Learn to Improvise on Guitar with Exercises

1. Promo Video: Do you want to learn how to improvise and know the fret board, or do you want to play with other people over any core progressions and know where to go? In this course, you can do that. This course, which is an incredible 6 hours of video lessons, over 200 exercises, and 20 backing tracks will help you to learn how to improvise. At first, we are going to learn the C major scale through music theory lessons, minor six, Major six, minor seven, and major seven. Musical exercises, which will help you to master the moods and the positions Improvisation techniques and exciting backing tracks. After we will have a look at other keys, so you will have more opportunity to improvise over other progressions. And finally, we will have a look at what you can do in a key change. Sign up for my course and improvise from today. 2. 1. Introduction: Hi. My name is Adina, and thank you so much for signing up for my course. In this course, we are going to learn the major scale and improvisation techniques. At first, we will look at the C major scale and all the modes positions with different exercises, and they are available in PDF and guitar pro format as well, and a lot of different backing tracks. Then we will go and look at other keys as well and how to deal with the key change. If you ever decide to record one of your improvisations over one of my backing tracks, please feel free to share it with me because I would love to have a listen. Enjoy this course and keep jamming. 3. 2. Technique: Before we start with the scales, it is important to know how to play them. And there are two methods to play them, and one is with a pick or a plectrum. And when you play with a pick or a plectrum, you do an alternate picking, which means you play from the top and after from the bottom. Also try not to touch the guitar body when you are playing with the pick because you need more free movements, and then you can go faster as well. Although, I'm going to play everything with fingers because I'm more comfortable, but you can do the whole course with a pltroom, if you wish to because it will be exactly the same knowledge, but different technique. When you play with fingers, you can play it with picado. Picado is an alternate picking between the index and middle finger, and you are pulling up your finger to the next string. You are always alternating with the index and middle finger, and when you start to go upwards, it is important to stay in the same position so you can just lift up the whole arm to keep the position. So it will look like this. Your thumb can be on the east string, but once you start going upward, then you can use the guitar body for a support, and then you can just push the thumb onto the guitar board and pull the whole hand up. When you play with picado, it is important to do the movements from the bottom. So you can be faster and it won't be so like when you just move one part of your finger. Now I'm going to show you a few exercises to practice the alternate picking. This exercise is called three note per string exercise, and everybody is doing them. All the guitarists that I know, all the guitarists that I ever played with. It is a speed exercise, and some people can do this really, really fast. The exercise will be that you play with your left hand index middle and ring finger, and then you go to the next string. So you play three notes per string. You play three notes per string because you want to switch all ways with a different finger or a different way with the plectrum. So that's why when you play three nodes, then you always use the next finger to play the next string. So if you start with the index, it will be index, middle index middle index, middle. And then again, index middle index. When you're going down, you are going forward. Once you are in the bottom, you push everything up and you start to go backwards. You can do this exercise going all the way up on the fretboard or you can just go backwards after a while. So once you are here, You can do few things to practice the switch because that's the most important thing. You need to make sure that you are always doing an alternate picking. So to practice the switch between positions and going forwards and backwards, you can practice it only on two strings. So you can do this exercise. So only on the bottom two strings, or you can do exactly the same exercise on the base two strings. This can be quite difficult if you are not used to playing and alternate picking. But it's very important to train your fingers for alternate picking. Otherwise, it will be very difficult to go fast later on. Before we put on the metronome and play this exercise, we need to do few things to reduce the movements. On the left hand, when you play, don't lift up after you play, which means you play with the index and stay and then middle finger and you stay. Many people play like this. This is wrong, and you add too much extra movements. So the best is just to stay once you played and do you move when you need to move. When you are going upwards, you can do reduce movement exercise. So instead of moving one by one, you can move together with the ring and middle finger, and then it will reduce the movements that you do on your left hand. This will take a little time to get used to, but it will really improve your speed. Now, let's play this with the matronom, at 100 bpm. One e per beat and let's see how does it sound. Once you are comfortable with these and you can follow the metronom, you can switch to three nodes per beat exercises. So you will have less clicks, but you need to play three notes. Let's try to do this at 6:00 P.M. You can also count to sp, so it will be like this. O, two, three, one, two, three, one, two, three, one, two, three. To sound good in improvisation, it is important to push the speed up, and you should be at least 130 BPM. But some people can do this super super fast, like 200 BPM. So I will show you how it sounds at 100 and m. This speed is not going to happen overnight, and it will be quite hard at the beginning. So I recommend that you try to find your speed, and once you found your speed, you try to work it to go faster. So if your speed is 80 BPM, then try to practice it at that speed for a while and then try to push it up a little bit more like 90 BPM and try to keep up. There are a few tricks that you can do. For example, try to go to 90 BPM. I your speed is 80 BPM, even if you cannot do it and try to follow it. And even if you cannot do it, it doesn't matter. But once you go back to 80 BPM, it will be a little bit easier because you were pushing it so hard to try to follow 90 BPM. So, for example, I can put my speed up to 150 BPM, and then it means that I will be better at 140 bm. So this is quite, you know, challenging at this speed, and even for me. So that's why I need to do quite a lot of exercise to get to this one. But now, when I try at 140 bm, it will be easier. You can do another exercise for the alternate picking, which is very similar to this one, but now we are going to different directions. So instead of going forward, at the beginning, we are going backwards. So it will look like this. And once we go to the next f, then we go forward. These two exercises are quite important. So I recommend to practice this every day or whenever you start to play the guitar, at least five, 10 minutes before you go on to the scales, it will help you to train your brain for alternate picking exercise and also to train your fingers to faster. Now, let's go on to some other exercises to practice the alternate picking. H 4. 3. Alternate Picking Exercises: Let's have a look other alternate picking exercises, which will help or technique, and it will involve some string changing. One way to do that one, you can hold third, which means that you play two nodes in a third apart in a scale. We will go into that later on. But in this case, we can just hold the seventh fret of the E string and the eight fret of the B string, and then we can play three nodes on a way that we will start with E BE. T. Let's do the same exercise with the metronome. It is at 60 b pm, and we will play three notes per bit. One, two, three, one, two, three, one, two, three, one, two, three. We can play certs as well on a way that we will go down in the fret board, and we will just add different type of certs and after we go back up. So this exercise will look like this, and of course, the tabs are available, so you can download them and have a look at them. Now, let's do the same thing with the metronome. The second exercise will be quite similar, but we add some melodies inside as well with the certs. 5. 4. Playing with the Thumb: Another technique that you can use for improvisation and it is playing with the tub. You can use two technique to play with the tub. One is ending up freely and just plucking the strings. The other one is called pull gar when you end up on the next string on a way that you pull it down. Both technique is going to work, but I prefer the second one because it has a stronger sound. Usually, when you play with the tum also, you are only playing the top three base strings. But you can also use the picado or the platform on any of the other strings, but with the um, you have a little bit different sound. Let's do an exercise on this, and we will do a string skipping exercise, which means that we will play the E string and the D string and the E string again. You can hold any barry position, but don't hold the full barry on the e shape, and then we will play B You can also do the string notes per beat exercises, but only do it until the D string. So let's see how does that sound. Now, let's do again, the string string exercise, but this time did they go to the other direction. D d d d d d Playing with the Tum can be quite exhausting because you are not switching fingers. So that's why it is better to play with picado instead of the tup or when you are playing with the tom, it's good to add some her and pull off. And in your next lesson, we will have a look at those techniques. T 6. 5. Hammer-on, Pull-off, Slide and Vibrato: Tremendously improve your sound when you are improvising when you use some other techniques as well. For example, you can do hammer on, pull off, slides, and vibratos. Hammer on is when you play one note with the right hand and you add a second note with another finger. With pull off, you can do the same, so you will play one note and you add the second note with another finger. To make pull off sound good, it's good that your finger is already there where you need to do the pull off, and you literally pull the string down and release it. Lot of people do pull off on a way that it's like a backward hammer on, and this is wrong. So it's like this. The sound won't be as strong as when you literally pull it off to the second string. Now let's do a few exercises on hammer on and pull off. The first exercise we'll be playing on the C major scale nodes, and we will play on the B string, and it sounds like this. The second exercise will be on the C major scale again, and we will use the first mode, which is the e region. We will learn this later on, and we will do four notes per beat exercise. And we will do four notes, and then we go to the second step of the scale, and then we do four notes again. And again, we can do the same thing going down with merons. The next technique that we are learning is called slide, which means that you play one node and you slide it to another node. You can slide it backwards and forward as well. So let's do an exercise on this. The next technique that we're going to learn is vibrato, vibrato is elongating a note on a way that we are sliding either sideways or up and down very quickly. If you're playing an acoustic guitar, it is used more when you slide up and down, but on an lon string guitar slide sideways. 7. 6. Music Theory: Before we go onto the next part of our course, we need to learn some music theory. What is a scale? A scale is a sequence of nodes. For example, a C major scale sounds like this. In the end, I played an octave, and I played C EFG AB and C again. What is a chord? A chord when you play two or more nodes together. For example, a C major chord, sounds like this. What is an arpedo? An pedo is when you play on the scale, the first, third and fifth node, we also have seventh arpgos when you play the first, the third, the fifth, and the seventh node of the scale. A C major arpgo sounds like this. And a C major seven pago sounds like this. How many nodes a scare consist of? There are different types of scares and different type of scares have different nodes. For example, I'm pretty sure that you heard about the pentatonic scale. Pentatonic means that it consist of five nodes and the blue scale is pentatonic. But what we are going to learn here in this course is a heptatonic scale, which means that it has seven different nodes. Let's have a look at the C major scale. So it consists of C d E F g ab, and the eight node will be the C, but it is one octave higher, and that's where it will repeat, and it will be in a higher tone. What is an interval? Interval is a distance between nodes. It is very important when you are learning about improvisation and scales because an interval can signal if the scale is major or minor, and it is also great when you make up different courts because they always have the same intervals. That's why some courts always sound the same even though they are in different keys because they all have the same intervals. It's the same with the scales. Some scales sounds very similar or they are similar. Because they have the same intervals, but they are in different keys. To really understand the intervalic at first, we need to understand the sequence of the nodes. Now, let's have a look at the sequence of the nodes from the C because we are learning the C major scale first. We have 12 nodes on the guitar, and these 12 nodes from the C will be C C sharp, D, D sharp. E F F sharp, G G sharp A B flat B. Some nodes can be called sharps or flats, it depends on the context, but for now, we are just going to use this sequence. Let's match it with the intervals. Every cord and scale starts with the root node, and this will be in this case C. But if we go to a different key, we will change the root node and everything will be different. And then we have minor second, major second, minor third, major third, perfect four, flat five, perfect five, minor six, major six, minor seven and major seven. Let's highlight what the notes are in the C major scale, and let's see what are these intervals. As you can see, the intervals will be in this case, root note major second, major third, perfect four, perfect five, major six major seven. That's why you can hear that every intervals are major except the perfect four and perfect five. That's why the scale sounds very happy. Let's do an exercise, and let's make up the G major scale. So in this case, we are going to list the sequence of the nodes from the G, and we are going to match it with the intervals, and we can see what kind of nodes are in the G major scale. So these nodes will be G A, B, C, D, E, and F sharp. The G major is the scale which has only one sh. Now I have one exercise for you. Make a major scale, major scale and F major scale, doing the same method like we did before, so you need to list a sequence of the nodes from the root node and tell me what are these nodes. You can stop the video and after I'm going to tell you what are the solution. There is one more thing that we need to cover in this music theory lesson and these are the modes. What are the modes? The modes are sequences within the scale. It means in C major scale, the sequence is always the same, but the starting point can be in a lot of different places. For example, in the C major scale, there is the A minor scale, but in this case, the scale starts from A instead of the C. But it sounds quite different. C major scale sounds like this. It sounds very happy. But the A minor scale sounds like this. The sequence of the nodes was exactly the same before, but the starting point was different because the major scare started, C E Ab, and the minor scare started on A. It was ABEG. Great. Now, let's go on and learn about the individual modes, and let's do some exercises with these modes. 8. 7. C Ionian: Learn the positions of the C major scale, and let's learn the modes, and we will start with the first mode, which is called C ionian. All of the modes are coming from ancient Greek names and the ionian is exactly the C major. Let's list the sequence of the nodes, and let's match it with our intervals. As you can see, I highlighted the nodes and the intervals, and these will be root node, Major second, Major third, perfect four, perfect five, Major six, and Major seven. Now, when we are looking at the positions, we will always look at the positions from the east string, and we will do at least two octaves. So the C node on the eat string is on the eight ft. So that's where we start or scale. And the nodes will be eight, ten, seven, eight, ten, seven, nine, ten, seven, nine, ten, eight, ten, seven, eight, ten. The second octave would stop on the eight string of the bottom e string because this is two octaves away, but we can add some more notes, so we have a little bit more variety on our improvisation. The first step to practice this scale is just to go up up and down until you definitely know the sequence. The next step will be that we will put on our metronome, and we will do exactly the same with the metronome. I set the metronome to 60 b pm, and we are going to play two tes per beet. The next exercise will be switching between the beats. So you will play exactly the same sequence, but you will switch from two nodes to three nodes and to four notes. This will be quite challenging, but I'm sure with practice, you can do that one. And the metronom is set again to sim. The next exercise will be the steps, which means that we are going to go two step forward, one step backward, two step forward, one step backward. So you can do this exercise on a way that you can't outlo and then you can do it with the scale. So it will be one, two, one, two, back, one, two, back, one, two, one, two, back, one, two, back Once you are in the bottom, you can do the same but going backwards. Now, let's do the same thing with the metronome. This exercise is a little tricky with the metronome because once you switch and you go upwards, then you go on to the offbeat. But if you keep the same pace, you should be able to do that one. The next exercise will be, which means you the f, the th, and then the second and the fourth no. And it looks like this. You can do the same exercise again with the metronome, and when you are practicing with the metronome, it is good that you do it in a lot of different speed and you try to push up the speed, so it sounds quite nice. The next exercise will be the fe exercise. It means you play four notes and you go to the next step and you notes again. This time we are only going to go from the bottom till the top. It sounds like this. And finally, we are going to play the arp goes. At first, we are going to play the normal arp go, which is the, the third, and the fifth of the scale, and it sounds like this. And now let's play the seventh pedo, which is the third, third, fifth, and seventh note of the scale. Again, you can use the metronome to push up the speed of any of these exercises, and these exercises really help you to muster the shape and really know the notes. 9. 8. Playing the Exercises at a Faster Speed: Exercises before we're in a quite slow speed. So I just want to show you how an exercise sound like when it is in a faster speed. Do. 10. 9. D Dorian: We are going to look at the second position for the C major scale, and this is called D dorian, which is also the second mode. Let's list the sequence of the nodes, now starting from the D. Let's highlight or sequence, which is the same sequence as the C major scale, but starting from the D. Let's see what kind of root node and other intervals we have. Our root node is D this time, and the intervals are major second, minor third, perfect four, perfect five, major six and minor seven. Let's see the positions on the guitar. Again, we are going to start from the E string, from the D, which is on the tenth fret, and the sequence will be ten, 12, 13, ten, 12. Nine, ten, 12, nine, ten, 12, ten, 12, 13, ten, 12, 13. Again, the first step will be to practice the scale up and down, and then once you are comfortable with the position, you can put on the metronome. So let's see how does that sound. Now, let's do the second exercise, and it will be that we set our metronom to 60 BPM. And then we are going to play two notes per beat to switching to three notes per beat and switching to four notes per beat. The next exercise will be steps, again, which means we go two steps forward, one step backward, two step forward, one step backward. The next exercise will be playing, which means in the scale, we will, and after the second and the fourth and so on. Now, let's see how does that sound. The next exercise will only be again from the bottom to the top. We will play four notes, and we go to the next step and we play four notes again. Again, you can do this exercise any speed. But if you want, just try to push it up so it will sound so much better. And the last exercise will be the R Pad joys. We are going to play the normal pad joys, which is the, and the fifth of the scale, and the seventh pad jos will be, fifth, and seventh notes of the scale. And the seventh or pago. 11. 10. E Phrygian: X mod in the C major scale is e fgion, and actually, we are going to look at two different positions of the e region on the guitar. But at first, let's see what kind of intervals we have on the e rigion scale. As you can see, I listed the sequence of the nodes and I matched it with the intervals, and these are root node minor second, minor third, perfect four, perfect five, minor six and minor seven. The hygien scale is also the Spanish flamenco scale because it is used a lot in this kind of music. So if you listen to this kind of music, you might recognize the sound. Now we are going to look at first in the first position, and after we will look at one octave higher, starting from the 12 t from the E to look at this scale. Open one free open. Three, open, two, three, open, en, one, three, open, one, three. Now, let's have a look at the scale, but one octave higher, starting from the 12 t. If you don't have a cutaway guitar, you don't have to play that because it's quite hard to reach. 12, 13, 15, 12, 14, 15, 12, 14, 15, 12, foe, 12, 13, 15, 12, 13, 15. We will do the same exercises like what we did before, but we are going to do it in two different positions. The first exercise will be just to learn the shape of the scale, so we will go up and down on the scale. We are going to put on the metronome at 60 bm. And we are going to do two notes per beat, switching to three notes per beat, switching to four notes per beat. Our Now, let's repeat the pattern one octave higher. The next exercise is the steps, so we will go two steps forward, one step backward, and we will do it again in two different positions. F f f f Oh. The next exercise will be playing, which means we will play the, the third, and then the second, and the fourth and so on. And the next exercise is the four steps exercise starting from the high E to the low E. Oh. And the final exercise will be RP jaws. At first, let's look at the normal RP jaw, which is one, three, and fifth not of the scale. And now, let's have a look at the seventh ped jaws, which is one, third, fifth, and seventh note of the scale. 12. 11. G Mixolydian: Next position is G mix solidan. Now this is a quite important mode because this mode can be a clue which key you are in when you are learning a new song. Now let's have a look at what kind of intervals we have in this one. I listed the sequence of the notes from the G, and I highlighted the nodes for the C major scale, and the intervals will be root node, major second, major third, perfect four, perfect five, major six, and minor seven, and the nodes are. Third fifth, second, third, fifth, second, third, fifth, second, fourth, fifth, third, fifth, sixth, third, fifth. Again, the first thing you need to do when you are learning a new skill that you just go up and down on the scale until you know the sequence. We will do the same exercises for this scale like before, for all the other scales. So we start with the beat switching exercise, Metronome is on 60 BPM, and then we are going to play two notes per beat, switching to three notes per beat, switching to four notes per beat. The next exercise is steps. We will go two step forward, one step backward, two step forward, one step backward. The next exercise is playing thirds, so we will play the first, the third, and then the second and the fourth note, and then the third and the fifth note and so on. The next exercise is the four notes, exercise, we will play four notes, and we will go to the next step and we play another four notes, and we just going to play it from the bottom till the top in the boar. And the final two exercises will be playing RPD jaws. At first, we will play the normal RPD jaw, which is the fir, the third, and the fifth note of the scale, and it repeats. And the seventh RP js will be the, fifth, and the seventh of the scale. 13. 12. A Aeolian: Exposition that we are learning is the A Am, and it is also called A minor or the natural minor scale. You might wondering why we are learning the minor scale because we are within the major scale. But once you know the intervals, you will understand why it sounds minor. Now, let's have a look at them. So I listed the sequence of the notes from the A, and I highlighted the notes for the C major scale, and the intervals will be root node, major second, minor third, perfect four, perfect five, minor six, and minor seven. Now, let's have a look at the position. It will be five, seven, eight, five, seven, eight, five, seven, four, five, seven, five, six, eight, five, seven, eight. So at first, you need to start again playing up and down the scale until you memorize the sequence of the nodes. Now, let's do the exercises on this particular position as well, and we will start with the beat switching exercise. Oh. The next exercise will be the steps. So we are going to play two step forward, one step backward, two steps forward, one step backward. The next exercise will be playing, so we will play the, the th, and the second and the fourth, and so on on the scale. The next exercise we'll be playing four notes per beat, and then go to the next step and another four notes per beat. The next exercise, we'll be playing PD joes. At first, we are going to play the normal RPD joe, which means the first, third, and fifth note of the scale. And finally, the seventh RP jos will be the, th, fifth, and seventh note of the scale. 14. 13. The Final Two Modes: The final two modes that we need to have a look at is the F Dian and the B Locrian. The reason why we skipped F dim before because you can play this from another position, you just need to start on the second node, and for the Bcrean, you just need to add an extra node and you can play that one from another position as well. So let's have a look at the intervals first. I listed the sequence of the nodes starting from the F, and then I highlighted the intervals, and this will be root node, Major second, Major third, flat five, perfect five, Major sixth, and Major seven. You can play the scale from the E frigon shape, but this time you need to start on the F. O the final mode that we are looking at is the B locrin. I listed the sequence of the nodes starting from the B, and let's have a look at the intervals, which will be root node minor second minor third, perfect four, flat five, minor six and minor seven. This mode is very different from the other modes because this is not a major or minor mode, because the fifth node of the scale is not perfect five, but a flat five, and that's why this will be a diminished scale, and it will be a diminished chord as well. You can play the scale from the C ion and mode, you just need to add the B to it. So instead of starting on the C, you start on the B. I'm not going to give you any exercises to practice these two modes because you already practice these positions from another mode. But of course, if you want to feel free to do it. 15. 14. Three Notes per String Method: Fore we learn the courts and some theory behind them, I just want to tell you there is another system to learn the major scale, and it is reed the three nodes per string method. This case, you will play exactly the same nodes, but you will play three nodes per string always. Now, I'm going to show you two exercises that you can practice, this, but I prefer the method that I taught you, but you can use both of them, they work fine because it is exactly the same nodes in both cases. Oh. 16. 15. How to Make a Chord: Now that we learned all the modes and the positions, let's have look what kind of chords you can use to play all of these scales. And to do that one, we need to use the intervals and learn how we can make up accord. You can make up accord two different ways. One is to use the first, the third, and the fifth note of the scale, and then you can make a different chord a little bit more complex chord when you use the first, third, fifth and seventh note of the scale. Let's have a look at some examples. For example, a major chord always has three intervals and they are root node, major third, and perfect five. A minor chord always has three intervals as well, but these are a little different because it is root node, minor third, and perfect five. Now, let's have a look it looks like when we plate it with a chord. So let's make an A major and an A minor chord, and let's have what are these intervals. When we make an A major chord, the root node is A, and then we have the major third, which is C sharp or D flat, and the perfect five, which is E. A, A, C sharp or D flat, A E. For the A minor, the root node is A, the minor third is c and the perfect five is E. A, A, C, We can also make seven chords, but in this case, we will have four different intervals instead of three. And the intervals depends on what kind of seven chord we have. We can have major seven, minor seven and dominant seven quarts. When we have a major seven, we have root major third, perfect five and major seven. Then we have a minor seven chord. We have root not minor third, perfect five, and minor seven. And the dominant seven chord has root note major third, perfect five, but minor seven. Let's make the chord examples like before. At first, we are going to make an A major seven chord, and we have root node A. Major third, C sharp or D flat, perfect five, E, and major seven will be G sharp or A flat. A G sharp, C sharp, A, Now, let's make a minor seven chord. So we will have root not a minor third, C, perfect five, E, and minor seven will be g. A, B, g, C. Finally, let's make a dominant seven chord, so we have root node a major third, c sharp or D flat, perfect five, E, and minor seven g. A, C sharp or d flat, 17. 16. The Chords in the Major Scale: Let's have a look at the modes of the major scale and let's make all of these chords. Let's make a chord from three intervals, and let's make a quart from four intervals. First mode is C ionian, and we have root note, major second, major third, perfect four, major six and major seven, and we can make a chord from root no major third, perfect five, which means or root note is C, so we have a C major chord. Then we use the first third fifth and seventh interval, we have root node, major third, perfect five, and major seven, so we can make a major seven chord, which is C major seven. The next mode is D dorian, and we have root node, major second, minor third, perfect four, perfect five, major six and minor seven. So we can make major or minor chord. So we have root node, minor third, perfect five. So this is a D minor chord. Also, we can make a seven chord, which will be root node, minor third, perfect five, minor seven. So this will be a D minor seven. The next mode is E phrygian, and we have root node, minor second, minor third, perfect four, perfect five, minor six and minor seven. So we can make the first chord, which will be root no minor third, perfect five, which is an E minor. And if we look at four intervals, it will be root note minor third, perfect five minor seven, so it will be an E minor seven. The next mode is F lidian and we have root note, major second, major third, flat five, perfect five, major six, and major seven. We can make the first chord, which is root note, major third and perfect five. So this is an F major chord. Or we can make a seventh chord, which means we will use root node, major third, perfect five, and major seven, and this will be F major seven. The next mode is G mixolydian, and we have root note, major second, major third, perfect four, perfect five, major six and minor seven. The first chord will be root note, major third, perfect five, so it will be a G major. If we make seven chord, it will be root note, major third, perfect five, and minor seven, it will be g dominant seven. The next mode is A A on, and we have root nought, major second, minor third, perfect four, perfect five, minor sixth and minor seven. So let's make a chord from the first, third and fifth, which is root not minor third and perfect five, so we have an A minor chord. And if we make from root no minor third, perfect five and minor seventh, we have an A minor seven chord. Our final mode is the B locrian, and we have root node minor second, minor third, perfect four, flat five, minor six, and minor seven. So if we make a chord from the first third and fifth, we have root no minor third and flat five, which means we have a diminished chord, and this will be a B diminished. And if we make a chord with four intervals, it will be root node, minor third, flat five, and minor seventh, so we will get to the B half diminished chord. 18. 17. Chord Progression and Improvisation: Now that we learned all the courts for the C major scale, let's make a chart progression. How do you make a chart progression? Basically, you can use any of these charts within the scale, and then they will all sound good. You can experiment just to play around these charts, but this time, I'm just going to make a simple art progression and it will be. S A D N G. And I will do a backing track for you as well, which will be like a Spanish backing track because I'm going to play Rumba. And I'm going to do now an improvisation so you can see how it sounds when I'm using a lot of different positions on the C major scale. O 19. 18. C Major Pop-Rock Backing Track - Am, C, G, F: Fact a factor factor factor. A for a a fact Data Deft deft for for or factor factor a 20. 19. C Major Rumba Backing Track - C, Am, Dm, G: Oh Oh, Oh H. 21. 20. A Minor Classical-Latin Backing Track - Am, C, G: Oh O Oh. Oh 22. 21. Song on A Minor Backing Track - Bluebird: [No Speech] 23. 22. La Bamba Backing Track: Oh. No. No. Oh. H h. Oh. 24. 23. La Bamba: Foto. 25. 24. 3rd and 6th Harmonies: Now that we learned all of the charts and the positions on the guitar. We can move on to the next step in our course and we will learn the harmonies. What are the harmonies? A Harmony is when you play together two notes and they are three or six notes away from each other. So we have third and sixth harmonies. Now they sound good when you play them on the bottom three strings of the guitar, so we will only look at those positions, and they also sound better when we have a backing track, which is a little bit more minor oriented. So I recorded two more backing tracks for you to practice these harmonies. We use a lot these harmonies in Spanish guitar and flamenco guitar, and they sound really, really amazing, so it's really worth to know them. Now, let's have a look at first, the positions of the third harmonies. At first, we are going to have a look at of the G and the B string, and the first harmony will be the two open string because they are three notes away. One, two, three second position will be two and one because they are again three notes away. And after we go on to four and three, five and 57 and six, nine and eight, ten, ten, 12 12. It's good to move a little bit over and go further on the guitar. I know some of you won't be able to reach it, but if you can, then learn those positions as well because they sound really amazing. These will be the same pattern like in the first few. The next position will be. And after we have 16 15, and finally, 17 17. Now, let's have a look at the B and the E string. The first position will be first and open because it's three, 153-658-7108 and 1210. And of course, you can go again further on the fret board and play the rest. So it will be 13 and 12. And 15 and finally, it will be 17 and 15. Now I'm going to show you how it sounds when it's played with a backing track. Now, we are going to have a look at the sixth harmonies, and there are six notes of A. The first position will be the open G string and the open E string. One, two, three, four, five, six, and the next position will be two, and one. One, two, three, four, five, six, and then we have four and 35 and five, seven and 79 and 81010 and 12 12. And again, you can go further on. So it will be just the same shapes like before. So 141316 and 15 and finally 17 and 17. And now I'm going to play another melody using the sixth harmonies with a different backing track so you can hear hoy sound. 26. 25. Spanish Guitar Picking Backing Track Dm, Am7: Oh Oh The Oh. Oh. 27. 26. A Minor Rumba Backing Track - Am, C, Dm, Em: A 28. 27. The CAGED System for Harmonizing : Our next lesson, we are going to have a look at the ge system to harmonize quarts. What is a ge system? It is a way to play the C AGE orts in the first three frets, and then using the same shapes and the bar, you can play any other arts all around the fret board. Now, let's have a look at when you play them in a major shape or in a minor shape. If you play them on a major shape, you can play it in five different ways. Let's have a look at each of these shapes. The first one is C. The root note will be on the A string, and this is 3010. Then we have the A. And the root note again on the A string, and it will be 02, two, zero. After we have the G, root note is on the e string, and we have three, two, zero, zero, zero, three. Or you can plate three, zero, zero, three, three, they are the same quarts. And then we have the E major, and the root note again on the E, so it will be zero, one, zero. Two. And finally, we have the D major chord or the D shape, and the root node will be on the D string. So it will be 02, three Let's see how it works in practice. Let's play the C major chord in all of these five shapes all around the neck. So the first shape will be the C, which is the base shape, so you don't have to do anything. You just play the shape that we just went through. And after we have the A shape. So we need to find the C node on the A string, with cheese on the third front. And that's where you are holding the barry, and you are holding also the A shape, and then this will be a C major again. These two chords are the same, but this is a little bit higher. You will see why it is important to play higher and lower nodes when you want to have different sounds in your improvisation. The next shape will be the G shape. Which is not really used in Spanish and classical guitar because of the neck, but you can still use it for harmonizing. So when you do this one, you need to find the C node on the e string because that's where the root node will be, and this is on the eight t. So then you just need to hold the shape of the G. So this will be eight, seven, five, five, five, and then eight. It's quite difficult for me to hold it. The next shape is the E shape. We again need to find the root note, which is on the eight, and then we just hold the E shape, and this is the C major. Our final shape is the D shape, so we need to find the root note on the d, which will be on the tenth fret, and then you just need to hold a barry there or just a note, and then you can play the s in the D shape. When you are harmonizing, you mainly play the bottom three strings. So it is just easier to remember the shapes on the bottom three strings. So the first shape will be C shape and the bottom three is just zero, one, zero. Second shape, A major, so we will just have 553 third one, g, shape. So we will have 558, or you can have 588. The next shape is E shape, so we will have 988. And finally, on the D shape, we just have 12 12. Let's have a look at the minor quarts as well. In the minor quarts, we only have three shapes for harmonizing and these will be a minor, which is zero on the A string, 10, and we have min starting on the string 0000. Finally, we have D minor starting on the string, so it will be 0231. Let's use this knowledge with a backing track. We are going to use the same backing track like we used for the sixth harmonies. So the backing track will be the A minor Rumba backing track, and the quartz will be A minor C D minor and A minor. So Let's find a way to harmonize over this before we put on the backing track. The first chord is a minor. We can, for example, plate in the D minor shape, which is here. You are playing nine, ten, eight. This will be your first chord. Second chord is a C major, so we can use the E shape or the C major because we are quite close, and then we have D minor for D minor, we can go here. So this will be A minor in the A shape. And finally, we have E minor and E minor is here in the A shape. So the harmonizing will be. Now, let's put on the backing track and see how this sounds when you play with over Cort. It sounds good as it is, but it sounds even better if you are harmonizing it with finger picking. So I'm going to show you how it sounds when you are finger picking. At first, I'm going to play you eight notes over them, and after I will do eight triplets, so we change the rhythm a b. To This is quite nice. Now, let's find another way to harmonize this. We can harmonize the A minor, for example, here, which is the E shape, so it will be just 555. After we can harmonize the C major, it will be 53. And then we have min. So we can go back here. And E min will be here. Okay, so let's go through it before we add the backing track. Let's see how does it sound with finger picking harmonizing. Now, let's combine the low and high together because it will sound very, very nice. Of course, there are endless possibilities with this one, and changing the rhythm between the harmonizing helps as well. Also, you can add additional nodes, so it will sound even better. For example, you can add any nodes which is in the C major scale here with the shape, so you can do, for example, we can add the ten and 12. I will sound like this. The same thing when you go to the C shape. And then you go to the D min shape and to the E shape. Let's see how does it sound with a backing track. Now, let's move on to our next section, which will be the improvisation techniques. 29. 28. Improvisation Techniques: Let's use all of the knowledge that we learned and use it in improvisation. The first exercise will be playing over a backing track, and you can just go up and down on the scale. The main thing here is to hit the right notes and just be in the key. The next exercise will be playing nodes within the C major scale, but these nodes shouldn't be next to each other. It is quite difficult comparing with the first exercise, but this will really make you think where are the nodes within the. O. O. O The next exercise will be playing different rhythms within the beat. I'm going to show you how some rhythm looks like here. The first exercise we'll be playing eight notes. Now we will play some triplets. And finally, let's play some 16th notes. It is very nice to switch between rhythms when you are improvising, so it will make it much more interesting. And that's why I made another exercise for you, which will be a clapping exercise that will help you to switch between two notes per bits, three notes per bit, and four notes per bit. Now, let's do an exercise when we switch between four notes per bit to two notes per bit or 16 nodes to eight notes. And although it sounds it is triplets, but it is not exactly 16 nodes, but playing kind of triplets within the 16 notes. It is quite nice to switch rems regularly, so it makes the improvisation so much more interesting. To play, for example, two dotted quarter notes and one quarter notes, so it will be like this. Da. Let's see how does it sound. Of course, there are so many written variations that you can do within the beat. So it's really great to switch between rhythms and see how do they sound, and then it will help you to gain your own sound as well. The next exercise will be using mers, offs, and, and slides, then it will be a little bit more interesting when you are improvising. The final exercise will be to develop a melody. A melody is a little bit more recognizable than everything else, and this can be the theme of your improvisation. And also, you can just develop it on a that you have the same noes, but you variations, so it sounds different each time when you are playing them. So this is my melody, um, um, era tum. And then I go down. Tum Tatum. Now, let's add variations to this melody. O. Oh. Now, let's have a look at Hardy sounds like when we play a little bit more famous song. So let's put on the backing track for La Bamba, and I'm going to play the main melody, and I will add different additions, so it's a bit more interesting. 30. 29. Clapping Exercises: Our next exercise, we are going to learn how to switch within the beat. At first, we will set our metronom to 90 BPM because this was the speed of our backing track, and we will clap two notes per beat to three notes per beat to four notes per beat. Before we move on, I just want to say there are few things that you can do to be more on time. For example, you can clap a little louder when you hear the metronome, so it will be like this. Also, you can move your leg, especially if you are a beginner, so you feel more rhythm when you are on the beat. Now let's move on and start clapping three nts per beat and then 24 notes per beat. Four not pit. Back to three. And two. Now we will do two, and we go to four to four. Two. In the next exercise, you can do two runs on each one, so you will clap two tools, two ses, two fours, and then back to two ses, and two tools. Now, this is something that you need to practice a lot to be able to switch within seconds, and you really need to feel the difference between the twos and three specially because this is a very hard thing to do. Also, try to be even all the time. Some people clap tools like this. This is not exactly on time. It is like three, but you are skiing one, claps needs to be even. It is the same when we are using the backing track. I'm going to show you how I can switch 2-3 to fours. I hope you find this information useful. Now, let's move on to the next step of our course, and this will be using the major scale in different keys. So we are going to have a look at the A, G E and D keys as well. 31. 30. A Major Scale: We will have a look how the major scale sounds in different keys. The first key that we will look at is the A major scale. Before we start to look at the positions, we will have to look what kind of nodes we have on the A major scale. I listed all the nodes starting from the A, and I merged it with the intervals. Let's see what are the nodes and the intervals together. Root note A major second, B, Major third, C sharp, perfect four, D, perfect five E, major six F sharp, and Major seven, G sharp. This is the scale with three sharp, which is C sharp, F sharp, and G sharp. Let's have a look at what are the mods or positions on the guitar. Again, we will have a look at five different positions or five different intervals, and then we can have a look at the seven as well, but we will do that later on because from these five positions, you can play everything. The first position will be Ed. We have open. Four pen. Four open. Four, one, two, open. Three, open The next position is F sharp. Two, four, five, four, five, four, one, two, four, two, three, five, four, five. The next position is A. Five, seven, four, five, seven, four, six, seven, four, six, seven, five, seven, four, five, seven. The next position is B Dorian. Seven, nine, ten, seven, nine, six, seven, nine, six, seven, nine, seven, nine, ten, seven, nine, ten, And the final position is C sharp rig. Nine, ten, 12, nine, 11, 12, nine, 11, 12, nine, 11, nine, ten, 12, nine, ten, 12. Actually, there is one more position you can do if you want to. It is playing the E M solid one octave higher, so we are going to start from the 12 fret. 12, 14, 11, 12, 14, 11, 12, 14, 11, 13, 14, 12, 14, 15, 12, 14. And of course, there are two more modes, which is the Dan and the G sharp locion. If you play the G sharp loc, you just add an extra node to the Aionan. So basically, instead of the five, you start from the four, Otherwise, everything else is the same. Or in the Didion scale, you can play the phrygian position, but you start on the second note. So instead of starting on the ninth fret, you start on the ten. You can do the same exercises like we did before in the other scales. But I'm not going to show you all of the exercises for you because you already did most of these shapes, but we can do the exercises on the first position, which is the Ex sodion because this is somehow a little bit new. The others are the same shape like you did before, but we just moved it few forward or backwards. So let's do the first exercise, which will be just going up and down on the scale. The next exercise will be the beat switching exercise. We will play two notes per beat to three notes per beat to 4 knots per beat. Now, we will do the steps, two steps forward, one step backward. 30304050 The next exercise, we'll be playing third, so we will play the third, third, and after the second fourth and so on. The next exercise will be the four notes exercise. We will play four notes, and we go to the next step, and we play another four notes. And finally, we will have the R ped goes. At first, we will play the normal arp go, so the fir, the third and the fifth nodes of the scale. And after we will do the seventh pedo, which is the third, fifth, and seventh nodes of the scale. And the seventh po. Let's see what kind of chords you can use. You can just easily make up the chord progression for the scale on a way that you list up the nodes for the scale, and you add major minor minor major, major minor and diminished. And then you can also do the same when you use four nodes to make up a chord, so it will be major seven minor seven, minor seven, major seven, dominant seven, minor seven and hold diminished. Let's see the chords, first chord A major. And then we have B minor C sharp minor D major E major, F sharp minor, and g sharp diminished. Let's have look at the seven chords as well. The first chord will be A major seven. And then we have B minor seven and then C minor seven D major seven and E dominant seven F sharp minor seven. And finally, G sharp half diminished. And finally, I made up a core progression, and I'm going to do an improvisation so you can hear how this sounds, and the core progression will be A major. F short minor P major. O 32. 31. A Major Scale Exercise: Like to share with you one very nice exercise, which is a steps exercise, which using several different positions on the guitar, so you can practice the A major scale bit it. Now I'm going to show you with the metronom and the tab, of course, are available. 33. 32. A Major Rumba Backing Track - A, F#m, Bm, E: D. 34. 33. A Major Fingerpicking Backing Track - Amaj7, E, Bm7, F#m7, Amaj7, E, D, C#m7: M. Oh. Oh. M. Oh. M. M. H. Oh. Oh. M. Oh. M. Oh. 35. 34. A Major Ska Backing Track - A, D, Bm, E: T 36. 35. G Major Scale: Next key that we are learning is the G major key. In this lesson, I'm going to show you all the positions on the neck, what kind of cords you can use, how you can practice it, and in the end, I'm going to do an improvisation as well to see how it sounds. At first, let's have a look at what kind of notes we have in the G major scale. The first note or the root note will be G, and after we have A B C, D E F sharp. So this key has one sharp because the F is sharpened, and that's why it is different from the C major scale. But because of this difference, we will have different kind of quarts as well. Now, let's have a look at the position starting from the first fret, and the first position will be E Allan, and it sounds like this. We have 03, zero, two, three, zero, two, four, zero, two, zero, one, three, zero. The next mode will be F sharp Locrian, but we always play the Locrian with the ionian scale, which is the next mode, which is G ionian, or G major scale. So we can add the F sharp S an extra, and then we get to the Locrian scale. But otherwise, let's just have a look at the G ionian or G major scale. And it sounds like this. So we have three, five, two, three, five, two, four, five, two, four, five, three, five, two, three, five. The next position will be A Dorian and it sounds like this. We have five, seven, eight, five, seven, four, five, seven, four, five, seven, five, seven, eight, five, seven. The next position will be the B, and it sounds like this. We have seven, eight, ten, seven, nine, ten, seven, nine, ten, seven, nine, seven, eight, ten, seven, eight. The next mode will be C Dion, but you can play the CDN from the B fgion scale. But instead of starting from the B, which is the seventh fret on the eat string, you start on the eight fret of the east string, which is C. The next shape will be the mix lidian and it sounds like this. We have ten, 12, nine, ten, 12, nine, ten, 12, nine, 11, 12, ten, 12, 13, ten, 12. And if you have a a guitar, you can play one more scale, and this will be one octave higher the E Aan and it will sound like this. 12, 14, 15, 12, 14, 15, 12, 14, 11, 12, 14, 12, 13, 15, 12, 14, 15. We will do the same exercises like before, but I'm going to show you only in one position, which is the E AOM because this is a new one. You did all the other positions before. So the first exercise will be in this position just to go up and down on the scale. The next exercise will be the beat switching exercise, so we will go two notes per beat to three notes per bet to four notes per beat. The next exercise will be steps, two steps forward, one step backward, two step forward, one step backward. The next exercise we will be playing sirs, so we go 1-3 to two to four on the scale and so on. The next exercise will be the four notes exercise. We will play four notes on the scale, and we will go to the next step and repeat it. And finally, we have the R Pad joys. At first, we will play the third and fifth note of the scale. And then we will play the seventh pad joys, which is the third, fifth, and seventh note of the scale. And the seventh Rp Jo. L et's have a look at the chords. We can make charts in two different ways. At first, we will look at the charts when we make it with the root note, the third and the fifth note of the scales or modes. And after we will make another more complicated chord, which will be the third, fifth, and seventh notes of the scales or modes. The first chord will be g major A minor B minor C major D major minor and F sharp diminished. Now let's make the seven quarts and then it will sound like this. G major seven A minor seven B minor seven, C major seven d dominant seven E minor seven, and F sharp half diminished. I made up a court progression, and I'm going to do an improvisation over this court progression, and the courts are. 37. 36. G Major Scale Exercise: Would like to share with you one exercise on the G major scale, which is on the B frigon, and it is called agility exercise. In this exercise, you are going to play four notes forward, six notes backward when you're going upwards, and then you will go down normally, and then you will go back up inserts. It is pretty challenging, and I'm going to show you in two different speeds. At first, I will play it in 80 BPM, two notes per bit, and after I will do 80 BPM, four notes per bit. So you can hear how it sounds when it's a little bit faster. 39. 38. G Major Fingerpicking Backing Track - Am, Em, G, D: Oh a h O. O. 40. 39. G Major Strumming Backing Track - G, Em, C, D: I. 41. 40. E Major Scale: Next key that we are looking at is the E major scale. In this lesson, we are going to look at what kind of nodes we have, what kind of positions we can play on the neck, how you can practice it, what coords can you use? And in the end, I'm going to make up a core progression with an improvisation so you can learn how it sounds. At first, let's have a look, what kind of nodes we have. We have root node E, and then we have F sharp, G sharp, A, B, C sharp and D sharp. This care has four sharps. Now, let's have a look at the positions. First position, E ioni and it sounds like this. We have 0240, four, one, two, four, one, two, zero, four, 04. The next position is F sharp Dan, and it sounds like this. We have two, four, five, two, four, one, two, four, one, four, two, four, five, two, four, five. The next position is G sharp gon, and it sounds like this. We have four, five, seven, four, six, seven, four, six, seven, four, six, four, five, seven, four, five, seven. The next mode is Adian, but you can play the same position. But instead of starting on the fourth, on the G sharp, you start on the A. The next position is B mix livian and it sounds like this. We have seven, nine, six, seven, nine, six, seven, nine, six, eight, nine, seven, nine, ten, seven, nine. The next position is C sharp, an, and it sounds like this. We have nine, 11, 12, nine, 11, 12, nine, 11, eight, nine, 11. E nine, ten, 12, 91112. And finally, we have the D sharp Lcrean. But we can play that one from the E ionian, from the first scale, but we will play the E ionan, starting on the 12 rat. But if you just want to play the D sharp locrean, you just start from the 11. But let's have a look at the an on the 12 rat. So it will be like this. So we have 12, 14, 11, 12, 14, 11, 13, 14, 11, 13, 14, 12, 14, 11, 12, 14. We will do again the usual exercises like we did before, but we will only do it on the first position because this is new and everything else you already learned in a different key. So let's just play these exercises. At first, we will just go up and down on the scale. In the next exercise, we will play 2 knots per beat to 3 knots per beat to 4 knots per beat. In the next exercise, we will do steps, two steps forward, one step backward. Ir. The next exercise, we'll be playing, so we will play the, then the third note of the scale, and then we go to the two to the fourth. The next exercise, will be the four notes. Exercise, we will play four notes, and we go to the next step and repeat it. And the final exercise, we'll be playing Pd jaws. At first, we will play the first third and fifth note of the scale. And now let's play the fifth and seventh note of the scale or the seventh Jos. Okay L et's learn the chords. At first, we will make the chords with the first third and fifth notes of the modes. And the first chord will be e major F sh g s A B C sh minor and D sharp diminished. Now, let's make the chords on a way that we use the fir, third fifth and seventh nodes of the modes or litle scales. E major seven F short minor seven g sharp minor seven A major 7b7c sharp minor seven t and D sharp half diminished. Now, I made up a Cort progression, and I'm going to do an improvisation, and the Cort progression is. 1014. 42. 41. E Major Rumba Baking Track - E, C#m, G#m, B: O h O 43. 42. E Major Fingerpicking Backing Track - C#m, G#m, A, B: Oh Oh. Oh Oh. Oh. H. Oh Oh. 44. 43. E Major Strumming Backing Track- E, A, B, A: Oh. Oh a Oh. Oh 45. 44. D Major Scale: Final key that we are looking at is the D major scale. In this lesson, we will look at what kind of nodes we have, what positions you can play, the scale, how you can practice it, what chords can you use. In the end, I'm going to make a core progression and the improvisation to show you how it sounds. At first, let's have a look at the nodes. I listed all of the nodes and I matched it with the intervals, and then we have D E, F sharp, G, A, B, and C sharp. So this scale has two sharps. Now, let's start to look at the positions. The first position will be E dorian, and it sounds like this. We have open three, open, two, four, open, two, four, open, two, open, two, three, open, two, Three. The next position is F sharp Phrygian, and it sounds like this. We have two, three, five, two, four, five, two, four, five, two, four, two, three, five, two, three, five. The next position will be Gian, but you can play this from the frigan scale. You just start on the third ft instead of the second and you just play the scale. The next position will be a mixolydian, and it sounds like this. We have five, seven, four, five, seven, four, five, seven, four, six, seven, five, seven, eight, five, seven. The next position is B A or B minor, and it sounds like this. We have seven, nine, ten, seven, nine, ten, seven, nine, six, seven, nine, seven, eight, ten, seven, nine, ten. The next position is C sharp Lcrean, but we always play this from the Ionian scale or the major scale. So let's have a look at the D ionian mode. And it sounds like this. We have ten, 12, nine, ten, 12, nine, 11, 12, nine, 11, 12, ten, 12, nine, ten, 12. And finally, you can play the E one octave higher as well. So it sounds like this. We have 12, 14, 15, 12, 14, 11, 12, 14, 11, 12, 14, 12, 14, 15, 12, fen, 15. Again, we will only do the exercises on the first position, which is the E dorian, because you already did the other shapes in other keys. So let's do the exercises like we did before. The first exercise will be going up and down on the scale. The next exercise will be the beat switching exercise, we will play 2 knots per beat to 3 knots per beat to 4 knots per beat. The next exercise will be steps, two step forward, one step backward. The next exercise will be, so we go from one, two, three, to two to four, and so on. The next exercise is playing four notes, and then go to the next step and repeat. And the final exercise, we'll be playing RPD jaws. At first, we will play first, third and fifth note. And finally, we have the seventh RPD js, so we will play, third, fifth, and seventh notes of the scale. Let's have a look at the chords. We will make up arts with the third, third and fifth notes of the modes, and the first chord will be and we have A major E minor F G major A B minor C sharp diminished. Finally, let's make charts with the third, third, fifth and seventh notes of the scales. And the first chart will be D major seven E minor seven F sharp minor seven, G major seven A dominant 7b7c sharp half diminished. I made up a core progression and I'm going to do an improvisation on it, and the core progression is 46. 45. B Minor Rumba Backing Track - Bm, G, D, A: T. Oh. 47. 46. D Major Fingerpicking Backing Track -D, F#m, Em, A: Oh. O. Oooooooh Oh. Oh. Oh. Oh. Oh. 0000 To o. The A. O 48. 47. D Major Build-up Backing Track - Em, Bm, A, D: O. O. Oh M M M M M M M M H. O M M M M M M. M. M. 49. 48. Key Change: Far, we only looked at core progressions that fit into a certain key. But what happens when you get a core progression and it just doesn't fit into any key. Now, in this case, you switch. At first, you can figure out what is the keys that you need to use in these core progressions and you switch where you need to. I prepared for you two different core progressions as an example. Let's have a look at them and let's see what kind of scales and switch we can use. The first progression V b a minor g F D minor B flat major goes back to A minor. This chord progression can fit into two different keys, and it is C major and F major. I listed all the chords for the C major and the F major, so we can see where we can switch. For the C major scale, we have d chords. C major, D minor, E minor, F major, G major, A minor and B diminished. For the F major scale, we have these chords. F major, g minor, A minor B flat major, C major and D minor. So it means when we have our ort progression, you can use C major scale for all of the arts except the B flat major. That's where you need to switch, and you need to use their F major scale. For the F major scale, you can use all of the arts except the G major. That's where you need to switch. Now, let's have a look at some positions and some ways to switch. At first, let's have a look at the first position where you can switch. This will be in the C major scale, the FDM, which is the second mode on the scale because it starts with the e region and then the next will be FDM. This will be like this. One, three, open, two, three, open, two, three, open, two, open, one, three, open, one, three. When you switch, you can use the F major scare or F ionian scare, and this will be. One, three, pen, one, three, open, two, three, open, two, three, one, three, open, one, three. Another way to switch in this exercise is playing an A minor or A A en scale and switching to Agon. A minor scale Afgon scale. Oh. And the third position where you can switch is the Dan and you can switch to a D minor a Dolan scale, which is in the F major key. So the Dorian sounds like this. And you can switch to D minor or Dan. Now, let's put on a backing track, and let's see how this sounds in practice. A Let's have a look at another progression. And this time, the arts will be G major. A minor D major F sharp minor and B minor. This or progression can fit into two different keys. But the main key will be the G major because we start with the G, and the g major quarts are g major A minor, B minor c d E minor. So basically, all of these quarts fits into this or progression, except F sharp minor In the F short minor, we can use an other key, and this will be the d. In the d key, we have D major E minor, F short minor, g A and B minor. We can use the D major scale everywhere except on the A minor. Let's have a look at some positions where you can switch in between these two scales. The first position will be G major to g lidian it sounds like this when you play G major, and the Gian. The second position where you can switch is switching from B region, which is within the g scale to B minor, which is within the D major scale. So B region, and B minor. The final position will be switching from the mix oldn which is within the g to D major. D mid to D major. Now I'm going to do an improvisation so you can hear how it sounds when you sit between these two scales. Oh. Another method to tackle switching within the key is to play the G major scale only over the so progression. But when you are in the F sharp minor, you just play the nodes which is within the F sharp minor. And these nodes are F sharp C sharp and A. Also, you can memorize some positions for the F sharp minor. Whenever you are on that chord, you can play the pad does there. The first position for the F sharp minor is here. So it is the E minor shape with the barry starting on the second fret. And the second position will be the D minor shape. But this time the D minor is shifted towards the sixth fret on the G string. And the third position will be to play the A minor shape of the F minor. And this will be here. And this is starting on the ninth fret on the A string. Now I'm going to do another improvisation to show you how it sounds. Oh. 50. 49. Key Change Spanish Guitar backing Track - Am, G, F, Dm, Bb, Am: A wait a Oh O h Oh 52. 51. What's Next: That you arrive to this point in the course, you can ask yourself the question, what's next? I would transition now to another system, which is called the harmonic minor, and there is only just one node difference between the major scale and the harmonic minor scale. But this will make the whole system different with different arts and scales. Also, there are melodic minor scale as well, which is again a different system from this one. There are pentatonic scales, which is only five nodes, not seven, and this is again a different system. The possibilities endless. Also, if you feel like that you still do not sound good after learning all of these skills and exercises and improvisation techniques, why not learn some of your favorite lead guitar? If you really like a song, it's really helpful to learn the lead guitar node by node and analyze it, so you know what this person played to make it sound so good. Well, I hope you will carry on learning more skills and improving your improvisation in the future. 53. 52. Other Recommended Courses: Rats on finishing this course, this is amazing. If you want to learn some more, I have other courses for you as well. Spanish guitar strumming techniques has 19 different lessons, and you can learn how to strum exciting, which will go well with your improvisation. You can learn techniques, for example, Flaming quatr plat, asgiado, Rumba, and so on. If you would like to learn some more music theory, I have a course called Music. Learn to read rhythm. And in this course, you will be able to learn how to read rhythm through 14 different exercises in seven different levels. And in the end, I will have one guitar song for each level so you can hear how it so as well. One and two and three and four. One e end, two e triple 3e4e da. If you want to learn more about courts, I have two courts courts for you, and they are called learn courts with songs. And at first, you can have a look at the major minor and barre courts. But I think you already know that one because it's a little bit more advanced this improvisation course, and it is good that you already know this courts. But if you have problems with your barry hold, then you can try that course. These courts have a lot of different songs that help you to master these courts, and also court chart exercises, and ear training games. The other Cort course I have is called learned cohorts with songs the seven Cort, where you can master the major seven minor seven and dominant seven le songs or and exercises and ear training games, and of music theory lessons. Thank you again, and I hope to see you in another course.