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Mr. Stine. I've been playing guitar off and on for 13 years or so and can move my fingers well but have never had any sense behind it, unless I'm playing somebody else's creation. Your videos have been tremendous help and it's all coming together very quickly. I wish I could shake your hand, but this will have to do for now, thank you very much!
I just want you to know that your lessons are remarkable. I have found that other lessons are either void of the knowledge I need to advance or that the teacher is an excellent guitarist but a horrible teacher. The information you present is very approachable and applicable, and I am getting a lot out of it. I am excited to see where this takes me as I am currently a player with the "blinder syndrome" you spoke of. Thank you so much for your excellent contribution to the musical community!
I absolutely love this fretboard mastery lessons. Steve can't thank you enough. it's part of my daily practice every day. it is like walking out of a dark closet. everything is very well taught
you are an amazing teacher Steve, is very easy to follow what you say. Thanks for doing this, you are helping me understand some concepts I should have learned long time ago. I needed this to move on to a next level
Looks like 5 ppl have no idea of what a great guitar teacher is. I've stopped playing more times than I can remember but your lessons have kept me going because I'm always learning some new. Thx so much Steve! You're the best.
I've been going at it the wrong way round for about 3 years... I've learnt all my favorite licks and breaks but have not learnt all of my chords or my fretboard yet. What it basically means is that I can play the shit out of the songs I know purely out of muscle memory, without having a musical understanding of what i'm actually doing on the fretboard. On the other hand, if someone was to ask me to improvise in F# I wouldn't have a clue where to begin because i have no reference to where F# is on the fretboard. Brilliant approach and brilliant series! MUST LEARN FRETBOARD!
One of the things I love about your videos is the fact you acknowledge what seems like unimportant details that are actually pretty big. "Learning to pause" has never stood out to me or been pointed out, yet looking at it now I see how important it actually is
Wow your lessons have so much information in such a short amount of time! Thank you so much for these extremely informative lessons, they really do help so much and you are an excellent teacher.
Thank you Steve. Its my second week of learning the guitar. I am a piano teacher myself and know the theory, improvisation and all scales very well. This lessons are moving me so fast to the next level. The practice is the main key. I was about to give up but then it all started to make sense, my fingers are getting faster, can see the patterns more clear, figured out Lydian and other scales. You are a great teacher.
I have been trying to understand the guitar for a while now and I'm thankful i came across your videos. You really laid it out so plainly and make it so easy to understand. Each lesson builds on each other and I can see actual progress. You're a great teacher, thank you!
Best lesson series for guitar I've found yet! I have technique down pretty well and I know some theory but, I need to learn more theory on guitar (like memorizing the notes and stuff) and more scales. In conclusion, great series! :)
Hi Steve, another quality training video. I have picked up so much from you and the systematic way you break guitar lessons down, 'it just works'. Thanks again and please please keep posting your tutorials.
On another note, not to make a pun! I'd love to hear you do a mimmic of Neal Schon, with Journey, and speak about some of his techniques on the fretboard. Journey is my all-time favorite group. Great musicians and singers. Would love to play there music in the future after taking your lessons. Just watching an overview of your first three lessons on the mastery of the fretboard before I get started. learning a great deal just by listening without attempting anything at this juncture. P.S. Going to watch Journey be inducted to the Rock and Roll Hall of Fame this evening. Well over due! Keep up the great work Steve!
Just wish you would slow down a bit when you show us things. I am a bit slow to learn. I noticed with your short hair( piney tail) I am learning faster because you are taking your time. Thank you. I am 64 and trying to really learn what I have been doing the past forty years. You are an excellent player and teacher.
this is an old comment and someone correct me if I'm wrong as i'm just learning intuitively and with a tuner as I'm a beginner; but you'd be looking for the C note in the pentatonic major and Eb note in the pentatonic minor in each shape. I assume this since the octave he is mentioning is both in Eb and each shape plays the same notes so I think what I'm saying is correct. Again someone correct me if I'm wrong but it sounds (literally) right.
BPM ultimately determines what types of notes are even possible to hear. At 75 bpm, 64th notes become impossible for the human ear to distinguish. At 150 bpm, 32nd notes become impossible to distinguish. At 300 bpm, 16th notes become impossible to distinguish. At 600 bpm, 8th notes become impossible to distinguish. 1200 bpm would make the beat itself impossible to distinguish, at which point no one would be able to follow the metronome.
Hi Steve, What peddle setting are you using? I play a blues and jazz sound but could add some of that sound into some of my riffs. I use a Les Paul Studio mostly. Thanks again for your time. Barry
You mention having a "picture" of the blue note in the five penta shapes. Where would we find that picture and other materials that you cite in this video?
Hi Diana, you can see a written version of this lesson, with tab/notation here: www.guitarworld.com/lessonface-steve-stine-achieving-absolute-fretboard-mastery-part-3. There are different versions of the graphics in the slideshow at the bottom of the article.
Ah so you did work for Guitar World. I said once you have better teaching than any Gtr World ever had on a regular lesson basis. lol removing foot from mouth now.
I am not able to find a diagram with the blue note illustrated in all 5 positions of the pentatonic scales. Please advise if it is missing or am I missing something?
Quick question ( superb lessons by the way) you use the A pent if ure soloing in the key of A, yes ? I've learned the five positions but is there 5 positions for all the others too ???? Like five positions for C, E, etc . thanks again for the excellent lessons
Yes that is accurate. As he stated in video one some keys are the same such as the key of C major is A minor and A major is F# Minor. So if you are soloing in F major it would be safe for you to use Dm.
Yes there is five positions for all the keys, sharp, flat, major and minor. your are using the same exact scales. the difference is where you start. If you start with key of "A" the first position (root note) is at the 6th string 5th fret. You play the first pentatonic scale pattern. Behind that (going up the neck) you play the second pentatonic scale, then the third, fourth and fifth, in order. if you have not run out of neck, then start over at 1st pentatonic again and continue. If you want to play key of "C" start at the C note 6th string 8th fret. then follow the patterns up 1, 2, 3, 4, and 5, from there. If you want to go down the neck, in Key of "C" (or any other key) just remember that the fifth pentatonic scale pattern is in front of (going toward the nut) the 1st pentatonic pattern and you play the 5th pentatonic pattern and go down 1, 5, 4, 3, 2, 1 until you run out of fret board. There are only five patterns period, not 5 patterns per key per scale. it is where you start the makes the difference. Hope that helps.
Steve, I'm confused about the "five" positions of the minor AND major pentatonic. I thought there were just five postitions/modes. Can you please direct me to a chart of these? Thanks for all you do , Steve.
+Paul Johnson There are just five "shapes." In A minor, the root shape, or box, begins at the 5th fret - an A note. To play the Major shapes, just move the five boxes down three frets, to (in A, again) F# minor - but emphasize the A notes. The A minor notes are A, C, D, E, and G. Moving down three frets (to F#), you get A, B, C#, E, and F#. How does that work? Compare both Pentatonic scales to the A Major scale (or A Ionian Major mode - same thing): A, B, C#, D, E, F#, G# The third of A Major is C#. We can see that the A Pentatonic minor has a flatted 3rd, C, while the A Major Pentatonic has the natural 3rd, C#. The Pentatonic minor is also spelled 1, b3, 4, 5, b7, and the Pentatonic Major is 1, 2, 3, 5, and 6. So, learning the five box shapes gives you both Major and minor scales, in all twelve keys.Keep this in mind: Most, if not all, practical theory can be learned by comparing everything to the Major scale.
The positions are exactly the same, just shifted. So the "DO" or root note of the scale is A in both cases. Technically, the difference is that due to the shift, the major pentatonic (the one the starts in F# on the sixth string) is played over a major scale and the minor pentatonic is played over a minor scale. To get a feel for the difference in sound, in the major pentatonic, strum the "A" chord as the first beat, then meander for a couple of bars, then strum the "E" chord as the first beat and meander for a couple of more bars, then repeat. It will have a major sound, and it will lead you to resolving in the A generally speaking (as opposed to F#, which would be playing in minor pentatonic). Next, shift to the minor pentatonic for A, i.e. starts on A of the 6th string. Play the same as above, but play the A minor and the D minor as bar chords instead of A and E. Your meandering lines will intuitively resolve to A.
I've started to learn from your videos, and they're great so far. One question, if I am playing in A Major, can I use the A minor pentatonic scale (starting on 5th fret of the top string) to solo or will it not sound good because I am putting a minor scale over a major key? Thanks
+Steve Zeagman You may want to combine the scales. Looks like Steve has a video on doing that. However, make sure you've learned both separately first.
I'm a year late, but I use his lessons as a reference book. Like, make sure you know this before you go to the next thing. Although he says flatting the 5th is something he'll go into later when it comes to theory, if you use your basic pentatonic scale chart, find the 5th note in the key signature and make it flat. Like C major (CDEFGAB) G would be the note to flat.
are the blue note the d sharp all over the pentatonic scale? cause i cant find any charts but i noticed that both of the blue notes he showed was a half step up fro a d note..
depends on how you look at it ;). For the A minor pentatonic it's a flat 5th, so I would call it an eb. For the A Major pentatonic it's the flat 3rd, so it would simply be a C.
yes for example In every position of a minor pentatonic it's d sharp/ e flat an for example in g minor pentatonic it's c sharp/ d flat. so it's the fifth whole note after the root note flat in minor.
Depends what key you're playing in. E flat isn't the blue note for every key signature. That's why he says it's a flat 5th, it's flatting the 5th note in a key signature. Blues isn't really universal though, this is just one scale a lot of people use across all types of music
Definitely watch this Paul Gilbert's lesson after this one: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-M5noC3Xvta0.html. You'll have much more sense and understanding about adding the blue note in all scale shapes.
