Відео

I'm glad it's helpful, that's what I'm trying to do for people! Thanks for the sub!

Thanks for the report. Yes, 127v is really high but if you usually find 125 with your multimeter, honestly, I've seen mine at 125 and got away with it for years, even though it's preferable to get it down to 120. I don't want to give bad or wrong advice from a technical standpoint (I'm a hobby amp tech but not a real for hire one). My basic experience/understanding is that heater voltage and hotter bias are the main concerns with voltage from the wall that runs too high. That said, it's probably a trade-off between expenses for tubes or expenses for the box. The Brown Box is expensive it's just that I had no other real choice due to a particular situation that needed to be brought under control. And it was probably a little easier for me to just go pick one up since they're local to me (even though I still paid full price, but accessibility here is a little more immediate). Good luck figuring out what's right for you!

I appreciate that! Thank you for watching

Thank you Scott! That's really kind and unexpected, I truly appreciate it!

You're quite welcome! Thank you for watching.

Welcome aboard, you're very welcome!

Wow, 134v is getting up there.

You're quite welcome, glad it helps you!

Not at all, I'm very human and don't know everything! Thanks for watching

@@thefretboardplayground Bro, you laid it out in such a simple easy way, it's much appreciated!!! It's hard out there for us people who are only semi dedicated to practice and understanding. We need all the help we can get. One love brother

You're quite welcome!

Thank you for this suggestion and for your kind words. I appreciate it very much! That's a solid suggestion about reels and shorts. I'll have to look into that! Great to hear some real-world validation that you found this channel through a suggestion!

Awesome, I'm really glad this helped you! Thank you for letting me know

We think alike. Thank you so much for your comment and compliment too.

Thank you for this --- I'm slow to get back with everything else going on but appreciate your thoughts and thank you for sharing them! No apology necessary for the long answer! A lot of what you said echoes my initial impressions too. My friend Scott blew up the Internet on his 3rd video. 13 million views. And it set him up for an entire self-sustaining online business. I'm not THE reason he plays guitar but did give him some lessons when he was 16 years old and am really proud of him.....he and I've been talking about this for the past 3 years hoping it would work out here for me, but even he isn't really sure...and it happened for him in 2017. I'm starting to also think that along with the rise of content creation as a career, the Internet got over-saturated, so instead of jumping into the pool with 1000 other people in a real-life major hub (Nashville, L.A., Austin, NYC), online you're jumping into the pool with 1,000,000. You're quite welcome! I'm glad you've found the videos useful!

Thank you for this! I really appreciate you watching and that's a nice compliment. I appreciate it.

I hope so too. Thank you for your consistent encouragement, kindness and support. I genuinely appreciate it!

@@thefretboardplayground You're quite welcome, Sean. Though half the content is over my head, as I haven't put the proper time in, you present it with a clarity that's rare these days. I may not be up to it. But I recognize the quality of the content.

I'm pinning this comment because *this* is it and I want anyone else who finds this video to see your comment at the top. I can say the same things, but it carries more weight coming from you as a viewer. TLDR: look at what he wrote above - he's right. Stevie was and remains one of my first and most lasting heroes on the guitar. I was fortunate to have gotten to meet B.B. when I was 12 or 13 years old. In a parallel existence I was being formally trained for 9 years before I ever stepped into a university program and was told by the head of my alma mater that I would be the most over-qualified incoming student he'd ever seen if I decided to go there. I had more head-knowledge than practical chops at that stage but could already read on demand, identify chord-structures, and knew the fingerboard via a combination of sight-reading exercises for 9 years and learning a lot of other things much less formally by ear. What the experience taught me is that an over-reliance on either is a total liability for all but the most naturally talented individuals. Stevie, B.B., Wes Montgomery, Jimi, Paul McCartney, Jeff Beck and let's face it the vast bulk of our heroes got away with it because they were that talented. Others have a hard time getting out of their head enough to play something as good as Raunchy by Bill Justis, Ernie Freeman, or Duane Eddy - take your pick of whoever had the hit on the record (4 notes, and a good tone). Steve Lukather and Larry Carlton had both, and worked on too many records to list (even though Tedesco played more session dates). The world is very different now and the old days of those guys is history but you had to be ready for anything on a record-date/session, or as Jay Graydon once said: "Before Pro Tools, there were pros." I'm fully with Uncle Luke when he took down the "reading robs you of feel" argument in one swift move with the statement: "Let's face it: if it wasn't going to happen, it wasn't going to happen." Another great quote was the "why would you learn TAB when you could learn to read?" statement. From the same guy who put the rhythm into Thriller while EVH laid down the solo. Eddie didn't know much about music theory and couldn't read was Eddie Van Halen all the same. Lukather did. The record worked. Stevie had to have been Stevie Ray Vaughan. There was no other possibility. And no one else knew "knew more" about music was as good as Stevie when it came to doing *that.* Most the rest of us who are not in that rare strata (and I'm not either), all genuinely benefit from a healthy moderation of *some* theory and training, but not *all* theory and training. For me the combination unlocked the fingerboard so completely that I literally had never even heard of CAGED or any other shortcut system until well after 25 years into being a lifer at the guitar. Chet was also a great proponent of the balance: "I can read, but not enough to hurt my playing."

@@thefretboardplayground Glad you liked the comment. I got to see (ok, through a fence) SRV on the pier in NYC many moons ago. Yes, he was born to play guitar. He said it was his first wife. I am familiar with most of the names you mentioned but only casually. I dabble with CAGED. I am learning all the notes on the fretboard, starting with C triad...so then E and G. CAGED is easy to find from there. This leads me to a question. Is the idea then to know all the inversions and notes of any given chord e.g., C, then when playing lead, jump into the various shapes in all the CAGED positions? I know the Major and Minor Penta scale very well. Even if I play a 7 note major scale, I know how to transition to the penta scale. I still rely more on patterns in my head than my ear. I am at least starting to hear the intervals more so if I make a happy mistake, I can usually resolve on a pleasing note. They say there are no wrong notes if you have good rhythm. Ultimately, I would like to be able to meander around the fretboard like Jack Ruch does here. ua-cam.com/video/Hv1aIHwmdYQ/v-deo.htmlsi=1d2wxfCpErvyUWlW Not quite sure how to get there just yet. He is also out of Nashville, just like Guthrie Trapp.

To answer your immediate question about learning all the notes and mapping out the fingerboard: I don't personally think in terms of CAGED but not because there's anything wrong with CAGED - there isn't per se, but it doesn't work for me because I did so much sight-reading and learning of the fingerboard through other methods earlier on. The "Berklee" books ("A Modern Method For Guitar") were assigned to me as a young student and I also was given a bunch of chord-melody exercises. If I had not have had that background, I see how CAGED can be useful to others. The short version is it doesn't really matter if you're using CAGED or not, the answer to the rest of your question is the same. The overall idea is to see chord tones and how they connect. If the underlying chord is C, then the goal is that you want to see as many possibilities for C as you can get. But I wouldn't put the cart before the horse. This doesn't mean you need to learn everything in order to back track and learn one thing well. It means what the great Howard Roberts once said: The best way is to learn just one thing really well. For instance, consider limiting yourself to a 3 or even a 5-fret region at first. That way the rest of the guitar doesn't become a vast network that becomes too overwhelming all at once. Within a given region, you can take this as basic or as complete as time and desire allows. In terms of complete, the way I see things now might overwhelm anyone else without 30 years behind them. I see scales, arpeggios, triads, and intervals as the same thing now because they all meld into a top-down view of the guitar. In other words when I look down over the fingerboard with the guitar literally in my lap, I'm seeing all my scales, arpeggios, triads, and connecting/passing notes in any "region" of the fingerboard, from the lowest to highest string. In terms of a much more basic approach for anyone who has not already been at this 30+ years, if I were starting all over, I might only look for the triads. Then once comfortable with that, I would look for the surrounding notes of the related scale, in order to see how to connect those notes of the triad. You could do this in groups of patterns by the way. For instance, you could find the bottom three notes of a Mel Bay/cowboy C chord. Identify it as a root-position triad: notes C-E-G. Then in order to practice connecting, you would play C by itself, then find the note in-between which would be D, then end on E. To internalize various regions you could search for everywhere on the fingerboard those notes are available to you in that low octave. You would find you could play C at the 3rd fret 5th string, then go to an open 4th string un-fretted for D, then end at the 2nd fret on the 4th string for the E note. From there you could replace the open D-string with a fretted D-note at the 5th fret on the 5th string. After that you could re-locate the C-root to play it at the 8th fret of the low E string instead, so it's still the same note but now in the middle of the fingerboard. You can play these three notes in a new area now: it could be 8th fret 6th string (C), 5th fret 5th string (D), ending on 5th fret 7th string (E). After that you could play the same notes again but all on the low 6th string only. That would get 8th fret 6th string (C), 10th fret 6th string (D), 12th fret 5th string (E). I forgot to add that you could also do the same thing on the 5th string where all three notes are now on a single string. That would be 3rd fret 5th string (C), 5th fret 5th string (D), 7th fret 5th string (E). I would go through the triad starting on each note of each inversion. After C-E-G, you can switch to E-G-C. Do the same exercise just now starting on a new note instead. So now you would start connected E to G through the note in-between, which would be F. Try E-F-G everywhere you can find it. Finish the exercise working from the last inversion of the triad which would be G-C-E. This is just one of potentially endless exercises you can make up for yourself. The overall "big picture" idea is to see chord tones and to be able to connect those chord tones. All soloing (and composed melody) is really just a combination of chord tones that are connected through some other passing notes. If the book ever sees the light of day it's all in there. For right now the basic answer is chord-tones. When you start to see those, you start to connect them. In doing so you get the benefits of learning scales without the boredom of shredding scales all day long. E-F-G comes from the C major scale after all. I did practice scales a lot and see a ton of them along with various modes but I didn't focus on scales that much until much later on. Chord tones help because there are usually fewer of them and so it can seem more manageable and less daunting to work on connecting those chord tones in digestible portions. With that in mind for a perhaps a totally irrelevant analogy, when I started teaching myself guitar electronics, I quickly got lost and overwhelmed as long as I was trying to make sense of an entire schematic. It was too overwhelming. That could be the entire fingerboard to any beginning guitar player (not calling you a beginner at guitar; just saying that *I* was a beginner at electronics hence this analogy). But if I could trace the basic path of the audio signal in one small section (like input jack to the output of the 1st preamp tube), then I would notice themes and concepts that were the same when they re-appeared later on in the schematic. It's the exact same thing as if you learn just one little region of the fingerboard and then notice "hey, this C-triad is the exact same shape here as an A-triad up here."

@@thefretboardplayground Thank you. Very useful info. That is why I am learning to find all the notes on the fretboard. Regarding the Triad, do I do this for every chord change? Same key- just focus on the 3 notes of whatever chord is being played. I know the "I" always sounds right- have not tried emphasizing the 3rd and 5th much other than as passing notes in the respective scale. I believe I saw another video where he said to target the 4th and 7th degree of the scale. Do you ever do that? I found the Berklee Modern Method book online for $20- it's all three (3) volumes. Do you recommend I get it...or is there any other book you like? I have been playing a while so I don't need a beginner book- but I obviously have much to learn. Thanks again- much appreciated.

The egotistical but real answer is that the book I like most is the one I wrote over 3 years. But it's not available to anyone right now or even registered with the copyright office because the whole 5-year plan was to release it as the website/platform/UA-cam page grew, which hasn't really been working out as intended. So until my writings become available and for right now..... The Berklee books are good to build sight-reading skills and position-playing (i.e. 2nd position, 5th position, etc.). The Mickey Baker Jazz Guitar method is good for developing some more jazz oriented basic 'comping' skills. The Howard Roberts Guitar Compendium Volumes 1-3 is almost as good as my 7-volume tome spanning 1,500 pages. But.... Be careful with too many books and be careful with a book-exclusive regiment. The way I learned (and I think the ideal way in general) was to balance book learning - even to the point of a solid 50/50 - with sort of blowing off book-learning. Half the time I'd study and take this seriously. The other half of the time I'd focus on listening to records that you like and trying to get inside the parts, combined with playing along to the records and (when at all possible) playing with other musicians. Some of that other 50% I would do this to the point of complete blow-off of all your lessons. My favorite quote ever about Hendrix was when he was described as a guy who sounded like he'd never had a guitar lesson in his entire life....and yet was playing the most extraordinary stuff. Guitar lessons unto guitar lessons damage many a creative hopeful. Trying do it it all alone damages many more. It's a drag because between the academic programs and the self-taught experts I still almost never hear anyone else espousing the value of balance. But it's really important to not get stuck in your head out of a desire to learn. It's supposed to be fun after all. So to finish up with your question about scale-degrees.... I wouldn't suggest targeting the 4th as a primary tone because it contains a 1/2 step rub against the major 3rd of any major chord and any dominant 7th chord. The 7th depends. If it's a major 7th, then it rubs against the root and can be a real clunker if the other guitar player or piano player is voicing a chord with the root up top. But if there's no piano player and it's only bass/drums/guitar, then the major 7th up top can sound really good. With *dominant* 7th chords, like over a blues, then this isn't really an issue and targeting the dominant 7th tends to be a good note, but again, there was so much in the 7-volumes that I wanted to see the light of day and in it I went into concepts of melody, covering stable vs. unstable tones. b7/dominant 7 is an inherently unstable tone but most music (certainly not limited to jazz), all vanilla is nauseating. Tension/Release is a big part of it across the board. It's why chords move. This is evident whether in Hank Williams, Brian Wilson, or John Coltrane. Everything affects everything. The most important aspect is context. I can make a Jimmy Reed shuffle sound bad if the bass player is playing a bass line that creates a rub in the low-end. Or I can make virtually anything in E sound good if all the bass player is doing is shuffling on the root. That's just one of a million examples.

Thank you! This is great to hear. Really glad you enjoyed the video!

117 is fantastic! It's another summer here in Nashville. Wall voltage continues to fluctuate down in daylight hours with all the air-conditioners but by evening it's the usual 125 - 126 (which it remains at during the winter months). Nashville voltages run really hot all over town

Yes indeed. I was very sad to hear the news. Bernd was kind. And of course brilliant

Thank you! Glad you found it helpful!

Thank you, I really appreciate that!

Thank you

Glad you found it helpful. Thanks for watching!

@@thefretboardplayground Thanks but I could not replicate. I fretted 3 on high E. Then plucked fret 15. Sounded like a G. I can get a usual harmonic on 12 and 7 easily and sometimes 5. Am I supposed to fret, or hold my left fretting finger above the string lightly. What am I doing with my right hand. Are you picking with the plastic pick or with your finger- hard to tell, but you sound great.

Let me help. First off, because you can get the usual open-harmonics at the 12th and 7th fret, rest assured you can do this, it's just a matter of re-adjustment. So to answer your 3rd fret/high E question, you're supposed to use the tip of your right-hand index finger *on* the string but *above* the fret. I hope that makes sense over a written reply without a visual. If the statement isn't yet clear, here's another way to make sure you're doing it right. Because the natural harmonic at 12th fret is more familiar to you right now, work with your strengths. Put your index finger over the 12th fret and practice plucking the harmonic there. Notice how your finger has to contact the string to make that sound, but it graces the top of the string without ever pushing the string down to the fingerboard? The finger just gently touches directly above where the fret would be if you pushed too far down? That motion you're already using to generate the harmonic at the 12th fret is identical to what you'll be doing when you fret 3 on the high E, and are trying to generate the harmonic at the 15th. To answer your other question about how I was picking.... I plucked every possible way in the video because I wanted everyone to see that it works no matter which way you naturally pick. I've used a thumbpick for 25 years but have also used regular flat straight-picks for 30 years, and at other times bare fingers. You don't have to reinvent the wheel or adopt a new right hand technique. I use them all because I've been playing so long. You should use the single-one that you like and are most familiar with! So if you're used to using a regular plastic pick, then use a pick, but if you usually pluck with your bare fingers, that works too. Bear in mind that if you do use a pick, then you have to grip the pick between your thumb and middle finger, because no matter how you pluck the string, the index finger needs to be free to touch the string lightly above the fret. I'm being really specific to say *above the fret* but not "above the string" because if your index goes above the string itself, then there will be no harmonic. The index *must* contact the string, exactly the way that your finger has to touch the string to make the harmonic at the 12th fret that you're already familiar with. Let me know if that gets you on-track!

@@thefretboardplayground Thanks for the great explanation! I will try it. I think I tried that but will do again. The difference is, at 12, I can pick or pluck the string hard with my right hand and it works every time. I know how to lightly touch the string. I have played some songs that use that harmonic for many years- so hundreds of times. But now, you are saying to hold down e.g., fret 3 hard, put pick or pluck at 15, or slightly above it LIGHTLY. That part seems tricky. Not sure how I will generate much tonal energy. Again, at 12, I can lightly touch the string, but then pick hard with my right hand. Thanks again- you sound amazing!

@@thefretboardplayground I just tried it after reading your post. It still did not work for me. Am I fretting 3 regularly (hard- full press)? Then at 15, I lightly plucked the string with my finger, and then tried the pick- sound like a regular note- no harmonic. Do I pluck in between frets, on top, or above the higher fret? Not getting much harmonic tone. This is why in person lessons can be so valuable. In 2 seconds, in person you could show me. Thanks!

Thank you for your support as always! I see it, and appreciate it very much :-)

You're very welcome!