The SECRET SCALE used by Eric Clapton, Jimmy Page, Slash & John Squire
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- Опубліковано 10 чер 2024
- The great British lead guitarists of the 20th Century had one intriguing thing in common with each other - they all used a very specific lead guitar solo scale with its own set of unique rules. Join me to uncover what it is, and how it works.
Flippin' heck mate - that is the best guitar lesson I've ever had! So in terms of scale tones its: 1 2 b3 3 4 b5 5 6 b7 BUT you shift to match the current chord. [corrected - I missed out the 5] You absolute star! You have completely blown my mind. I've been playing guitar for years and never discovered it. Thank you so much! You know on the inside of the gatefold sleeve of Led Zep IV there is a mysterious figure holding a lantern? Thats you that is.
Thanks so much 😎
Very concisely summed up there - I’ll pin this for others.
Cheers 🍻
I have to admit I've never thought of lead guitar this way. This is super interesting.
In the Lydian chromatic concept, George Russel gives a similar blues scale in his section of horizontal scales. 1 2 b3 3 4 b5 5 6 b7 7. I’ve cross checked it with Ian Ring’s scale computations, and with all of these intervals it not only combines all the notes of George Russell’s vertical scales, but it’s also a merely proper scale. Weird comment for me to leave, but I figured may as well.
That's the crux of it, but you can't really use the b3 or b5 of the IV chord when it moves to the IV, you can with the V chord though
@@noahestes589 I you want to consider modes, this is the Mixolydian with the blues scale added. Hence it is sometimes called the Mixo-blues scale. It is also called the nine note blues scale. I don't understand why the presenter had never heard of it; it is a commonly used scale in jazz, especially piano.
The important thing is how it is used, so emphasising the 6th and 2nd (9th) give a BB King sound. At the same time I use the major third as a passing tone to keep the blues feel. Obviously this doesn't refer to Rock playing, which the video initially did.
Dude its simple, if you burn a candle in front of any les paul at midnight the fret board glows with said scale
What
Wut
It worked! 🎉😅
Oh Lord, I did this Pagan ritual and lit the Les Paul on fire… I'm gonna have to send it to Peter Frampton's guy and have it restored......
Meanwhile, I discovered the secret HendrixoLydian scale....
I got myself an Ouija Broad too.... She's pretty hot....
I'm considering selling my soul down at the Crossroads For a couple of lost chords
@@warrenbutterfield4208 🤣🤣🤣
Brilliant lesson. I am almost 70 years old and have sort of figured this out on my own, but having your clear description validated everything I have worked for these many decades. Now all I need to do is to work on artful phrasing that conveys emotion. Part of that, I think, is to imagine your riff before you play it. I call that thoughtful phrasing. It is harder than you think. Maybe that is why Clapton has that pained, closed eyed look when he plays at his best. He is thinking about what he wants to say, rather than just riffing along with the chords in time. Thanks so much James.
I'm 38 years old. Been playing since around 5th grade. The best and easiest explanation I've ever come across. When you start playing in a band and meeting musicians out in the world and setting in with them and them setting in with you, you start to see how much talent is out their. Attitude will make or break you. Your gonna run into people not as good as you, people better than you, and people on another level. I am self taught. When I started getting out their I realized pretty quick I was lacking in some areas. What this man just gave us is where you need to go to (find yourself) so to speak. And some of the best advice I've ever gotten is play what you feel. And treat the other musicians with respect. Play rhythm just as good as you do lead. I've played with lots of good lead players. But when it came for my turn, the rhythm wasn't their like It was for them. And no matter how good your lead is if the rhythm isn't their your lead is not going to sound like it should no matter how good you know the scale. Support each other like you want to be supported. This took me awhile to figure out. It's really hard to find musicians that understand this is a team effort. Their are egos, and everything else you can think of out their on stage with you. Always respect each other, play what you feel, from your heart, and when you play with another guitar player and he is on another planet with his chops. Appreciate the time and effort he put in honing his craft. Instead of feeling some type of way about him shining more than you. Doing that got me alot of places that other wise I wouldn't have been able to go.
Great video man, I feel like i owe you money.
what you said
Very well said Sir. Just learn the difference between "their"and "there" and your writing will be as clear as your guitar soloing. Cheers mate. ;-)
Don’t worry about the spelling and grammar bro , the first two comments obviously don’t get the bigger view of your explanation, let me get it correct for ya , “ knowledge on the guitar can give power in the band but character of who you are earning you respect in the band “ nail it
Well said, I would like to add the masters just LOVE guitar. I takes a lot to play at a high level, you better love it.
Jeff Beck has to be in there somewhere
James said guitarrists from Britain. Jeff Beck was from another planet.
@@ricardob.6924 fr! 😂
@@ricardob.6924 😁😁 Well said bro. Well said.
David Gilmore is as good or better than any on this list...
Steve Lukather
The best English guitarists for the '60s, '70s, '80s, & '90s is Jeff Beck, Jeff Beck, Jeff Beck, & Jeff Beck, actually.
You're playing a jazz blues scale (Dorian + b5) adding a M3 depending on if the chord you've playing over is major. Playing on the chord is called "vertical playing ". Wonderful theory lesson for an intermediate player.
Typically they’re doing this over major chords so it’s Mixolydian with a couple of tones from the altered scale. Sometimes you’ll hear straight ahead blues players play the flat nine too. Any extension that you put on a dominant will sound good.
I think you are missing the point. he is saying that it is a scale in its own right. It isn't really legitimate to add, subtract and change notes to derive one scale from another. allow me to do that and I will transform any scale you want into any other scale you specify.
It's not a scale in it's own right. Well, you are free to think of it that way if you like. You could also combine the major and minor blues scales and call it a single scale. That's what he has done here. But I would not recommend that. I would recommend thinking of them as two separate scales. They each have their own flavours. Get a feel for them on their own first. Later start to blend them together to taste depending on context.
But if you are set on unifying the scales then I would highly recommend you check out the chromatic scale.
@@IIJamesII I think I'll stick with the set of notes recommended by Greaves. Using the chromatic is going to be a problem when it comes to the 1/4 tone between the minor and major thirds on Robert Johnson's 'Me and the Devil Blues'
Would you like any grey poupon u dweeb
Dude, i fuckin love your passion about finding/helping create the next oasis/nirvana, you are doing the lords work
Someone’s got to do it 🎸🎸🎸
...Like Clockwork
Please, Dear God, no. Especially not Oasis.
I use a secret scale to weigh myself in the morning.
I've known this secret scale for years... makes my drumming solos crunchy!
Ozembic sounds like a brand of drums amIRight?
Don’t break it!😮
@@TomClarkSouthLondon Ha! I've been maintaining at +/- 180 for about a year now.
@@nopenope9945 You're right!
What about Mark Knopfler? I think his technique is so unique that he should be considered the greatest British guitarist of the 1980s!
Knopfler is in a LEAGUE of his OWN. No doubt!
And is also the only one of them who played with Chet Atkins
Laughable ignorance
*Throws my book in the air and walks out cursing my guitar teacher.
Me too..........grrrrrrrr!
One of the best lessons iv seen on youtube for guitar
This is a nice way to present “following the chords.”
I actually learned this on my own before I figured out, “Hey wait, I can actually stay in the same box for all the chords!”
Ha, well, I don't over think this stuff. I've learnt all my solos by ear, I can't read tablature or music though I do read chord charts and I understand mode/scales, for me it's a mixture of cuss words and find that sound... I don't fret over fret's if a note doesn't fit into a proper pattern so be it.
Thank you my brother.. I’ve played for 28 years and never had anyone explained that so simply or correctly 🙏🏾
Very solid lesson. Thank you! Been playing for 52 years, gigging musician and constantly learning. You've made the 21 minutes fly by!
What a great lesson. I’ve also cobbled together bits and pieces over many years to find a lot of this information towards an approach to playing musically in the song. It’s what I first heard in Cream as a kid, what lead me to play guitar, what frustrated the hell out of me for years as I tried to step up. Your explanation is very clear and focused on a path to get there: to the place where you can start listening for your own dynamics, phrasing and effective excitement within a song. So many “musicians” miss the last part. It’s what sets Clapton and others above so many technically, theoretically, and athletically enabled players.
Clapton played great in the scales - Page could and did, but also played memorable melodic lines. So Page is my favourite - although I think the live Crossroads is one of the greatest ever tracks, not just because of Clapton, but Bruce's bass is phenomenal, and Ginger Baker's drumming is just the best - he drives them on forcing the pace.
Jack Bruce was strongest player-and proved it many times after Cream
Clapton is pretty basic, but has clean technique and great vibrato. Jack and Ginger really elevated Eric’s playing.
Good job James. Clapton's playing got millions of young men on all continents loving the guitar.
Best lesson ive found in a long time. Thank you so much. Been playing over 30 years and just learned this. It's helped so much. Just friggin awesome. Thank you.
A gem!! The Rock and Roll Blues stuff I love. Decades of experience in a 20 minutes video. Love it
This was featured in the mid 1980s by Guitar for the Practicing Musician magazine. It was explained differently and had a couple different names, really quite simple. Take the pentatonic major scale and combine the notes with the pentatonic minor notes of the same root note, then add the blue note (b5): 1 2 b3 3 4 b5 5 6 b7 8
The pentatonic major/minor combo scale, aka the modified mixolydian scale. The b5 is optional of course, you don’t have to use it. But now let’s get really crazy: take the same combo scale and add the b6 and major 7 notes, and pick a few spots to play those 2 notes sparingly. Chromaticism galore! It works! Or try leaving out the 2nds and 6ths with more emphasis on the b3 and 3rd.
B.B. King city!!
Featured artists in the magazine lesson were Eric Clapton and Gary Rossington - major proponents of the pentatonic major/minor scale.
Many slide players also use/used this scale: Dwayne Allman, Rod Price, Billy Gibbons, Ed King, Joe Walsh, and probably all of their blues predecessors.
You're explanation of achieving this musicality in soloing is way more on point to how these greats achieved it than this guys unnecessarily complicated long winded typical british ideology.
Even though these players are British they didn't arrive at it like like that.
What kind of keys sorcery is this?
That's an awful lot of jargon just to say that every note of every scale are all right there within reach wherever your hand is on the fretboard and all you have to do is pick the notes that fit your mood.
As a teacher i called it the "majorminorpent"
I saw the video and wondered is it just how to master major - minor pentotonic, loads of players do that myself included
as a teacher I call this BULLSHIT
Great lesson! Every lead guitarist should know this.
James I've been playing 47 years and this is the best explanation I have ever heard on how this works. Thank you for all of your hard work exploring these scales and making this great video. ❤
Hendrix and SRV are missing. As Herbie Hancock once told me, "I want to hear your life and not just a bunch of notes" I learned from A list players that knowing when not to hit notes is just as important as playing notes--so they would play a painfully slow 12 bar blues and encourage me to play with my "soul" and let the guitar be my voice. I still love to shred over slow blues (who doesn't) but my teachers made me play slow and get in the groove of the song. That opened a whole new chapter in my playing discipline. Thanks for the excellent lesson.
What you said "When not to hit notes" is what is in my head. I hear awesome leads pausing and then increasing notes. Unfortunately I am a novice guitar player and I am almost certain I will never have the ability to put into a guitar what's playing in my head. I have even dreamt of bad ass solos in my sleep. Don't really know what to do with it really. I have always loved Clapton and Hendrix.
Are they British? If you're gonna go there then you forgot Roy Buchanan, Danny Gatton, and a bunch of others.
What about Jeff Beck, Peter Green, Mike Bloomfield and Roy Buchanan?
Hendrix was born in England. It doesn't matter, these were his examples and influences, people need to stop adding their 2 cents and just listen.
Hendrix died in England, but he was born in Seattle
Thank you for presenting this in such an accessible way. Everybody learns in different ways and this makes so much sense.
I've been waiting for this video for over 50 years. Thank you James.
😂😂
Wow! I mean WOW! 21 years in 21 minutes. That is by far the best video on soloing I have EVER seen. THANKYOU. THANKYOU.
Every would be blues guitarist should watch this video. It took me decades to work this out for myself and I have never seen it explained so well. He seems to lose his way at step 4 but keep going. He pulls it all together at the end.
Thank you. I'm almost 72, I hope it's not to late.
DUDE, Im 63. We are going to be famous.
@@CC-hv9ei Dude, thanks. Our band just opened a Blues Fest here in Minnesota last Sat. It went well and that's probably the height of my fame. It was a blast. But I'll keep tryin'.
I'm 107.
@@CC-hv9ei I'm 65, been a beginner for over 50 years.
Never too late mate. I intend to still be playing live when I'm 90 if I can!
WOW. superb lesson. Just changed my playing!!! Thank you James.
My goodness me, this is very helpful and amazing. I've been searching for this lesson for a very long time! Thank you very much.
George Benson's 'Billie's Bounce' has entered the chat
Ouch 😂
George Benson is a jazz guitarist that has done other music's. He's a master of improv.
He's American 🙄
Jeff Beck all day
Thank you James. I'm 68, been playing for 60 of those years but today you've given me the answer I've been unable to find
Brilliant Video - THANKS FOR SHARING🎸
Good explanation. Off to experiment now.
Best instructional film I've ever seen. Well played sir!
Thus lesson absolutely caused me a breakthrough, I can tell the excitement you had to teach the lesson through your intelligence and care for it. Brilliant pacing, brilliant guitarist. Brilliant teacher!
It's part of the charm of David Gilmour too, he is always acutely aware of the chord and uses those notes in his phrases.
I think it totally bizarre that James can say that any guitarist is miles better than Dave Gilmour. But this is James Hargrieves after all
@@fakesnowman Guitar is not my main instrument, but rather cornet/flugelhorn and keyboards are in that order. That said, I have listened to both Clapton and Gilmour since the 60's and each has shown their mastery of solo guitar. The strength that Gilmour shows is his ability to improvise very melodic solos. More so than Clapton IMHO. So many of Gilmour's best recorded solos are ones that you will end up humming or singing to yourself. Not so much Clapton's. And you really need to watch them improvise live to hear the difference. I have seen Gilmour live in person multiple times both with Pink Floyd and on solo tour. With Clapton it is just his recorded live performances but with hours upon hours of his live recordings going back decades. The reality is that none of us will come close to either one. Both are just a great listen.
Gilmour uses a lot of different scales too for even more saucy playing.
He will switch a key or scales for a phrase. He follows chord tones very well.
Name one song where Gilmore uses this particular scale. We are talking about a specific scale and note usage.
Remarkable. That’s it in a nutshell. Nice video lesson.
The master blues lesson I was looking for in all my lessons and listening. Bless you!
I agree with the others here. Best lesson I ever had. I have been looking for this answer my entire life. I have played forever, but never, never had this crucial knowledge. Thanks again.
This is the first time I’ve come across your channel and so happy I did. This was a great lesson on a subject I’ve been interested in. Though finding it explained without confusion is hard. You explained it so clearly I have a road map now. You sir have gained a subscriber today. Thank you
Glad it was helpful!
Good stuff James. Would love to see a part two to this where chord tones, guide tones and dominant seventh arpeggios are added. Also on how to avoid that fourth interval at times which can leave the solo hanging if played slow. Great lesson though!
This sounds interesting
Many thanks James, a wonderful helpful 'where start' explanation!
THANK YOU! This is by far the best guitar instructional video on the web.
Been playing for 25 years. Mind blown.
Chromaticism. Jazzy.
The '60s: Peter Green, without a doubt.
If this guy put chills down BB kings back then he should be top dog lolol
That’s the best guitar advice I’ve ever had. Thanks so much. 🙌 you’ve made the most sense out of all the big UA-camrs I’ve watched for years. 👍
As a bass player, I have learned not so much to try to learn every note on the fret board, but rather to learn the major and minor scale shapes well and then when making changes to key, I attend to the position of the root note and this cues me to the entire scale, as I have learned (still learning) to see the whole scale and where the root notes are, and from there where the 4th and 5th are, as they are in the same position relative to the root whether in a major or minor key. And thanks so much for this info, I will be sharing it with the other guitar players I hang with, and will apply this to my horn playing when I get back to it this summer.
In the 60s I chose Peter Green, 70s Page, Mick Taylor and Beck, and 80s Gary Moore and Stevie Ray Vaughan.
Surely this is a blues scale variant or mixolydian with additional notes ?
@davidmiller40. Yeah ultimately it is, but he took the time to break it down.
Yes.
Yeah, that’s how I started to figure it out a few years back. “Why Every solo I like is on Mixolydian?” I now try not to over analyze it. This blusy mixolydian while changing root notes thing just works
Thank you, this is the most useful thing ever for a guy like me stuck in scale shapes, cannot thank you enough.
Yes. Took a long time to master this. You articulated the solution perfectly. Thanks for sharing.
My god, I've been silently soloing like this for years without actually realising what it means...........This feels like a massive chest has been unlocked and years upon years of information and knowledge has been passed into my puny little brain. I must now process and analyse this............THANK YOU !!!!! You are a god amongst men.
I got it that you turn to different Scales depending on the chord, but as you were layering scales over one another, around the 5th fret, I was no longer aware of which scale was accompanying which chord.
The D minor pentatonic scale 4th position starts on the 5th fret and the E minor pentatonic 3rd position starts on the 5th fret as well. You can use these positions to stay around the 5th fret with your soloing.
What a great lesson, buddy. Thank you very much for sharing your experiences
best of all guitar lessons available online! thank you indeed!
James, firstly, many thanks for this information - my eyes are now open. Secondly, I consider myself a Blues man through and through. But, I play all sorts of stuff. I cannot believe - I'm self taught - that this hasn't dawned on me at some point in my playing career. Started at 15 on an acoustic guitar my grandfather made, then made my own electric in woodwork class. Played in the UK untill I was 27, then I moved to Hong Kong, and I have played here in bands on and off for years. I'm now 57 and I can already see my guitar knowledge expanding exponentially because of this vital but elusive tip. I can't thank you enough for this priceless piece of a revelation. Cheers and beers. Maxi
60s Harrison, 70s Page/Gilmour, 80s Marr, 90 Squire
In Rock, one could argue 60s, 70s, 80s, 90s, the same person for all decades, Jeff Beck.
Jeff was something else. Great players, with something all their own in the original post. We are spoiled for choice.
Agreed that Beck covers all the decades!
I don't see how anybody could give squier the 90s when he wasn't even around for the vast majority of it.
@@RaiderJay9092 definitely agree ...
Thank you for being so generous to share your knowledge, it is appreciated.
Fantastic lesson. I've been trying to figure out how to put this all together for years. It makes so much sense now and it is presented in a way I can go and apply. Thank you!
"Roots man" 🎶 U got 2 be knowing your roots...
🎵 There your jumping off & finnishing points....And the Inbetween is the 'creative' fun... "just like in life' u need 2 be knowing your roots' 😄 "irie ai"
Awesome comment! So true!
You don’t need to know the fretboard inside and out. You just need to visualize chord shapes over your scale to land on safe notes as the chords change. Knowing E A and D shapes and the chords they make up the neck is enough to master lead. Creativity and having something musical to say is far more important than pedantic fretboard mastery.
Couldn't agree more , too much theory makes your playing sound sterile imo , mistakes and sloppy bits make it real .
This approach is in fact musically limited.
Both is possible and and you can choose, what's your favorite. It's not about what's better or worse.
Knowing the fretboard helps and it needs constant practice.
Letting yourself go and follow inspiration needs practice too.
The combination of both is very interesting.
This approach is Eric Clapton. If you can't do it, stay quiet. Ok? Got it?
yes, BUT ......if you do not know that fretboard like your own reflection in the mirror, then you MAY hit a wrong note by accident, that just kills the song, like if you are in a gig.....
Simply Amazing :) Thanx Professeur
Excellent thank you. Beautiful clear explanation. Another reason to use the whole fretboard in step 5A is tone - the longer the string the richer/brighter/fuller harmonics.
This video was amazingly helpful. Thank you for saving me all that time. I wanted to point out something that I noticed:
The scale you taught in this video:
A,B,C,C#,D#,D,E,F#,G
A blues scale
A, C, D, D#, E, and G.
A major pentatonic
A, B, C#, E, F#
What you're teaching is the two added together.
Have you ever heard of a guy named Johnny Marr? He had this little Indie band called the Smiths that were pretty good. Wink wink.
Don't forget John McGeoch of Siouxsie and the Banshees! One of his biggest influences and a star that burned too bright too soon before he passed.
Agreed about Marr… but to me he’s more about creating great riffs and song structures, less about playing lead lines
@@jrm2fla True, I guess it depends on what you mean by best guitarist.
Johnny Mar can't play a guitar solo to save his life.
But he could not even re-string Slash's Guitar so its a non point
Thank you for sharing this lesson with all guitarists out there James 🙏 👍🤘
Thank you! Beautiful, concise, and oh so practical.
Clapton is that good that he hasn't had to fret a note with the left hand pinky yet. If anyone has footage of that left pinky doing anything please send it.
I think it’s like a Royal thing. The less you use that pinky and the higher you hold it, the fancier you are. Everybody knows that!
Does it matter which finger hits a particular note? Django didn't use his left hand pinky either, and he did okay.
JEFF BECK
Oh my, this was truly one of the best guitar lesson videos I have ever watched on UA-cam, thank you so much for sharing your knowledge!
What a great video, thank you,.
Im only a few years in, but know enough to really start implementing these steps.
👍👍👍
Is it called the Mixolydian/blues hybrid scale? Thanks for this. Subscribed to your channel now.
So I'm a piano player, and guitar player. And on piano, I always heard that scale called the Mixolydian + scale.
It starts out mixolydian, but then the b5 (#11) and b3 (#9) are added..
yeah, that's why we call it the mixolydian plus scale. Because it adds those other two notes to the mixolydian scale.
@@6040nick Yeah... Alt Dom7 is what I was taught the name was. Alter 9 and 11 then think in modes of a dim scale or mixolydian.
Thus the “+” wink
I was thinking the same. 6 of one half dozen of the other I guess.
In one way, it’s “easier” to think of it as a modified major scale cause then my brain can still picture the other modes more easily as I think of major as being the “home” scale, etc.
Thats absolutely spot on!
Tx you!
Time to practice!
Thank you so much for this great guitar lesson.
Alvin Lee was as good as any of them
Ohhhh yesssssss !
50 years after.
Hes the only guitar player that hangs on my wall.
Guitar playing isn't an adolescent wank off like a cheap sports competition
Yes Alvin Lee❤uk
Nice vid James. You know what broke me out of the scale boxes? Hearing Marc Ribot for the first time with Tom Waits :)
Perfect reference. His playing is superb.
This is how you teach things! Pedagogicly superb. And thank you for sharing😊
Excellent! Thank you! It took years to understand it and, in my case, it was by studying Mick Taylor's solos.
This is a vital lesson except for that scary diagram of the fretboard labeled with all the note names and the directive that it must be memorized. That's like saying to play chess you have to memorize b12, g7, c3 etc. You don't, you just have to know how the pieces move, which is the same wherever they are. Similarly, all you need to know are the chord shapes of 1 4 5 (and others as needed) and the best locations to each other. You can plop the 1 down anywhere on the fretboard and the other chord shapes are always there with it. Memorizing a matrix of labels is easy for a computer, for us humans learning shapes and linking them together is far easier.
In an A blues, you can stick mostly to the A blues scale (A minor pentatonic plus ♭5), but when you hit the D and E chords, the pros often play the major 3rd to mark that transition to the new chord. You hear it all the time. Those notes are the F♯ for the D chord and the G♯ for the E chord. Sometimes they do this by bending E to F♯ or bending G to G♯.
good advice, thanks! Mike
Very instructive, thanks for sharing.
Great explanation. Thanks for the video, James.
This is a really great lesson. This is a blend of A major, A natural minor, A blues and A Mixolydian.
Just like to add, you can also add A Dorian in there if you want. It sort of becomes a chromatic scale, it’s just about timing.
Peter Green... Jimmy Page...
Excellent video. Very profound. Thank you.
Brilliant. I can say no more. Thank you.
As a layman i was blown away by this.
It’s called “ chord tones”
Yes, totally about chord tones. For example, it's good to know that while the dominant 7th works for the I chord, it's the major 7 that works if you're on the V chord. But the real reason you go to the major 7th for the V chord is because the major 7 of the root scale is actually the major 3rd of the V chord. It's part of the basic triad. So, in my opinion, it's more useful to master all the inversions of any given chord. This starts with what now is known as the CAGED system for major and minor triads. Then understand where the 7ths and 9ths are, and what is a flat 5 and augmented 5th and how those are used. It's about resolving to a note that's part of the chord you're on at the time. In blues this is usually a I, IV, or V.
Totally amazing! This is what I’ve needed to learn in music all my life! Thank you!
Appreciate you sharing your knowledge and understanding of this
60's: Rory Gallagher
70's: Rory Gallagher
80's: Rory Gallagher
90's: Rory Gallagher
1995 to date: who cares!
This guy is only talking about British guitarists.
100% best guide online bro. 63 yr old and 50 yrs playing guitar. i did the same journey. you did the kids a massive favour.
I am 69 . I have been playing guitar from age 14. I have never used a scale or a rule in my entire life. I write tabs for the kids I teach, but I tell them to learn the notes to get the framework straight, but then to step outside the box . The secret is in finding the notes that fit - go find them. There are hundreds of videos of kids copying famous name solos - that's great - but it is just copying, If you have any nous - go make your own solos using the same chord patterns - THAT is what defines music.
I'm 102 and have been playing guitar since a toddler.
And I’ve never even looked at the fretboard of any guitar I’ve owned since..”all you ever play is utter utter gibberish and your complete lack of foresight and common sense not to mention the shear… makes us all want to vomit with rage and pure frustration!”
pjl8119
I'm 610 and I've been playing since I was a zygote. And I STILL suck.
Maybe I should just give up.
I was musically ‘aware’ at age 5. If I liked a song on the radio, I could sing the lead, the harmonies, and the sax, or guitar solos, a cappella, and hear all accompaniment in my head. I was 15 when I finally got my 1st cheap guitar. No classes, lessons, just a Mel Bay Book 1. I discovered 10years later that when I played lead, that there were “scales” with names that I could relate to, but never fully understood. 40 years in many bands and I still Don’t read music. Never had to. Just a love for music and the desire to get better at it every day. Anything is possible if you put your mind to it…✌️
Great lesson! I wish I would had this 30 years ago when I started as well! 🙏🤘
When I find these videos, I am always amazed that I actually was playing like this. It has made me feel very confident during improving. Thanks.