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Ah man, so glad you enjoyed it! Thanks for the kind words!

Augmented triads can be a really beautiful sound!

The roasted maple necks are expensive but beautiful!

Fair enough, I think it depends mostly on what you're looking for though. The HX Stomp is much more versatile in terms of effects and signal chain possibilities but if you're just looking for great amp tones the kemper may have more benefit. Depends on what you're looking for in the unit!

@@mattfranceschini The Kemper has killer FX (before any updates), an XLR Out, L/R stereo balanced TRS outs, midi USB and Expression pedal input. Not sure the HX Stomp has more than that, besides the screen. But the player has a built in WiFi access point for the Editor cellphone APP, so your cellphone or tablet is your touch screen editor.

I have a soft spot in my heart for these third in base triads as well!

Thanks for watching!

The repetitive nature of many aspect of practice can certainly pose a risk for these injuries. I think one of the key things is being in tune with and listening to our bodies when we're trying extreme techniques such as the swybrid picking you mentioned. As tempting as it can be to just keep grinding something out and "muscle through it" we can often end up having to take time away from the instrument which ends up being counterintuitive to our goals! Thanks for sharing your story!

Totally! I don't remember who said it but some guitarist of note once said that us guitarists are "Olympians of the fine muscle movements" and part of my continued weight training after basic rehabilitation has been with this mindset of almost approaching it as an athlete would approach their basic conditioning. As you said, durable and healthy is the ultimate goal!

@@mattfranceschini That's a great quote! I agree it's best to think of this as basic conditioning. Speaking of fine muscle movements, and your point on playing with the right amount of pressure: As I've grown older I've gravitated towards the most ergonomic electric guitars I can afford, with lower action and taller frets, and lighter strings. This makes playing lightly a requirement because if you forget and press too hard you're immediately out of tune. You basically have to stay relaxed (safe). All these things together mean I can now play faster than ever, without having ever really trained speed. Thanks again for the video!

If "nerds" is British for "people who can play in time", then yes ;)

@@mattfranceschini we will find out next lesson if I am a nerd or not 👍

You certainly could! In that context, you wouldn't be "grooving" with the metronome as much but it will make you more responsible for keeping things in time which is great practice! You would be more responsible because you are receiving less feedback from the metronome, thus having to keep place yourself. For that reason I would only try this once you are reasonably comfortable with the particular exercise you're working on!

@mattfranceschini first thing I noticed when I tried it was exactly that. I was on less autopilot as had to think a bit more. Was fine for standard minor and major but 7ths it challenged me a bit much as that moments hesitation threw me out, which is good as it highlighted an improvement area.

I really appreciate the kind words and am so glad to hear you're finding them useful! It's been a slow but steady burn and I'm hopeful the community here will continue to grow. Thanks for being a part of it!

So glad you found it informative and that you were able to put a name to a technique! No plans on stopping the videos any time soon!

Glad you enjoyed the video!

Glad you've had some epiphanies and re:anchored or not anchored - I have been absolutely astounded at watching some of my favourite players live because it looks like what they're doing should not be possible with how they're holding their pick. I've come to believe that everyones unique hand shape and style cause drastically different grips to work for different folks!

Glad these old videos are still being of use!

That’s a great idea! I can definitely do that. The short and quick answer is you could use this scale over the tonic or 1 chord in any song in a minor key. For example, if a song is in A minor, you could use this to play or write melodies safely any time the chord is A minor. If you can’t follow this description (no worries if so, theory is confusing!) stay tuned for the video!

@@mattfranceschini Thanks, I did understand !

So glad you enjoyed it! Thanks for watching and for the sub!

My sincerest apologies ;)

I'd argue that improvising is connected to all that you're working on. I'd compare it to learning a second language, the scales, arpeggios and chords are like grammar and vocabulary and then improvising is stringing those together to form sentences!

Glad you're enjoying the videos! Slowly but surely building the community here

This scale is used ALL the time in all kinds of music! From Bach to Pop it's commonly found in songs that are in a minor key. It's not always used as a permanent scale/tonality but rather sprinkled in for colour or flavour. There's a fairly straightforward explanation of this that is maybe too big for a youtube comment, but I'd be happy to chat for a minute about it in our next lesson (and who knows maybe a future video)!

So glad you're enjoying my channel! Thanks for the kind words and of course for watching!

I would certainly give this exercise a try with just triad arpeggios if that's what you're comfortable with! The 7th chords will always be there when you're ready for them!

You're dead on in your first sentence. When I do this with triads I'm simply scanning for the closet root to where Im at on that particular string set and my brain fills in the chord shape around the root. This is all mostly from having played these chords over and over and over and having pretty quick intuitive recall of these shapes. Nothing beats time practicing for this! However, I'm currently dreaming up a video series about some more methodical ways to practice voiceleading triads so there should be some more on this topic coming to the channel this month!

@mattfranceschini perfect, we can explore this topic on our next lesson. When I triad hunt using one chord backing tracks it's fluid, then add in a few more chords I just visually panic and lose my bearings completely. I'm sure there is a strategy or link that will sink in over time

So glad it made sense!

No worries on a late comment, if anything it makes me happy that these lessons are still teaching people! I’m far from an expert on the intricacies of finger picking but I do know that several people who exclusively play finger style will mimic the down and upstrokes by using their thumb for every downstroke and their index finger for every upstroke. This is something that I do if I’m too lazy to go grab a pick! There are several other ways one could tackle it but this is the one that I know to be the most common. Hope that helps!

@@mattfranceschini thank you that helps :)

Jazz as the dark arts, I like it! If you want to hear some of the most beautiful guitar playing that has ever been played check out a guy named Ted Greene. He makes me look like a babbling baby when it comes to this stuff!

So glad you enjoyed it! I’ll think about how to best present a hybrid picking lesson or two!

Thank you!

Glad you found it useful, happy practicing!

I don't know how I missed this comment but I will take it as a compliment!

I said the same thing to Steve aoki

So glad you enjoyed the video and found it useful!

So glad you’re enjoying it!

This is a great point! If I were you I would think about my favourite guitar solos or even song melodies to start with. Can you hum them without the song playing? Have you listened enough to the music that it’s in your head? The more you do this the more you build your treasure trove of inspiration to pull from when improvising. Further to this point, when you’re listening to music try to hone in on the melody or solo and repeat the line back to yourself in your head. This will help you digest what is happening and you’ll start to build a vocabulary before you know it. Best of luck with it and I hope this helps!

Yes! So glad to hear!

So glad you found the video and found it useful Marco!

Glad you're enjoying the videos! For strings I just use Daddario XL's on all of my guitars, always 13's. Some guitars have the stock "Jazz Medium 13's" that are 56-13 while others have a custom set I've made by ordering single strings that go from 52-13. Pickups vary by guitar of course but out of the three that I use on this channel are as follows: This Chapman ML-3 Traditional has a set of EMGX tele pickups My Strat has Wilkinson Alnico 5 Humbuckers My Kinal Archtop has Handwound Kent Armstrongs with an Alnico 5 in the bridge and an Alnico 2 in the neck

Glad that it's starting to come together for you!

Position 3 (2m:00s), I just caught myself out swerving into position 2's lane on the b and e string. I assume that as much as that's good that I have inadvertently joined to shape dot of sorts I should keep the patterns repping as stand alone for now till that's explored? I think I did it as that awkward index finger shuffle made me look for a path of lesser resistance to complete the arpeggio

Glad you liked it!

Im working on it!

Glad you enjoyed, thanks for watching!

It’s the best way I’ve found myself!