I did a sort of free form intro for fun. Then I improvised over a C7 loop.

A younger Grace Potter stepped up and knocked it out of the park on this one. Joe Satriani plays as tastefully as I have ever seen him play. He does one thing at the end of his solo that is...magic. I think it's like a pinch harmonic harmonic and yanking up on the whammy bar or something. It's wild.

This whole performance is magic.

She is relatively unknown at this point. She started a band with my old guitar teacher Scott Tournet when she was going to school at St Lawrence University. They toured Ireland on a self funded tour, then came back and opened for DMB, this must have been shortly after that or around that time.

So, a mortal might have been nervous about sharing the stage with these guys.

She kicks the whole thing off well, everyone is feeling each other out. At 2:06 it is undeniably clear that she means business. Her vocals hit so hard. I love this performance and keep coming back to it. Whether or it makes your channel, I thought you might dig it.

Improvising on a one chord vamp using Maj7, Min7, and Dom7 using the varied approaches discussed in the video. E.g. over a maj7 you can solo in major pentatonic, or start your minor pentatonic/arpeggio from the 3rd

Connecting Dominant 7th Chords in 2 different keys

Connecting CAGED Minor 7th chord shapes in 2 different keys. The concept of two separate triads within these chords is really cool.

Major 7 Chords in Db and Bb CAGED

Messing around with some different tones and adding a Hendrix nod.

Messing around with what is likely a familiar tune. I got it stuck in my head yesterday and I figured I would play it. Shine on.

Messing around with some harmonics. For the spirit of this lesson I plugged my pedal board in and started messing around with some atmospheric sounds.

Minor i iv v in two keys: A and D I believe.

The connections require some work to make them fluid, but, some of the pathways are opening up and it was fun adding tension with the 2 and b3. This is a great deal of fun.

Admittedly, I was getting a bit frustrated with a couple of things, which might be coming through. But, I am very grateful for these lessons and to have a community to share them with.

I connected the Minor Scale in 5 positions in the keys of Gm and Dm. I got a bit turned around at one point in the video. Maybe around pattern 5 in one of the keys. Pattern 5 chord-wise is kind of a pain in the butt. These scale shapes based around pattern 5 though...this minor scale sits really beautifully under your fingers. It feels very parallel and balanced. I am beginning to see ways where this shape can be really useful for solo ideas now in a way that I really couldn't before. I could see where folks with fast fingers might really like pattern 5 minor for legato runs or sweeps.

Improvising over a I vi ii V using the full major scale on the I chord.

Messing around with some legato and staccato techniques. There were times where I was seeing and feeling the connections in a big way. Those pathways feel like they are starting to open up up and down the neck. I definitely lost my spot a couple of times, so, I will be mindful of that. I think I was not anticipating the ii a lot of the time, and then it threw me. I think I was expecting the Em in my mind and instead I got the Bm.

I was trying to get legato lines that would connect through the whole progression, but I could not quite make it through the whole progression while keeping an idea going and shifting the root around. It was fun trying, regardless.

Running Major Scales connecting CAGED Patterns 1-5 in the keys of G and D

Dm, Gm7 Am7 trying out some ideas over a loop while switching between Minor arpeggios and Minor pentatonic.

Here is to wishing I had some Knopfler-like capacity over a groove like that! :)

Minor Arpeggios in D
Pattern 5 and Pattern 1 in Minor keys are often a blind spot for me on the fretboard. Beyond the Albert King box area, those lower notes are areas I would avoid in improvisation because I didn't have them visualized or grooved into my body yet. The connection from 5 to 1 being weak for me was highlighted by this exercise. I am grateful for that.

I go through the Major CAGED Octave shape, Arpeggio, and Chord shape for Patterns 1-5 starting on Pattern 3. Then I play along with a loop that I made for this exercise. This jam got a bit gratuitous, but, hopefully I accomplished the point of switching back and forth between arpeggio/major pentatonic areas.

Making loops is getting easier, and is becoming a lot more fun. I had never really tried using a looper consistently until beginning these courses. This loop still isn't perfectly synced by any means, but, it is closer than previous ones that I have made.

Bb is every guitar player's favorite key, right? I found myself fumbling around on the change to the IV a bit. For some reason I just couldn't quite lock into my body that the IV of Bb was Eb. I will target this key more in my practice.

I am grateful to you, Michael, and to this community, for keeping me honest by making me record these videos for each lesson. It is a really great lesson in accoutability, and becoming comfortable with expressing your own voice publicly.

Major CAGED Octaves and Major Arpeggio I IV V Improvised Jam

P2 and P4 in Major/Minor

Just messing around with some vibrato. I think I am doing circular vibrato most of the time. I could be wrong, though. I really love volume swells. I love players like Mark Knopfler and Roy Buchanon's use of volume swells in their playing. They can make it...Cry and sing. Both of them have inspired me greatly.

Vibrato is one of my favorite things. It feels like you are singing through your instrument.

Minor I IV V in A, I extended the changes to make more time to improvise around certain chords

E shuffle...chunky