For some reason, moving the scale around methods never got me sounding the way I want in my head, for me it wasn't until i started interval training and learning the relationships between the different notes that get me where I don't think about the fretboard, I prefer to hear/feel my way through the notes, then sometimes we all have licks arpeggios or scales we fall back on to reset but I think that's impossible to avoid especially when playing really fast notes all over the neck For axample, when soloing over mixolydian mode instead of moving the scale and finding the root note, I keep everything the same and flat the 7 instead, it's the same notes but my playing sounds much better moving notes rather than scales

Something your girlfriend rarely says about your.......

you lost me bro.

Great explanation of a semi abstract idea. Thanks!

@@jeffdubuque3755 the 2nd note of the first diatonic (aka modes) is the first note in the 2nd scale. The 3rd note of the first is the 3rd scale. If you stacked the 7 diatonic scales up on a sheet of paper you'd notice the shapes (3 notes each string) fit like a puzzle. Now think of these 7 scales (shapes) different colors printed on plexiglass. They stay in the same order no matter the key, you slide the plexiglass up the neck and down depending on the key. In addition, the 5 pentatonic scales are found inside the diatonic scales with 2 half steps removed. Pentatonic scales linked by stacking, 2nd note of the first pentatonic is the first note of the 2nd and so on. Pentatonic = stacked Diatonic = overlapping Starting on the 1st fret. 1 3 5 diatonic 1 Low E 3 5 6 diatonic 2 Low E 5 6 8 diatonic 3 Low E 6 8 10 diatonic 4 Low E 8 10 12 diatonic 5 Low E 10 12 13 diatonic 6 Low E 12 13 15 diatonic 7 Low E They overlap and interconnect. And these 7 scales stay in the same order and move up and down based off key. Like they're printed on plexiglass. Like one giant scale. Diatonic position 1. Diatonic position 2 starts on the second note on low E, and so on. They overlap. E • • • B • • • G • • • D • • • A • • • E • • • If you draw this on paper you can easily see it.

I realized long ago that legends like Hendrix or Santana could do what you describe, playing interesting variations just using a few notes in one position. Simple isn't easy! So many players try to cram in as many notes as they can. Rhythmic spacing is what makes simple riffs interesting.

@@stickmanmusic5840 yup. Here is a little experience I had 30 years ago: some friends of mine had a band, and they got a record deal with Geffen Records. Their music was more in the vein of Guns and Roses than Motley Crue or Bon Jovi. They were more “roots rock”. Their second guitar player departed the band, and they were looking for someone to fill the spot. And they said “hey, let’s give Pete a shot”. They had heard me practicing for 2-3 years, shredding Yngwie Malmsteen licks and other Shrapnel shredders of the era. They thought I could really play. So I go to their rehearsal room to audition. It didn’t go well. (In some fairness to me, it was a last minute thing, and they didn’t give me any tape to learn any of their songs. Nevertheless…) So the other guitar player shows me the chords to the first song. Then the band starts playing. I’m supposed to just play along, embellishing what the lead player was playing. I didn’t have to learn any pre-arranged parts or anything. They just wanted a player who could “jive” with them. I totally choked. I’m trying to play fast scaler stuff over a simple 3-4 chord progression. I wasn’t playing with the groove. I was playing minor scale stuff over chords that needed major pentatonic licks. After we stopped the first song, the guitar player (who was probably 10 years older then me, the oldest and most experienced guy in the band) shows me some simple major pentatonic scale and licks, and says “just play this kind of stuff. Real simple. You gotta FEEL it.” And I’m standing there tryna give him lessons in theory, like “well, the melodic minor scale would fit much better over the F chord in that progression”. They didn’t want to hear that crap. Just play and sound good. Anyway, we tried another one of their songs, and the same thing happened. After 20 minutes, they figured I wasn’t the right guy. (Actually, I think they knew after 1 minute into the first song lol). The band recorded 1 album and it didn’t go anywhere. But it could have, and I would have blown my one shot at becoming something. I realized after that, I need to go back to the basics and quit trying to be a guitar hero. Learn to play melodically, and nobody cares if you can shred up and down the neck with fancy scales at 200 bpm. I learned the basics, but to this day, I’m still shredding up and down the neck, playing concerts in my basement to an imaginary crowd of 10,000 people. The shred thing can be a hole that swallows you up and holds you down to a fake premise of greatness.

Maybe I should be grateful I can't shred. I have to play melodically. Your story reminds me of a guy I played with in a band. He would overplay beyond his technical ability. When we'd suggest simplifying his rig would make his job easier, he would give a lot of theory. The difference between theory and practice is in theory there is no difference.

@@stickmanmusic5840 haha. I like that one. Going to remember it.

There's a girl on KZfaq who does that-Mimi. She really plays the most soulful licks. Sounds like Jeff Beck crossed with Santana.

Then after that, i realized that actual music is created in the mind, and not on the fretboard, and I started looking for the melody….

@@nomandad2000 That's a big one... I know singing works with creating melody, but I wish I was a better singer.

@@HigherPlanes yea, definitely!!!!

@@nomandad2000 Rock on, my Dude!!

Find yourself some videos explaining the circle of 5ths for songwriting.

@@MrJohnnyDistortion thank you

@@SubsurfacePodcast Greetings from Tampa Bay

@@MrJohnnyDistortion Small world. Me too. I live in Wesley Chapel.

@@SubsurfacePodcast West Paso.