You are so welcome, Michael. Glad you found the channel!

I Agree 100%. Great content presented here.

Haha! Right!?

Wow, thanks Jen! I really appreciate that, and so glad you enjoyed (or cried) for this one :)

So grateful to hear this Stephen, I’m glad this got you motering down the line again! Love that clicking!!

Thanks, Adrian, that means a lot to me.

Hey Ari! Good to see you lurking about, hope all is well, glad you enjoyed this one!

Nice catch!! Thanks for all you do JG!!

This idea is easy to see and understand, takes a little while to get it working, but then, you will NEVER see a chord progression the same way again. Glad you're here, Franco!

You bet Tim! Yeah it was a cool live stream, great to see so many new faces too. Thanks for being a part of it all, Tim!

Thanks Bubba! Keep on tugging! Thanks for all your support!

Glad you enjoyed it Timmy, good to see you here again!

That is a treat to hear, Ali. Thank you!

I really appreciate that, Kevin. Thanks for watching.

My pleasure, Steve.

Cool, this is a subject I can go on and on about, so more coming for sure!

I’ve got a lot planned! Glad you enjoyed this one, Isaac.

Welcome aboard! Great to hear about your progress. And yeah, this SG is pretty lovely, thanks!

Thanks, Michael. I appreciate that and I’m glad you’re here.

Oh, thank you, I appreciate that. Glad you enjoyed this one, Jake.

Glad it was helpful, Brian.

Oh yeah! Being stuck sucks. I'm glad this looks like it'll un-stick you, Samuel!

You bet!

So glad you enjoyed this one!

Thanks, David. I appreciate the compliment and I’m glad you got some value from this one!

That’s great to hear,Dirk. I hope this helps them stick

Glad I finally hit one for you, Rajesh! This technique sticks with you for the rest of your journey!

Thanks, Matt! Glad you enjoyed this one!

Ah yes! When you SEE it...THAT's the moment. So great to hear that, Chad!

Only because, I myself, am a knuckle head. At least that's what my dad called me when I was little. Don't worry, he was smiling when he did :)

You bet, Andres!

:)

Thank you, Joe! Glad you enjoyed this one

Thank you, Joe! Glad you enjoyed this one

Good call! A Dorian is clearly a great way to look at it, and arguably a better way. The reason I chose G Major was to avoid any "modal confusion" that folks might have. Glad you enjoyed this one Andy!

Wow, thanks, John!

Thanks Mark! I'm happy to share it all with you.

You are welcome! Happy that this one landed well GB!

Excellent!

Thanks, Pete!

Thanks Jacob!!

Glad you enjoyed it, QBRX 2157! 💡

@@curiousguitarist Is there a formula for figgering this out, or do you just have to look at all the chords in the arrangement?

@@QBRX it gets easier the more you do it, but yeah, gotta think about the chords. The best way to do this is to take small progression “chunks” and work them. This helps get you used to working on a “cadence” (like V I for example) AND it gets your brain learning this new cognitive skill.

@@curiousguitarist OK, more work ahead. Thanks for the enlightening!

Thanks, I love this thing. The neck is so great...a little wider and a little flatter, but not a shredder profile.

@@curiousguitarist very cool ! I’m looking into the SG Jr. I have Fred Flintstone hands… so the smaller the neck the better !

Ha!

Oh really? What a coincidence!

@@curiousguitaristlol

It gets easier the more you do it, but it does take some deductive reasoning and a bit of theory knowledge. Every Dom7 chord is the V of a major Key, so THAT is a great indicator right there any time you see one!

@@curiousguitarist That is a great tip! I've used it when learning songs by ear but never thought to apply it to soloing. Thanks again!

Well ANY Dom7 chord is begging to be found as the V of a key. So when you see THAT, just use the circle of fifths to "drop down" to the parent scale. In this progression that was the trick I used. My son is in charge of keeping me humble...you can thank HIM for the bloopers :) HAHAHA!

Audrey, 👍

ANYTHING for YOU Robert! Glad you enjoyed this one...let's work on it next time we're hangin' Tacos and beer?

@@curiousguitarist Def!

That's a huge compliment Mark...humbling. Bloomfield and Greene really helped push the blues into the hands of the electric guitarist. Now I gotta go listen to some of that!!! Thanks, Mark!

@@curiousguitarist 🙌🏻❤️

I don’t know about “quick” in this case. The thought process for me is that when I see the minor progression is “Dorian” I know (from modes study) that the scale is the second mode of the G major scale. That leap gets smaller and smaller the more you work on piecing together the origin of the chords in the progression. The ONLY key that produces Am and D7 is the G major scale.

Fantastic context! Great comment.

Faded Pelham Blue. It sure is pretty!

I'd start with these: 1) Learn a few songs to incorporate chords and some rhythm 2) Map the major scale and the minor pentatonic scale over as much of the fretboard as you can 3) memorize the natural notes, open string names, and the formula for the major scale 4) Start mapping triads on the neck. THAT should keep you busy :D

@@curiousguitarist thank you!

Hi Michael...I started a few years ago when I retired (73 now). The first year or so I got familiar with all the cowboy chords and then the bar ones. I bounced around for another few months trying stuff out but not really having any direction, and no teachers around. My break came when I started learning the pentatonic scale and found after a while that I could play along with a lot of blues songs, simple stuff but really satisfying. I'm trying to get my head around modes right now with not of lot of luck, but persistence pays in music :) All the best.

@@Bob48 try this Bob: kzfaq.info/get/bejne/rJZho6qDrcrSl2Q.html

@@Bob48 Thanks for the advice and well wishes... I regret not starting earlier. But like they say, the next best time to learn something new is now. Yeah I got kind of frozen on not know where I should start out. So I've been doing a lot of starting and stopping. I figure If I had some structure I could focus and have some goals.

There’s a lot going on here, but the bottom line is that Am and D7 are built from the Gmajor scale. It’s a “2 5” progression. One thing you can do to help is to play all the chords in every key a few times. That kind of exercise really helps to demystify these progressions. Hope that helps!

Its totally stock, but man the neck is badass! Slim bit not thin, wide at the nut, and the body join at 22 is sublime.

@@curiousguitarist That surprises me. It is noticeably wider than most standard SG necks with little or no taper. What year does the headstock serial show? I know you got it on Reverb so they must have really changed the neck design in the last 10 years. It's really sharp.

@@donlessnau3983 it’s a 2019

Great description! As far as identifying what scale works the best thing to focus on is learning the diatonic chords (all the chords in a key) and what order they come in. It’s always the same, for every key. So that Am to DMajor can ONLY happen in the key of G.

@@curiousguitarist Rereading this comment the next day and you can see one of my problems right off the bat. I said F#Major... When the relative Major to A minor is C Major.. I kinda know this stuff but it doesnt come to me fluidly... The way I learned was to pick song out off the radio and/or look at tab.. When I had to solo over something, Iet say in A,,, I never really thought about if it was major or minor, I just took up real estate on the 5th fret and started blasting away and then I thought maybe its because I was using the 5 pentatonic positions instead of the whole diatonic scale. I never really took the time to learn music theory. As I look back on my playing career,, I know now thats what has stopped me from really being great. And dont get me wrong, Im no slouch,, I just cant seem to improvise to the standard that I think I should.. the best way to describe it is Im following scale patterns blindly and always hitting bad notes unless I work something out ahead of time.. But I cant really do anything off the cuff with any measure of accuracy... Here is an example of one of my audition videos to give you an idea where Im at.. kzfaq.info/get/bejne/frSma7KQsrfXaZ8.html

@@oldmanpatriot1490 yup, settling into the difference between a scale and a pattern is a huge leap forward. A scale is a discrete set of pitches that all relate to each other. Knowing those relationships allows you to choose great notes as the context presents itself. A pattern is generated from all of those notes laid out on the fretboard in every place they can be found. In that light the notes have no context at all, just visual distance. Take the journey solo and analyze when notes Schon is choosing to end phrases on, and relate those to the chords underneath them. He is a master of targeting notes that have musical context. You’re definitely no slouch, just shift your focus for a bit from the technical to the musical context and it’ll all come together.

@@curiousguitarist Thank you.. I am finding your channel very informative... Its definitely not a quick study type thing..

@@oldmanpatriot1490 yeah, for me, if it's worth having...well...it's worth working your butt off for.

Every dom7 chord is the V in a key. Just look down a 5th from that chords root and that’s your major key!!

@@curiousguitarist so you mean the fifth of the five chord ?

@@Stevehando.guitar perfect!

@@curiousguitarist thank you so much! What a great lesson 👏

@@Stevehando.guitar It seems that Chris rushed his answer - Actually he said "look DOWN a fifth" (down in pitch) - so the root of the overall key is the 4th of the V chord (if you're moving up in pitch). Going down a 5th and going up a 4th lands you on the same note, albeit an octave apart. The '5th of the Vth' would be the two chord, if you're not changng keys.

Thanks Red! Hope all is well!

Glad you enjoyed this one!

@@curiousguitarist I spent overnight really embedding the idea of moral change from your last video I I am familiar with it but you just confirmed it for me. Thanks!

Great suggestion...something like....this? kzfaq.info/get/bejne/l6iqpaR_tdy6pIE.html

A minor pentatonic works nicely there, but if you want to retain the A major sound I'd focus on playing more chord tones to help outline that change. You could also just swap between A and C major pentatonic.

@@curiousguitarist Cool! ill try that.

BAM! So right! I was going to use a Santana-inspired riff as an example and I forgot to do it!! DOH! Thanks for the context!!

Originally it was coined from a single song called “I Got Rhythm” by George Gershwin. But at this point the term has been generalized to encompass playing melodically and intentionally over any chord change, and usually including the method of targeting arpeggios or single chord tones from each chord.

The "third" of any chord designates whether the chord is major or minor, so it's a substantial sound to go after when targeting a chord tone. As the diagram shows, that minor pentatonic scale has the Root, 5th, and b7 of the D7, but that 3rd has to be "added" there in order to target that note specifically. Hope that helps...let me know if you're still confused.

@@curiousguitarist Understood. Thank you!

@@JaysonT1 of course!

You are welcome.