval, then it's a major, whatever chord scale arpeggio. It's got a minor third, minor third interval, then it is a minor, whatever a minor chord or a minor arpeggio, minor scale, whatever it is. If we take the third away completely, there is no third. There's not a major third and there's not a minor third, then it's not major or minor. It's undefined. So there are a few chords like that, but the five chord. So we see this as a G5. And this means that we just have Gs and Ds, or root notes and fifths, perfect fifths. So we have a couple of G5 here. The G5 is great, just because it's not major or minor, doesn't mean you can't use it in a major or minor context. What I mean is if you're supposed to play a G major chord, you can play a G5. I do it all the time. If you're supposed to play a G minor chord, you can play the same exact G5. G5 are great because they work in almost any situation. When you need to play some kind of a g, doesn't matter if it's a G major or minor. You can always play that G5 unless you absolutely really need to hear that, whether it's major or minor with that third node. But the part of the reason that it's so much rock and metal uses the power cords. So the five chord is considered the power cord is because it works over major and minor chords. And it doesn't really put anything into a box. Once we add that third into the mix, we're starting to really define things and say, Okay, we're doing with major, major stuff now. Anyway, I don't want this lesson to be all about power chords. I just wanted to show you some of the five chord, the G5 chord possibilities in this mix of all of these G chords. So we're just doing variations on the regular G chord. You may have seen this before where we do the double-tap. The two high strings are going to both have the third fret. I'm going in a bar chords using the low E string and then using the a string. And then we start getting to these court partials from our caged positions. Also the three open strings, G string, B, string, D string. If we just draw those three open strings, that's a perfect triad. The first, third, fifth, G note, Bina and D denote. So going from the D string is D GB. Also means that if we go up to the 12th fret, so it's just 12 friends higher. It's the same notes, D, G, B, B, G, D, depending on which way you're looking at it. This is a perfect G triad. So that is, if it's a perfect G triad, then it is a G chord. It's a legit, full-on G chord. So open, open, open and 121212, That's great. Then the second row, we started looking at it a little bit more of the partials. And towards the middle to the end of the second row. I am showing you ways to start moving these up using a little bit of what is, could be considered a pedal tone approach. What I mean by that is see how we're using the G string and the D string open. And we're keeping them open and we're moving up either the strings outside of that, the B string and a string, we're moving those up. We're just keeping with either the G, B, D notes. So I need to find a note on the B string and a string that's either a, G, B, or D. And then I'm going to storm the two middle strings, open. It, just kinda climb up the fretboard and that's what's going on there. This is sometimes going to make a five chord and sometimes it's going to make a full G chord and we'll get a third of the mix. And sometimes we can do this. I know that I could have taken us like higher on the high strings. So the 78 and then the ten on the 8th. And we can keep on climbing that up. But I just wanted to show you some of the ways that we could do this. And then the outside strings also. Sometimes you could think of this as being like a pedal tone approach because we're droning those middle open strings. And a pedal tone approach is basically where you droning one node or one string or a couple of strings. And then you're moving around, something else along with it. What's called a pedal tone. So anyway, that is a way to start moving around. The G's all over the place. The last thing I mentioned is there are still more to be found. There are still more to be found. Like I said, we could keep on climbing up to high strings and joining the middle strings. There are other partials that I didn't put here, and I'm sure there are just some other positions that I either forgotten or left out or don't even know about myself. So that's part of the thought, is to look for this all over the place. This is not necessarily about like, well, I need to memorize all these g's. Think about the theory behind it. That's really what this lesson is about. How did I come up with all of these different shapes? It's about knowing your fretboard. It's about thinking in terms of the chord tones, looking for little triad shapes. So if I know the root nodes here, then this next string is always going to have this node in this position, that kind of thing. And one of the things that I tell students is it's a generic request, but I say, try to play In the key of G for an hour. Play, play a and G for an hour. And I don't mean play in the key of G. Only G, as in no core change. You can play a G courts all over the place as many G chords as you want. But no, don't play a C chord. Don't play G7, only G, just G. And you can solo to, but don't go into, don't go into any other, you know, don't go into a different arpeggio for a different key. Don't go into a scale where we're going to route in a different chord because there is no core change, we're staying in g. So I want to hear all of your phrases around G major. I want to hear all of your arpeggios around. Gee, I want to hear all of your phrasing around G. You can go all over the fretboard using all of your relative modes, but they all have to be around a G chord. Put your cords all over the fret board, but they all have to be G, no G7, no gene. Keep it around. G has to be around G major, has all the, and the thing is, how long can you do this for? How long can you actually stay in G, just G until you completely run out of ideas? So a lot of people can't go for very long. They go, they go through all of their ideas pretty quickly and then that's it. But if we just take a quick look at this image, we can see there's just a ton of different things we can do. So you could probably get a couple of minutes out of just going all over the fretboard playing around with these chords. And this is before we've even touched anything regarding a solo in the key of G major. So anyway, this is something you are going to be doing in all the keys, are in all of the typical keys. So I want you to eventually be like finding lots of D chords, lots of C chords, lots of a minor chords, whatever, all the typical chords that you normally play. I want you to be good at finding them all over the place. And even finding ones that are not ones that other people talk about. You don't need to just learn the regular ones, be able to create them on your own and find them on your own. That's what this is really about. Okay, so I said this was gonna be a short video and it's probably go a little longer than we wanted it to. But go work on your G chords. I'll see you in the next lesson. 77. Negative Harmony: Theory and Application: We are talking about negative harmony. We'll go through the theory and application of what it is and how to use it quickly without getting into all the nuts and bolts of it. I just want to go quick overview and how to use it right away. In the image. What I've got are three different chromatic circles. And each one of them, I have charted out how the negative harmony and versions work. So we've got the key of C, the key, and the key of G. Sensually, what negative harmony is is the idea of using inversions. So if you're familiar with inversions, I'm not talking about chord inversions. I'm talking about interval inversions. So for example, if we're going up to a perfect fifth, then we would be going seven steps up to go to any perfect fifth. And if we're going to invert that, then we would go seven steps in the opposite direction. So seven steps back, that would be interval inversion. Negative harmony is mostly built on inversions, interval inversions. But with a twist. The twist would be that it is based on the harmonic. Okay, Don't worry, I'm done. That's all the theory. We're really going to go through. The easy way for you to start using it is the way that I've drawn these circles. So if you want to work out in the key that you want, negative harmony, all you have to do is write the 12 notes of whatever, whatever key one, the top node or the high noon note is going to be your key, okay, so like on the left circle, we've got the key of C. So we're in the key of C, like, let's say we're in the key of C major, or we could be in the key of C, whatever. But let's just say we're in the key of C major. So I've got C, It's in my top note. And then I write the 12 chromatic notes from there, going around in the circle until it gets back to see you again. Notice though, there's a pattern to how I wrote these notes though. So on the right side you notice how there's three more notes. So it's like C-sharp, D, and D sharp. So there's three nodes on the right side. There's only two nodes in the left side, the b and the a sharp. Okay? So that's an important thing right there. So I've got three nodes on the right side, only two nodes on the left side. I start, see High Noon, the top C, and then I just do all 12 notes of the scale. C sharp, D, D sharp, E, F, F sharp, G, G sharp, a sharp, and B, it's always going to be all the 12 notes of the chromatic scale. But the way that we're going to write it as three notes on the right for the top half and only two nodes in the left for the top half. The arrow going in the middle, the blue arrow going in the middle of all these circles is what we're calling the axis. So basically we're just cutting the circle in half. That's what they call the axis, is where we cut the circle in half. The right side has three nodes to the left side has two notes. Okay? Now the black arrows connecting the notes, this is going to be the negative harmony. These are going to be in the negative harmony inversions. So if we are in the key of C, the negative harmony inversion of a C note is going to be a G note. If you're supposed to, if you want to play, play around with this, then instead of a C note, you play a G note. Instead of a C-sharp note, you play an F sharp node. So the dino, you play an F node. So if a D-sharp note, you play an E node. Instead of a B note, you play a G sharp node. And instead of an a sharp node, a note. Do you see how the arrows, there is a pattern to the arrow. So we've got, we started in the key of C, okay? C connects to G. C and G, they flip. If you want to play a C note, then you can play a genome stead for negative harmony. And it flips. If you want to play a genome, you can play a C note. So it goes either way. If you want to play a B note, you can play a G-sharp note. If you want to play G-sharp note, then you could flip it to a B note. So they just keep on flipping the inverting, the advert back-and-forth. But one of the things that seems to be crucial about the way that the access works with a circle is that there are 33 pairs on the right and two pairs on the left. You've got your root node to Ricky in the middle, two on the left, three on the right, and then they just straight up and down like that. Then of course the key of a, the middle, and then the key of G on the far right, the circles. These are just exact duplicates, just a different keys. So I just wanted you to be able to compare a couple of different keys. And this is how we would do it. So a couple things about it. Let's go back to the key of C for a minute. Courts, if you want to work out the cord, the negative harmony of the courts, which I believe is really the point here. We could do this with scales, but Harmony. So if we apply this to a chord, you have to break out each note of the chord. So we have a C chord, the notes of a C chord, C, E, and G. If we, if we go through each one of those nodes, the C chord, the CNO turns into a G note. The eNode turns into a D sharp node, and the genome it turns into a C note. And if we put that back in order, then we wind up with a C minor chord. Okay? So now that's going to be true for the other keys also, like the one chord, what we call a one chord, will invert too. Minor chord. By the way, this is the parallel minor. Parallel minor works with both harmony and melody. So the one chord can inverts to a minor chord. So the chord goes to an a minor chord in the key of G. G chord goes to G minor chord. But let's look at the two chord because obviously we can do this for any chord you can imagine, but you have to stay focused on, here's the key that I'm in. So we're back in the key of C, D minor chord, which is the two chord, the notes of the D minor chord or D f at a. So that inverts to a B flat chord. Drastically different than probably what you were expecting. So really it's just that one note that flips. The strange thing about how this works. If we look at the notes of the D minor chord, D, F, and we can see on our circle, the D and the F, they flip back to each other. So when both of those notes are in a chord, like in the case of D minor, also in the case of B flat, we just keep them both. They just flipped, but they're still present. So F, d and a sharp or B flat. And when we put those back in the correct order, we wind up with a B-flat chord. So this can happen with all of the courts that you can be dealing with these. I would encourage you to experiment with playing around with these because you can come up with some pretty neat or substitutions with this. Also, I want to give you one more piece of advice. The major scale of whatever key you're in will invert to its parallel minor. So there's a lot of aspects of music theory which will, kind of things will masquerade with different names. And negative harmony is a little bit like that. It's very similar to inversion. And also the parallel minor seems to be a huge piece of what negative harmony is, at least based on the major scale, because the parallel minor is what the inversion is of the major scale. So if we're in the key of C, Then we want to take all those notes and flip them into the negative harmony circle. Then we're going to wind up with the notes out-of-order of the C minor scale, but then we put them back in order. It's the C minor scale as in the C Number six Aeolian mode. So we can see how I'm borrowing from the parallel minor scale is a very basic classic music theory. Maneuver is you borrow from the parallel minor. This is a little bit more complicated way of getting to that exact same place. But we can start applying this to other chords, which gives us a lot of options for core substitutions. And also really explains a lot of things that we wouldn't otherwise come to you on around, play around with this. I hope this makes sense. I hope this was helpful. And I'll see you in the next video. 78. The Whole Tone Scale: We're back and we are talking about the whole tone scale. So the whole tone scale is really cool. It is unique because it is one of two common symmetric scales. So the whole tone scale is a symmetric scale, and the diminished scale is also a symmetric scale. So these are the two scales that you see commonly is being symmetric as in they go the same movement throughout the entire thing, throughout the entire string body, fretboard, whatever. The whole tone scale is, also referred to as the augmented scale. Okay? So the augmented scale, the whole tone scale, a whole tone is two frets. Halftone is one for it. So halftone is a semitone, That's one fret. Whole tone is two frets. So the whole tone scale means that we are moving to frets in every direction. Okay? It just keeps on going to Fred's to for us to friends, to friends, to friends, until it goes around the world. Real quick, we're looking at tablature here, the image with the six lines. The six lines represent the six strings on your guitar. The top line is your high-pitched little E string, and the bottom line is your low pitch big fat E string. The numbers on each line represent the frets. So like starting out, we've got 357 on the bottom line. So that's the low pitch, big fat E string. Third fret, fifth fret, seventh fret. Then the next string is 46. That's the a string, fourth fret, sixth fret, and so on. Okay, let's talk more about what we can do with the whole tone scale. We said it's symmetric. Meaning that you can start this thing anywhere. It makes it super easy to just jump into playing it because obviously we've got a position here that I put together for how to do it in a box shape. Because guitar players like Bach shapes were used to them. We're not used to having symmetry to work with. So that's kind of weird. Um, but if we did want to work with the symmetry of the whole tone scale, it's just two frets and every direction. So like if you were on just one string and you want to go all the way up and down one string. We're playing this one in the key of G, So it starts out 357 at the bottom E string could do it on the high E string. It doesn't matter. You can put this on any string, 357, and we just keep going two frets. If we want to do the whole tone scale all the way just on one string, 357. And then was to up from 79 was to up from 91113. 15th fret, 17th fret, 19, Fred. Also, if it goes 357, okay, then we can also do the first fret on the low E string. No domain 1357911131517. You just keep on going two frets up, two frets back. Just keep doing that. That's the whole-tone scale. All you have to do is make sure you start on the correct route node. There are only two possible positions. There are six keys. You can consider this as being like there are six different keys of the whole tone scale. And as we know, there's only 12 different notes or keys in music. So six keys would be in one position. So the note that there were the front and we're skipping would be the other position, the second position. So if we start on a G note anywhere on any string and we just go up two frets all the way up and all the way back. That's how you do it. It has a really dreamy sound. I was playing around with the whole tone scale before I really knew how to use it just for fun. I learned about it in the guitar handbook back when I was a kid. Really great book by Ralph Dan. You're highly recommended to every guitar students. It is a book I've read from front to back probably a 100 times. It hasn't really dreamy sound. And so that is part of the fun of the whole tone scale. You hear this a lot and dream sequences and TV shows and movies and stuff like that. The whole tone scale, just because it has a really dreamy, it's the only way I can really think to describe it as a floaty, dreamy feel to it. And also the fact that it's symmetric is really unique, you know, like the diminished scale, as we said, it goes in a certain pattern that just continues on. So you can do a box shape, which is a little bit more complicated. The box shape we're looking at here. Or you can just take it on one string to France all the way and you're done. Okay, how to use it? We can use it over dominant seventh chords. Alright, let's just stop there for one moment. This is huge. Using it over dominant seventh chords. A dominant seventh chord is just a regular plain old seventh chord. G7, A7, B7, C7, E7, whatever. That's a dominant chord. It's just like a plain old regular seventh chord. So the fact that we can use the whole-tone scale over dominant seventh chords is really huge. And it makes sense because the qualities of a dominant seven or one, major three, perfect five, and the minor seventh interval. So this one's got a one, it's got a major three, does not have a perfect five, but it does have a minor seventh interval. So the fact that we are kind of getting past that perfect fifth, you may or may not know this. The perfect 5th is the first interval to get dropped out of any chord when you start getting into sevenths and extended chords, usually the fifth is the one that gets dropped first. So if we were to play this over, a dominant seventh chord is going to work. Most of it's going to work. It's going to sound really interesting too. It's gonna be a completely different sound you can use over your dominant seventh chord. This scale gets used mostly over the seven sharp five and the seven flat five chords. So these are now altered cords when we're talking sharp 555 or seven sharp 57 flat five, those are altered corns. So the whole tone scale would be one of the tricks that you can use over the fifth altered. So sharp five, flat five, sharp 57, flat five. Alternatives are going to be sharp five, flat five, and then the sharp nine, flat nine. So it works over the fifths of those. I'm sure I'm 57 flat five. Filing a scale to work over an altar. There's a couple of them, but the whole tone scale, anytime you are going to see these whole-tone scale is going to be perfect choice. And it's a quick and easy shape to grab, as we've been saying this entire video. As well as it works over augmented chords. We said at the beginning of the whole tone scales, also called the augmented scale. The chord symbol for augmented is a plus sign. So you'll either see AUG. AUG or you'll see a plus sign. So that is how you know, you're dealing with the whole tone scale and an augmented chord. It, the augmented chord is basically going to be focusing on the arpeggio, which is going to be taking us up to the sharp five. So that's essentially what's going on with the augmented chord. Lot of times you're going to see an augmented seventh chord. So that would be like the first major third, the sharp five, as the minor seventh interval. Okay, and then in the case of our, our tab, it'll be the 37. And there would be the six on the a string. And then it would be the five. Or, sorry, It would be the three on the D string, 376 and the third fret. So that would be our augmented seventh chord. And that's about it. So whole-tone scale, It's a fun one to play around with. The most practical application for most people is going to be overly dominant seventh chord. You can just play around with this and just open-ended soloing, whole-tone scale, making dreamy cool sounds. If you try to arpeggiate this, there'll be like using an augmented arpeggio, which would be just skip every other note. So you're going to just do big stretches all the way across. But it's a really fun one. Use it over dominant seventh chords. If you are a jazz person, then start throwing the sand over your seven sharp 57 flat fives. Have fun with it. I'll see you in the next lesson. 79. Tone Rows: We are talking about tone rows. Tone rows are a way to look at a melody or musical phrase from a different spatial perspective. This is different from variations. If you had a variation on a melody, you would be actually changing a node or a couple of notes, just a little bit where you'd be changing a little bit of the rhythm, just a little bit. Those would be variations. This is different with what we're talking about here. We are leaving the melody, the phrase alone. We're not changing a single thing about changing a note. We're not changing a rhythm, it's just being left alone. We're going to only look at it and then play it from a completely different spatial perspective. We'll look at that in just a minute. Background on what we're talking about here is this is just a piece of Arnold Schoenberg's. He wouldn't be considered the father of this approach. Schoenberg would be the guy who brought us are popularized 12-tone theory or which is the same as serialism, which is pretty much the same as dark funny. It's the idea of having playing all 12 notes and every single musical phrase without repeating any of the 12 notes. And doing it with a couple of other rules so that the music is intentionally a tall. It's kind of a crazy idea, but also kind of genius. So all the music that we play is mostly tonal music. Ninety-nine point nine percent of the music that we play and listen to is considered tonal, meaning. It has a tonal center. It has a key. There's a key. We're playing in the key of E minor. We're playing in the key of G major. We're playing the key of a minor, whatever. There's a key. Even if there's a song with multiple keys like giant steps or take five or who knows what? Moonlight Sonata. We have multiple keys, but for at least moments in time there's a key, right? The idea of twelve-tone is that there's never a key. And it is designed so that there is never going to be a key that's called a total. So total music means there's a key ninety-nine point nine percent of everything we hear in play is called tonal music. Then there's this other thing called a tonal music that was popularized by Arnold Schoenberg in the 1800s, early 19 hundreds. So he's probably not the first person to ever do this, but he definitely is the person in the history books that is credited with coming up with it. Sort of genius. It's a little nuts. At the same time, it's kind of nuts and it's kinda genius. It doesn't sound great all the time, is very difficult to make it sound good. But you have to think about it totally differently because it's not meant to sound like what we're used to. We're used to listening to music and gravitating toward that tonal center. The key, the tonal music. There's a key, there's a root, whatever was something, some gravitational pull. So the idea of not having that, it seems to be anti, what we're used to. Maybe it is anti-human that are now. But people didn't really seem to latch onto it. It's been around for well over a 100 years at this point. The only people that really talk about it, or easy theory guys and girls. And so I guess it's just one of those theory geek things. So anyway, I didn't really want to talk about 12-tone theory today. I wanted to talk about the way that we can approach the tone rows because we can take these ideas of the spatial perspective. So where the transformations of the melody and applied to anything we can apply to tonal music. What Schoenberg was talking about was this insane way of taking 12 notes and making a weird melody. Okay, that's fine. But then what he said is we've got these four different ways we can break up this melody without changing any of the nodes or rhythms. That's what we're talking about here. These four ways are what we're looking at the top here, we've got primary. Primary is the original melody. It's the basic original melody that we're starting out with. So that you would completely understand this and it would be easy for you to get, I wrote this melody to be super-duper simple, alright? And we're looking at tablature here. So six lines representing the six strings on your guitar. The top line represents your high pitch, little E string, and the bottom line represents your low pitch fat E string. And the numbers represent the frets. So we're just on the high E string, high pitch for our primary melody, and this is gonna be what our main melody is. 579, okay? Now your primary melody could be anything. It could be Three Blind Mice. It can be Pop Goes the Weasel. It could be Stairway to Heaven. It could be anything, right? So the primary melody is just any main melody. Here's a little disclaimer. What we're talking about here, all of this stuff is really a songwriting tool. It is a composing and songwriting tool. This isn't anything you're probably going to be able to use on the fly when you're jamming. Blues jam with your friends or at the local blues jam at the bar or something like that, you're probably not going to be able to use this. You might be able to pull off a couple of these things, but it'll get your brain thinking about the melodies in interesting ways. So that's what the whole idea is. Here's to your brain opened up two, just because you have one melody doesn't mean that's it. What else can you do with that same melody? So primary is the original melody. I just did it in 579. So it's just going to this really basic linear way. It could be anything though, could bounce around. Retrograde. Retro grade is just backwards. It's primary backwards. Playing the original melody, literally backwards. That's what retrograde is. Inversion is where things get interesting. Inversion is the mirror. Some people call it the upside-down. It's the mirror melody. Now what I mean by that is if we started on five, the fifth fret, and then the primary, we go five to seven, that's two frets up. So to reverse that, we go, we still start on the same node five, but we have to go to Fred's backwards now to fresh lower. So it's a five to seven and our primary, we're going to now go five to three. Okay. Now, in our primary, We also went from seven to nine. I'll keep going up again, so two frets up. So at our aversion, We're going to continue on two fronts backwards. We take the same distance, but we go the other direction with it. That's what an inversion is. We have to do this on a note or a interval by interval basis. Okay? So these two interval groupings, we have to go each grouping one at a time and just take the same distance and reverse the direction. That's what inversion I said winds up being a mirror Melody. What's really interesting about version? And I still ponder this, whether or not I think this is true, is that some people believe that your brain will interpret the inversion the exact same way that it interprets the primary. So for example, if I if I played 579 for you, then I played 531, your brain would actually interpret that the same way. Your brain would say, yeah, it's the same thing just from a different angle. You might be thinking, well, hang on a second because there are different notes. 579531. Those are just different notes. Yeah, it's different nodes but the intervals are the same. And even though it's going in a different direction, It's the same movement just from a different angle. It's kind of a mind twist, isn't it? Then our last move or transformation is retrograde. Inversion. Remember we said retrograde is just the reverse, just playing it backwards. So if we do retrograde inversion, we're going to take our inversion and play it backwards. So what was 531 will now become 135. These melodies are really simple. I'm doing this to an actual melody that jumps up and it goes back and jumps away. If you have a complicated primary melody that goes up, back and up and back, then doing these retrogrades and invertible retrograde is Vc. But inversions get way more complicated. When you're doing the inversion, you have to, like I said, going to group by group basis, whatever the distances. So the first two notes to Fred's distance, they're going up. So the inversion will be to Fred's backwards. Then the next grouping is 792 friends up. So again, the inversion will take that to press back whatever it is, you just keep on going on a grouping two notes at a time grouping basis, and just reverse the same amount of distance. Retrograde of that restaurant grade version. It's just the backwards of that. Now, once you've done this, what we've done is we have looked at the, we have looked at the single melody from four different perspectives. And I know that we are dealing with different notes in some of these, the inversion and the retrograde inversion, we are actually dealing with different notes, but that's still different from a variation of variation is based on just, you know, we're trying to just play around with what we started with, but not to have it really drastically different. We want to be noticeable, noticeably the same thing in the same category. We're dealing with inversion of what we're trying to do is we're saying your brain should mathematically associate this as being the exact same. The primary, even though the notes are different. So a lot of the wastewater composers than me throughout centuries have agreed that, yeah, this is the thing. Inversions are interpreted the same in your brain. What do you think? You think that's true? I don't know. Leave a comment. Anyway. That about wraps up what I wanted to communicate to you here with the tone rows. And it's a way to take a melody and to break it up from all of these different perspectives. Now, if you probably been dealing with just the primary, you've always been dealing with primary melody, whatever it is that you play. Next time you grab your guitar and you play a little phrase on it. Think about this. Try to do the retrograde of it. Just do a simple phrase and try to play it backwards. Then try to do an aversion. You could do that. There'll be pretty awesome. If you could do a retrograde inversion of your little basic tiny melody. Wo, good job. That would be impressive. And what did you think did sound like garbage or did it actually sound like, Yeah, that all does seem to fit together. So anyway, this is some of the extreme music theory degree that exists out there. But wanted to at least expose you and give you my thoughts on it. Anyway, this was fun. And I hope this made a little bit of sense and kinda opened your eyes and minds to some new possibilities. So anyway, I'll see you in the next lesson. 80. wwhwwwh - The Major Scale Formula: We're talking about whole, whole half, whole, whole, whole half. This is the major scale formula. Looks like WWF H, www h. So let's jump right to the text on the left side of the image here. The W is a whole step, which is two frets, and the H is a half-step, which means one fret or one semitone. Semitone as a threat. So WWF H, www, H means whole tone, whole tone, halftone, whole tone, whole tone, whole tone, Halftone. That is, the formula for creating the major scale. Doesn't matter what key. You can do it in any key. In every key, you can start anywhere you want. That's the point of learning. This is that it's an easy, an instant way for us to find or create a major scale in any key. We don't have to have it memorized where we don't have to be familiar with it in that key or on that position on the fretboard. So sometimes it's just bound to happen. No matter how long you've been playing, you may find yourself in a key that you're just not comfortable with. The key. You don't play it all the time. And you could be in a place on the fretboard that you just might not have spent a lot of hours doing that key in that place. So you can always fall back on WWF H, www H, or you could just use it to find keys and easy places if you're new to the major scale and soloing all over the fretboard. So we are looking at tablature here. So the four small images with the numbers on our tablature, six lines represent the six strings on your guitar. The top line is your little high-pitched E string, and the bottom line is your low pitch big fat E string. The numbers on each line represent frets, the front numbers. So like the image on the top left is the high E string. And it's the third fret, fifth fret, seventh fret, eighth fret, 10th fret, 12th fret, 14th, 15th fret. Above that, we've got starting on the second node, w, wh, www H. That's our formula, our major scale formula. And I am telling you it's the key of G. Really what I did here was I wanted to point out the top three examples that they're all in the key of G. I wanted to show you how this works from different points on different strings, that the movement is always the same. So we've got the first example on the top-left. It, we're starting on the high E string on the third fret. The middle example key of G. We're starting on the open G string. So we're going to start on open, open G string there. And the third example on the right key of G, we're starting on the 10th fret of the a string. Okay? So in all of these examples are starting node is going to be the root. Note, every time we're starting at the root node. So if we're in the key of G, are starting node will be a G note. Let's go back to our text. And the left, bottom-left, don't count the starting root note. Don't count the starting root node. The first W, whole, whole step begins at the first movement, the second note. So what that means is you're going to create the major scale. So we find a G Note Anywhere, doesn't matter where it funded genome anywhere. Okay. Now, you haven't moved anywhere. You're just on a G note. There is no movement. In order to have a movement or an interval, there have to be at point a to point B like two notes. So we're on a G note. Now we're gonna go to our next node, which is a whole step. So we're going to go up two frets. That was our first w. Alright, It's kinda what that means. Let's go to the text on the right. The final h concludes the scale at the octave, the root node, so it's the same. The octave is the same as the starting note. So if we start at a G, When we do our final age or final half step, that's going to take us back around the world to a G. Again. That's why the last node of all these examples is a hygiene. Starting note is a low G, and the last note is a hygiene. The octave, whole, whole half, whole, whole, whole half. This is such a cool thing. You can do this in any key. I put this in the key of a at the bottom just to kinda show you, if you think that's just all GI. It's not. You can do this in any key. Do this an F, E flat, C-sharp, G-flat. You can do it in any key. Just pick a starting note. Okay? So pick any node on any string, on any fret, anywhere on your guitar. Say okay, this is going to be my, I'm going to create a major scale in this key. And honestly, you don't even really need to know what note you're on. It would be good. You should you should know what No, you're on. But even if you don't, you can still follow this formula and you will create a major scale in what will be a mystery key to you because you didn't know your starting note, but you will still create a major scale. So pick a note that due to Fred movement, that's your first w. Then do another two freight movement, that's your second W that do a one for eye movement. That's your first H that go to Fred's. That's your w. Two frets again, that's W and the two frets again, it's w because it's www towards the end. And then one more front movement. That's your last H and that takes you around the world. And that'll be an octave of the exact same note you started on. That's it. That's it. Pretty simple. Wwf H, www. This is your major scale formula. This can be broken apart to display all of the seven modes. You could use this, this is used to be to show different scales. So if we just had to show, say, a harmonic minor scale or melodic minor scale or diminished scale or an augmented scale. So we can use this anytime we need to show a scale where we've got the, the two front and the one fret movements. I said in the texts on the right-side, variations can be used for other scales or modes, like wh, wh, wh, WW is the natural minor scale, the Aeolian mode. So really all we're doing there is we're starting on the, the wh at the end of our major scale formula. Which makes sense because that's where the, if we were in the major scale, then that would be worthy Aeolian mode, the natural minor begins. The relative minor would be on the W towards the end. So that would be your formula for creating a minor scale anywhere from any key. That kinda makes sense. So all you need to know is kinda where you are in the major scale and then start from that point. And you will have a new system of creating the w's and the Hs to formulate your New Mode or scale that you need. Anyway, become familiar with this, just with the major scale for now, that would be a great thing to do. Start finding it in different places. Do major scales that you've never done in places you've never done that before. Do create a major scale in the key of E flat on the G string. Find an E-flat on the G string and go up using this pattern. Just don't count. You're first starting node. You find that your E-flat on the G string do two frets up. That's your first w. Got it. Okay, good. I'll see you in the next lesson.