What do Roy Buchanan, John Cippolina, and Spaghetti Westerns have in common?

Is it this?

Part of my challenge with the minor pentatonic scale is in knowing the relationships/ intervals between the notes. Because the root of the pattern moves the pattern is 1,3,4,5,7, as compared to the major pentatonic which is 1,2,3,5,6.

This is one of those things that I understand mentally, but in practice I am still having to learn.

Thanks for tuning in!

Always up for a cheap trill, for this exercise I wanted to keep it simple with a C tone pad. Then working up and down the Cmaj pentatonic shapes.

I really like the combination of a lot of overdrive almost to the point of fuzz, and the jazz circuit on the Jazz Master. Some people refer to this as a muddy tone, but I find it is just perfect for taking off all of the edges on the overdrive to achieve something like a cello or a string instrument sound. Of course, ironically a guitar is a stringed instrument… but I think you know what I mean.

Clarence ‘Gatemouth’ Brown gives a BREATHLESS performance while Roy Clark and the band keep the train rollin’ on time.

Clarence is a multi-instrumentalist who has a unique finger style. His phrases are tasty as they are fast. And yes, in case you’re wondering, that IS a leather pick guard!

Oh, and Roy Clark ain’t that bad. 😂

Buckle up kids, we’re taking the A-Train

Two keys, the 5 major chord shapes and their associated pentatonic patterns.

I try to express how I see the pentatonic pattern in positions Hamburger and Hotdog. Two interlocking rectangles that flow across the fretboard. By the way, in my case these are vegetarian hamburgers and hotdogs! 😁

Hamburger is a set of six notes in a 3 across and 2 down rectangle. Each set of notes are a whole step apart, and the one is in the upper right corner.

Next is Hotdog, a 2x2 rectangle where each pair is a minor third apart, and the one is in the lower right corner.

So if we can find the one of the chord we can easily find our way through the pentatonic pattern.

That’s my two cents. 🤙

Experimenting with Pentatonic scales over an A7 backing track.

First is the A major pentatonic scale. Then the D major Pentatonic scale because that is the key this is in. Next things get interesting! G major Pentatonic. This is because G is 7th in the A7, AND it is the fourth degree of the key of D, making it a major.

Next I got to a Major Second, E major pentatonic. This includes non-diatonic notes, but also works because it’s also the 5th of A. I’m sure someone could explain why tis works, but whooo-eey! I like it!

Finally it’s just all the notes of the D major scale.

Haunting, achingly beautiful, exquisitely crafted.

The tone is in the fingers, the song is from the heart.

Chose the key of C major, and its relative minor, A minor. This way, the pentatonic scales are connected between the major and minor. It’s all one pattern.

Would love some feedback on ergonomics. While making many of these chord shapes, especially the fifth position of major, and first position of minor I found that my hand was really clamping down on the neck. This of course, makes it very difficult to move between shapes fluently. Also, I am continuing to get a buzz on the G string when I use a barre chord.

So far my solution has been to try to make adjustments to my guitar strap. That has helped. But I would love some more feedback on how to properly position my thumb on the back of the neck, and any other suggestions.

Thank you in advance!

I posted an earlier video with just the major shapes. This is the minor shapes, and mostly so that I feel like I can move onto the next lesson! Lol.

Worked on getting this solo run to take flight for a month. My effort was to create and build energy throughout the solo. One of the unique features of cold rain and snow is that Jerry seems to be playing the D major pentatonic over the D major scale, and the E major pentatonic over the E major scale. Nicely tucked into this structure is that the cord tones align nicely with the pentatonic scales. I also really liked moving through the different effect levels. Enjoy✌️

I feel like I discovered a gem buried in this song. Please bear with me as I try to explain.

So the verses are made up of two couplets. I view them as the D part and the E part, which it is important to note are the 4 and 5 of the Diatonic key we are in.

Now, the D part, “I married me a wife…” is 5 measures long, BUT, the E part is 4 measures long.

Hilariously this means that 5 on the 4 chord, and 4 on the 5. 😂

Oh we goin where that chilly wind don’t blow.

Would love some tips for improvement of the fretting hand, and rhythm. 👍

Fabulous and way too short… but as the man said, you know know our love not fade away!

Love seeing the Grateful Dead being honored as the embodiment and spirit of love and adventure.

Bomp bomp bomp, bompbomp

Feeling a little clunky moving up and down. The rhythm isn’t the same as the song… and yet, I like it. It’s progress.

As ever, I’m open to any suggestions for improvement.

Slow going, trying not to get lost in the sauce.

Really struggled with that Position 5!! It's taken me forever just to get this 90 seconds of gold. 😅 Wanted to post something just to get something up for now, and will post again once I've tackled the Minor Shapes as well. Struggling to maintain motivation, any tips?

Howdy Michael,

Oh sure, you know "Eyes," but this seems to be a refreshing take. Full of guitarobatics, tapping, tone cascades! Fascinating to see how the music of the Grateful Dead continues to inspire, mutate, and invigorate. Enjoy!

Cheers,
Brian

Rough cut and the struggle is real!

Question: Notice that I'm having trouble with my left hand's pinky. When doing A-shaped barre chords my pinky falls behind the neck, and won't come around quick enough. Any suggestions? I know that you play barres with your pinky. Training tips?

First are the I IV and V in the Key of G. Next is the I iv ii V in the Key of A. While all the chords are used, it is aimless and practically tuneless. Mama said there be days like this.

I have a question. For most of the forms 1 - 4, I can see how the octaves are a part of the corresponding chord shapes. The CAGED chords. However, I have difficulty targeting the higher octave of Shape 5, or in CAGED terms moving from the high octave in the E shape to the 1 of the D shape. It feels like there's a gap in the pattern here. Any help on how to see the connective tissue between these two?

I hope you enjoy this song. It includes many of the lessons learned while completing Level 1 of Guitargate. I've read that by writing down the things you learn that it helps to reinforce those lessons. So with that in mind, here are the things that I was working on.

This is a progression that was made for the "Playing In Key" lesson. It began as a 1/4/5 progression with variations. Michael provided some feedback and suggested to "shoot for a low, middle, and high rhythm part. Or at least a syncopated middle triad part to add to the chords and the melody." I've done my best to incorporate that feedback here by adding the Am section.

Another big effort was to just finish something! I make more than a few mistakes here, and when the time comes, I'll set the record straight. But for now, I wanted to make and record this song, and make the accompanying video at satisfactory level. Making these videos and recording myself have been immensely edifying.

Staying in tune. Seems obvious, but I recorded a lot of versions of the solo and only realized I was out of tune for the last session.

The Spiderwalk and intervals helped with "finger fluency" and finding tones that I enjoy. (Hint, it's the minor third!) Also becoming more aware of strumming patterns helped to develop my sense of rhythm.

Power chords, tone and distortion all play a part here as well. There is what you might call a reversed power chord (G/A) that creates a lovely dissonant sound and the 5/1: E/A grunchy-punch.

Finally, regarding tone. It was fun to play with over-saturated fuzzes, but I really want to build towards working the volume in tandem with my distortion pedal to achieve some grit on the lead parts. Also both parts were recorded with light delay behind them, and reverb was added in Garageband.

This has been a lot of fun, and I'm looking forward to moving into the next lessons.

Thank you!

Note: Actual run time 0:00 - 8:30ish
After that point they go into segue which leads into Mercury Blues. It doesn’t pan out in this video, but will light your butt on fire. Seriously, get the album or listen on Archive.org!

Hi Michael,

Relatively new to the community. Was gifted a lifetime membership for my birthday by my dearest life-long friend, (HI FREAK!) Love that guy!

For this reacts request I wanted to offer you something a little older, a little unusual, and elegant. Zero at the Great American Music Hall in San Francisco, 10-15-92. This video is excerpted from a three night run that culminated in the “Chance in a Million” album.

When considering what to say about Steve as a player and this performance, what I appreciate about his playing aren't things like techniques, touch, tone, phrasing, etc. Rather, it is his PATIENCE that stands out to me. To my ear this tune is an event that unfolds over time and space, and for a moment will shimmer and dance for you. My hope is that you’ll buy the ticket, take the ride and perhaps feel a little transformed on the other side.

FYI: quick roll call with a few tasty deets. These ain’t your run-o-the-mill schlubs!
Drums: Greg Anton (co-wrote with with Robert Hunter)
Bass: Bobby Vega (Tower of Power, Etta James, Booker T)
Keys/ Elec. Piano: Pete Sears (Rod Stewart, Jefferson Starship)
Keys/ Piano: Nicky Hopkins (Rolling Stones, The Kinks, The Who)
Guitar: Steve Kimock