Thank you, that's exactly what I need right now. From what I've understood, it's about the mental discipline to have confidence and not be afraid to leave space for the listener, just like in communication.

Daniel, I just discovered you today, late June 2024. I’m about a dozen years into my Guitar Journey know the scales, the caged system, and understand some theory, but I think I found you at just the right time because this is all making a lot of sense! Thanks for all you do!

I’m guessing the altered scale has an exception to these rules; having a b5 and a #5

But I wanna know is why a key is going to be named the key of F# as opposed to Gb. they’re basically the same thing so why would it be named a certain way? Does that matter or is it up to the composer to call it one or the other?

Great video Daniel ... After watching the lesson, and just as an example, I thought of the notes in Ab Dorian, for example, are correctly spelled as Ab, Bb, Cb, Db, Eb, F, Gb and not Ab, Bb, B, Db, Eb, F, Gb Is that correct? 🤔🤔

Just a huge thank you! Clearly explained! Thank you very much! Great examples for intermediate player. I’ll take small bites so as not to get overwhelmed. And then apply through thoughtful practice. ✌️❤️

Just recently saw an example of this, with a Dbmaj7 going to a C7 noted as a C#maj7, in order to "simplify" things for the student. But it made it impossible to analyse the chord progression - which doesn't make logical sense if that chord is a C#. It's like the teacher was saying, oh, you're not quite ready yet to understand music theory, I'll teach you in due time, in the mean time here's a simplified version. But to me there's a great deal of infantile mystification going on around music theory teaching. Great importance is attached to it, a big deal is often made of it when it's hardly more complicated than multiplication tables at its core.

This kind of stuff was obvious about 2 weeks into learning music theory 3 years ago for me. I started looking at it this way personally and whenever someone needed to know, I just told them how I looked at it and translate it to however their understanding of keys worked and I'll call it by what they need me to.

When you like this video, you're sharpening it.

Im just getting my head around what im thinking is the way to go, then you remind me about this, which i thkught i had you know accept in order to progress, and i get your point because i understand that music- it is all relative so why not have a flat C in stead of a B and a B at the same time, etc, so this is where im at, and now wondering how does this apply to this that im working on, been working on for years, lol, but if theres a better way to understand where to move to next in a solo over a chord progression and make it sound better or help me move around the fretboard smoother, im all for it but how does it really affect how and what ive been spending years to memorise, i get it- Everything is relative to the root note. All the 7 note scales from Ionian- locrian, Then these same concept/ different shapes; 5 note scale x 2 both same shape & moveable relative to root major pent scale, R 2 3 5 6 minor pent scale, R b3 4 5 b7 & 6 note scales x 2 both are same shape and moveable relative to root. major blues scale, R 2 b3 3 5 6 minor blues scale, R b3 4 b5 5 b7 Then all the more commonly known 7 note scales... Ionian - I in G Dorian- ii in A Phrygian- iii in B Lydian- IV in C Mixolydian- V in D Aeolian- vi in E Locrian- vii in F I just copied these Scales from a chord chart, all have the same patterns that are relative to its major or minor formula, The root, and, the number of notes including the root in the scale before the end note therefore repeating/reaching the catalyst in the mathematical cycle, giving it the shape a scale has on the fretboard all 3 mainstream cases Major/minor pentatonic 5notes Major/minor blues. 6 notes Dorian to locrian. 7notes Doeian to locrian can be major or minor not sure if the name of the scale according to the chart say ionian in Gmajor is meant only to be recognised as G major cant it be G minor? Or would it mean it would be labelled with another specific scale name? Making these scale names exclusive to the key=root note? Is this where allowing all of the musical alphabet letters to all have flats/sharps comes in, maybe? I love how these scales very similar even the differences between the pentatonics and the blues scales have so much in common to the ionian etc, because its as simple as A to G, then repeating patterns that can be moved from headstock to heel causing relative relationship to change giving music its infinate posibilities and so when you lay every scale out on the fretboard at the same time the only difference is the shift when you change the root, from there everything is move up or down, but what happens to all of that when you add flat C etc? And will it not just mean changing the shapes a little or does it require a bit more lateral thinking, outside of the box, which im all for. If i can use this to make my music on my guitar sound different in a good way then im all for it. Btw thanks, i liked your video on this because ive thought about this exact thing mostly in order to understand everything ive been working on learning and applying. And its also good to mix it up a bit keeps it fresh.

A sharp is a sharp a flat a flat and a rose is just a rose I started by finding The a to g In whatever pattern was needed depending on the positioning on the neck so I would call a share of a flat and a flat a sharp and as I learn more I realized some players know that 🎶 In their brain as a sharp or a flat depending on previous note not so much the scale But we was jamming And needed to identify the quickly and easily so step up or step down Peace ✌️☮️

2:43 Sorry, Mr Math Teacher here! I agree totally with fighting the racism towards E# or Fb and the other ones, but to me your first rule is not a rule per se but a consequence of some other rules.Your rule #1 is very true indeed but is not necessary to define the major scales, like your «rule #3» is redundant. Rule #2 is also a consequence of rule #4. I would also have added that the notes should follow the semitones template 2-2-1-2-2-2-1.

Remember, when crossing the street, you better C sharp or you could B flat.

That’s where it goes wrong in the circle of 5ths. That magical wheel has only 5 flats/sharps

i still dont understand why there is flat and sharp both. because instead of one time saying g sharp, and one time a flat.. its both the same just make it more difficult?.. or do i say something stupid here and i miss something

And this is proven when you look at key signatures in standard notation.

Really groovy