I have a suggestion that I think will make playing "weird" sounding scales, and other scales/modes a lot simpler. Play the scale in ONE Octave only so you can really get it into your ears. If you play the scale over two octaves without repeating the Tonic (starting) note, you will have severely complicated learning the scale. Either you'll be playing the scale in groups of 7 notes, or each successive octave will start on the next mode in that particular scale. For instance, if you played the G Harmonic Minor Scale for a full octave/8 notes, the next group of 8 notes would actually be starting on "A," which is the first note of the 2nd Mode of the Harmonic Minor Scale. And that's why is so hard to get into your ears - You're aiming at a moving target. So, I suggest you make your life easier, and repeat the "Tonic" of the scale every time you reach it so the 2nd time you play that note, it will start the same scale, only one octave higher. After you've gotten the sound of the scale clear in your head, playing multiple octave scales will be much easier.
12:06 : "you could try singing along when you play" *proceeds go play scale* "... I'm not gonna do that" 😂😂 you crack me up mate. Brilliant lesson! Gonna have a go at some of these ideas! Thanks dude
Your channel is one of my new favorites. Hope you stay active here for a long time! Excellent and tasteful playing as always. As a fellow self taught player, it's good to see others follow a similar path with the guitar and is more "advanced," whatever that may mean.
@@CMHobbies We are all self taught beyond a certain point, but he did all his grades in electric guitar, so at some point and for probably years followed a structured prescribed course pathway, set out by others, and turned up to exams etc.
Guthrie really presented key information to me as well at a time when I was getting serious about knowing the notes on the neck and applying scales to my improvising. From this video, I am inspired to slide up and down each string above and below each scale position- not something I really ever practiced. And now Guthrie is using modeling device(FM9?) no Victory amps behind him- new world to explore
I’ve been playing for 20 years and still have lagoons on my scales, I find myself jamming in the same spot in the neck and struggling to get out of that box, got work to do.
Try using only 2 strings, ie,. E, A or B,E. By limiting yourself you can focus on going up and down the neck on only those 2 strings, it forces you to move and you may be surprised at the new licks you come up with.
Just found your channel. To answer your question in the description, Yes. Very helpful lessons. You deliver this in a very refreshing way, for RUclips. I'm thoroughly enjoying scrolling through your videos, and listening to lessons like these. Very awesome. And yes, helpful. Keep them coming.
Satriani reckons no scale is better than any other which is an interesting way to look at music. ..l did a btec national diploma in performing arts just by playing E phygian dominant (around the twelfth fret) in two or three positions.. and hungarian minor as fast as humanly possible back in 1991...for two straight years. Man I loved those scales. Everyone thought I was brilliant....like Paul Gilbert etc..apart from my guitar teacher who thought I was a flash tw@t and wanted to fail me, and as I couldn't bullshit him...but because I got to grade 5 music theory (from nothing) ) in other classes, he couldn't because if he did, having shown tremendous music theory advancement in other classes and not in his..it would have made him look bad.
My problem has always been that no matter which scales I learn, I find it difficult to make the switch to making music out of them. For example I learned 5 positions of the major scale off by heart. I did the same with both the natural minor scale and minor pentatonic scales but the only thing I could do with it was to play the damned scales. I wasn't able to take something in a relevant key and improvise over it using my newfound scale knowledge. It's hard to express the feeling of impotence that it gave me 😀btw I've been playing for almost 50 years, mostly using the minor pentatonic scale without realising it, mainly because I've been playing the kind of phrases that I've heard over and over again from my heroes
If you're just playing through the scale, you may just develop a muscle memory of the notes in that order. You can change the order by playing through the arps e.g. 135, 246, 357 etc. Or playing the scale in intervals 3rds, 4ths etc. But even that tends to develop a muscle memory of following an order. Try playing the notes in different sequences, but always have a clear sense of of where the root (tonal centre) is and what it sounds like because that's how your brain interprets the notes in the scale pattern as particular intervals; if change mode (select a different tonal centre) the pattern is the same but the intervals will change! Anyway this way you learn what those notes in the scale patterns will sound like before you play them and can make choices rather than just following the sequence of the scale.
@@robertbrown1778 I really appreciate your taking the time to read my comment and reply. I've decided since posting my comment that I need to revisit this whole thing. Your advice is very welcome!
Try this one....get a backing track of your liking and start listening to it without a guitar in your hands...after you listen to it a few times start humming a melody(pretty much anything that pops to your head) for the first few bars and when you think you can repeat it using your mouth and know it,only then get your guitar and start finding it on your fretboard.....after you do that, record it....rinse and repeat and continue to add bars until you have a complete solo that was made up completely by your mind without zero guitar noodling. The above exercise(apart from the fact that its fun) ll do wonders for your playing plus it ll make you realise that your mind is already quite sophisticated music wise you just have to bring your fingers to tune in to that.....cause for example you may hum a melody that has a dorian sound and not a natural minor sound to it but since it was conceived by your brain and sounds good its good...simply asking a question..."where i want it to go next" is more than enough to force your musical mind to take control and free yourself from shape and pattern playing(at least to a big extent).
Very cool video! I've been moving along in the same direction! Together with a smart friend, we eventually found 8 scales that (theoretically) cover ALL CHORDS possibilties you could ever imagine. We call it Scales XXL. I was hoping to share it here, not sure if that's ok though, or maybe cool to do a video on? Either way, love the channel, you made me get the FM3 from fractal and some useful ideas for improv and technique! Greetings from Aruba!
Thanks John. Really liked those melodic minor work outs at the 10 minute mark. I think you could do a really good part two video on this on how to blend these scales over a static chord.
Love this channel...I even bought some of John's HELIX settings...not sure how to use the freeze thing on them yet, but I'm sure somebody will tell me, or I'll stumble over it eventually...very new to HELIX tbf.
You have to go back to people and their albums: joe Pass, Johnny Smith, howard roberts, lenny breau, Larry Carlton they wrote and did songs in those what I call ODD keys, There are many others too, I just mentioned the ones I am most familiar. Then later ones would be of Course Allan holdsworth, Steve Morse, John Mclaughlin, the whole Jazz Fusion movement of the 70's that Stanley clarke and return to Forever were doing. The only problem with them is what JOHNNY SMITH said once was WHO WOULD LISTEN? It is somewhat sad that the way Record and music is handled today that so many get passed over. I still find it Surprising the Compositional Skills that Paul mcCartney and John Lennon, G. Harrison had in the 60's. I still Wonder how the 5th Beatle George Martin had a hand in possibly teaching them in some way, that we never have heard a Whole story about those Studio days. Listen to Till there was you, the parts George plays are quite beautiful. Were they just so Blessed to have Great EAR training? I know George Martin plays KEYS on some of their songs.
Sorry, I'm very late to your channel. I bet, this already has been asked a million times, but what's up with the name on the headstock of this guitar? Did you build it yourself or is it kind of a "gag"? I really enjoy your (lesson) content! Maybe, right at the edge of being a little too advanced for me. But this is actually perferct, I guess?! ;) Cheers from Germany! (Where in Britain are you from?) Markus
Great lesson! Any rock or pop tunes outside of jazz using melodic minor to listen to to get more acclimated? Danny Gattons Harlem Nocturne is one, looking for more if anyone knows!
This may be a stupid question, but what are you using to get the chord to play in the background for practicing your scales and arpeggios? Is it a pedal?
1) 02:10, different childhoods I guess. His elvis song was my mum 2) the guitar is a typewriter? That’s so stupid. The typewriter is not variable. Come on.
I think for people who can sight read their instrument professionally, then guitar/violin/cello etc is probably much like a type writer. Improvising though.. you exercise different muscles....but at the end of the day, any artist never just paints what he sees, he sees what he can paint.
![How to Improvise Long Legato Lines [How I Got Better Legato Technique]](http://i.ytimg.com/vi/HoYvY1g3s6M/mqdefault.jpg)
![How to Improvise Long Legato Lines [How I Got Better Legato Technique]](/img/tr.png)
![One thing that EVERY Great Legato Player Has in Common [and a thing you NEED to practice]](http://i.ytimg.com/vi/3byF6CoERf0/mqdefault.jpg)
I also find singing the scales with a pedal tone on the root really helps me get a feel for the sound of a scale. This video was helpful, thank you!
I have a suggestion that I think will make playing "weird" sounding scales, and other scales/modes a lot simpler. Play the scale in ONE Octave only so you can really get it into your ears. If you play the scale over two octaves without repeating the Tonic (starting) note, you will have severely complicated learning the scale. Either you'll be playing the scale in groups of 7 notes, or each successive octave will start on the next mode in that particular scale. For instance, if you played the G Harmonic Minor Scale for a full octave/8 notes, the next group of 8 notes would actually be starting on "A," which is the first note of the 2nd Mode of the Harmonic Minor Scale. And that's why is so hard to get into your ears - You're aiming at a moving target.
So, I suggest you make your life easier, and repeat the "Tonic" of the scale every time you reach it so the 2nd time you play that note, it will start the same scale, only one octave higher. After you've gotten the sound of the scale clear in your head, playing multiple octave scales will be much easier.
12:06 : "you could try singing along when you play" *proceeds go play scale* "... I'm not gonna do that" 😂😂 you crack me up mate. Brilliant lesson! Gonna have a go at some of these ideas! Thanks dude
Your channel is one of my new favorites. Hope you stay active here for a long time!
Excellent and tasteful playing as always. As a fellow self taught player, it's good to see others follow a similar path with the guitar and is more "advanced," whatever that may mean.
He is not self taught, believe he did all his grades and went to college and all that stuff.
@@mixodorians12 He IS self taught. He said so a couple videos ago.
@@CMHobbies We are all self taught beyond a certain point, but he did all his grades in electric guitar, so at some point and for probably years followed a structured prescribed course pathway, set out by others, and turned up to exams etc.
Guthrie really presented key information to me as well at a time when I was getting serious about knowing the notes on the neck and applying scales to my improvising. From this video, I am inspired to slide up and down each string above and below each scale position- not something I really ever practiced. And now Guthrie is using modeling device(FM9?) no Victory amps behind him- new world to explore
I’ve been playing for 20 years and still have lagoons on my scales, I find myself jamming in the same spot in the neck and struggling to get out of that box, got work to do.
Try using only 2 strings, ie,. E, A or B,E. By limiting yourself you can focus on going up and down the neck on only those 2 strings, it forces you to move and you may be surprised at the new licks you come up with.
Just found your channel. To answer your question in the description, Yes. Very helpful lessons. You deliver this in a very refreshing way, for RUclips. I'm thoroughly enjoying scrolling through your videos, and listening to lessons like these. Very awesome. And yes, helpful. Keep them coming.
Satriani reckons no scale is better than any other which is an interesting way to look at music. ..l did a btec national diploma in performing arts just by playing E phygian dominant (around the twelfth fret) in two or three positions.. and hungarian minor as fast as humanly possible back in 1991...for two straight years. Man I loved those scales.
Everyone thought I was brilliant....like Paul Gilbert etc..apart from my guitar teacher who thought I was a flash tw@t and wanted to fail me, and as I couldn't bullshit him...but because I got to grade 5 music theory (from nothing) ) in other classes, he couldn't because if he did, having shown tremendous music theory advancement in other classes and not in his..it would have made him look bad.
Really great episode John, I’m actually working on my modes and CAGED currently. Thanks again, great examples in context.
I think playing the scales with the ambient pad in the background makes a huge difference
My problem has always been that no matter which scales I learn, I find it difficult to make the switch to making music out of them. For example I learned 5 positions of the major scale off by heart. I did the same with both the natural minor scale and minor pentatonic scales but the only thing I could do with it was to play the damned scales. I wasn't able to take something in a relevant key and improvise over it using my newfound scale knowledge. It's hard to express the feeling of impotence that it gave me 😀btw I've been playing for almost 50 years, mostly using the minor pentatonic scale without realising it, mainly because I've been playing the kind of phrases that I've heard over and over again from my heroes
If you're just playing through the scale, you may just develop a muscle memory of the notes in that order. You can change the order by playing through the arps e.g. 135, 246, 357 etc. Or playing the scale in intervals 3rds, 4ths etc. But even that tends to develop a muscle memory of following an order. Try playing the notes in different sequences, but always have a clear sense of of where the root (tonal centre) is and what it sounds like because that's how your brain interprets the notes in the scale pattern as particular intervals; if change mode (select a different tonal centre) the pattern is the same but the intervals will change! Anyway this way you learn what those notes in the scale patterns will sound like before you play them and can make choices rather than just following the sequence of the scale.
@@robertbrown1778 I really appreciate your taking the time to read my comment and reply. I've decided since posting my comment that I need to revisit this whole thing. Your advice is very welcome!
Try this one....get a backing track of your liking and start listening to it without a guitar in your hands...after you listen to it a few times start humming a melody(pretty much anything that pops to your head) for the first few bars and when you think you can repeat it using your mouth and know it,only then get your guitar and start finding it on your fretboard.....after you do that, record it....rinse and repeat and continue to add bars until you have a complete solo that was made up completely by your mind without zero guitar noodling.
The above exercise(apart from the fact that its fun) ll do wonders for your playing plus it ll make you realise that your mind is already quite sophisticated music wise you just have to bring your fingers to tune in to that.....cause for example you may hum a melody that has a dorian sound and not a natural minor sound to it but since it was conceived by your brain and sounds good its good...simply asking a question..."where i want it to go next" is more than enough to force your musical mind to take control and free yourself from shape and pattern playing(at least to a big extent).
Guthrie is a wizard.
Very cool video! I've been moving along in the same direction! Together with a smart friend, we eventually found 8 scales that (theoretically) cover ALL CHORDS possibilties you could ever imagine. We call it Scales XXL. I was hoping to share it here, not sure if that's ok though, or maybe cool to do a video on? Either way, love the channel, you made me get the FM3 from fractal and some useful ideas for improv and technique! Greetings from Aruba!
One of the best videos on this subject matter on the internet. This is great. Thank you
Thanks John. Really liked those melodic minor work outs at the 10 minute mark. I think you could do a really good part two video on this on how to blend these scales over a static chord.
Love It! ❤ Thanks for your perspective n video.
Love this channel...I even bought some of John's HELIX settings...not sure how to use the freeze thing on them yet, but I'm sure somebody will tell me, or I'll stumble over it eventually...very new to HELIX tbf.
You have to go back to people and their albums: joe Pass, Johnny Smith, howard roberts, lenny breau, Larry Carlton they wrote and did songs in those what I call ODD keys, There are many others too, I just mentioned the ones I am most familiar. Then later ones would be of Course Allan holdsworth, Steve Morse, John Mclaughlin, the whole Jazz Fusion movement of the 70's that Stanley clarke and return to Forever were doing. The only problem with them is what JOHNNY SMITH said once was WHO WOULD LISTEN? It is somewhat sad that the way Record and music is handled today that so many get passed over. I still find it Surprising the Compositional Skills that Paul mcCartney and John Lennon, G. Harrison had in the 60's. I still Wonder how the 5th Beatle George Martin had a hand in possibly teaching them in some way, that we never have heard a Whole story about those Studio days. Listen to Till there was you, the parts George plays are quite beautiful. Were they just so Blessed to have Great EAR training? I know George Martin plays KEYS on some of their songs.
So many good ideas in this lesson - thanks Maestro !!
Great stuff. Very thought provoking.
Great lesson. Useful stuff to learn. Thanks mate.
Sorry, I'm very late to your channel. I bet, this already has been asked a million times, but what's up with the name on the headstock of this guitar? Did you build it yourself or is it kind of a "gag"?
I really enjoy your (lesson) content! Maybe, right at the edge of being a little too advanced for me. But this is actually perferct, I guess?! ;) Cheers from Germany! (Where in Britain are you from?) Markus
Great lesson, thanks!
Great lesson!
Great lesson! Any rock or pop tunes outside of jazz using melodic minor to listen to to get more acclimated? Danny Gattons Harlem Nocturne is one, looking for more if anyone knows!
This may be a stupid question, but what are you using to get the chord to play in the background for practicing your scales and arpeggios? Is it a pedal?
Hold repeat or freeze function on the helix? Figuring out this stuff is as hard as learning guitar.
Brilliant vid... thanks !
Awesome
This is the lesson to end all other lessons. I have work here for the rest of my life….😅😂
damn, I need to practice, thanks John.
Guthrie is an amazing guitar player! Alex Hutchings is also right there with Guthrie, in my opinion.
Guthrie looks like a young Ian Anderson.
OR does Ian Anderson look like an Old Guthrie? Look into it
@@johnnathancordy 😂😂😂
@John Nathan Cordy if you haven’t already, check out his live duo recording with Zak Barrett 😳
Great 👌 Cheers 👍
very nice
Hi John. May I ask who makes your Cordy ‘Twat a Caster’ (great name btw) and how does it stack up against your K Line Strat?
They're partscasters I made!
The key is repetition.
Is it twat o caster? Is that what I'm seeing? Lol
I just noticed the same thing? It's a Cordy ( right )
hans-freaking-zimmer.
1) 02:10, different childhoods I guess. His elvis song was my mum
2) the guitar is a typewriter? That’s so stupid. The typewriter is not variable. Come on.
. . . get some carbon paper and you've got echos and yer parents still shout up the stairs "stop making that racket. (or they did when I typed)
I think for people who can sight read their instrument professionally, then guitar/violin/cello etc is probably much like a type writer.
Improvising though.. you exercise different muscles....but at the end of the day, any artist never just paints what he sees, he sees what he can paint.
It's actually a good analogy. Don't take it so literally, it's kind of a 'rule of thumb' way of regarding the fretboard.
@@Crabfather yeah don’t take analogies literally.
When are we getting you doing your own stuff on tru fire ?