So glad I found your channel this is what I needed!! Thanks so much I appreciate you 🥂

cool

Thank u strugeled

Happy to hear that, glad you like them, thanks so much! :)

Just curious why it’s called G form and do on ?

@@satchrules101in case you still don’t know, it’s being called the G form because the chord shape is the same shape as an open G chord. For example, a C chord in the ‘G form’ is when you play the E strings fretted on the 8th fret, the A string fretted at the 7th & the D, G & B strings on the 6th fret.

@@psivil.disobedience thx 🙏 for explaining

Yay Glad it was helpful! ~~ Cheers, -Jared

Thanks so much, Brad!! 🙏 For the feedback and for the support

Thanks! :)

Thank you so much!! 🙏

Wow, that's so great to hear! Thanks for the feedback and congrats on your progress! ~~ cheers, Jared

You're very welcome!

Glad you like it, thanks so much!! :) -Jared

Definitely! I do this with all scale types to get them down :) -Jared

That's very kind, thanks!

Hi Arren, yay! Very glad to hear that this is what you were looking for! :) Thanks for the comments and questions and let me know if you need anything else anytime

Thanks so much, Alan! 🙏 :)

Awesome, thanks for sharing it! I really appreciate it. This is one of the earliest videos I made and I like the method and exercises a lot, but not a lot of people get exposed to it. Glad you liked it. Cheers, -Jared

Glad you enjoyed it! This is one of my very first videos and I love this exercise series and approach. Glad you found it! Cheers, -Jared

Thanks again Jared! this is awesome. I think level 2 is right for me, because I want to be practicing the whole scale of each.

@@elevatorconversation Excellent! You'll be in great shape if you can play through all the scales like that in level 2 and know what root you're playing off of. Awesome! :)

Thank you so much!! 🙏

:)

My pleasure!

Thanks! 😃

Glad it was helpful!

Glad it was helpful!

🤣 Nice! Thanks for watching, Tim :)

Glad you like it! Thanks for watching. This is one of the very first video lessons I ever made :)

Thanks, Blake! I have tons of videos here on the YT channel, some of them go pretty deep, and then I also have courses on my site www.soundguitarlessons.com/store. Thanks for asking :)

Thanks for the request!

That’s great to hear! Thanks :)

:)

Good question! Yep, you can absolutely apply this strategy to the minor scales/chords. ** Thanks for asking -Jared

Great question. Chord extensions like that can be anywhere on any string. Check out my chord extensions explanation video for more thorough info on that stuff if you're interested: kzfaq.info/get/bejne/bbxilbh30se9dY0.html. cheers! :) - Jared

You're very welcome William. Thanks for watching. - it's called a "dynarette". I just ordered it online, if you search that term you'll find lots of places to get one. I use it every day :)

Thank you! Glad you liked it. :)

Yeah, the point is just to stay roughly in the same position to connect keys without big jumps on the fretboard. You can apply the same concept with 3NPS system or on any other position on the fretboard. This is just the way I do it :)

@@soundguitar thanks for the answer! I keep coming back to this lesson since I found it a few days ago. I’ve been improvising with progressions I’ve written and tried to follow the changes, but this is the first time I tried following the circle of 4ths, something I wasn’t entirely familiar with and I was surprised how my well my ear led me and once I started remembering the chord changes I could anticipate where I was going. But holding that generally position is quite challenging, so I’ll keep trying, it’s a great challenge and is breaking me out of my regular scalar patterns.

Glad it was helpful, Ot! thanks for watching.

He asks us to focus on the area of the fretboard where the index finger will be on frets 4,5, or 6 when beginning from the thickest string. The exercise is to get us to play all 12 keys in the same neighborhood to avoid jumping up and down. the fretboard The relationship of the scale shape and key here is only a constraint for the lesson - play all 12 keys in the same neighborhood. To accomplish that we figure out which shape is available to us for each key in the specified neighborhood. Outside of this lesson, we use the shape that makes the most sense for the musical ideas in play at the time. Most guitar solos for rock and metal generally start closer to the nut on thicker strings and then end on the thinnest strings closest to the bridge providing a crescendo and climax. modal variations - If we play a major scale, we have a root or tonic note that is "home", having the "strongest gravitational pull". If we decide to make the tonic the 4th note in the scale instead of the 1 but still play the same shapes, this is Lydian, a relative mode. Jared and many others have videos about modes.

Thanks for the questions! Sorry that it was confusing! The letters on the actual fret notes in the scale diagrams are the root notes of the scales and they are the exact note of that fret. The F on the C form diagram is on the correct fret: Fret 8 on the 5th string and fret 6 on the 2nd string are both F and that's where it's written. The E form is to be used for the key of B major by moving it accordingly (up a half step from where the diagram is written). I hope that helps. Please let me know if I can help clarify further. -Jared

Like you said in the other comment, yep, these are "regular" major scales. The technical term would be "diatonic" major scales, meaning that they include all seven notes of the key, as opposed to pentatonic which only include five notes out of seven. There are other types of scales too, like octatonic, which have eight notes and are called "synthetic" scales which mean that they don't exist in any key but are artificially manufactured. Great scales to focus on at first are: Major diatonic, natural minor diatonic, and major and minor pentatonic. You can do this same process with any scale type and once you do it will be easier to apply it to all kinds of other scales as you wish in the future, like harmonic or melodic minor, or modes of scales.

Here's a video I made talking about modes of scales that will be a good supplement to this video: kzfaq.info/get/bejne/j7aDiLmLzru5iYU.html

@@soundguitar thanks for the explanation. Also, are you going to make a video about how to learn and play the pentatonic scales? ;) if not, I'll figure it out I'm sure. Just thought I'd ask. Thank you, thank you! You're the BEST!!!

@@arrenlenau3077 Thanks for the requests! They really help me decide what videos to make next. I have couple scale videos coming up. I'll include a note about how to turn normal scales into pentatonic scales during those videos. It's really just that if you take away the 2 and 4 of a major scale you have the pentatonic scale :) But explain more in those upcoming videos and talk about how they can be used as major or minor (which uses the same logic as the modes video approach). Don't hesitate to request a full-on pentatonic scales video even after those if you still want further guidance on them. And of course let me know if you have any other questions anytime :)

Excellent question! I'll do a follow up video specifically on mastering the major scale forms all within one key instead of changing keys. It will draw from this method by having us view the location and scale form off of the roots as we did here. In short, you'll find five roots of the same note along the neck where you'll base your five scale forms off of for that key. I'll explain in detail in the follow up video, but hopefully that can get you started thinking about it. Thanks for the request!

Here's that follow up video: kzfaq.info/get/bejne/frWWn7N2ppzJioE.html On how to work on the scales forms all within one key and switch between the different shapes. Hope it helps! let me know if you have any other questions any time.