Absolutely brilliant!! I am a connoisseur of sorts in this area, being entirely RUclips taught, and this is far and away the best intro to 3NPS and the most immediately useful tool you’ll come across! Incredible! Thank you so much!
Thanks Clay, I'm glad you found it so useful. I've put a few other follow up videos, taking that idea to the next stages, you should be able to find them in a playlist, if you haven't already.
Most underrated guitar lesson video (and channel for that matter) on RUclips ever! I have been tinkering with those 3nps repeating patterns for a while and I knew there was something to be done with it if I get to know all the notes everywhere on the neck. This was that eureka moment I was waiting for for several months. Thank you so much!
Thanks a lot! I'm glad you found the site and discovered this. So few people are aware, but I find it's a very powerful way of learning the neck as I cover in this and other videos. Good luck with it. - Steve
steve, years ago, i too noticed that the 'fragments' repeat themselves throughout each 3nps position, but i could never conceptualize a complete fretboard alignment, and thusly could not make complete sense nor any use of this insight. but it now all finally comes together with your brilliant revelation that with each pattern, one string's notes 'drop off the edge'... it all makes complete and functional sense now! thank you so much for completing this insight for me! you make great lessons man! your intellectual cadence is really something special amongst guitar teachers; you have a careful way of conceptualizing things fully yet simply, with great depth of understanding amidst crystalline ease of explanation. thank you so much for the great work! joe
An old keyboard hack, learning CAGED, I was noticing the "three fragments" and the consistency of root postions and their relations to 4ths or whatever. I had not made the jump to using it as "generic template" anywhere. Now I hope to find more from you on this same idea in your many great videos. So good.
This approach definitely clicks with me. I never quite figured why in caged system they picked just those 5 chords, given we have 7 notes in the major scales. I also find the approach demoed here more self-consistent in its rule set and quite a bit more algorithmic in nature. Remembering one pro once saying that he had learned to play as a child in every key from every position on the fret board and I could not quite map the meaning of that comment to the caged system or any other way of thinking about it. This video has answered a boatload of questions I've been carrying in my head for over a year. Thank you so much.
Thanks a lot Alex! I'm glad it's helped you. You're correct the approach is very algorithmic and consistent. Caged has it's strengths too, the main one being the innate tight relationship between chords, pentatonic shapes, scales and arpeggios. I will use both depending on the context, as I talk about here ruclips.net/video/Pj-MiD27KT4/видео.html (if you're interested).
So well taught and this series addresses the four problems I had with the 3nps concepts: identifying intervals within the patterns, how to find the 3nps pattern in any position, how to shift my perspective of the patterns to create modes and how to integrate and convert the CAGED positions. Exactly what I was looking for and full of expert advice. Thank you!
Thank you for this! Fantastic lesson. Makes much more intuitive sense than trying to remember each pattern and find it on the neck in whichever key you happen to play in at the moment. Many thanks again!
Thank you, thank you, thank you. Did i say thank you? Now I get the 3ps system. I have actually used that same principle to help understand how the pentatonic scale fits together.
Thank you much for this lesson. I have come across this 3NPS pattern before, but you brought out a lot of clarity about it that gave me the Ah Ha moment for the tonic which we all Love to have when learning. In previous exposure to this pattern, the idea of rotating it was not introduced like this. There is an obvious 3, 2, 2 string pattern that cycles but how to rotate them for pattern 1 is a bit challenging. But not too bad. It would be nice to see chords and Pentatonic scales identified within this pattern. Shouldn't be too hard to find at this stage. Thanks again
I'm fairly new to the guitar and started going down the CAGED route, but pretty quickly began to suspect that there's a better, more logical way. Discovering the 3NPS technique instantly made sense! And then I discovered this video which put everything together... thank you!
Very glad to help - you may find this video of help too, regarding CAGED vs 3nps. ruclips.net/video/Pj-MiD27KT4/видео.html (Basically both systems have value so I recommend learning both!) This may help you understand from a CAGED point of view too. ruclips.net/video/NfOHA1KI-Ek/видео.html
Worth mentioning that when the pattern rolls around to the start again it moves forward a fret - as well as the move forward from string 4 to 5 to adjust for standard tuning (and both rules reverse of course when travelling back across the frets). I first learned very similar rules for pentatonic allowing you to easily work out each position without first memorizing them.
Wow! This really is an eye opener for me. Thank you for sharing. I can't wait for the lesson about how to translate this to modes. Keep up the good work! Cheers from the Netherlands
Thank you soooooo much for this insight! I normally "Barrel" through and memorize every degree. This makes total sense and I was able to apply it in less then 24hrs. No I just need to apply it and remember the steps until it's permanent. Thanks again. :)
Aha.. Thanks for this lesson. I came across 3 nps fingering shapes 2 month ago. I was struggling to remember these shapes as I didn't know underlying structure behind these shapes. The lesson was eye opener for me. God bless you, you are an awesome teacher. - Ajay from India.
This is...so clear. And David's comment about the phantom 7th string was the capstone. This is a wonderful video. Thank you, Steve! I will watch your videos very closely!
Wow, this has to be in the top 100 useful pieces of guitar tuition on RUclips . Well done, great discovery, thanks for sharing There are so many things to discover when you start exploring. I was having a lot of fun analysing different triad shapes and their inversions that occur depending on how the strings are tuned. I noticed the triad shapes change because of the tuning of the strings in three main combinations of three strings - 3 strings tuned with 4ths gap, 3 strings tuned with a 4th then a 3rd, and the opposite a 3rd then a 4th. This is just simple and easy things to observe but I would never have spent any time going into depth looking at this until I went on a voyage of discovery . It began by trying to develop and improve legato strangely enough, then I removed two of the strings so I could play with a one octave scale and a drone note . Then I discovered a really easy and fluid way to play greensleeves mixing chords and melody with ease because of the triad choice of which there are multiple options, some better than others. Then I put the two strings I took off back on and tuned them so it alternates from a third to fourth, third to fourth back to third. This gives me a really interesting , easy and logical set of notes to play with. The E A and D strings have the same fingering as D G and B, so for example a major scale plays beautifully and cleanly from the first octave on the top three strings into the second octave on the D G and B And obviously all the triad shapes are the same There is also a second set of patterns that repeat , everything you play on A D and G is the same on G B and E I have also abandoned my plectrum and am working with my fingers and the guitar is on the left leg too in more of a classical position for the legato . I am going to try having the strings tuned the same but Starting with 4ths instead of 3rds. So at the moment the guitar is tuned 3/4/3/4/3 but am going to try 4/3/4/3/4. I did not like the triad shapes with three strings a fourth apart . Well, what i mean is I did not find the notes of a melody fitted very well around these shapes , although maybe I could revisit and keep experimenting , but the 3rd and 4th interval over three strings brought the triads together in more comfortable shapes with easier accessible scale notes. Sorry for the long ramble , it was a lot of fun and feel like I’m on the threshold of making new progress and a more satisfying method of playing that integrates chords melodies and improvisiation
Thanks a lot! Yes it's been a while since I've played around with alternate tunings. My favourite one was many years ago, tuning the guitar in 5ths (I ended up having to invent my own set of string gauges for it). It completely changed the sound of the guitar, Huge wide chords, 4 note per string diatonic scales, 3 nps pentatonics etc. Actually that would be a fun lock-down project. Thanks for the reminder! - Steve
Steve Gilson - SixStringsAttachedTV Cool. Oh yeah, I remember having a go after reading about Robert Fripp I think. And also was looking at all 4ths too. What I would like is a big thick classical guitar neck on an electric guitar. I have been looking at how guitar necks for some reason taper from the bridge to the nut quite significantly. I would like the distance between strings to be the same all over the guitar . So basically I’m using 4 strings again and I want them spaced equally all over the neck and I want wider gaps between them as I like how it feels for the right hand when picking and also I feel like the note choice on the left hand is more of a thought out choice and a comitment to play rather than just falling into mindless noodling around. Also not only is the string distances taper from wide to thin but the actual guitar neck itself. Again I would also like to get a custom neck made so it’s the same width from nut to bridge. Ike the idea of the consistency. I see some guys convert 7 string electrics to 6 strings. I’ve played a 7 string and really liked the feel of the neck, nice and wide but not too thick and also had a solid feel. A lot of guitar necks feel too flexible for my liking which causes as I’m sure you know the pitch of the strings to waver. After all that il probably return to stand tuning and a normal tapered neck haha 😂 Anyway, thanks again and have fun
This is amazing. Thank you for sharing this information. At first, I was having trouble understanding and then it clicked. This has really opened up the fretboard for me.
Super video. So useful. I use the 7 6nps (2 string shapes) so never have to think about phantom 7th string etc, but can see all of those in your way of just three three string shapes. Nice to see yet another perspective.
Wow ! I have been playing for 8 years , and receiving lessons from at least 3 different teachers, all the while watching youtube videos . No one has ever described this so simply and to the point . Thank you sooooo much . Looking forward to my new subscription.
You got me binge watching this series. Went to the connecting the shapes video first before skipping back here. Had to hook up my printer, sitting with highlighter in hand, I'd worked out where the roots were in fragments two and three, based off fragment one before you mention them at 11:04. So at least I'm getting there. Also wondering if my neighbours would mind terribly if I plugged in my amp at 02:00 am? Think I'll save part 2 for tomorrow, or to be more accurate, a bit later today.
Huge insights - and clearly presented. I followed with particular interest, because after a friend pointed out the three repeating shapes (two whole tones, etc) and the notion of the phantom 'seventh string' that helps clarify what's happening - I came upon that same 'aha' about the functions of the notes within each pattern, and the way that highlights the diatonic modes, too. It seems to be a rare thing for that to be 'figured out' -- at least I haven't seen it described anywhere else (I could have missed the obvious, though), Steve - I bet you've also noticed how those three interval group patterns intertwine and connect with one another 'up and down the neck' (on each string, say). That's another level of 'aha' that seems to add nicely to the foundation you've so well laid out. I'm loving all your content and learning a lot! Please keep up the great work.
Thanks a lot David! No it's not something that I've seen broken down like this before either, but I do enjoy that "Aha!" moment that people get when they realise that there is something logical going on hidden in these weird patterns that we all have to memorise! :o)
I was looking for this exactly having spent lockdown memorising the modes , which I did. During which I finally heard the roots and started playing to them, along with memorising the pattern. Then I wanted to move vertically. This is it. Thx!
This is actually the better sstem I found to improvise....I like i just find the root and decide with wich second i will play it....after that its just about hanging around the pattern knowing exactly where is any interval,
Instead of three fragments, I view 3NPS as a cycle of 7 strings. Each string within the cycle corresponds to one of the 7 modes and is either whole step whole step (which I call the "major" pattern as it forms a M3 interval and is repeated across two strings in Ionian), half step whole step (the "Locrian" pattern), or whole step half step (the "minor" pattern). I can use these patterns to form two-string fragments for each mode - for example Dorian mode is a minor and then a major pattern across two strings. This has become extremely useful in identifying what mode and key I'm playing in just from seeing a few notes on the fretboard. I would love to see you do a video applying 3NPS to modal playing and key identification
Steve, i think you just cracke the code :P. I've been learning using the caged system and i always have to look into some shape or chord in order to know what kind of scale to play. Somehow your way of explaining the 3nps just ringed the bell. by positioning a finger as you explained, one can build the scale by itself. Congrats mate!! got a subscribed!"!!
Great to hear! It's also well worth understanding both approaches. If you already have some CAGED knowledge, then this will help you join the two systems up... ruclips.net/video/Ko8fB1NkUKw/видео.html
I was having problems learning this because I memorised the 7 positions combined into 5, (caged). I’m going to combine them (on paper) I think that’ll do it, because I have those 5 down already so I know all these in effect, it’s just a different grouping. Thanks again I like your videos.
Steve Gilson - SixStringsAttachedTV yes it totally helped me , it took a bit, I don’t know what was so confusing about it since the notes are the same. I don’t know if I’ll incorporate it because I got to playing the caged shapes quickly and idk if my hand can duplicate that with the stretch. Whatever I’m trying to play will determine that I suppose. The instrument is the teacher : ). I am really enjoying your content thanks again so much .
Brilliant! I've spent a lot of time trying to discover the hidden logic of the 3nps. It seemed that there had to be something underlying this, but while I could pick out some patterns it wasn't quite clear to me. So this seems like a key lesson (pun intended).
Now I'm wondering why more people don't pick up on this. I'd been trying to memorize the seven different 3nps patterns, which seems like a totally mindless exercise. With this approach I can take whatever finger is closest to the root note (or think about where I want to end up and move to the appropriate finger) and be able to get a scale in any mode (theoretically at least!). That sounds like the holy grail every player would be aiming for.
I just don't think this approach is broadly known about. In the long term you're trying to get to a place where these shapes are instinctive, but this is a useful way of establishing them initially, and also learning where all the intervals are. - the subject of part 2.
amazing video, small question though. You mentioned root note on the first finger in the middle string for first piece but some of the positions do not have 3 strings for the first piece
First of all, this is a great lesson. I was wondering if there is any detailed logic behind the construction of the box pattern for a major/minor scale....like any fundamental fragments....?
Wow, great lesson on 3NPS, everybody shows you the shapes, but what you just showed me is one of the keys to actually use it. Now I just need to learn the connection to the chord tones. I hope you covered this in the following parts. Big Thanks from Germany
Thanks a lot, glad it was useful! Part 2 shows you how to find all of the note functions (intervals) from the shapes. From that, you can work out where the root, 3rd and 5th is to find the chord tones. But I'll break all of that down in later videos.
Wow! Extremely useful. One thing that is confusing me...You started on the 6th string Note G and as you continued the patterns you would identify Position (x) It looked to me that each Position, as you move up the fretboard was either a Full Tone (Whole step) above the position you just finished playing. Am I seeing this correctly? Or is each Position up the fretboard the INTERVAL(s) of the Major Scale on the 6th String? Quite an interesting approach! Thank you for these lessons. 👍🏽👍🏽🙏🏽
Hi David, Each position starts on the next note (interval) of the scale I'm playing. Actually, this video may help if you're thinking longitudinally ruclips.net/video/nNi0L0HWhb4/видео.html
Here's a related thing that hit me recently - probably already addressed in your other videos, Steve - and it may be 'stating the obvious': Consider *just one octave* of a scale starting on the low E string. In CAGED terms, there's a G form, where the notes are largely 'toward the nut' compared to the root, and an E form, where the notes are largely toward the bridge. When you get the the second octave of the G form, you encounter an octave of E form, and the E form's second octave is a G form (with wrinkles due to the B string tuning). Then for the scales rooted on the A string, the C form is really just the G form, and the A form = the E form (with B string wrinkles). The same thing goes for scales rooted on the D and higher strings -- in short, there seems to be a simple underlying pattern of just two scale flavors: 'toward the nut ' and 'toward the bridge.' Same is true for major an minor pentatonic scales and most other examples I can find - just two single-octave forms, with B string wrinkles. Nothing profound in the above - except the insight that the B string tuning makes things look waaay more complicated than they otherwise would. Posing this here, because I value your insights on such matters.
It's not something that I'd consciously picked up on, but yes you're correct. There really are only 2 routes across an octave if you don't allow yourself to stretch more than 4 frets, which are the G form and E form. Thinking about it, It's a useful insight too, as it means there are really only 2 positions to learn from the point of view of each note function, if you intend to stay in the CAGED shapes. eg where's the 6th above this root note? If you don't mind I'll explore the concept further and see what else pops out...
Will look forward to any other thoughts you may have. Of course there's no *one lens* for seeing the fretboard -- it seems handy to have a couple 'micro' views that operate, like this one, on just an octave (also like your three-note structures; the whole-whole, whole-half, and half-whole intervals as micros) ... and a few macro views like CAGED and 5 pentatonic positions. Either, without the other, is blind to very helpful stuff. You are a master of that - so I'm happy to be even a little on your wavelength.
Sorry to be so chatty - but, taking your point about 'where's the 6th?' etc...I hit on a fun exercise...play a little few-note melody in one of the octaves (the G or E form) then echo the same in the other octave on the same 4-fret position. That helps anchor the locations of the relative tones, and it highlights the ways string crossings or fret moves are used to create the intervals in each case. Seems like you kind of thing...and thank you for nudging me into this exploration.
Yes, that's a useful little exercise when you're learning different positions on the neck. "Can you play the same line in every position on the neck?" (though maybe on a different octave).
I was looking for my next challenge, but bugger me, you could have been a little more gentle You have me dissecting the scale shapes and furiously scribbling on my soon to be patented neck diagrams But finding a scale anywhere on the neck is a skill I'd love to develop
Hi Steve...I love these patterns too...essentially the 7 do become '3'.which makes it a lot easier that is for sure! What I'm interested in now is the best way to relate this to actual chords? Do you make use of these patterns within your thinking about various chord shapes? Thanks!
Not directly, you can use these shapes to identify the notes in a scale and thus chord tones, (that's what I talk about in part 2) But chords themselves are built by finding notes that are relatively easy to reach and fit under the hand, so don't really work well when you try and apply any rigorous methodical method based on a specific number of note per string. It is well worth looking into each position though and identifying the diatonic chords that sit around that position. I've covered this from a CAGED perspective here... ruclips.net/video/8ycafDzGTlc/видео.html so you should be able to adapt that to 3nps too. A 3nps version is probably a good subject for a future video though... Thanks for the idea.
@@SteveGilson Thanks Steve! There is another RUclipsr out there that is a massive proponent of 3nps and has a course all about chords...he strongly dislikes caged . you may know who I'm talking about ... Course Costs an arm and a leg though!! I was finding the same thing as you.. The 3nps doesn't seem to easily reach the common easy to reach finger placements for a chord but was just curious how these 3nps advocates who don't like caged would approach it. Anyway thanks for providing these videos for free for us!
@@MatthewPolack My advice is Learn Both! Actually if you know one of the systems, learning the other is surprisingly easy, then you'll be able to glide between one system and the other without worrying about it. Here's a video I put together which shows you how... ruclips.net/video/Ko8fB1NkUKw/видео.html
Hi ,Nyc lesson.This really helped ..I understood the logic behind this system...But,How can I view chord shapes and target them within 3 note per string shapes and how do I tackle chord changes using key centre approach and chord scale approach with 3 note per string scales...
Hi Shiva, When I play I have multiple views of the neck overlaying each other simultaneously so I can "see" the chords, the pentatonic scales and multiple fingerings of the major scales all the time. This video tries to demonstrate it, I hope it helps... ruclips.net/video/-HWlY5IdNKc/видео.html
STEVE GILSON, Major and minor scales and modes mostly have just M2,m3,M3 interval spacings. I have noticed 80's shred guitarists would add in M6 or m6 wide stretch interval spaces on single strings. This technique was influenced by EVH and then 80's shred guitarist got the idea to just randomly start adding and inserting M6 and m6 wide stretch interval spaces starting on any pentatonic scale degree. Is this a dominant tonality or some type of jazz fusion tonality because I'm not sure what this is called or whats the theory on behind it. Example if you're playing a pentatonic scale and land on the 4th scale degree, you just insert a M6 or m6 wide stretch interval space on the same single string. If you land on let say the minor 3rd or flatted 7th scale degree you just insert a M6 or m6 wide stretch interval space on the same single string. I'm not sure what the theory behind this is but I think it has to do with fusion jazz but 80's shred guitars do this often.
You can think of minor and major 6ths as inverted 3rds, so just tones from a chord. For example E to the G above is a minor 3rd. G to the E and octave above is a Major 6th. So in both cases notes from a E minor or C major chord. E to G# above is a major 3rd, G# to the E an octave above is a Minor 6th. In this case they'd be note from an E major or C# minor chord. Does that help you understand what might be going on?
@@SteveGilson Watch this video because look at the index finger and pinky its an interval of 6 halfsteps which = m6. You will see about 3 of these m6 wide stretch intervals in the pentatonic lick and will throw in out of nowhere these wide stretch m6. Most guitars that use pentatonic scales only use when the fingers spacings are a half step spacing, full step spacing or a m3 or M3 spacing between their fingers. I rarely see them use finger spacing m6 or M6. Analysis the solo because it doesn't make sense how the guitarist in RATT just threw in out of nowhere these m6 intervals. CLICK here and watch at time 0.16 is when the first m6 wide spread spacing happens ruclips.net/video/fvupP9F0qj8/видео.html
Hi Andre, In every position, you'd use each fragment once then move on to the next one in the sequence. So if you used Fragment 1, above it is always Fragment 2. Above Fragment 2 is always Fragment 3, and above 3 is always Fragment 1. If you somehow had a guitar with 100 strings, you'd just keep rotating around over and over again. Does that make sense?
I'm sorry this is a dumb question, but you know how there is that "shift" in between the G and B strings? Why didn't they just not do that and make the string a different width to achieve the right note? It's like, literally the first thing I noticed after tuning my guitar. Is that string tuned that way just so you can play these shapes?
Not at all, do a search for Tom Quayle on RUclips. He's a great example of a guitarist that tunes in 4ths across all 6 strings. Check this video out, it's Martin Miller and Tom Quayle comparing tuning systems. ruclips.net/video/zFRUCd4gQe4/видео.htmlm41s (well worth watching the whole thing if you have time). Interesting to hear Tom say he wouldn't recommend it for most guitarists.
I don't find 3 NPS difficult at all. It's the easiest. You know you have 3 sets of 3 nps that follow the same pattern. Simple. 5-7-9 is always followed by 6-7-9 and then 7-9-10. And then it repeats, always. It's brilliant and simple. You never have think about the pattern like you do with CAGED or 2/3 NPS.
Please can you explain one thing for me. When playing position 1 off 6th string 5th fret A why do you not play the same pattern on 3 strings (fingers on 5, 7 and 9 on the EAD strings)
I assume that we're playing in the key of A major, so the 6th string 5th fret is the root note A? If you look at the first shape, the root note is on the middle string of the 3 strings so if I align that to the 6th string 5th fret, the bottom string "drops off" of the shape. If I had a 7 string guitar with an extra B string below that E string then I would have played that first string pattern on that.
Thank you for reply, now that makes sense. If I may one more question to make sure I’m doing this right. When your just picking a key at random, say B 12 fret you seem to know which pattern to use off a finger used. Does that mean you have to know which finger would be used at that point on fretboard to know which pattern to use? Or, can you use any pattern at that place on the neck?
In principle you can use any of the patterns, as long as the root note of the pattern falls on a B, you're good to go. Over time you'll develop your favourites, but that's just human nature.
Steve, watched the video 3 times now and 💡💡💡moment lol. I now get the finger 1,2 or 3 finger starting on the root principality know which pattern to play. Turns out turning 60 in a few week just means the penny takes longer to drop lol. I’m guessing as with pentatonic the patterns here are the same for minor just starting at a different point, if so do you have video on the minor?
Yes I do, there are a few videos in this series where I dig further into these shapes. I created a play list which links them all here... ruclips.net/p/PLG6Fv3w4O1abgZrFrGGf4MYlMHWWfU6Tv Glad it's been so useful for you!
Thanks! When I'm playing Blues I tend to have a few different views on the neck overlapping each other. Firstly the Blues scale/ pentatonic scale. This tends to be where things like bends come from. In parallel I have either the Dorian Mode or Natural Minor overlaid on top, this approach supports that. Then I'll have a few arpeggios depending on the flavour of the blues. These all kind of melt together so I'm not thinking exclusively of one or another. Actually when I'm truly in the moment, I'm as much of as spectator as the audience and have found myself looking at my hands thinking "I have no idea how I just played that!" Those moments are few and far between, but are the most rewarding moments of being a player. I have no idea how to teach that though! :o)
Weird... I feel like Im tripping...Can you add the caged system with its 5 forms on top of this pattern arrangement? And does this work better for fingering patterns too..Im really liking this..I just hope they don't laugh me off the stage if they catch me doing this...It seems unethical..Is this a technique used exclusively by players? How about finding minor and major scales with this method?...Actually it's like the I Ching of the guitfiddle neck
Yes absolutely, I often weave between 3nps and caged and other patterns when I'm playing. There are no rules to this, just take the bits that work for you from each approach. You should probably check out Deep dive #2 as that shows how the all of the intervals open up on the neck. I also covered the minor scales in another video.
A curious fact is that regular numbers of notes per string (2nps, 3nps, etc) is good for the right hand. Nevertheless, if we stick with this system for certain scales (like bebop scales) the patterns sometimes are strange for the left hand (in other words stretches and strange visual shape). Sometimes it is easy for the left hand the scales with irregular numbers of strings. So we have a duality: when it is easy for the right hand it is not easy for the left hand and vice-versa. See this example imgur.com/a/FcD6T
Yes that's true. My natural inclination is to go for consistency rather than making it easier for the left hand for the reasons I cover here.. ruclips.net/video/y9OA-_mQhz0/видео.html In the case of the Bebop scales though I've used both fingerings, because it is very easy to think if it as 3nps with an extra note per octave, rather than coming up with a whole new set of fingerings.
This question bugs me: to stick with consistent notes per string or to search for the easiest fingering. It´s difficult to find an answer because one thing is learning the scale, the other thing is the real life application. By the way your answer video has very good arguments.
Unfortunately there is no easy answer. I end up with multiple fingerings for scales and arpeggios that I use a lot, just because I can always find exceptions to rules that I've previously imposed on myself.
I think you may have misspoken with regard to the 1st grouping of three notes. You said at 1:29 that the lowest note in your grouping of 3 (6th string, 3rd fret) was the root, but actually the root would be one string over on the 3rd fret of the 5th string (ruclips.net/video/GKp7vpAVuD4/видео.htmlm25s). This confused me quite a bit, and it might be worth going back and adding an annotation! Great video, through!
The best way to think about these shapes is that they're a "bunch of notes". None of the shapes shapes are aligned to any specific mode (each position can be used to play in any mode equally). Agreed that the Locrian mode is way down in priority though.
@@SteveGilson but if you use the first shape, with the root on the low E, the notes will be in Ionian. If you use the second shape with the same root, the notes will be Dorian with flat 3rd and flat 7th. So doesn’t each shape correspond to a mode as long as you keep the same root?
@@MikeB12800 It's a common misconception. Let me see if I can explain... It's harmonic content and note selection that dictates the mode, not any particular position. As long as I was playing the same melody and I could reach the notes, I could use any position and the mode wouldn't change. In your example, I could make any position sound like E ionian, it's totally down to my note choice and what is going on in the harmony and has nothing to do with what happens to be the lowest note that I can reach at that instant. Do you see what I mean?
@@SteveGilson yes, but in the first position, every note is in E Major. No matter which note I play, it will be in the E Ionian scale. If I were to play the 2nd position, I would have to be conscious of not playing the flat 3rd or 7th? Right? I am new to guitar theory. So as a beginner, it seems easier to associate a shape with a mode. Like if I’m playing in A ionian, I can use B Dorian, C# Phrygian etc.. to stay in the A Ionian scale.
@@MikeB12800 This is a tricky thing for people to get their heads around. It comes up quite a bit so I tried to explain it in a video a few years ago, see if this makes sense. ruclips.net/video/tut04MobOm8/видео.html
Best 3NPS video EVER. Perfect. Thanks.
This is the clearest explanation of 3nps technique I've seen. Now I can learn it. Thanks.
Absolutely brilliant!! I am a connoisseur of sorts in this area, being entirely RUclips taught, and this is far and away the best intro to 3NPS and the most immediately useful tool you’ll come across! Incredible! Thank you so much!
Thanks Clay, I'm glad you found it so useful. I've put a few other follow up videos, taking that idea to the next stages, you should be able to find them in a playlist, if you haven't already.
Most underrated guitar lesson video (and channel for that matter) on RUclips ever! I have been tinkering with those 3nps repeating patterns for a while and I knew there was something to be done with it if I get to know all the notes everywhere on the neck. This was that eureka moment I was waiting for for several months. Thank you so much!
Thanks a lot! I'm glad you found the site and discovered this. So few people are aware, but I find it's a very powerful way of learning the neck as I cover in this and other videos. Good luck with it. - Steve
Thanks so much, you lovely soul!!!!
steve,
years ago, i too noticed that the 'fragments' repeat themselves throughout each 3nps position, but i could never conceptualize a complete fretboard alignment, and thusly could not make complete sense nor any use of this insight. but it now all finally comes together with your brilliant revelation that with each pattern, one string's notes 'drop off the edge'... it all makes complete and functional sense now! thank you so much for completing this insight for me!
you make great lessons man! your intellectual cadence is really something special amongst guitar teachers; you have a careful way of conceptualizing things fully yet simply, with great depth of understanding amidst crystalline ease of explanation. thank you so much for the great work!
joe
Thanks a lot Joseph! I'm glad I was able to help you connect the dots - Steve
Excellent video, so clear and logical. Anybody learning guitar will profit hugely from this approach.
Ive now watched 3 of your videos and not only have i had one light come on , but every light in house!!!!!😮
An old keyboard hack, learning CAGED, I was noticing the "three fragments" and the consistency of root postions and their relations to 4ths or whatever. I had not made the jump to using it as "generic template" anywhere. Now I hope to find more from you on this same idea in your many great videos. So good.
I suddenly got enlightened! With this and my ear I can now go anywhere on the fretboard and connect! You're the best
That's really great to hear! I'm very pleased that I could help you.
This approach definitely clicks with me. I never quite figured why in caged system they picked just those 5 chords, given we have 7 notes in the major scales. I also find the approach demoed here more self-consistent in its rule set and quite a bit more algorithmic in nature. Remembering one pro once saying that he had learned to play as a child in every key from every position on the fret board and I could not quite map the meaning of that comment to the caged system or any other way of thinking about it. This video has answered a boatload of questions I've been carrying in my head for over a year. Thank you so much.
Thanks a lot Alex! I'm glad it's helped you. You're correct the approach is very algorithmic and consistent. Caged has it's strengths too, the main one being the innate tight relationship between chords, pentatonic shapes, scales and arpeggios. I will use both depending on the context, as I talk about here ruclips.net/video/Pj-MiD27KT4/видео.html (if you're interested).
So well taught and this series addresses the four problems I had with the 3nps concepts: identifying intervals within the patterns, how to find the 3nps pattern in any position, how to shift my perspective of the patterns to create modes and how to integrate and convert the CAGED positions. Exactly what I was looking for and full of expert advice. Thank you!
Thanks a lot John! I'm glad I was able to help.
Thank you for this! Fantastic lesson. Makes much more intuitive sense than trying to remember each pattern and find it on the neck in whichever key you happen to play in at the moment. Many thanks again!
Thanks Christopher! Glad it was useful for you.
So glad to have found your channel. This 3nps approach has really worked for me - I'll be working thru your content, thanks for all your work
Great to hear! Glad it's working for you.
Thank you, thank you, thank you. Did i say thank you? Now I get the 3ps system. I have actually used that same principle to help understand how the pentatonic scale fits together.
This is an incredible video. Can’t remember the last time i posted on anything. Can’t wait to go through followups. Huge thanks
Thanks a lot Tony, Good luck with it!
Thank you much for this lesson. I have come across this 3NPS pattern before, but you brought out a lot of clarity about it that gave me the Ah Ha moment for the tonic which we all Love to have when learning.
In previous exposure to this pattern, the idea of rotating it was not introduced like this.
There is an obvious 3, 2, 2 string pattern that cycles but how to rotate them for pattern 1 is a bit challenging. But not too bad.
It would be nice to see chords and Pentatonic scales identified within this pattern.
Shouldn't be too hard to find at this stage.
Thanks again
I'm fairly new to the guitar and started going down the CAGED route, but pretty quickly began to suspect that there's a better, more logical way. Discovering the 3NPS technique instantly made sense! And then I discovered this video which put everything together... thank you!
Very glad to help - you may find this video of help too, regarding CAGED vs 3nps. ruclips.net/video/Pj-MiD27KT4/видео.html
(Basically both systems have value so I recommend learning both!)
This may help you understand from a CAGED point of view too. ruclips.net/video/NfOHA1KI-Ek/видео.html
Thank you! Will investigate.
Worth mentioning that when the pattern rolls around to the start again it moves forward a fret - as well as the move forward from string 4 to 5 to adjust for standard tuning (and both rules reverse of course when travelling back across the frets). I first learned very similar rules for pentatonic allowing you to easily work out each position without first memorizing them.
Absolutely amazing. Really appreciate your effort and simplicity, explaining this tough topic🙏🙏
Best set of lessons out there on this subject (part 1&2). Huge eye opener for me. Thank you very much Steve. Can't wait to watch your other lessons!
Glad I could help. Good luck with your playing.
Wow! This really is an eye opener for me. Thank you for sharing. I can't wait for the lesson about how to translate this to modes. Keep up the good work! Cheers from the Netherlands
Thanks Mark! I'm glad it was helpful for you.
Thank you soooooo much for this insight! I normally "Barrel" through and memorize every degree. This makes total sense and I was able to apply it in less then 24hrs. No I just need to apply it and remember the steps until it's permanent. Thanks again. :)
Great! glad it works for you.
Brilliant series, thank you!
Great video! And stunning guitar, never seen those inlays before!
Aha.. Thanks for this lesson. I came across 3 nps fingering shapes 2 month ago. I was struggling to remember these shapes as I didn't know underlying structure behind these shapes. The lesson was eye opener for me. God bless you, you are an awesome teacher.
- Ajay from India.
Thanks a lot! I'm glad it was useful.
Wow, you are an amazing instructor thank you so much for this foreal!!! God bless
This is...so clear. And David's comment about the phantom 7th string was the capstone. This is a wonderful video. Thank you, Steve! I will watch your videos very closely!
Thanks Robin! Very glad to help.
Wow, this has to be in the top 100 useful pieces of guitar tuition on RUclips . Well done, great discovery, thanks for sharing
There are so many things to discover when you start exploring. I was having a lot of fun analysing different triad shapes and their inversions that occur depending on how the strings are tuned.
I noticed the triad shapes change because of the tuning of the strings in three main combinations of three strings - 3 strings tuned with 4ths gap, 3 strings tuned with a 4th then a 3rd, and the opposite a 3rd then a 4th. This is just simple and easy things to observe but I would never have spent any time going into depth looking at this until I went on a voyage of discovery .
It began by trying to develop and improve legato strangely enough, then I removed two of the strings so I could play with a one octave scale and a drone note .
Then I discovered a really easy and fluid way to play greensleeves mixing chords and melody with ease because of the triad choice of which there are multiple options, some better than others.
Then I put the two strings I took off back on and tuned them so it alternates from a third to fourth, third to fourth back to third. This gives me a really interesting , easy and logical set of notes to play with. The E A and D strings have the same fingering as D G and B, so for example a major scale plays beautifully and cleanly from the first octave on the top three strings into the second octave on the D G and B And obviously all the triad shapes are the same
There is also a second set of patterns that repeat , everything you play on A D and G is the same on G B and E
I have also abandoned my plectrum and am working with my fingers and the guitar is on the left leg too in more of a classical position for the legato . I am going to try having the strings tuned the same but Starting with 4ths instead of 3rds. So at the moment the guitar is tuned 3/4/3/4/3 but am going to try 4/3/4/3/4. I did not like the triad shapes with three strings a fourth apart . Well, what i mean is I did not find the notes of a melody fitted very well around these shapes , although maybe I could revisit and keep experimenting , but the 3rd and 4th interval over three strings brought the triads together in more comfortable shapes with easier accessible scale notes. Sorry for the long ramble , it was a lot of fun and feel like I’m on the threshold of making new progress and a more satisfying method of playing that integrates chords melodies and improvisiation
Thanks a lot!
Yes it's been a while since I've played around with alternate tunings. My favourite one was many years ago, tuning the guitar in 5ths (I ended up having to invent my own set of string gauges for it). It completely changed the sound of the guitar, Huge wide chords, 4 note per string diatonic scales, 3 nps pentatonics etc.
Actually that would be a fun lock-down project. Thanks for the reminder! - Steve
Steve Gilson - SixStringsAttachedTV
Cool. Oh yeah, I remember having a go after reading about Robert Fripp I think. And also was looking at all 4ths too. What I would like is a big thick classical guitar neck on an electric guitar. I have been looking at how guitar necks for some reason taper from the bridge to the nut quite significantly. I would like the distance between strings to be the same all over the guitar . So basically I’m using 4 strings again and I want them spaced equally all over the neck and I want wider gaps between them as I like how it feels for the right hand when picking and also I feel like the note choice on the left hand is more of a thought out choice and a comitment to play rather than just falling into mindless noodling around. Also not only is the string distances taper from wide to thin but the actual guitar neck itself. Again I would also like to get a custom neck made so it’s the same width from nut to bridge. Ike the idea of the consistency. I see some guys convert 7 string electrics to 6 strings. I’ve played a 7 string and really liked the feel of the neck, nice and wide but not too thick and also had a solid feel. A lot of guitar necks feel too flexible for my liking which causes as I’m sure you know the pitch of the strings to waver. After all that il probably return to stand tuning and a normal tapered neck haha 😂 Anyway, thanks again and have fun
This is amazing. Thank you for sharing this information. At first, I was having trouble understanding and then it clicked. This has really opened up the fretboard for me.
Thank you! Definitely has shed some light!
Penny has dropped thanks to you Steve. Not everyone's brain operates the same re breaking things down. Thanks so much! You've made my month!
Great! Glad to help!
Super video. So useful. I use the 7 6nps (2 string shapes) so never have to think about phantom 7th string etc, but can see all of those in your way of just three three string shapes. Nice to see yet another perspective.
Great Content, Instantly subbed. Never have I seen such in-depth analysis of 3nps. Really useful.
Thanks a lot and glad you found it useful!
Extremely useful. Thanks Steve!
Wow ! I have been playing for 8 years , and receiving lessons from at least 3 different teachers, all the while watching youtube videos . No one has ever described this so simply and to the point . Thank you sooooo much . Looking forward to my new subscription.
Great to hear! Glad I've been able to give you some new insights, good luck with your playing - Steve
best stuff on RUclips !! thanks :)
You got me binge watching this series. Went to the connecting the shapes video first before skipping back here.
Had to hook up my printer, sitting with highlighter in hand, I'd worked out where the roots were in fragments two and three, based off fragment one before you mention them at 11:04. So at least I'm getting there.
Also wondering if my neighbours would mind terribly if I plugged in my amp at 02:00 am? Think I'll save part 2 for tomorrow, or to be more accurate, a bit later today.
Huge insights - and clearly presented. I followed with particular interest, because after a friend pointed out the three repeating shapes (two whole tones, etc) and the notion of the phantom 'seventh string' that helps clarify what's happening - I came upon that same 'aha' about the functions of the notes within each pattern, and the way that highlights the diatonic modes, too. It seems to be a rare thing for that to be 'figured out' -- at least I haven't seen it described anywhere else (I could have missed the obvious, though),
Steve - I bet you've also noticed how those three interval group patterns intertwine and connect with one another 'up and down the neck' (on each string, say). That's another level of 'aha' that seems to add nicely to the foundation you've so well laid out.
I'm loving all your content and learning a lot! Please keep up the great work.
Thanks a lot David! No it's not something that I've seen broken down like this before either, but I do enjoy that "Aha!" moment that people get when they realise that there is something logical going on hidden in these weird patterns that we all have to memorise! :o)
Hi David, I thought you'd like to know that I used this as the inspiration for my latest video.. See here.. ruclips.net/video/F4e6e0AeqSE/видео.html
Excellent lesson.
I was looking for this exactly having spent lockdown memorising the modes , which I did. During which I finally heard the roots and started playing to them, along with memorising the pattern. Then I wanted to move vertically. This is it. Thx!
I have been able to revisit this now that the modes are familiar. This and the arpeggios are a great study to alleviate the lockdown blues
Great to hear. Glad I could help
This is actually the better sstem I found to improvise....I like i just find the root and decide with wich second i will play it....after that its just about hanging around the pattern knowing exactly where is any interval,
Instead of three fragments, I view 3NPS as a cycle of 7 strings. Each string within the cycle corresponds to one of the 7 modes and is either whole step whole step (which I call the "major" pattern as it forms a M3 interval and is repeated across two strings in Ionian), half step whole step (the "Locrian" pattern), or whole step half step (the "minor" pattern). I can use these patterns to form two-string fragments for each mode - for example Dorian mode is a minor and then a major pattern across two strings. This has become extremely useful in identifying what mode and key I'm playing in just from seeing a few notes on the fretboard. I would love to see you do a video applying 3NPS to modal playing and key identification
Thank you very much. You are an incredible teacher !!! Such an amazing explanation
Thanks Oscar, Glad I could help.
That was an hour. Watched it about 3 times. Very cool thanx
Great! I hope it helps you.
Steve, i think you just cracke the code :P. I've been learning using the caged system and i always have to look into some shape or chord in order to know what kind of scale to play. Somehow your way of explaining the 3nps just ringed the bell. by positioning a finger as you explained, one can build the scale by itself. Congrats mate!! got a subscribed!"!!
Great to hear! It's also well worth understanding both approaches. If you already have some CAGED knowledge, then this will help you join the two systems up... ruclips.net/video/Ko8fB1NkUKw/видео.html
I'll have to watch this video again I got a little lost, but I understand the concept.
That's the cleverest intro to the modes I've ever seen.
Thanks a lot! I appreciate it.
I was having problems learning this because I memorised the 7 positions combined into 5, (caged). I’m going to combine them (on paper) I think that’ll do it, because I have those 5 down already so I know all these in effect, it’s just a different grouping. Thanks again I like your videos.
This might help you too ruclips.net/video/Ko8fB1NkUKw/видео.html Good luck with it.
Steve Gilson - SixStringsAttachedTV yes it totally helped me , it took a bit, I don’t know what was so confusing about it since the notes are the same. I don’t know if I’ll incorporate it because I got to playing the caged shapes quickly and idk if my hand can duplicate that with the stretch. Whatever I’m trying to play will determine that I suppose. The instrument is the teacher : ). I am really enjoying your content thanks again so much .
thanks. this gave me a bit of a an eureka moment
Very Helpful - Thank you! I just Subscribed :-)
Brilliant! I've spent a lot of time trying to discover the hidden logic of the 3nps. It seemed that there had to be something underlying this, but while I could pick out some patterns it wasn't quite clear to me. So this seems like a key lesson (pun intended).
Thanks Miles! Glad I could help
Now I'm wondering why more people don't pick up on this. I'd been trying to memorize the seven different 3nps patterns, which seems like a totally mindless exercise. With this approach I can take whatever finger is closest to the root note (or think about where I want to end up and move to the appropriate finger) and be able to get a scale in any mode (theoretically at least!). That sounds like the holy grail every player would be aiming for.
I just don't think this approach is broadly known about. In the long term you're trying to get to a place where these shapes are instinctive, but this is a useful way of establishing them initially, and also learning where all the intervals are. - the subject of part 2.
great lesson i got the ideas now to practice thank you very much
Great to hear William! Good luck with it.
Thanks my man! Bangin Lucy Band
Cristal clear👌🌟🌟
Glad it helped
Really clever, thx alot
Wooooow! Really love your Content I Play with the finges too (Cause I Learned Classical for years) , I suscribed , thank you
This is insane. I Watched part 2 first :D It was actually easier for me to comprehend, because I'm a backwards learner :D This is awesome.
:D well I'm glad you found it!
Aha! Finally! Thank you!
amazing thanks!
This is super valueable
Thanks a lot for checking the video out! Good luck with your playing.
amazing video, small question though. You mentioned root note on the first finger in the middle string for first piece but some of the positions do not have 3 strings for the first piece
Really useful thanks
First of all, this is a great lesson.
I was wondering if there is any detailed logic behind the construction of the box pattern for a major/minor scale....like any fundamental fragments....?
Wow, great lesson on 3NPS, everybody shows you the shapes, but what you just showed me is one of the keys to actually use it. Now I just need to learn the connection to the chord tones. I hope you covered this in the following parts. Big Thanks from Germany
Thanks a lot, glad it was useful! Part 2 shows you how to find all of the note functions (intervals) from the shapes. From that, you can work out where the root, 3rd and 5th is to find the chord tones. But I'll break all of that down in later videos.
Thank you
brilliant
You know that guitar moment when you get a aha!! Moment ? Well I just got mine and it feels awesome because those aha moments are few and far between.
Brilliant! It's always great to hear when my videos help someone!
Brilliant, thank you :-)
Million $ video👍
Wow! Extremely useful. One thing that is confusing me...You started on the 6th string Note G and as you continued the patterns you would identify Position (x) It looked to me that each Position, as you move up the fretboard was either a Full Tone (Whole step) above the position you just finished playing. Am I seeing this correctly? Or is each Position up the fretboard the INTERVAL(s) of the Major Scale on the 6th String?
Quite an interesting approach! Thank you for these lessons. 👍🏽👍🏽🙏🏽
Hi David, Each position starts on the next note (interval) of the scale I'm playing. Actually, this video may help if you're thinking longitudinally ruclips.net/video/nNi0L0HWhb4/видео.html
Here's a related thing that hit me recently - probably already addressed in your other videos, Steve - and it may be 'stating the obvious':
Consider *just one octave* of a scale starting on the low E string. In CAGED terms, there's a G form, where the notes are largely 'toward the nut' compared to the root, and an E form, where the notes are largely toward the bridge.
When you get the the second octave of the G form, you encounter an octave of E form, and the E form's second octave is a G form (with wrinkles due to the B string tuning).
Then for the scales rooted on the A string, the C form is really just the G form, and the A form = the E form (with B string wrinkles).
The same thing goes for scales rooted on the D and higher strings -- in short, there seems to be a simple underlying pattern of just two scale flavors: 'toward the nut ' and 'toward the bridge.'
Same is true for major an minor pentatonic scales and most other examples I can find - just two single-octave forms, with B string wrinkles.
Nothing profound in the above - except the insight that the B string tuning makes things look waaay more complicated than they otherwise would.
Posing this here, because I value your insights on such matters.
It's not something that I'd consciously picked up on, but yes you're correct. There really are only 2 routes across an octave if you don't allow yourself to stretch more than 4 frets, which are the G form and E form.
Thinking about it, It's a useful insight too, as it means there are really only 2 positions to learn from the point of view of each note function, if you intend to stay in the CAGED shapes. eg where's the 6th above this root note? If you don't mind I'll explore the concept further and see what else pops out...
Will look forward to any other thoughts you may have.
Of course there's no *one lens* for seeing the fretboard -- it seems handy to have a couple 'micro' views that operate, like this one, on just an octave (also like your three-note structures; the whole-whole, whole-half, and half-whole intervals as micros) ... and a few macro views like CAGED and 5 pentatonic positions. Either, without the other, is blind to very helpful stuff.
You are a master of that - so I'm happy to be even a little on your wavelength.
Sorry to be so chatty - but, taking your point about 'where's the 6th?' etc...I hit on a fun exercise...play a little few-note melody in one of the octaves (the G or E form) then echo the same in the other octave on the same 4-fret position. That helps anchor the locations of the relative tones, and it highlights the ways string crossings or fret moves are used to create the intervals in each case. Seems like you kind of thing...and thank you for nudging me into this exploration.
Yes, that's a useful little exercise when you're learning different positions on the neck. "Can you play the same line in every position on the neck?" (though maybe on a different octave).
I was looking for my next challenge, but bugger me, you could have been a little more gentle
You have me dissecting the scale shapes and furiously scribbling on my soon to be patented neck diagrams
But finding a scale anywhere on the neck is a skill I'd love to develop
Amazing amount of insight falls out of that and the follow up videos. Almost no-one knows about it either!
👍 Nice
Hi Steve...I love these patterns too...essentially the 7 do become '3'.which makes it a lot easier that is for sure! What I'm interested in now is the best way to relate this to actual chords? Do you make use of these patterns within your thinking about various chord shapes? Thanks!
Not directly, you can use these shapes to identify the notes in a scale and thus chord tones, (that's what I talk about in part 2) But chords themselves are built by finding notes that are relatively easy to reach and fit under the hand, so don't really work well when you try and apply any rigorous methodical method based on a specific number of note per string. It is well worth looking into each position though and identifying the diatonic chords that sit around that position. I've covered this from a CAGED perspective here... ruclips.net/video/8ycafDzGTlc/видео.html so you should be able to adapt that to 3nps too. A 3nps version is probably a good subject for a future video though... Thanks for the idea.
@@SteveGilson Thanks Steve! There is another RUclipsr out there that is a massive proponent of 3nps and has a course all about chords...he strongly dislikes caged . you may know who I'm talking about ... Course Costs an arm and a leg though!! I was finding the same thing as you.. The 3nps doesn't seem to easily reach the common easy to reach finger placements for a chord but was just curious how these 3nps advocates who don't like caged would approach it. Anyway thanks for providing these videos for free for us!
@@MatthewPolack My advice is Learn Both! Actually if you know one of the systems, learning the other is surprisingly easy, then you'll be able to glide between one system and the other without worrying about it. Here's a video I put together which shows you how... ruclips.net/video/Ko8fB1NkUKw/видео.html
Hi ,Nyc lesson.This really helped ..I understood the logic behind this system...But,How can I view chord shapes and target them within 3 note per string shapes and how do I tackle chord changes using key centre approach and chord scale approach with 3 note per string scales...
Hi Shiva, When I play I have multiple views of the neck overlaying each other simultaneously so I can "see" the chords, the pentatonic scales and multiple fingerings of the major scales all the time. This video tries to demonstrate it, I hope it helps... ruclips.net/video/-HWlY5IdNKc/видео.html
STEVE GILSON, Major and minor scales and modes mostly have just M2,m3,M3 interval spacings. I have noticed 80's shred guitarists would add in M6 or m6 wide stretch interval spaces on single strings. This technique was influenced by EVH and then 80's shred guitarist got the idea to just randomly start adding and inserting M6 and m6 wide stretch interval spaces starting on any pentatonic scale degree. Is this a dominant tonality or some type of jazz fusion tonality because I'm not sure what this is called or whats the theory on behind it. Example if you're playing a pentatonic scale and land on the 4th scale degree, you just insert a M6 or m6 wide stretch interval space on the same single string. If you land on let say the minor 3rd or flatted 7th scale degree you just insert a M6 or m6 wide stretch interval space on the same single string. I'm not sure what the theory behind this is but I think it has to do with fusion jazz but 80's shred guitars do this often.
You can think of minor and major 6ths as inverted 3rds, so just tones from a chord.
For example E to the G above is a minor 3rd. G to the E and octave above is a Major 6th. So in both cases notes from a E minor or C major chord.
E to G# above is a major 3rd, G# to the E an octave above is a Minor 6th. In this case they'd be note from an E major or C# minor chord.
Does that help you understand what might be going on?
@@SteveGilson Watch this video because look at the index finger and pinky its an interval of 6 halfsteps which = m6. You will see about 3 of these m6 wide stretch intervals in the pentatonic lick and will throw in out of nowhere these wide stretch m6. Most guitars that use pentatonic scales only use when the fingers spacings are a half step spacing, full step spacing or a m3 or M3 spacing between their fingers. I rarely see them use finger spacing m6 or M6. Analysis the solo because it doesn't make sense how the guitarist in RATT just threw in out of nowhere these m6 intervals. CLICK here and watch at time 0.16 is when the first m6 wide spread spacing happens ruclips.net/video/fvupP9F0qj8/видео.html
Omg - I was a blind man and now I can see!
Is there a set number of times a fragment is used to know when you have to switch to the next one?
Hi Andre, In every position, you'd use each fragment once then move on to the next one in the sequence. So if you used Fragment 1, above it is always Fragment 2. Above Fragment 2 is always Fragment 3, and above 3 is always Fragment 1.
If you somehow had a guitar with 100 strings, you'd just keep rotating around over and over again. Does that make sense?
I'm sorry this is a dumb question, but you know how there is that "shift" in between the G and B strings? Why didn't they just not do that and make the string a different width to achieve the right note? It's like, literally the first thing I noticed after tuning my guitar. Is that string tuned that way just so you can play these shapes?
Not at all, do a search for Tom Quayle on RUclips. He's a great example of a guitarist that tunes in 4ths across all 6 strings. Check this video out, it's Martin Miller and Tom Quayle comparing tuning systems. ruclips.net/video/zFRUCd4gQe4/видео.htmlm41s (well worth watching the whole thing if you have time). Interesting to hear Tom say he wouldn't recommend it for most guitarists.
I don't find 3 NPS difficult at all. It's the easiest. You know you have 3 sets of 3 nps that follow the same pattern. Simple. 5-7-9 is always followed by 6-7-9 and then 7-9-10. And then it repeats, always. It's brilliant and simple. You never have think about the pattern like you do with CAGED or 2/3 NPS.
Please can you explain one thing for me. When playing position 1 off 6th string 5th fret A why do you not play the same pattern on 3 strings (fingers on 5, 7 and 9 on the EAD strings)
I assume that we're playing in the key of A major, so the 6th string 5th fret is the root note A? If you look at the first shape, the root note is on the middle string of the 3 strings so if I align that to the 6th string 5th fret, the bottom string "drops off" of the shape. If I had a 7 string guitar with an extra B string below that E string then I would have played that first string pattern on that.
Thank you for reply, now that makes sense. If I may one more question to make sure I’m doing this right. When your just picking a key at random, say B 12 fret you seem to know which pattern to use off a finger used. Does that mean you have to know which finger would be used at that point on fretboard to know which pattern to use? Or, can you use any pattern at that place on the neck?
In principle you can use any of the patterns, as long as the root note of the pattern falls on a B, you're good to go. Over time you'll develop your favourites, but that's just human nature.
Steve, watched the video 3 times now and 💡💡💡moment lol. I now get the finger 1,2 or 3 finger starting on the root principality know which pattern to play. Turns out turning 60 in a few week just means the penny takes longer to drop lol. I’m guessing as with pentatonic the patterns here are the same for minor just starting at a different point, if so do you have video on the minor?
Yes I do, there are a few videos in this series where I dig further into these shapes. I created a play list which links them all here...
ruclips.net/p/PLG6Fv3w4O1abgZrFrGGf4MYlMHWWfU6Tv
Glad it's been so useful for you!
Great lesson thanks. How do the fingerings fall out for blues in a practical sense? Do you land on fingers appropriate for bends or unison bends etc?
Thanks! When I'm playing Blues I tend to have a few different views on the neck overlapping each other.
Firstly the Blues scale/ pentatonic scale. This tends to be where things like bends come from.
In parallel I have either the Dorian Mode or Natural Minor overlaid on top, this approach supports that.
Then I'll have a few arpeggios depending on the flavour of the blues.
These all kind of melt together so I'm not thinking exclusively of one or another.
Actually when I'm truly in the moment, I'm as much of as spectator as the audience and have found myself looking at my hands thinking "I have no idea how I just played that!" Those moments are few and far between, but are the most rewarding moments of being a player. I have no idea how to teach that though! :o)
An now, you're keeping one o dem dere secrets so we won't muscle in on yer gigs. 😁
Ah*
Weird... I feel like Im tripping...Can you add the caged system with its 5 forms on top of this pattern arrangement? And does this work better for fingering patterns too..Im really liking this..I just hope they don't laugh me off the stage if they catch me doing this...It seems unethical..Is this a technique used exclusively by players? How about finding minor and major scales with this method?...Actually it's like the I Ching of the guitfiddle neck
Yes absolutely, I often weave between 3nps and caged and other patterns when I'm playing. There are no rules to this, just take the bits that work for you from each approach. You should probably check out Deep dive #2 as that shows how the all of the intervals open up on the neck. I also covered the minor scales in another video.
A curious fact is that regular numbers of notes per string (2nps, 3nps, etc) is good for the right hand. Nevertheless, if we stick with this system for certain scales (like bebop scales) the patterns sometimes are strange for the left hand (in other words stretches and strange visual shape). Sometimes it is easy for the left hand the scales with irregular numbers of strings. So we have a duality: when it is easy for the right hand it is not easy for the left hand and vice-versa. See this example imgur.com/a/FcD6T
Yes that's true. My natural inclination is to go for consistency rather than making it easier for the left hand for the reasons I cover here.. ruclips.net/video/y9OA-_mQhz0/видео.html In the case of the Bebop scales though I've used both fingerings, because it is very easy to think if it as 3nps with an extra note per octave, rather than coming up with a whole new set of fingerings.
This question bugs me: to stick with consistent notes per string or to search for the easiest fingering. It´s difficult to find an answer because one thing is learning the scale, the other thing is the real life application. By the way your answer video has very good arguments.
Unfortunately there is no easy answer. I end up with multiple fingerings for scales and arpeggios that I use a lot, just because I can always find exceptions to rules that I've previously imposed on myself.
I think you may have misspoken with regard to the 1st grouping of three notes. You said at 1:29 that the lowest note in your grouping of 3 (6th string, 3rd fret) was the root, but actually the root would be one string over on the 3rd fret of the 5th string (ruclips.net/video/GKp7vpAVuD4/видео.htmlm25s). This confused me quite a bit, and it might be worth going back and adding an annotation! Great video, through!
Oh yes you're correct, I'll see what I can do to edit it.
This guy follows me on twitter 🙂
I'm making a simple exercise app for Android about the 3ps fragments and their intervals. Anyone interested?
Really 6 shapes. Locrian can wait…..
The best way to think about these shapes is that they're a "bunch of notes". None of the shapes shapes are aligned to any specific mode (each position can be used to play in any mode equally).
Agreed that the Locrian mode is way down in priority though.
@@SteveGilson but if you use the first shape, with the root on the low E, the notes will be in Ionian. If you use the second shape with the same root, the notes will be Dorian with flat 3rd and flat 7th. So doesn’t each shape correspond to a mode as long as you keep the same root?
@@MikeB12800 It's a common misconception. Let me see if I can explain...
It's harmonic content and note selection that dictates the mode, not any particular position. As long as I was playing the same melody and I could reach the notes, I could use any position and the mode wouldn't change.
In your example, I could make any position sound like E ionian, it's totally down to my note choice and what is going on in the harmony and has nothing to do with what happens to be the lowest note that I can reach at that instant.
Do you see what I mean?
@@SteveGilson yes, but in the first position, every note is in E Major. No matter which note I play, it will be in the E Ionian scale. If I were to play the 2nd position, I would have to be conscious of not playing the flat 3rd or 7th? Right? I am new to guitar theory. So as a beginner, it seems easier to associate a shape with a mode. Like if I’m playing in A ionian, I can use B Dorian, C# Phrygian etc.. to stay in the A Ionian scale.
@@MikeB12800 This is a tricky thing for people to get their heads around. It comes up quite a bit so I tried to explain it in a video a few years ago, see if this makes sense.
ruclips.net/video/tut04MobOm8/видео.html
This guy is going to confuse me!😂
Good luck! did it help you?