0:00 You don't need to learn scales? 0:21 WARNING: one minute of sarcasm 1:21 The WRONG way to learn scales 2:48 Learning scales in a musical way 4:00 Pentatonic Example 1 5:57 Pentatonic Example 2 6:28 Pentatonic Example 3 (Eric Johnson) 7:10 Pentatonic Example 4 7:21 Pentatonic Example 5 7:29 Diatonic Example 1 8:36 Diatonic Example 2 9:33 Diatonic Example 3 9:56 Diatonic Example 4 10:09 Diatonic Example 5 10:36 Diatonic Example 6 11:14 Pentatonic Example 6 12:40 How do I use this in improvisation?
Funny you mention these ads with a guy saying you don't need to learn scales. Those ads have been getting on my nerves - I didn't ask for those ads and I practice/d scales, but when I play it doesn't sound like I'm reciting a bunch of scales.
this makes a lot of sense, I just realized I was doing exactly this on bass based on a piano exercise but I did not think to invent exercises myself. thanks!
Tommaso, I’ve been thinking about this A LOT here lately, and I salute you for making this video. Something I’ve noticed about all these chord tone UA-camrs is this: 1. Some don’t know as much theory as they want you to believe, or 2. They are jumping on the chord tone bandwagon trying to get more views. Don’t get me wrong, I play arpeggios, triads, spread triads, dyads, hybrid picked 6’s and just about any other flavor you can get. However, these would all become just as boring as a C major pentatonic scale without the other tones surrounding them. We learn where these other nearby tones are found by learning scales and all the great classical composers of old practiced them relentlessly. No great guitar player that hits all those sweet tones up and down the neck is thinking about all the chord shapes surrounding whatever note he happens to be on at any given time. The pentatonic scale has 5 notes and each one is a potential chord tone. Same goes for any diatonic scale. If you notate the parallel major and minor pentatonic scales together, the only notes left out are the flat 2, flat 6 and major 7. Also you only have to learn 3 scales to correctly solo over any diatonic progression in any key, because the 1 and 6 share the same notes as do the 2 and 4, and the 3 and 5. Poor lonely locrian “the 7” doesn’t have a relative. But seriously, it’s that easy. I find it highly amusing when I watch a guitar teacher in a “chord tone” video that starts shredding the same old pentatonic licks they always do and then show us where the flat 7 is on the 1, 4 and 5. They use words like “dominant, passing tones and mixolydian” to justify why it only appears like they are playing scales and to a beginner, it probably seems like they are guitar geniuses. But in reality, they are playing scales and have a decent ear for music.That is what it takes to play lead guitar over chord changes. I’d like to see them teach some Aeolian dominant blues licks or play some major pentatonic “chord tone” arpeggios over a mixodorian progression. I might actually learn something. Well, I had to get this one off my chest. It’s been bothering me lol. Cheers
When you love doing something, then you don't realize that you're learning: you're having fun. So a lot later, when you're asked about learning, you are completely honest when you say, you never did so. Which, of course, doesn't mean you didn't.
Also, people forget what its like to be blind and lost. They get to a point where they think everyone just knows this stuff. Then of course it has become boring to them to rehash this stuff for someone else’s benefit. Which is why a lot of great players go from master to mediocre in their later years. I heard Peter Cetera from Chicago say in an interview something like “My playing had become lackluster and sloppy so I went back and drilled the fundamentals and began performing like a professional again” I slip back from the lower levels all the time because I lose focus and clarity, Mechanics are half the battle, youve got to stay aware of your mental state at all times, at least as much as possible. Yeah, you want to have fun, but if you’re playing like shit you’re not gonna have much of it.
You are a great teacher! I love to write songs but feel I’m being held back by my incomplete knowledge of music theory… Must find a way to be more responsible with practice so all of these concepts solidify! Thank you for your help!
Thank you Tommaso for yet another coherent, completely useful and interesting method for working on scales. For anyone watching your videos I highly recommend Tommaso’s Master of the Modes course. It is a mountain of knowledge.
Knowing deeply only the major scale will help you a lot, most stuff in occidental, popular music, can be derived from just knowing the major scale and the first six chords that forms on top of each of those notes. If you want to play nice melodies you need to learn to hear the harmony or at least know what the harmony is. There is no substitute for that. The scales are very important, but you need to find how to play them over the harmony.
Learning scales and patterns is a shortcut to knowing 1) all the notes in each chords and 2) all notes on the guitar neck. Until you can learn all that, just 1) learn to find the root note and 2) play the maj or min patterns from that. Good to start, but you're only halfway to confident playing. Takes awhile with guitar in hand and many mistakes.
I was looking into your paid lesson courses but then saw you taught with an electric guitar. My 'acoustic' guitar balked at the idea. Unfortunate, you sound like a good teacher.
Master of Modes looks interesting- testimonials speak less to me than the great content you’ve shared with us here. Looks like a subscription vs a one time purchase- does the course go on forever? Or is it a finite number of months? How long should it take someone to work through a session? Can one upgrade or downgrade between the levels if it’s going too fast or too slow? Your content here - entertaining, insightful, educational. For this, thank you.
thank you for the lesson! it is really inspiring! by the way! Can I buy your chord and modes text book only? from your online school? If it is possible then please let me know. Thanks!
What I can't find is frequencies & durations of practicing. Ok, so I'm to practice whatever over & over again, but for how long each day & how many days of the week? Those who talk schedules never seem to get down to these two factors. Could you, Tommaso, take a crack at these two factors? Thanks.
To get your 10,000 hours (ie generally agreed rough approximation of time required to achieve expert status). At 2 hours per day it’ll take 13.6 years to achieve that..so maybe 1-2 hours/day?
When I’m not working, which happens a lot here lately, I practice at least 8 hours per day. When I am working, I practice about 2 hours daily. I practice whatever has my interest captured, because playing guitar is pure joy.
every time I hear one of these "the secret to playing great guitar" ads I laugh. the secret is practice. practice fundamentals, practice theory, practice technique.
Nice one genius. The title is how to PRACTICE scales on guitar. With the fundamentals, theory and technique. Nothing to do with ‘secret to playing great guitar’ ffs
Great tips! Thanks, brother!(subbed) Worth a rewatch and a rewatch and a rewatch.... (steal, steal, steal... :p) Hey... Serious question; when you're really digging in, does your beard ever get in the way?? :D
Also, if there was a contact us button on your webpage I wouldn't be reaching out with a customer support question on UA-cam! Maybe the is one, but it is not obvious on my phone. Thanks.
Tomasso i've been following you since a while right now N let me telle ya this one of your best video ✌️ Coz actually you R playing guitar ...not jus hanging a guitar in your hands Lol... N showing off a lil bit your skills N some of your licks (which are nice!) ....even if it is just a practice routine that you R exposing here ...that's obvious !!! SO NOW I"M REALLY IMPATIENT TO WATCH YOU IMPROVISING ON A CHORDS SEQUENCE 👻👻
MESHUGGAH type ideas and concepts explained simply for noobs like me....thank u in advance. tell us what scale u will use....something dissonant like diminished or augmented......
this is quite hard when we never really been used to it hours of practice and practice right? oh well that s horrible when we have to practice things that are boring when we want to play fast stuff but we know we ll never reach some people s level especially our guitar heros even if we practice 6 hours per day for years idk if it will be possible to reach insane clean speed
Well, with this attitude, you certainly won't. Reaching "insane clean speed" is not as hard as you think if you practice correctly. For technique, I recommend Mike Philippov's channel: ua-cam.com/users/HowToPracticeGuitar
@@MusicTheoryForGuitar i know it s just we all want to play our favorite solos instead of practicing scales and stuff.. I learnt tornado of souls solo, and i'm almost done with the symphony of destruction solos too i can alternate picking and i learnt to sweep pick a little so i 'm not a beginner but there are some way to play scales in your video i never could imagine before so i guess i'll learn it. So i forgot, but, thanks.
FWIW, CAGED, is not a method for fingering scales. It’s really just diagram for the way intervals fall on the fretboard, as referenced by five open chord triad shapes. I think people confuse that, because the CAGED diagrams also lay out all of the surrounding chromatic intervals to each chord, that it means “strict scale shapes”. But alas, it’s for the chords. Everyone who I have encountered that thinks this way is a 3-note-per-string person who thinks scales are “the key” to knowing how to make music. Scales are really are nothing more than the building blocks of chords. Practicing scales will certainly help train both your ears, and your technique. And while “mixing up scales” into various fragments and sequences are great training devices, I think it’s folly to think that being able to do that well means that you are developing even a little bit of useful musical language. Modes, IMHO, are even more trivial information than anything. When I was a teenager, I took lessons for a few months. My teacher taught me a 3 note per string major scale. He then told me that there were only 7 different notes in the scale, and assigned me to map 6 more 3 note per string patterns using those same notes. In a few weeks, I had all 7 memorized. Big Deal. Knowing scales and modes doesn’t even come close to teaching anything about phrasing, articulation, rhythm, or even harmony for that matter. Sometime in the last 70 years, schools sort of latched onto this idea that they could earn a whole of money peddling Chord-Scale-Theory, and it stuck. However, the best improvisers in the world, ( who aren’t also teachers ) will tell you honestly where they actually get their musical language, and it’s not scales. This is likely the people you don’t want to name…
So you got a bad teacher, and now you think everybody who uses 3nps is an idiot. Checks out. I would like to answer to your post, but 90% of what you say I think is not something I actually think.
@@MusicTheoryForGuitar further response probably isn’t necessary, because so far in this one it’s obvious you cannot read. I did not at all say my teacher was bad, nor did I say 3 note per string people are idiots. It seems you missed the whole part where I point out that I, in fact, also learned scales in 3 note per string fashion. Though, I suppose it could be inferred that I think “teachers” who refer to CAGED as nothing more than a “dreaded” system for playing scales, really don’t know what they are talking about. Yes, they are obviously 3 note per string scale teachers who are hyper focused on scales being some dominant importance in music. And yes, you did speak as such in your video. The funny thing is, that by teaching a beginner to look at and learn the fretboard through triad formations (like CAGED), they learn more information than “how to finger scales”. The funniest point of all, to which I know the irony is lost on you, is that three note per string scale patterns can be easily seen by moving through the CAGED formations.
Why every time I mention CAGED in non-celebrative tones, I must receive a long tirade from someone who is assigning to me several opinions I do not hold? And why they ALWAYS mention something obvious followed by "the irony is lost on you"?
@@MusicTheoryForGuitar lol. Aww, you’re searching for likes. Well, I haven’t changed any of your words (you’ve changed mine), and you have not shown why it is you “think” I have, or how your own words mean something different than what you spoke in your video. No, you went completely negative from the start, twisting my words. This reason for this? Simple, you’re offended that I have a difference of opinion about scales, and I voiced it here.
@@glguitarman Your mind-reading abilities are unparallelled. But since you are talking about 'not changing my words': post here the exact words I say in the video that you disagree with. (Ok guys, watch what happens now...)
Thanks. So when you enter a bend and you snap the pic aross the strings, are you just muting the other strings open or are you muting a chord always and of you are muting chords, are there certain chords that you prefer that help to facilitate the bend over others?
At the same time, it's important to make sure that you are teaching them scales if it's relevant to their goals. Teaching them scales as busywork "just to keep them" it's unethical. Or course, it's also unethical to NOT teach them scales when they need them.
You DON'T need to learn scales, or any music theory at all to play the guitar. In fact the real key to sounding good, is actually listening to what comes out of the amplifier, rather than focussing on what goes into the fretboard. Sometimes, just noodling with absolutely no thought whatsoever can produce real innovation. That having been said, a wise man once told me that every year of university education saves you 3 years of self learning. You leave university a decade a head of everyone else. And so it is with scales. The chances of you dropping onto something that sounds good are massively improved by knowing some basic music theory. The chances of you being able to properly improvise a guitar solo just on the spot, without knowing any music theory at all, is next to zero in my estimation. PS.. I think we generally refer to what is being discussed here 'sequencing'.
The human brain has a binary (polarised) foundation - approach/avoid, safe/dangerous, friend/foe. Arpeggios/chord tones are currently the bees knees (I agree with this) and so scales are being rejected, when a little devaluation associated with the promotion of arpeggios is more reasonable.
Step 1: create a false dichotomy; Step 2: sell one of the sides as best and the other as inferior; Step 3: when people start to realise that something is missing, sell them the other half. The problem was to think about of scales and chord/arpeggios as two separate entities. But that's quite a modern idea - older pedagogy integrates the two from the get go.
@@YEM_ I hardly think so. An A9 arpeggio may or may not contain each of the following notes: A, C#, E, G, B; as long as it has the major 3rd, dominant 7th and the ninth. The major pentatonic scale “in it’s most basic form” contains the notes: A, B, C#, E, F#. But I said a major “blues” scale, which is derived from the pentatonic scale, but also must contain the “blue note” to be considered a blues scale. The blue note in the major pentatonic scale is the flat 3. The definition of a pentatonic scale is a scale with 5 notes. When you play the blues, you are not limited to playing the Major 6 tone. You may substitute a dominant 7 and that is actually encouraged, unless you want to sound plain Jane vanilla. So with that being said, add a flat 3 to an A9 arpeggio and even with the missing major 6, you still have the dominant 7. That gives you five tones of major sounding blues and with the addition of the “blue” note or C natural, you now have all the notes needed to create a major blues scale. Perhaps now you know a little more music theory yourself.
![This Is Why MODES Are So Confusing To Guitar Players [Music Theory]](http://i.ytimg.com/vi/8z_MwotLh1M/mqdefault.jpg)
0:00 You don't need to learn scales?
0:21 WARNING: one minute of sarcasm
1:21 The WRONG way to learn scales
2:48 Learning scales in a musical way
4:00 Pentatonic Example 1
5:57 Pentatonic Example 2
6:28 Pentatonic Example 3 (Eric Johnson)
7:10 Pentatonic Example 4
7:21 Pentatonic Example 5
7:29 Diatonic Example 1
8:36 Diatonic Example 2
9:33 Diatonic Example 3
9:56 Diatonic Example 4
10:09 Diatonic Example 5
10:36 Diatonic Example 6
11:14 Pentatonic Example 6
12:40 How do I use this in improvisation?
🎸
MusicWisdomForGuitar 😉
I wouldn't say that it is the wrong way to learn scales, just that it isn't the end of the process for learning scales
@@bkmeahan you need your own channel to impart your wisdom.
Funny you mention these ads with a guy saying you don't need to learn scales. Those ads have been getting on my nerves - I didn't ask for those ads and I practice/d scales, but when I play it doesn't sound like I'm reciting a bunch of scales.
5:38 Me: That sounds nice!
Tomasso: "It still does not sound like music"
Standards
this makes a lot of sense, I just realized I was doing exactly this on bass based on a piano exercise but I did not think to invent exercises myself. thanks!
Tommaso, I’ve been thinking about this A LOT here lately, and I salute you for making this video. Something I’ve noticed about all these chord tone UA-camrs is this: 1. Some don’t know as much theory as they want you to believe, or 2. They are jumping on the chord tone bandwagon trying to get more views. Don’t get me wrong, I play arpeggios, triads, spread triads, dyads, hybrid picked 6’s and just about any other flavor you can get. However, these would all become just as boring as a C major pentatonic scale without the other tones surrounding them. We learn where these other nearby tones are found by learning scales and all the great classical composers of old practiced them relentlessly. No great guitar player that hits all those sweet tones up and down the neck is thinking about all the chord shapes surrounding whatever note he happens to be on at any given time. The pentatonic scale has 5 notes and each one is a potential chord tone. Same goes for any diatonic scale. If you notate the parallel major and minor pentatonic scales together, the only notes left out are the flat 2, flat 6 and major 7. Also you only have to learn 3 scales to correctly solo over any diatonic progression in any key, because the 1 and 6 share the same notes as do the 2 and 4, and the 3 and 5. Poor lonely locrian “the 7” doesn’t have a relative. But seriously, it’s that easy. I find it highly amusing when I watch a guitar teacher in a “chord tone” video that starts shredding the same old pentatonic licks they always do and then show us where the flat 7 is on the 1, 4 and 5. They use words like “dominant, passing tones and mixolydian” to justify why it only appears like they are playing scales and to a beginner, it probably seems like they are guitar geniuses. But in reality, they are playing scales and have a decent ear for music.That is what it takes to play lead guitar over chord changes. I’d like to see them teach some Aeolian dominant blues licks or play some major pentatonic “chord tone” arpeggios over a mixodorian progression. I might actually learn something. Well, I had to get this one off my chest. It’s been bothering me lol. Cheers
Totally agree! Learning creative Patterns is more important than learning Shapes. Only exception are extended Shred Runs and some Sweeping Shapes
Yes, knowing the intervals from the notes one plays helps with the melody in and out of scales. Thanks, I'll make better reference of that.
When you love doing something, then you don't realize that you're learning: you're having fun.
So a lot later, when you're asked about learning, you are completely honest when you say, you never did so. Which, of course, doesn't mean you didn't.
this is a really good comment!
Along those lines:
"Mathematicians aren't people who find math easy; they're people who enjoy how hard it is." -- Matt Parker, Humble Pi
Also, people forget what its like to be blind and lost. They get to a point where they think everyone just knows this stuff.
Then of course it has become boring to them to rehash this stuff for someone else’s benefit.
Which is why a lot of great players go from master to mediocre in their later years.
I heard Peter Cetera from Chicago say in an interview something like
“My playing had become lackluster and sloppy so I went back and drilled the fundamentals and began performing like a professional again”
I slip back from the lower levels all the time because I lose focus and clarity, Mechanics are half the battle, youve got to stay aware of your mental state at all times, at least as much as possible.
Yeah, you want to have fun, but if you’re playing like shit you’re not gonna have much of it.
You are a great teacher! I love to write songs but feel I’m being held back by my incomplete knowledge of music theory… Must find a way to be more responsible with practice so all of these concepts solidify! Thank you for your help!
Thank you Tommaso for yet another coherent, completely useful and interesting method for working on scales. For anyone watching your videos I highly recommend Tommaso’s Master of the Modes course. It is a mountain of knowledge.
unfortunately he has really subpar left and right hand technique.
I'm glad to find you sir this is what I'm searching for .. long long time ago
scales are very important!! I used scales to get more comfortable with my bass.
Knowing deeply only the major scale will help you a lot, most stuff in occidental, popular music, can be derived from just knowing the major scale and the first six chords that forms on top of each of those notes.
If you want to play nice melodies you need to learn to hear the harmony or at least know what the harmony is. There is no substitute for that. The scales are very important, but you need to find how to play them over the harmony.
It’s called the “major” scale for a good reason.
Learning scales and patterns is a shortcut to knowing 1) all the notes in each chords and 2) all notes on the guitar neck. Until you can learn all that, just 1) learn to find the root note and 2) play the maj or min patterns from that. Good to start, but you're only halfway to confident playing. Takes awhile with guitar in hand and many mistakes.
Thanks for the lesson. Lots of good ideas for practicing scales.
Great video and I bought your complete mode mastery course, I'm ready to rule the modes!
Yay! :-) Make sure you check out the Ask Me Anything meetings that are available to students!
Excellent options to practice! Thanks, TZ!
Very cool exercises. You also looked like you were having a lot of fun with this one.
Great lesson. Wish I had more time to practice. I put in a lot of hours on the job
Hello, good job, thank you. 🎼🎵🎹🎶🎸.
I was looking into your paid lesson courses but then saw you taught with an electric guitar. My 'acoustic' guitar balked at the idea. Unfortunate, you sound like a good teacher.
Several of my students play acoustic or classical. What's about electric that is making you balk?
Loved watching your video! Great info ❤️ - Kristeta
how to practice scales is really what i need, bcs i always stuck in the "box" whenever improvitation
🔥 INTERVALIC STRUCTURE 🔥 Gonna name my dad-rock band "Intervalica" 😆
The first album is all made by song titled like "perfect 5th" "Augmented 4th" "diminished 7th" etc :-)
Really enjoyed your lesson. Thanks a lot!
these are some great exercises
How about single string, adjacent string and skip string horizontally across the neck?
Master of Modes looks interesting- testimonials speak less to me than the great content you’ve shared with us here. Looks like a subscription vs a one time purchase- does the course go on forever? Or is it a finite number of months? How long should it take someone to work through a session? Can one upgrade or downgrade between the levels if it’s going too fast or too slow? Your content here - entertaining, insightful, educational. For this, thank you.
Please direct all course questions to tommaso@musictheoryforguitar.com (Thanks!)
Really good advice here Tommaso, thanks. I can see you have a mathematical brain with those sequences :-)
thank you for the lesson! it is really inspiring! by the way! Can I buy your chord and modes text book only? from your online school? If it is possible then please let me know. Thanks!
What I can't find is frequencies & durations of practicing. Ok, so I'm to practice whatever over & over again, but for how long each day & how many days of the week? Those who talk schedules never seem to get down to these two factors. Could you, Tommaso, take a crack at these two factors? Thanks.
To get your 10,000 hours (ie generally agreed rough approximation of time required to achieve expert status). At 2 hours per day it’ll take 13.6 years to achieve that..so maybe 1-2 hours/day?
I know you have good intention, Marshall... but the 10.000 hours thing is one of the worst misconceptions ever.
@@MusicTheoryForGuitar could you expand on this? I’m curious about your take.
When I’m not working, which happens a lot here lately, I practice at least 8 hours per day. When I am working, I practice about 2 hours daily. I practice whatever has my interest captured, because playing guitar is pure joy.
Amazing content. Thanks!
every time I hear one of these "the secret to playing great guitar" ads I laugh. the secret is practice. practice fundamentals, practice theory, practice technique.
Nice one genius. The title is how to PRACTICE scales on guitar. With the fundamentals, theory and technique. Nothing to do with ‘secret to playing great guitar’ ffs
loved the video!
Great tips! Thanks, brother!(subbed) Worth a rewatch and a rewatch and a rewatch.... (steal, steal, steal... :p) Hey... Serious question; when you're really digging in, does your beard ever get in the way?? :D
Great lessons
Do you have tabs for this lesson?
Again, another common sense, simple yet effective exercise that for some reason I always chose to ignore,
I suck
You sound like an evil villain, and you’re teaching us guitar scales.
I see Master of the Modes is $97/mo with 2 lessons per month but it doesn't say how many months until you get all the lessons. Can you clarify please
Also, if there was a contact us button on your webpage I wouldn't be reaching out with a customer support question on UA-cam! Maybe the is one, but it is not obvious on my phone. Thanks.
www.musictheoryforguitar.com/contacttheauthor.html :-)
Tomasso i've been following you since a while right now N let me telle ya this one of your best video ✌️
Coz actually you R playing guitar ...not jus hanging a guitar in your hands Lol...
N showing off a lil bit your skills N some of your licks (which are nice!)
....even if it is just a practice routine that you R exposing here ...that's obvious !!!
SO NOW I"M REALLY IMPATIENT TO WATCH YOU IMPROVISING ON A CHORDS SEQUENCE 👻👻
MESHUGGAH type ideas and concepts explained simply for noobs like me....thank u in advance.
tell us what scale u will use....something dissonant like diminished or augmented......
"You don't need to learn anything to learn anything. No, Luke, don't write that down: it's part of the secret teachings...."
Caged ain’t cursed. No caged, no Nashville.
Or maybe: no caged, better Nashville. How could we know?
this is quite hard when we never really been used to it
hours of practice and practice right?
oh well
that s horrible when we have to practice things that are boring when we want to play fast stuff but we know we ll never reach some people s level especially our guitar heros
even if we practice 6 hours per day for years idk if it will be possible to reach insane clean speed
Well, with this attitude, you certainly won't. Reaching "insane clean speed" is not as hard as you think if you practice correctly. For technique, I recommend Mike Philippov's channel: ua-cam.com/users/HowToPracticeGuitar
@@MusicTheoryForGuitar i know
it s just we all want to play our favorite solos instead of practicing scales and stuff..
I learnt tornado of souls solo, and i'm almost done with the symphony of destruction solos too
i can alternate picking and i learnt to sweep pick a little so i 'm not a beginner but there are some way to play scales in your video i never could imagine before so i guess i'll learn it.
So i forgot, but, thanks.
*Good guitar players:* learning scales doesn't matter.
*Beautiful people:* appearance doesn't matter.
*Rich people:* money doesn't matter.
*Tommaso:* _everything is matter, therefore everything matters._ -wisdom
The pasta guitar sage has spoken.
FWIW, CAGED, is not a method for fingering scales. It’s really just diagram for the way intervals fall on the fretboard, as referenced by five open chord triad shapes. I think people confuse that, because the CAGED diagrams also lay out all of the surrounding chromatic intervals to each chord, that it means “strict scale shapes”. But alas, it’s for the chords. Everyone who I have encountered that thinks this way is a 3-note-per-string person who thinks scales are “the key” to knowing how to make music.
Scales are really are nothing more than the building blocks of chords. Practicing scales will certainly help train both your ears, and your technique. And while “mixing up scales” into various fragments and sequences are great training devices, I think it’s folly to think that being able to do that well means that you are developing even a little bit of useful musical language.
Modes, IMHO, are even more trivial information than anything. When I was a teenager, I took lessons for a few months. My teacher taught me a 3 note per string major scale. He then told me that there were only 7 different notes in the scale, and assigned me to map 6 more 3 note per string patterns using those same notes. In a few weeks, I had all 7 memorized. Big Deal. Knowing scales and modes doesn’t even come close to teaching anything about phrasing, articulation, rhythm, or even harmony for that matter. Sometime in the last 70 years, schools sort of latched onto this idea that they could earn a whole of money peddling Chord-Scale-Theory, and it stuck. However, the best improvisers in the world, ( who aren’t also teachers ) will tell you honestly where they actually get their musical language, and it’s not scales. This is likely the people you don’t want to name…
So you got a bad teacher, and now you think everybody who uses 3nps is an idiot. Checks out. I would like to answer to your post, but 90% of what you say I think is not something I actually think.
@@MusicTheoryForGuitar further response probably isn’t necessary, because so far in this one it’s obvious you cannot read. I did not at all say my teacher was bad, nor did I say 3 note per string people are idiots. It seems you missed the whole part where I point out that I, in fact, also learned scales in 3 note per string fashion. Though, I suppose it could be inferred that I think “teachers” who refer to CAGED as nothing more than a “dreaded” system for playing scales, really don’t know what they are talking about. Yes, they are obviously 3 note per string scale teachers who are hyper focused on scales being some dominant importance in music. And yes, you did speak as such in your video. The funny thing is, that by teaching a beginner to look at and learn the fretboard through triad formations (like CAGED), they learn more information than “how to finger scales”. The funniest point of all, to which I know the irony is lost on you, is that three note per string scale patterns can be easily seen by moving through the CAGED formations.
Why every time I mention CAGED in non-celebrative tones, I must receive a long tirade from someone who is assigning to me several opinions I do not hold? And why they ALWAYS mention something obvious followed by "the irony is lost on you"?
@@MusicTheoryForGuitar lol. Aww, you’re searching for likes. Well, I haven’t changed any of your words (you’ve changed mine), and you have not shown why it is you “think” I have, or how your own words mean something different than what you spoke in your video. No, you went completely negative from the start, twisting my words. This reason for this? Simple, you’re offended that I have a difference of opinion about scales, and I voiced it here.
@@glguitarman Your mind-reading abilities are unparallelled. But since you are talking about 'not changing my words': post here the exact words I say in the video that you disagree with. (Ok guys, watch what happens now...)
Thanks. So when you enter a bend and you snap the pic aross the strings, are you just muting the other strings open or are you muting a chord always and of you are muting chords, are there certain chords that you prefer that help to facilitate the bend over others?
I like your accent
👍🏼👍🏼
Would love to see how long a local music store can retain a student by teaching them that you don't need scales ??? smh !!!!!
At the same time, it's important to make sure that you are teaching them scales if it's relevant to their goals. Teaching them scales as busywork "just to keep them" it's unethical.
Or course, it's also unethical to NOT teach them scales when they need them.
0:14
You want a question. You have one. Are you Italian?
Yup
@@MusicTheoryForGuitar I knew it. Your accent is unmistakeable. Cheers from Polonia.
😅❤
beautiful place......your accent is cool........please breakdown the MESHUGGAH scale whenever free......
You DON'T need to learn scales, or any music theory at all to play the guitar.
In fact the real key to sounding good, is actually listening to what comes out of the amplifier, rather than focussing on what goes into the fretboard.
Sometimes, just noodling with absolutely no thought whatsoever can produce real innovation.
That having been said, a wise man once told me that every year of university education saves you 3 years of self learning. You leave university a decade a head of everyone else.
And so it is with scales. The chances of you dropping onto something that sounds good are massively improved by knowing some basic music theory.
The chances of you being able to properly improvise a guitar solo just on the spot, without knowing any music theory at all, is next to zero in my estimation.
PS.. I think we generally refer to what is being discussed here 'sequencing'.
Chords lie within scales.
The human brain has a binary (polarised) foundation - approach/avoid, safe/dangerous, friend/foe. Arpeggios/chord tones are currently the bees knees (I agree with this) and so scales are being rejected, when a little devaluation associated with the promotion of arpeggios is more reasonable.
Step 1: create a false dichotomy; Step 2: sell one of the sides as best and the other as inferior; Step 3: when people start to realise that something is missing, sell them the other half.
The problem was to think about of scales and chord/arpeggios as two separate entities. But that's quite a modern idea - older pedagogy integrates the two from the get go.
What do you call an a9 arpeggio if you throw in a flat 3?
Answer: A major blues scale.
@@MusicTheoryForGuitar Can you make a video expanding slightly on this false dichotomy of scales vs. arpeggios/chords?
@@drsmith4582 I think you need to brush up on some theory.
@@YEM_ I hardly think so. An A9 arpeggio may or may not contain each of the following notes: A, C#, E, G, B; as long as it has the major 3rd, dominant 7th and the ninth. The major pentatonic scale “in it’s most basic form” contains the notes: A, B, C#, E, F#. But I said a major “blues” scale, which is derived from the pentatonic scale, but also must contain the “blue note” to be considered a blues scale. The blue note in the major pentatonic scale is the flat 3. The definition of a pentatonic scale is a scale with 5 notes. When you play the blues, you are not limited to playing the Major 6 tone. You may substitute a dominant 7 and that is actually encouraged, unless you want to sound plain Jane vanilla. So with that being said, add a flat 3 to an A9 arpeggio and even with the missing major 6, you still have the dominant 7. That gives you five tones of major sounding blues and with the addition of the “blue” note or C natural, you now have all the notes needed to create a major blues scale. Perhaps now you know a little more music theory yourself.
Dudeee you're too far from camera!
You are to talkative
Duh. I'm Italian.
Hello, great job thank you. 🎼🎵🎙🎶🎹🎸.