Leslie West often used the BB Box, Major pentatonic box#3, Minor pentatonic box#3 just staying in that position box#3 often just mixing BB, major penta, minor penta in all the Mountain solos to make a lesson about. Also look into the Zeppelin Black Dog guitar solo he switches from and forth from A major pentatonic and A minor pentatonic to make a lesson about, I think he throws in the BB box here and there also.
Such a great lesson! Obviously, the BB Box has been covered by a lot of people, but you make it very relatable and fun to play around. Great licks. Thanks.
The over bends are a game changer. Once your ear learns half, full and half over that, you are cooking. I found that the easiest way to get it under the fingers was to hit the full bend then go up a half, that's how guys like Clapton phrased it a lot. Eventually you can do it like Vai and go all the way 1 and a half steps.
Once again , your infectious love of having fun with music makes for a great "bluesy" lesson to expand our chops...with the tabs for those us that still need them...thanks for sharing !!
I know I don’t always leave a comment on the videos that you do,but I always enjoy them and I recognise this pattern from the “get back” lesson you did on the BEATLES . Very tasteful. Also on another subject I heard Ritchie Blackmore say that he has never played the same solo twice.
Everything you show has been a help to my soloing, simple is better. Your videos take the mysteries out of great solos and players. I always tend to make things too difficult, you help me simplify things
It took me a couple minutes to get a grip where this was on the fretboard and to integrate it with prior knowledge. I swear, there are times when it seems like the notes get up and dance around when I'm out of practice!
This is one of those things that "just works" more often than not. Sometimes it'll cut through even dense chord changes. (Stormy Monday, Need Your Love So Bad, Someday After A While, Please Come Home for Christmas) Plus, so many bends that are available, that it's easy to wring emotion from it.
I've been using that pattern on an intro for a song in A for years, but at the 5th fret, not the 10th. A sort of "Carol" type thing, now I know why it never quite works! Thanks Mark! (I'm a singer that plays rhythm guitar, not a guitarist btw)
Mark, I just put a set of "Ernie Ball" EarthWoods on my acoustic. I can bend really nice on it now. I was wondering, if you could give a little acoustic lesson? I know, you'll have some great ideas. Thanks, Peace.. Joe
Sa-weeeeet. I have a hard time ignoring or deleting the flat seventh though. It'll be a fun pattern to work on a bit. Get in the blues mood y'all! Gotta have the feeling. It actually helps to have the blues and make faces during the bends. 😁
Well I'm not an educated expert but isn't this just a Dorian scale? 1-2-b3-4-5-6-b7. And bending the b3 to 3 and 6 up to b7 to make the changes we want.
Hi. No, it's related of course, but it's different in at least 2 ways. 1. It doesn't have a b7. Avoiding the flat seven gives a sweeter sound over the I chord. 2. It's a specific pattern/position (the one with the root on the B-string and the 6 on the G-string), not just a scale.
First, it's a pattern/position more than a scale. That's important. The pattern itself is very, very finger-friendly and bend-friendly, so it's easy to wring emotion out of it without resorting to theory. It's similar to G-major (or more precisely A-Dorian) BUT it removes the G (root of G, b7 of A). So over, say, an A7 it's going to sound more "sweet".
Well ... not exactly wrong, but ... The Mixo-Blues scale is a 9 note scale: 1-2-b3-3-4-b5-5-6-b7. This is a 5 note scale (1, 2, b3, 4, 6). Removing the b7 is a key part of achieving the sound. Plus, this is about the pattern/position as much as the notes played. This particular position (with root on B-string) is very finger friendly and bend friendly. The beauty of this particular pattern is that it often just works, so you can focus 100% on creating emotive notes and lines rather than any theory.
Wait a second ... is this the same fella that use to do all those guitar gear demo videos on the Sweetwater website a few years back or is my memory playing tricks?
@@MarkZabel - Ah, my bad. No offence meant or anything like that, I just thought I recognized you. Anyhow, I recently stumbled on your videos and should say that there are some real gems in there. The kind of stuff I hadn't been exposed to elsewhere regarding scales and note choice. Thanks for sharing this essential knowledge.
@@redshiftdrifter Thanks. No offense taken. Just making sure you knew it wasn't me doing those Sweetwater demos. (It would be nice, but they've never asked me to do them!)
@@MarkZabel Hi Mark, it’s a similar sound to a low action Strat. No worries. A lot of people like that. I play mostly jazz and try to avoid any and all fret sound. Always looking for clean sustain.
@@tomcaron9113 Thanks, that's cool, but it would be helpful to me if you gave me a specific time or two in the video where you hear it. I don't hear any fretting out in the video.
You, my friend, are an excellent teacher.
And guitar player. 🤙🤙
Thank you so much!
What a great, concise and informative lesson 👏
Thank you!
0:33. That's the one I've wanted to learn for 50 years
It's a great one. I had no clue how to do it way back in the day. Learned totally by "hunting and pecking".
Leslie West often used the BB Box, Major pentatonic box#3, Minor pentatonic box#3 just staying in that position box#3 often just mixing BB, major penta, minor penta in all the Mountain solos to make a lesson about. Also look into the Zeppelin Black Dog guitar solo he switches from and forth from A major pentatonic and A minor pentatonic to make a lesson about, I think he throws in the BB box here and there also.
Ok. Sounds good.
Such a great lesson! Obviously, the BB Box has been covered by a lot of people, but you make it very relatable and fun to play around. Great licks. Thanks.
Glad you enjoyed it!
The over bends are a game changer. Once your ear learns half, full and half over that, you are cooking. I found that the easiest way to get it under the fingers was to hit the full bend then go up a half, that's how guys like Clapton phrased it a lot. Eventually you can do it like Vai and go all the way 1 and a half steps.
Once again , your infectious love of having fun with music makes for a great "bluesy" lesson to expand our chops...with the tabs for those us that still need them...thanks for sharing !!
Wow, thanks for that kind comment. I appreciate it!
When I listened to the initial examples I thought to myself, "this sounds a lot like what is otherwise known as the B.B. King Box."
I know I don’t always leave a comment on the videos that you do,but I always enjoy them and I recognise this pattern from the “get back” lesson you did on the BEATLES . Very tasteful. Also on another subject I heard Ritchie Blackmore say that he has never played the same solo twice.
Thanks! And that's interesting about Blackmore. I like it!
Everything you show has been a help to my soloing, simple is better. Your videos take the mysteries out of great solos and players. I always tend to make things too difficult, you help me simplify things
Awesome, thank you!
Thank you
You're welcome. Thanks for watching.
Mini humbuckers!!!!
Thank you Mister Z! Those are some valuable tidbits there.
Glad you like them!
Mark, I keep coming back to your videos.
You got the good stuff.
Glad you like them!
Awesome and very helpful as usual thanks very much
Glad you enjoyed it
Awesome lesson! Thank you
Thanks so much!
Thanks a lot for this great video.
Glad it was helpful!
It took me a couple minutes to get a grip where this was on the fretboard and to integrate it with prior knowledge. I swear, there are times when it seems like the notes get up and dance around when I'm out of practice!
This is one of those things that "just works" more often than not. Sometimes it'll cut through even dense chord changes. (Stormy Monday, Need Your Love So Bad, Someday After A While, Please Come Home for Christmas) Plus, so many bends that are available, that it's easy to wring emotion from it.
@@MarkZabel Previously, it was my least used pentatonic position. Thank you for this demonstration!
@@Larrymh07 You're welcome Larry. Use it!! :)
I've been using that pattern on an intro for a song in A for years, but at the 5th fret, not the 10th. A sort of "Carol" type thing, now I know why it never quite works! Thanks Mark! (I'm a singer that plays rhythm guitar, not a guitarist btw)
You're welcome. Thanks for the comment!
Great fun 😊
Thank you!
Mark, thanks again for all these gems of knowledge. I’ve learnt so much from you. 👍🎸🔥
Thanks. Glad you're enjoying the videos.
Great and useful lesson! I also see how important the phrasing and dynamics are to sound good. You can do much with just a few notes😃.
Thank you. Absolutely, you can do a tremendous amount with just a few notes.
Mark, I just put a set of "Ernie Ball" EarthWoods on my acoustic. I can bend really nice on it now. I was wondering, if you could give a little acoustic lesson? I know, you'll have some great ideas. Thanks, Peace.. Joe
Thanks Joe. I'm not really set up for it well recording-wise, but I can do something. Thanks for the suggestion.
Man, Page used this scale a lot on Zep 2. WLL and Heartbreaker 2nd solo at a minimum
He did!
Skateboard style resolving!
Not sure what that means, but I like it!
Great lesson
Thanks!
Sa-weeeeet. I have a hard time ignoring or deleting the flat seventh though. It'll be a fun pattern to work on a bit. Get in the blues mood y'all! Gotta have the feeling. It actually helps to have the blues and make faces during the bends. 😁
Right on!
Very special...thanks a lot...
Glad you enjoyed the video!
Well I'm not an educated expert but isn't this just a Dorian scale? 1-2-b3-4-5-6-b7. And bending the b3 to 3 and 6 up to b7 to make the changes we want.
Hi. No, it's related of course, but it's different in at least 2 ways. 1. It doesn't have a b7. Avoiding the flat seven gives a sweeter sound over the I chord. 2. It's a specific pattern/position (the one with the root on the B-string and the 6 on the G-string), not just a scale.
As Always Noice !!!
Thanks!
Love it
Awesome, thanks!
That was a nice lesson I really like the way you explained it.
Thanks Don!
Great stuff.
I'm not exactly sure why, but I was inspired to go find some Peter Green era Fleetwod Mac. 🎸
Exactly! "Need Your Love So Bad", "Someday After Awhile" from Mayall's "A Hard Road" album. Peter Green was absolutely a proponent of this!
@@MarkZabel That's it !
ua-cam.com/video/oOziKMF9B7M/v-deo.html
Thanks for this clear and cool density of info Mark.
My pleasure. I try to keep things brief, but still with context.
🎩
😁
👕👍Great!
👖
Thanks!
Is it a G major scale with the F#
First, it's a pattern/position more than a scale. That's important. The pattern itself is very, very finger-friendly and bend-friendly, so it's easy to wring emotion out of it without resorting to theory.
It's similar to G-major (or more precisely A-Dorian) BUT it removes the G (root of G, b7 of A). So over, say, an A7 it's going to sound more "sweet".
John Lennon's solo on "Get Back"...
Exactly so!
This scale pattern looks like a part of the mixo-blues scale. Am I wrong?
Well ... not exactly wrong, but ... The Mixo-Blues scale is a 9 note scale: 1-2-b3-3-4-b5-5-6-b7. This is a 5 note scale (1, 2, b3, 4, 6). Removing the b7 is a key part of achieving the sound.
Plus, this is about the pattern/position as much as the notes played. This particular position (with root on B-string) is very finger friendly and bend friendly.
The beauty of this particular pattern is that it often just works, so you can focus 100% on creating emotive notes and lines rather than any theory.
👍
Wait a second ... is this the same fella that use to do all those guitar gear demo videos on the Sweetwater website a few years back or is my memory playing tricks?
Your memory is playing tricks. I've never done any Sweetwater gear reviews.
@@MarkZabel - Ah, my bad. No offence meant or anything like that, I just thought I recognized you.
Anyhow, I recently stumbled on your videos and should say that there are some real gems in there. The kind of stuff I hadn't been exposed to elsewhere regarding scales and note choice.
Thanks for sharing this essential knowledge.
@@redshiftdrifter Thanks. No offense taken. Just making sure you knew it wasn't me doing those Sweetwater demos. (It would be nice, but they've never asked me to do them!)
Man, you are great player and teacher but that LP is fretting out so badly!
Hi Tom. I'm not hearing any. (Even unplugged in my office.) Could you give me some specific times you hear it?
@@MarkZabel Hi Mark, it’s a similar sound to a low action Strat. No worries. A lot of people like that. I play mostly jazz and try to avoid any and all fret sound. Always looking for clean sustain.
@@tomcaron9113 Thanks, that's cool, but it would be helpful to me if you gave me a specific time or two in the video where you hear it. I don't hear any fretting out in the video.
I don't Ike that sound
Okay. Whatever floats your boat. (You haven't told us, so we don't know.)
@@MarkZabel sounds too od school blues for my taste..
BB box