Thanks a lot for sharing this. It helped me a lot about learning jazz guitar and these 5 shapes are the best starting points. And appreciate really for introducing me to the Jimmy Bruno.!
Years ago, I used to wish I could've had lesson's with the greats of jazz music. Abracadabra, Jimmy Bruno, care of the miraculous communication age we live in!
Doesn't matter - cos it's a total waste of time - this stuff is of no use whatsoever if you want to be an improviser - yeah, you'll learn a few scales, but's that's all - ultimately no one can teach you to find your voice on the guitar - you just gotta spend hours, months, and years, listening and playing - I got one of his dvds - it didn't teach me anything I didn't know or couldn't do already - having said that he's a great player, but he's done that through his own efforts - and that's the only way you will do it - that is if you are really serious - otherwise you are just playing games with yourself - you can waste a lifetime trawling through all this stuff in the internet but in real terms it won't get you very far - unless you just want to copy these people and make a fake of yourself in the process - don't B sharp, don't B flat, just B natural - B yourself - this is the best advice you will get here.
A "Great Artist", like "Jimmy Bruno", you immediately recognize him. Just a few notes are enough to identify it with reasonable certainty: from the style, from the performance and interpretation of each proposed piece, from the notes, from the arrangement, from the creativity, the rhythmic virtuosity and all the other elements that characterize it as a whole. Ultimately, alone, it is a freewheeling orchestra, which knows no boundaries or embankments. It is a "river in flood" that overwhelms everything and everyone, in a rhythmic tide of musical notes that arouse, in the listener, that natural and universal feeling of the soul called "emotion". But what a good !! It is a Grande, a milestone to be sculpted in the Firmament of the Great Artists of Jazz. My compliments, with ten and praise. c.castellano, Italy
I noticed there are double down strokes as you ascended the scale. But pure alternate as you went down the scale. Is this correct? The biggest hurdle for me are pick strokes. Do you folks usually start a descending pattern with down or up stroke? Or ascending with up or down stroke? Pls excuse the novice questions.
Alternate picking yes, but if you are descending to the next string up, hit it with an up stroke. If you are ascending to the next string down, hit it with a down stroke. The rest is alternate. Do it slow until it becomes rote. It WILL, eventually. Keep the fingering as he shows it. Going up and down, the fingering should remain the same. The same note for the same finger going up as is going down.
The major scale, played in the 4 fret box, comprises 3 distinct patterns. One need not restrict oneself to starting from the 5th or the 6th etc on the low E string, but can pick up the repetitive pattern from any scale degree anywhere on the neck. Find your happy root note anywhere on the A string. Surrounding this root note is a rectangle of scale degrees (low E string: 4-5-6, A string: b7-1-2, D:string b3-4-5 where the - represents a skipped fret). This rectangle repeats all over the neck and skews down 1 fret at the B string (of course). Keep track of where your root notes are, see the rectangle, pick a scale degree and play your major scale picking it up from that note, across the neck, wrapping around to the other side, up the neck, down the neck, around and around, all day long.
@@jonasaras What I'm describing is a rectangle of intervals, not a rectangle of the major scale. Using this rectangle, you can play any scale or mode. You need to only learn the intervals contained within that scale or mode. The rectangle makes it easy to find them.
@@jonasaras No. It is based on nothing but a convenient way to visualize all of the intervals available to you when you play a scale or mode. Find the root and these intervals surround it. Stop thinking patterns and start thinking intervals that comprise a pattern. It's way more flexible and much easier. You don't want to find yourself mindlessly playing a scale when you're soloing. You want to accent chord tones and notes that impart the flavor of the mode. To do that, you have to know what intervals you're playing at all times.
So what really is the point of learning it this way? I mean I guess its good to know all the natural notes on the fretboard. But other than that, what?
This is just a C pitch collection. Learn it and practice it in all 12 keys. Do it in the order of the circle of 4ths, i.e CFBb Eb etc... You 'll get a great understanding of the fretboard and your fingers will be in a great position to make melodies while you improvise. Learn your arpeggios, Cell exercises, chords, II V I 's and other common progressions in these positions and do it in all 12 keys and in the order of 4ths, it will be an aha moment. It's not CAGED, it's not modal, It's not meant to be.
Remember . Jimmy's been playing for almost 60 years. He HAS come to some conclusions as to what is important in learning guitar and what is fluff, or what is just "conversation" about music. Do you wanna play, or do you wanna talk about JAZZ? Theory is fine. He just thinks it should come after you know how to play. Then you can explain what you do with theory. It's just "in the way" when you are learning. H keeps it simple.
So how would I find it in another key I’ve been learning guitar for a while and just don’t know what to do I’ve learned minor shapes and still can’t really make anything sound that good I don’t know where to go on the fret board I can’t find anything that makes sense really
@@DBATACE the first 5 keys will start on the G note 3rd fret. (C,F, Bb, Eb, Ab) fingerings 5,2,6,3,7 Then 2 keys would start on the first fret. (Db, and Gb) fingerings 3,7 Then the last 5 keys would start on the 2nd fret (B,E, A,D, G) Fingerings 5,2,6,3,7
You can think of where to solo by the shape number as one possibility. In C shape 5 is third fret in G shape 5 would be 10th fret. So it's a movable framework by key. Alternately you can follow the changes by staying in the same place but using different shape (example would be shape 5 starting on G = C scale then switch to shape 2 starting on the same G at 3rd fret = key of F and have flatted all the B's to Bb's)
I wish I knew the point of this so I could know if I'm more or less advanced than this? (Like is this just introducing people to positions on the fretboard or is this some way of narrowing things down to apply them in some way?) I've been playing "three note per string" positions on the guitar for years so I kind of know the fretboard better than this. But I don't know if this is going to be about eliminating other choices so you'll have these standard fingerings to apply to some method.
The point, in my opinion, is to gain familiarity with the collection of notes in the "C" scale in 5 positions, each beginning on a different degree of the scale. It helps liberate our ears from starting on the root, and teaches us to be comfortable starting a line anywhere on the fingerboard. Ultimately, playing intervals and patterns using these shapes will add a bunch of new ideas and allow smooth transition between keys.
So the modes? Although he only mentions 5, that's fairly typical for guitar. If you know Ionian you instantly know Locrian -- same thing with Lydian and Mixolydian. It's a shame he doesn't mention the chords these scales correspond with.
Books written by other players with tons of experience playing/recording? I'm not entirely discounting this video but to say scales have nothing to do with chords is just ignorant.
Ironically in my jazz guitar discipline and chess practice I chose Jimmy Bruno and Bobby Fischer as the most organic instructors and whom I've learned the most from. A very apt comparison.
Totally new to J.B. But he seems like a Pat M player to me.. And its only personal taste, but i would take Pass or Montgomery over this.. But technically, it gives you a headache just thinking about it. People trolling cannot get past opening bars.
That's because they aren't modes- they are fingerings. Yes, if you play them from root to root, they DO look and sound like modes, but that's not what he is trying to teach. He's showing the student all the available notes within that particular position on the guitar (all notes available without stretching.) He calls them "pitch collections" and there are 5 of them (if they were modes, there would be 7 of them.) He very deliberately AVOIDS referring to them as modes because MULTIPLE modes are available within each "pitch collection." Subtle difference, I know- it took me a while working with this system to completely understand it. It's deceptively simple and very effective.
utube9000 yeah me too. its pretty simple . the system of caged its cool.. especially if you dont know nothing about scales ... is efective and sounds boring because all shapes sounds the same... some is maj other minor but all the same and u can look bad ass playin the entire arm of guitar lol
I thought about this, too. I think the answer is when you start on the seventh with the first finger whether on the sixth or 5th string the root is played next on the second finger automatically. The same also when you start on the third of the sixth or fifth string the next note is the fourth beginning with the second finger. Do you think this makes sense? This applies to any key, of course. Ken, Toronto
Hmm, he is just playing the C major scale all over the fretboard starting on different notes/intervals of the scale. You can interpret it as the modes but thats not the point he is trying to make IMHO. Also, if you play a mode it depends on the harmony... A lot of guitar players think that if you play a major scale starting on a different note in the scale you play a mode. And you can say it is but at the same time you are missing the point iMHO. THE HARMONY determines the mode your playing!
not the caged system....practice it and listen...its simply white piano key fingering patterns... up , down and across the neck (for making lines) as he so clearly says
Arrogance is usually rooted in ignorance. If you knew Jimmy Bruno's history, you'd show some respect. He's a giant of jazz improvisation who is generous enough to share his knowledge with you. Even as an old man, he's light years ahead of you in theory and technique.
It's NOT the CAGED system.. FF sake. The Caged system is about the open chord shapes all over the neck and relating the 7 note scales that fir into those shapes. This NOT THAT.
Thanks a lot for sharing this. It helped me a lot about learning jazz guitar and these 5 shapes are the best starting points. And appreciate really for introducing me to the Jimmy Bruno.!
Years ago, I used to wish I could've had lesson's with the greats of jazz music.
Abracadabra, Jimmy Bruno, care of the miraculous communication age we live in!
hahah I read that message at the end as I watch it on youtube.
TheMelon irony
Doesn't matter - cos it's a total waste of time - this stuff is of no use whatsoever if you want to be an improviser - yeah, you'll learn a few scales, but's that's all - ultimately no one can teach you to find your voice on the guitar - you just gotta spend hours, months, and years, listening and playing - I got one of his dvds - it didn't teach me anything I didn't know or couldn't do already - having said that he's a great player, but he's done that through his own efforts - and that's the only way you will do it - that is if you are really serious - otherwise you are just playing games with yourself - you can waste a lifetime trawling through all this stuff in the internet but in real terms it won't get you very far - unless you just want to copy these people and make a fake of yourself in the process - don't B sharp, don't B flat, just B natural - B yourself - this is the best advice you will get here.
That "advice " is shit.
A "Great Artist", like "Jimmy Bruno", you immediately recognize him.
Just a few notes are enough to identify it with reasonable certainty: from the style, from the performance and interpretation of each proposed piece, from the notes, from the arrangement, from the creativity, the rhythmic virtuosity and all the other elements that characterize it as a whole.
Ultimately, alone, it is a freewheeling orchestra, which knows no boundaries or embankments.
It is a "river in flood" that overwhelms everything and everyone, in a rhythmic tide of musical notes that arouse, in the listener, that natural and universal feeling of the soul called "emotion".
But what a good !!
It is a Grande, a milestone to be sculpted in the Firmament of the Great Artists of Jazz.
My compliments, with ten and praise.
c.castellano, Italy
truly epic
love your work!!
I noticed there are double down strokes as you ascended the scale. But pure alternate as you went down the scale. Is this correct? The biggest hurdle for me are pick strokes. Do you folks usually start a descending pattern with down or up stroke? Or ascending with up or down stroke? Pls excuse the novice questions.
Alternate picking yes, but if you are descending to the next string up, hit it with an up stroke. If you are ascending to the next string down, hit it with a down stroke. The rest is alternate. Do it slow until it becomes rote. It WILL, eventually. Keep the fingering as he shows it. Going up and down, the fingering should remain the same. The same note for the same finger going up as is going down.
Quarter notes can be all down strokes. 8 th notes down up.
One great Mister Jimmy Bruno ,
what is the next step once one has learnt these five shapes in all 12 keys?
Any reason there's no shape for the 4th note of the key?
shape 7 contains 7 and 1 shapes / shape 3 contains 3 and 4 shapes - where the half steps are in the scale
The major scale, played in the 4 fret box, comprises 3 distinct patterns. One need not restrict oneself to starting from the 5th or the 6th etc on the low E string, but can pick up the repetitive pattern from any scale degree anywhere on the neck. Find your happy root note anywhere on the A string. Surrounding this root note is a rectangle of scale degrees (low E string: 4-5-6, A string: b7-1-2, D:string b3-4-5 where the - represents a skipped fret). This rectangle repeats all over the neck and skews down 1 fret at the B string (of course). Keep track of where your root notes are, see the rectangle, pick a scale degree and play your major scale picking it up from that note, across the neck, wrapping around to the other side, up the neck, down the neck, around and around, all day long.
Interesting pattern!
A major scale doesn’t have a b3 and b7. I’m not tracking
@@jonasaras What I'm describing is a rectangle of intervals, not a rectangle of the major scale. Using this rectangle, you can play any scale or mode. You need to only learn the intervals contained within that scale or mode. The rectangle makes it easy to find them.
@@theartfuldodger935 So is your set of intervals based on “dorian” as the basis (b3, b7)?
@@jonasaras No. It is based on nothing but a convenient way to visualize all of the intervals available to you when you play a scale or mode. Find the root and these intervals surround it. Stop thinking patterns and start thinking intervals that comprise a pattern. It's way more flexible and much easier. You don't want to find yourself mindlessly playing a scale when you're soloing. You want to accent chord tones and notes that impart the flavor of the mode. To do that, you have to know what intervals you're playing at all times.
how can we hear the final burning piece in its entirely?
So what really is the point of learning it this way? I mean I guess its good to know all the natural notes on the fretboard. But other than that, what?
This is just a C pitch collection. Learn it and practice it in all 12 keys. Do it in the order of the circle of 4ths, i.e CFBb Eb etc... You 'll get a great understanding of the fretboard and your fingers will be in a great position to make melodies while you improvise. Learn your arpeggios, Cell exercises, chords, II V I 's and other common progressions in these positions and do it in all 12 keys and in the order of 4ths, it will be an aha moment. It's not CAGED, it's not modal, It's not meant to be.
Remember . Jimmy's been playing for almost 60 years. He HAS come to some conclusions as to what is important in learning guitar and what is fluff, or what is just "conversation" about music. Do you wanna play, or do you wanna talk about JAZZ? Theory is fine. He just thinks it should come after you know how to play. Then you can explain what you do with theory. It's just "in the way" when you are learning. H keeps it simple.
So how would I find it in another key I’ve been learning guitar for a while and just don’t know what to do I’ve learned minor shapes and still can’t really make anything sound that good I don’t know where to go on the fret board I can’t find anything that makes sense really
@@DBATACE the first 5 keys will start on the G note 3rd fret. (C,F, Bb, Eb, Ab) fingerings 5,2,6,3,7 Then 2 keys would start on the first fret. (Db, and Gb) fingerings 3,7 Then the last 5 keys would start on the 2nd fret (B,E, A,D, G) Fingerings 5,2,6,3,7
You can think of where to solo by the shape number as one possibility. In C shape 5 is third fret in G shape 5 would be 10th fret. So it's a movable framework by key. Alternately you can follow the changes by staying in the same place but using different shape (example would be shape 5 starting on G = C scale then switch to shape 2 starting on the same G at 3rd fret = key of F and have flatted all the B's to Bb's)
What changes when the root key is a minor chord ?
Not Am can be a root in diatonic he can do II III our VI in G F our C
@@Ostin3232 Not Am ? I don't get what you're saying. Please expand a little. Thanks
It’s just the major scale and it’s mode positioning folks
Why doesn't he have a fingering starting on the 1 or the 4?
No
@@giovammo9738 how isn’t it? Explain which notes aren’t in the major scale, I have a hard time
does anyone know the name of the intro and outro songs?
The intro & outro are from JB’s ‘Like That’ from the album of the same name (feat. Joey DeFrancesco).
I wish I knew the point of this so I could know if I'm more or less advanced than this? (Like is this just introducing people to positions on the fretboard or is this some way of narrowing things down to apply them in some way?) I've been playing "three note per string" positions on the guitar for years so I kind of know the fretboard better than this. But I don't know if this is going to be about eliminating other choices so you'll have these standard fingerings to apply to some method.
The point, in my opinion, is to gain familiarity with the collection of notes in the "C" scale in 5 positions, each beginning on a different degree of the scale. It helps liberate our ears from starting on the root, and teaches us to be comfortable starting a line anywhere on the fingerboard.
Ultimately, playing intervals and patterns using these shapes will add a bunch of new ideas and allow smooth transition between keys.
This method seems very personal and restrictive if you ask me. But what do I know, this guy IS Jimmy Bruno lol
So the modes? Although he only mentions 5, that's fairly typical for guitar. If you know Ionian you instantly know Locrian -- same thing with Lydian and Mixolydian. It's a shame he doesn't mention the chords these scales correspond with.
Thats another misconception. You should make lines from these... NOthingtodo with their relationship to cords. You read too many books
Books written by other players with tons of experience playing/recording? I'm not entirely discounting this video but to say scales have nothing to do with chords is just ignorant.
Sounds like you're new to Jimmy Bruno
Ironically in my jazz guitar discipline and chess practice I chose Jimmy Bruno and Bobby Fischer as the most organic instructors and whom I've learned the most from. A very apt comparison.
Totally new to J.B.
But he seems like a Pat M player to me..
And its only personal taste, but i would take Pass or Montgomery over this..
But technically, it gives you a headache just thinking about it. People trolling cannot get past opening bars.
Unusual he didn't refer to their mode names.. Like Dorian or Lydian etc
That's because they aren't modes- they are fingerings. Yes, if you play them from root to root, they DO look and sound like modes, but that's not what he is trying to teach. He's showing the student all the available notes within that particular position on the guitar (all notes available without stretching.) He calls them "pitch collections" and there are 5 of them (if they were modes, there would be 7 of them.) He very deliberately AVOIDS referring to them as modes because MULTIPLE modes are available within each "pitch collection." Subtle difference, I know- it took me a while working with this system to completely understand it. It's deceptively simple and very effective.
utube9000 yeah me too. its pretty simple . the system of caged its cool.. especially if you dont know nothing about scales ... is efective and sounds boring because all shapes sounds the same... some is maj other minor but all the same and u can look bad ass playin the entire arm of guitar lol
I thought about this, too. I think the answer is when you start on the seventh with the first finger whether on the sixth or 5th string the root is played next on the second finger automatically. The same also when you start on the third of the sixth or fifth string the next note is the fourth beginning with the second finger. Do you think this makes sense? This applies to any key, of course.
Ken, Toronto
He's playing the CAGED system with all the notes above and below the root.
Ken, Toronto
Hmm, he is just playing the C major scale all over the fretboard starting on different notes/intervals of the scale. You can interpret it as the modes but thats not the point he is trying to make IMHO. Also, if you play a mode it depends on the harmony... A lot of guitar players think that if you play a major scale starting on a different note in the scale you play a mode. And you can say it is but at the same time you are missing the point iMHO. THE HARMONY determines the mode your playing!
0:00
Grandpa, this is The Caged System...
Josef Inigo he knows this .. he was there when it was developed. Also, refer to it as so: C A G E D as it designates to tonal centers. Get it ?
No, it's not the Caged system, it's Jimmy Bruno's fingering system. And that "Grandpa" can play circles around you.
not the caged system....practice it and listen...its simply white piano key fingering patterns... up , down and across the neck (for making lines) as he so clearly says
Have some respect Josef ..
Arrogance is usually rooted in ignorance. If you knew Jimmy Bruno's history, you'd show some respect. He's a giant of jazz improvisation who is generous enough to share his knowledge with you. Even as an old man, he's light years ahead of you in theory and technique.
I created this CAGED Sys. 38 years ago my son...Rest in peace...
It's NOT the CAGED system.. FF sake. The Caged system is about the open chord shapes all over the neck and relating the 7 note scales that fir into those shapes. This NOT THAT.