A bit embarrassing but sounds like many of us in the same boat.
Played with guitars for well over 15 years - my gear FAR exceeds my capabilities etc. In a nutshell I have just learnt songs, snippets of songs etc over the years and skipped the "boring" theory stuff despite buying books etc.
Anyhow - now older, wiser etc and YouTube / Online videos are a revelation compared to back in the day etc so this week I decided to get properly stuck in and actually enjoying it so far. I did trawl YouTube for tutorials but got sick of the vast selection and lack of structure so signed up to TrueFire and downloaded 3 or 4 of the top rated courses with a nice 40% discount code I found online (40WATT if any use to people).
A lot of courses seem to start with basic chords, barre chords etc so I have jumped to into what I feel I really need to do - learning the Fretboard and Scales as I am poor at improvising and solos.
A few things I have wondered about and there seems to be some conflicting info so would appreciate any views:
1) Which Scale to start on? I see some start on Major Scale, some recommend Minor Pentatonic. I am mainly a rock / metal fan / player etc and they seem to nudge towards the Minor Pentatonic
2) Out of interest one tutor mentions a lot of people only bother to learn a few postions in each scale - is this generally the case? I guess some people are missing out the sharps and flats etc
3) Would it be the case that the average seasoned player focuses on one or two scales only and do not learn the rest? I guess it takes a fair bit of time and memory to master one scale in all positions.
4) I was just getting into the swing of Minor Pentatonic with a nice printout of the 5 patterns to work with in front of the TV at night but then I watched a YouTube video showing the E Minor Pentatonic played with lots of open notes - is this an alternative method? Confused here with this unless getting things mixed up!!
5) CAGE - appear to be tagged on the end of a fair few courses so I guess best to leave this until mastered some scales?
Cheers!!
Comments
Can be used to build all the chords explain intervals , write melodies , build different flavours of scales (modes) it’s amazing & not as daunting as it sounds with the amount of media available today .
If you know minor pentatonic, then you are two notes away from knowing that entire minor scale. And if you know that minor scale, you also know it’s relative major scale. And if you don’t know what a relative major/minor is, then that’s a great place to start.
Someone above mentioned CAGED. I personally love CAGED and got a great deal out of it. On that note, I would say that, part and parcel of learning the major scales is learning all of the chords of the scale and how those chords are constructed in different parts of the fretboard. You will see how each chord shape (the C shape, A shape, G, E and D) are implied at each of the 5 pentatonic positions.
There are players who learn licks. It can sound impressive, as if they know what they’re doing, but it’s still patterns of finger movements. You could call them “people who only bother to learn a few positions in each scale”. I wouldn’t denigrate them because many of us are in this group, and many have made a living this way.
If I was starting again I would:
1. Learn a chord shape at a particular place on the fretboard.
2. Learn the names of the notes in that chord.
3. Work out which of the non-chord notes around it can work with the chord.
4. Find a song which uses that chord, because you need to know how everything works in context.
Rinse and repeat for other chord shapes and positions.
So your minor pentatonic is built from the intervals: 1 b3 4 5 b7
If you want A minor pentatonic, that's: A C D E G
If you want D minor pentatonic, that's: D F G A C
Similar to chords, you apply the scale with a voicing (or shape) and that's where systems like CAGED might come in...there's no magic there, it's just an approach for using shapes to cover the fretboard in five positions.
The minor pentatonic is a subset of the natural minor: 1 2 b3 4 5 b6 b7
The natural minor scale is a 'peer' of the natural major scale (1 2 3 4 5 6 7), i.e. if you start from the major scale's sixth degree, you get the natural minor scale: C major = C D E F G A B / A minor = A B C D E F G
In fact, the modes mentioned above are all derived by starting from different degrees of the major scale.
But not everyone gets into that explicitly and none of it means very much without context...a tonal centre.
^ I hope that doesn't seem too complicated...it's kind of mathematical but I think it shows that there's not much to remember really. Burn your chord and scale dictionaries
To echo some of the previous sentiment, if I were starting again, I'd remind myself to never forget about what chords I'm playing over.
Because starting with scales, though probably comfortable to your hands, is potentially going to make you play like every other guitarist playing in the blues box. I mean, we've all done it, but if you can ALSO think "I want to play what I just whistled while that song was playing", then you'll be approaching things from a musical perspective.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
https://youtu.be/Foxeem8pSpo
As @viz says, it helps to hear each of these additional notes in the context of a song.
plenty of guitarists do fine just with that.
But for me,,, the big step and early revelation was modes and the relationship to chords. So understand the major scale as a series of intervals, understand the scales and arpeggios that exist if you keep the interval pattern but start at each note of the original major scale.
So just for the C major pattern you also have a scale that works for Dm, Em, F, G, Am and Bdim.
This explains it well..
https://www.guitarlessonworld.com/lessons/modes/
But I’d have the major scale in your fingers before tackling modes. If you start the same pattern down a tone and half (a minor third) you have a scale for minor chords.. C Major = Am
Once you know the scale chords, you then know loads of chords that work together for composing,
You will also find you can pick out any tune you can sing or whistle once you have major and minor scales embedded.. the post above about that is possibly the best you advice will get.
I realised that the difference between a major chord (1 3 5) and a minor chord (1 b3 5) was that
- Major : Root +4semitones/frets +3semitones/frets
- Minor : Root +3 +4
(Which means the 5th note is the same for both, always 7 semitones/frets above the Root)
Now 3 frets is a Minor 3rd interval, and 4 frets is a Major 3rd interval
So that Major Chord (E.g. C E G for C major) is made up of a Root, a Major 3rd and a Minor 3rd above that
and the Minor chord (E.g. C Eb G for C minor) is a Root, a minor 3rd and a Major 3rd above that
So if FOR ANY NOTE ANYWHERE ON THE NECK, you know the 2 ways of finding a major or minor 3rd interval (4 or 3 frets up the same string, or 1 or 2 frets down on the next string) you can easily build the major or minor chord from that note, by adding either an minor3rd or major3rd interval on top of each note.
Extending that a bit more , to get to the Dominant 7 you just add on top another Minor3rd, or to get to a major 7 you just add on another Major 3rd interval
Try that starting with A on the 5th fret of the Low E string, and find the b3,3,5,b7,7 only using minor and major 3rd intervals and you can easily build Am,AMaj, Am7, AM7 chords just by adding min3rd or maj3rd intervals on top of your current note
That gives me simple arpeggios anywhere on the neck from a note, but it is then (and with a bit of knowledge of modes) relatively easy to add in scale notes, because I know where the 1 3 5 7 notes are - I might not immediately know what the name of the minor 3rd above Ab is, but I know where it is .
It's a killer at first as I have to undo my bad habits to be able to cleanly do some of the stretches required, but it really opens up th fretboard in a way CAGED does not quite do.
1) Minor Pentatonic, then add the extra notes to get the Dorian and Aeolian (notice there is only one note difference between these two. After that I’d go Major, then Mixolydian (which is Major with a flattened 7th, so only one note different. You’ll notice how few differences there are between Mixolydian and Dorian and Aeolian.
2) It’s a starting point, but ultimately it’s useful to know all positions.
3) As you gain experience you reach a point where your brain starts thinking in terms of sound, and asks for a specific note without working out which scale it belongs to.
4) You can use open notes, especially in blue grass, but I’d avoid that for now.
5) If you learn CAGED at the same time as scales then you learn how chords and scales are related.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
The minor pentatonic is relatively simple and is 'home' for many guitarists but to use it intelligently you still need to be able to understand how it relates to the chord changes and ultimately those are based on the major scale.
Some people like CAGED and some don't. If you watch, for example, Anyone Can Play Guitar or Eric Haugen's channel on YouTube they are playing relatively approachable pieces of music but their understanding of how to play things is based on them being CAGED players. I think Eric has a beginner's CAGED course on TrueFire.
When I was playing in bands the value of knowing some theory was that I could communicate with other musicians. If you say, random example, 'I'm going to play this up a fret' that might not mean anything to a keyboard player or a trumpeter but they would understand 'I'm going to play this up a semitone' so some theory is that basic vocabulary even if you play the same old licks you did before.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.