I like the idea of the "train tracks" something to work on so I can easily reference notes around the fretboard for navigating changes. strings 1,5,6 are the easy ones, 2,3,4 are tricky.
Greg, you are in the top five of my top one hundred favorite guitarists of all time. Where in that top five? It varies. Sometimes you number 5, or 4, but most times you are number "ONE!" I love ya, bro. Keep cutting forward. You still have much to show us.
Its incredible how I always told myself learning my arpeggios was important, but it took a Greg Howe bootleg video on youtube to make it click and learn. lol
Every time I hear Greg Howe and the likes of Guthrie Govan and Tom Quayle , I suffer from brain palsy. It's not easy to decode extraterrestrials skills
I like this guy, a lot, ,good explanatory teaching concepts ..great player... I saw him with Simon Phillips , nice guy too.. his band Maragold were great..
Thanks for uploading this man! I love that 7 notes grouping concept. It make me realize that maybe we can't do totally random in fast and complex lick when improvising, we need a concept that can be sequenced and disguise it little bit.
Another way is to leverage the knowledge of pentatonics but superimpose different ones eg. Em pent over Am7 chord, Bm pent, or shift up/down 1/2 step for outside sounds.
Man, I don't know any modes...as an example, you could ask me to play a Lydian mode, and I wouldn't have a clue short of looking it up, how to play a Lydian mode scale....I know it's name, you know, like major scale, minor scale...I know those two...but the other ones...I probably even use them, depending on what the progression I'm playing over is...I've even been through 1st year music theory in college...but that was about 50 years ago...I probably need a refresher, hahaha!
Great Lesson! Thanks for uploading this! Greg is one of my favorite guitarist and I am happy to finally have an understanding of his improvisation techniques. I now have more tools to add to my own repertoire and technique. The video is very much appreciated!
Greg: Plays a super fast pentatonic lick in an effort to show how it can be expanded upon to sound more interesting and less predictable Me: Slows down the video to learn the super fast pentatonic lick
lol... he keeps asking if that's making sense: The brain keeps saying yeah, the fingers are saying WTF?!! I wish I had reached out to this guy for some masterclasses 20 years ago...
Great info Greg! And let us not forget that what we're really playing by superimposing C Major 7 (what you're calling "B" or actually the B Phrygian Mode Shape) over A Minor is the DORIAN mode "tonality" (you can hear that Major 6th tone in a very pronounced manner in your A Dorian style phrases). In such case, we're actually NOT playing in A Minor anymore "technically", but in the Key of G Major / E minor over an "A Minor/Dorian Groove", and all of the G Major Chord Diatonic modal scale, triad, and 7th arpeggio shapes will apply to the improvisation. My 2 Cents... ;o)
Thanks for your explanation, but I still dont get it. I know C major and A minor have the same notes, but I dont see how dorian and phygian come into play.
He is just being a Wanker and is wrong- Cmaj7 arpeggio over Amin chord is definitely not Dorian because A Dorian needs a F# and the backing track is not based around B min for it to be Phyrgian. Just listen to Greg and don't worry about this wanky shit.
I wish Greg would have used a whiteboard to show exactly how these scales relate. I know theory fairly well, but I dont have scale shapes memorized to understand what he was referring to.
When you get into Diatonic theory, you’ll see how 7 notes can create 7 individual chords. So if you take a C major scale, you’ll get 7 chords. C Dm Em F G Am B°(Dim) If you’re jamming in the key of C, those notes are going to be in there. The scales that are related to each other are the modes. However, there’s two different way of looking at them on the guitar. Those 7 notes can create 7 individual scales that have their own characteristics. C Ionian D Dorian E Phrygian F Lydian G Mixolydian A Aeolian B Locrian. The other way of looking at it is they could also be 7 different ways of playing the same C major scale. So D Dorian and all those scales that I listed are relative scales to each other. They all share the same notes. So instead of practicing them or rather looking at them as 7 different scales. Think of them as 7 different positions of playing C major across the fretboard. We can get so fixated on scales, it can get in the way of experimenting. And when we’re improvising, it’ll hinder you when playing. For example, if we play over a C chord by playing an E Phrygian scale. Are we playing E Phrygian? Or are we just playing C major starting on the 3rd? When it comes to the arpeggios. If we know them well, we can create movement when we’re just jumbling the same notes from the scale. Another example if we have a Cmaj7 chord. We can play a C major arpeggio or even a Cmaj7 arpeggio. The notes are C E G B= Cmaj7 However, we can play an Eminor Arpeggio over that chord. E G B = Em. So we’re getting the colors of Cmaj7 the 3rd, 5th, and 7th. If we play an Em7 arpeggio, EGBD=Em7 we can get a Cmaj9 color. There’s a lot more to it, but I’m already writing a wall of text. But the idea Howe is talking about is that you can interweave through the arpeggios to create movement. Each note in these arpeggios are going to create some color over the context. Again over a C chord. If you play an Em7, you can get the sounds of a Cmaj9 chord. You can play a chain of arpeggios like ascend and Em arpeggio and then descend a B diminished arpeggio then ascend a C major arpeggio. All over a C chord, you’ve created movement. This really becomes useful the better you know how to play a scale and all 7 diatonic arpeggios across the fretboard. It sounds like a lot to practice, but anyone can do it. Just gotta practice them in small chunks.
@@Phrygian12 I appreciate you giving me a detailed explanation. I understand the beginning part where if youre playing a melody over a chord in a scale, you play the mode of that chord degree. The problem is that Greg used G major and A dorian instead of using C major and D dorian, so I get lost when he talks fast about which notes are in each chord when he is moving up and down the 'Gmaj railroad track'. Im simply going to have to pull out a pen and paper and write down the chords he is talking about to make sense of this. If he would have just used C major then I would automatically know which notes are diatonic to each chord.
![Lethal Company Music Video 🎵 "Follow The Orders" [VERSION A]](http://i.ytimg.com/vi/QeooZB4Z7RA/mqdefault.jpg)
10 minutes into the video and I'm already 30 years behind Greg
I've been a fan of Howe since I was a kid. Phenomenal player!
Not only is Greg a great player, he's also a great teacher.🙂
Sure thing.
He's also one of the top ADA dental surgeons in the world
🙏
Greg for president 2024!
The 32 note sequence has broke a rut that I was in for years. Thanks a lot man, it is a milestone for me.
Good luck🙏
game changer lesson for all tipical rock guitarists
The master himself
An absolutely marvellous guitar player ….
You are right!
damn, this opened my eyes.
Hi Greg! Can you teach us the song Extraction? Greetings from the Patagonia Argentina
Thank you sssooo much for putting this on YT...
Please support Me, subscribe on my channel🤝
I've been watching this video for months (with limited time) and picking up some good stuff. And only about a third of the way in. Just what I need.
Enjoy!!!
thanks for concising this.
I like the idea of the "train tracks" something to work on so I can easily reference notes around the fretboard for navigating changes. strings 1,5,6 are the easy ones, 2,3,4 are tricky.
Greg, you are in the top five of my top one hundred favorite guitarists of all time. Where in that top five? It varies. Sometimes you number 5, or 4, but most times you are number "ONE!" I love ya, bro. Keep cutting forward. You still have much to show us.
This video just expanded my mind, amazing!
Enjoy🙏
Its incredible how I always told myself learning my arpeggios was important, but it took a Greg Howe bootleg video on youtube to make it click and learn. lol
Yeah. He’s a Guitar God :)
Every time I hear Greg Howe and the likes of Guthrie Govan and Tom Quayle , I suffer from brain palsy. It's not easy to decode extraterrestrials skills
12:00
Thanks for uploading! This has been the most insightful clinic I heard him do.
Thanks, Greg!!!😊
Brilliant guitarist
Fantastic!!!
This is gold. Just what I have been looking for. Thanks
You’re welcome🙏
I like this guy, a lot, ,good explanatory teaching concepts ..great player... I saw him with Simon Phillips , nice guy too.. his band Maragold were great..
You took off all the translation parts....great!....Thanks for sharing!
Thank You Too!
You guys have to listen to an album called TILT, by Greg Howe and Richie Kotzen. Really, it's an amazing record.
Sure.
Thanks for the rec!!!
Thanks for uploading this man! I love that 7 notes grouping concept. It make me realize that maybe we can't do totally random in fast and complex lick when improvising, we need a concept that can be sequenced and disguise it little bit.
Another way is to leverage the knowledge of pentatonics but superimpose different ones eg. Em pent over Am7 chord, Bm pent, or shift up/down 1/2 step for outside sounds.
Thanks Tony for uploading this masterclass! Really appreciated!
wow, absolute gold mine! Thanks for sharing!
15:34 or, the ZELDA arpeggio. :)
Man, I don't know any modes...as an example, you could ask me to play a Lydian mode, and I wouldn't have a clue short of looking it up, how to play a Lydian mode scale....I know it's name, you know, like major scale, minor scale...I know those two...but the other ones...I probably even use them, depending on what the progression I'm playing over is...I've even been through 1st year music theory in college...but that was about 50 years ago...I probably need a refresher, hahaha!
Great lesson with Master Howe! 👌🎸🎶🙂
Of course!!!🙏
Great Lesson! Thanks for uploading this! Greg is one of my favorite guitarist and I am happy to finally have an understanding of his improvisation techniques. I now have more tools to add to my own repertoire and technique. The video is very much appreciated!
Thank u so much for this
Greg: Plays a super fast pentatonic lick in an effort to show how it can be expanded upon to sound more interesting and less predictable
Me: Slows down the video to learn the super fast pentatonic lick
27:34 Maybe your fingers don't have a problem with that! ;)
lol... he keeps asking if that's making sense:
The brain keeps saying yeah, the fingers are saying WTF?!!
I wish I had reached out to this guy for some masterclasses 20 years ago...
Such insightful masterclass! Learnt so much. Thank you for this video!
GH is the best All-Around Lead Guitarist
Of course!
Great info Greg! And let us not forget that what we're really playing by superimposing C Major 7 (what you're calling "B" or actually the B Phrygian Mode Shape) over A Minor is the DORIAN mode "tonality" (you can hear that Major 6th tone in a very pronounced manner in your A Dorian style phrases). In such case, we're actually NOT playing in A Minor anymore "technically", but in the Key of G Major / E minor over an "A Minor/Dorian Groove", and all of the G Major Chord Diatonic modal scale, triad, and 7th arpeggio shapes will apply to the improvisation. My 2 Cents... ;o)
I thought I understood theory until I read this comment! Lol
@NicholasNorway ... I know brother. These dudes are ultra hardcore on music theory. It even sounds like they are from another dimension, right ?
@johnm... Steve Vai, is that you ?
Thanks for your explanation, but I still dont get it. I know C major and A minor have the same notes, but I dont see how dorian and phygian come into play.
He is just being a Wanker and is wrong- Cmaj7 arpeggio over Amin chord is definitely not Dorian because A Dorian needs a F# and the backing track is not based around B min for it to be Phyrgian. Just listen to Greg and don't worry about this wanky shit.
20:20
I wish Greg would have used a whiteboard to show exactly how these scales relate. I know theory fairly well, but I dont have scale shapes memorized to understand what he was referring to.
When you get into Diatonic theory, you’ll see how 7 notes can create 7 individual chords.
So if you take a C major scale, you’ll get 7 chords.
C Dm Em F G Am B°(Dim)
If you’re jamming in the key of C, those notes are going to be in there.
The scales that are related to each other are the modes. However, there’s two different way of looking at them on the guitar.
Those 7 notes can create 7 individual scales that have their own characteristics.
C Ionian D Dorian E Phrygian F Lydian G Mixolydian A Aeolian B Locrian.
The other way of looking at it is they could also be 7 different ways of playing the same C major scale.
So D Dorian and all those scales that I listed are relative scales to each other. They all share the same notes.
So instead of practicing them or rather looking at them as 7 different scales. Think of them as 7 different positions of playing C major across the fretboard.
We can get so fixated on scales, it can get in the way of experimenting. And when we’re improvising, it’ll hinder you when playing.
For example, if we play over a C chord by playing an E Phrygian scale. Are we playing E Phrygian? Or are we just playing C major starting on the 3rd?
When it comes to the arpeggios. If we know them well, we can create movement when we’re just jumbling the same notes from the scale.
Another example if we have a Cmaj7 chord. We can play a C major arpeggio or even a Cmaj7 arpeggio. The notes are
C E G B= Cmaj7
However, we can play an Eminor Arpeggio over that chord. E G B = Em.
So we’re getting the colors of Cmaj7 the 3rd, 5th, and 7th. If we play an Em7 arpeggio, EGBD=Em7 we can get a Cmaj9 color.
There’s a lot more to it, but I’m already writing a wall of text. But the idea Howe is talking about is that you can interweave through the arpeggios to create movement. Each note in these arpeggios are going to create some color over the context.
Again over a C chord. If you play an Em7, you can get the sounds of a Cmaj9 chord. You can play a chain of arpeggios like ascend and Em arpeggio and then descend a B diminished arpeggio then ascend a C major arpeggio. All over a C chord, you’ve created movement.
This really becomes useful the better you know how to play a scale and all 7 diatonic arpeggios across the fretboard. It sounds like a lot to practice, but anyone can do it. Just gotta practice them in small chunks.
@@Phrygian12 I appreciate you giving me a detailed explanation. I understand the beginning part where if youre playing a melody over a chord in a scale, you play the mode of that chord degree. The problem is that Greg used G major and A dorian instead of using C major and D dorian, so I get lost when he talks fast about which notes are in each chord when he is moving up and down the 'Gmaj railroad track'. Im simply going to have to pull out a pen and paper and write down the chords he is talking about to make sense of this. If he would have just used C major then I would automatically know which notes are diatonic to each chord.
32:32 makessense
What's the name of the song that opens up the video?
"Dance" from "Parallax"
@@jemubk Thanks man!!
💪🇺🇦
Of course:)
Many Thanks!!!
7 notes and somehow 12 semitones that may 'always have an opportunity' regardless of the key you are playing