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I’ve just been playing around with this and I’ve realised it’s the position (in A) for playing the lead guitar in Get Back. Now all my noodling sounds like the Beatles rather than Led Zeppelin!
@@MarkZabel just discovering you. Can u please teach me Penatonic With tablature ? I'm about to watch this blues box. Is there a pdf for tablature ? Respectively J-9
More of My Lessons: ru-vid.com/group/PLSVfUQKkNUqZpmDOdiyuUDW-qklJdM2fW Mark Z’s Guitar School: mark-z-guitar-school.teachable.com/courses Please help support my lessons by donating here: paypal.me/MZabel335 Get TABs here: tinyurl.com/ybpzjuwm
Mark, God Bless You. I have been a pro Bass player for over 50 years. I read music and now I am studying lead guitar. Mark, your video instructions have opened up a New understanding for me. Thank you, Mark
Hey I love your stuff man, Im 58 stroke surviovor strumming hand affected but getting better. Your showing me stuff Iwould have love to have known at 16 yrs old. Thanks Kelly
Hey Kelly, keep at it, man! I didn't have a stroke but I have trigger fingers on both hands and carpel tunnel on both. Waiting for the long road to recovery after surgery. You've got this!! How have things been since your one year ago post?
Love your videos. So succinct and helpful… stuff you can jump right into and start enjoying right away… and so clearly explained. Plus, you just seem like a really nice, humble guy, someone who would be fun to sit and jam with. 👍👍
Just play a minor pentatonic scale, G blues...play a G Minor pentatonic G Bb C D F G For G country progression , play G major Pentatonic G A B D E G for a G Jazz Blues, play a G blues scale (Minor pentatonic plus tri tone) G Bb C C# D F G
Thanks Mark! Thumbs 👍 on this lesson. And thanks for breaking out the gold Gibson! I've been using this concept since you out the 1st lesson, it cuts ✂️ straight to the Chase! 🖤Kris IL 🦋💥🎸💥⚡🐉⚡
Just stumbled across a couple of your videos. Very nice Mark! Unlike too many guitar teachers, your no-nonsense practical instruction techniques, can and will actually help countless numbers of players at all levels. Thank you and keep doing this. You are providing a valuable asset to many!
nice vid...love the comments about moving away from theory to "emoting"...in the long run, the goal is to move away from thinking, and more about "feeling", which is why i think Blues-based is so foundational to playing in general...
Thanks Steve! I agree with your comments. Music is a physical, human experience to share with fellow humans, not a math exercise. (I love math and all, but I don't love listening to it! :)
At first I like, well you just switching to the major, but after trying it I can see how moving up a whole step compliments the music really well, without having to think about it. So thanks for this. I will add this trick my hat!
I love the graphics! Great lesson! I love that chord progression. And I like the the hammers you went to on that tailing off response riff you did on Whole Lotta Love. I'm going to steal that😁 I like that better than that kind crazy he did on the recording. A better way of saying the same thing
The Best Channel on the net bro for beginners and intermediate guys like myself,,,I wish I took the time in my younger days to learn more theory,,, but when your young you just want to play,, lol. ,!!!! Keep up the good work Mark. !!! You are a great guy and helping many of people become better players bro,,you should be proud!! 😎✌✝💕@@MarkZabel
Wow just discovered yr channel Mark…..really love yr way of putting things across. No bs style and you really made me feel comfy in trying to extend my playing, as I’m campfire player at best haha…..however , this makes me feel I could stretch a wee bit further. Ty.
You are so right Mark. I use that all the time but didn't "know" what it was. BB King way? Ok no problem! I'm cool with that. Thank you man! Enjoy your Sunday😁🎶
Good stuff for sure. Just using the B.B. Box and a little more. That's why it's important to get away from theory. You don't play like PG by "mathing it out". It's a lot more than the notes he played.
Ol time blues are cool for just one or two songs..Fell asleep at a BB King concert and i was in the front row...Hendrix had a good one Red house and zeppelin took those ol blues tunes and made something listenable and great..So jam on..
Amazing how sweet and beautiful BB plays the blues; transcending the genre kinda... Blues that not really blues? 💙 RIP Mr. King; thank you for loving the Blues!
Well said! B.B. was the best. Listen to this version of "Nobody Loves Me But My Mother" - B.B. will explain "Blues but not really blues" for you in the way that only he can do it! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SyI8rdWKiTI.html
@@MarkZabel Had the album at one time... I'll listen again now! Sadest/lowest blues lyric(s) of all time... "Nobody loves me but my mother and she could be jivin too!" smile...
Hey Mark, I love that lesson which keeps everything close at hand (pun intended!) but since the “C” shaped chord is a bit more difficult to move your fingers into, I find it much easier to use the “A” shaped chord by moving two frets toward the bridge. Especially if the song is faster. But, I think that continued attempts at the “C” shaped chord will eventually become easier over time.
Very cool. Got me thinking why this shape came about. It’s basically a modified C shape major pentatonic modified by not playing the 3 on the high end but the 4. So you have neither major nor minor because it has no 3. It’s a modified major pentatonic 1 2 4 5 6. Like a neutral power chord with a 2 4 and 6 added. Now the high end of the C shape looks like a high end E shape pentatonic (the classic house)😊
DOH! That moment when, after all these years, someone explains that the BB Box is NOT the same house as the Minor Pentatonic Extention. Thank you Guruswami Zabel.
Yes, it's similar to that and a nice progression among others. Thanks for pointing that out. However, "Please Come Home For Christmas" is by Charles Brown. The Eagles get enough credit (and aggressively enforce their own songs).
Dang right...LOVE THE BLUES...THE BB BOX...THE PENATONIC....and just playing with FEELING,SOUL,AND GREAT EXPRESSIONISM of yourself !!! Music should make ya wanna move,say something, relate to it,etc..... THAT'S why WE LOVE IT !!!! RIP BLUES LEGENDS...RIP Stevie Ray,Muddy Waters,Howlin Wolf,Jimi Hendrix, etc.....and Da list goes ON -N- ON -N- ON !!! STAY SAFE ALL...PEACE...and ---GET YA BLUES ON BABY---AND MAKE EM--"FEEL IT" !!!!!! Later...
Almost, but actually it's a bit different. The usual major/minor pentatonic "upper extension" is the same shape, but 2 frets toward the nut. The BB Box sounds different, because it's not the major/minor pentatonic. If you want, you can think of it as taking the minor pentatonic and moving the b7 to the 6. (In Am that's moving G to F#)
Thanks Angel. Glad you enjoyed it. I do have courses here: mark-z-guitar-school.teachable.com/ I'm working on a more advanced lead course for blues and blues-rock that will be published soon. Members get access early (as I'm building it). Thanks for asking!
I like how the intro’s in your videos are not long-winded and you get right to it. I’m sure we all wish we could have all of those wasted minutes back from those 1 1/2 to 2 minute unnecessary introductions. Much appreciated:)
I appreciate that Jon! I've done too much of that in the past, and I try to keep the whole video tight these days. I still like putting some context in, but I try to keep it targeted. Thanks for noticing!
Hi Mark. It's very similar to that progression. "I'm Gonna Find Another You", "I Need Your Love So Bad", “Darling, You Know I Love You”, and a bunch of others would be the general template.
Hey Mark...Good lesson and tips. I have a quick question for you. What strings are using on that Les Paul you're playing? 9's or 10's? Reason I ask, I've been playing a 1966 Jazzmaster since I was 15, probably had 12's or 13's on it when I was a kid. Pretty much played Fender's my whole life, Tele's and Strat's. I took a walk on the Wild Side this year a purchased a PRS Zach Myer SE Model, 24 1/2" scale, Les Paul Shape, Semi-Hollow. I love the neck on it, as I prefer a little bit chucky neck. It came with 9's. This has been great for bends, but I tend to be a bit heavy handed when making chords, I dig in. Problem is I can make those finger busting Jazz chords sound sickly. Appreciate if you have any advice. PS....And thanks again the the Kid Charlemagne Solo lesson. I finally learned it! It only took me 45 years! Ha!...
Thanks Frank. I use 10s on my Les Paul and other Gibson scale guitars. On the 24.5" I would definitely use 10s myself. I find 9s too "squishy" unless I'm using 25.5" scale guitars.
Greetings Mark... just curious, as I am thinking about switching, but what number are your strings? They appear thinner, and it seems that is best. Thanks
It's a common progression. The one I used here was based off of John Mayer's "I'm Gonna Find Another You" and I got the idea from playing Charles Brown's "Please Come Home For Christmas" (from 1960). Of course I've heard Peter's great tune too.
I think this would have been more helpful with a diagram throughout of the notes played on the fretboard. That being sa I’d, which model and year is your Les Paul? Those are mini humbuckers aren’t they? It’s kewl.👍☮️🌞🎸❤️
Wow! The "Whole Lotta Love" solo is a tough way to begin. Moves all over the fretboard, very loose (some say "sloppy") feel on the open trail-offs, uses multiple scale/chord ideas and requires multiple techniques - especially accurate bends and strong hammer-ons. Hats off to you.
@@MarkZabel, I was experienced.. wasn't a total beginner.. it's just the first one I learned all the way thru... Hideaway by Freddie King was the first song i learned all the way thru, lol I learned them step by step from youtube videos
Hi Matthew. I have a number of beginning blues videos - ones that I did late 2020. Here's a play list: ru-vid.com/group/PLSVfUQKkNUqYZleav3HIM6ra-a420ZaTN Bends are very, very integral to blues and rock, so it's best to learn them early. Bends, slides, power chords, 7th chords, basic boogie, minor pentatonic, and how to play in time properly. But learn bends early.
So, in other words, when playing in A, play the Bm Blues extension box. I imagine this means when playing in G, you’d use the Am extension box. Question: If you can use the Bm extension when playing in A, can you just play the WHOLE Bm scale, not just the extension box?
That's an interesting question. You *could* do it in A, but I think it's better to think of it as a minor pentatonic with the 6th used and the b7 taken out. OR if you know the major scale modes, it's like playing A-Dorian and (usually) omitting the b7 (the G note). Bm and G-major (A-Dorian) are very similar, so it's certainly possible. Try it out and see what you think. My personal feeling is that I'm really missing the 3rd of A, but you may not feel that way if you're primarily used to the minor pentatonic sound. Also, if you focus on bending the B to C# over the A-chord and to C over the D-chord, it'll fill a bunch of gaps.
I think it's best to think of the notes in relation to the typical I, IV, V chords rather than a scale or two. Think about the A/A7, D/D7, E/E7 chords on strings G, B, and E and you'll see these notes are all chord tones - often of multiple chords in the sequence. I guess you can think of it as more major than minor pentatonic - or think of it as playing D Major Pentatonic over an A blues. That's kind of like playing A-mixolydian. But if you don't try to think about which scale it is and simply try different notes, you'll find that all sorts of chromatic notes and bends will work.
@@waynegram8907 No, not at all! I'm thinking you didn't watch the video, because I play it over that entire chord progression - an 8-bar blues with crazy chord subs, including a major/minor substitution. Any theory explanation is done in retrospect, because BB and others already established that it works over multiple chord progressions. My advice, if you *must* look at this from a theory perspective, is to look at each note and see what tones of each chord each note is. Like, in A the BB Box has the notes F#, A, B, D, E. So over the A-chord we have the 6th, 1, 2, 4, and 5, etc.
@@MarkZabel yes the BB box works over I,IV,V chords. I'm just confused because it seems like its a "Hybrid Box" of mixing major pentatonic box#3 with minor pentatonic box#3 or the BB Box is modulated to another key.
@@waynegram8907 Okay, great ... well, not great that you're confused, but great that you know it works. And that's kind of the point. It works. So any theory around it is done as an after-thought. You dig? So here's a take if you're not into chord tones: The BB Box's main notes are simply D-major Pentatonic. That is: F#, A, B, D, E or re-arranged you get D, E, F#, A, B So a takeaway is that you can play a D-major pentatonic over an A blues (and more). This is very similar to playing the D-major scale notes ... which amounts to A-mixolydian. But note the C# isn't there, so there's no issue with playing that major 3rd of the 1-chord over the 4 chord. (C# is an avoid-note for D/D7) Anyway, that's just another take. Pentatonic scales omit so many notes, that you can often switch one for another, add key notes to them or what have you.
@@MarkZabel Recognized the song "Need Your Love So Bad" by Little Willie John, which was covered (among others) by BB King with Sheryl Crow. Peter Green's version in the The Pious Bird of Good Omen (1969) is perhaps the most famous (and also probably where your licks 03:01 onward are borrowed from). Didn't know it stemmed from the BB Box though.
Also, no offence meant by the term "borrowed". In fact, Gary Moore's version from "Blues for Greeny" was almost a true copy and the entire album was a tribute to Peter Green. Just saying as I'm a total PG fan.
Sort of. If you think about the whole I, IV, V a bigger picture develops. Lots of chord tones and common tones. Plus the best options for bending (middle or ring finger) are all very flexible - bend 2 steps for the A, 1 step for the D, etc. The beauty of it is that many of the notes are real "butter notes" over multiple chords, none of them are truly bad, and you can tweak all of them based upon the chord being played. Great way to develop your ear and your articulation. When I play this I'm just intently listening for the chord changes and thinking about a melody I want to produce.
I am a little confused because some places I have read include the flat-3rd. And at that point, other than no flat-7th, isn't it basically Dorian? This is where something that seemed so straightforward messes me up...
Yes, sometimes the b3 is included, but I think that loses the forest for the trees. IMHO, the main point I'd like to drive home is to use this to *forget about* theory for a while and focus on the other important aspects of playing; rhythm, tone, dynamics, phrasing, listening skills. If you want to go into the theory, yes, B.B. tended to like the sweeter sound of the 6th instead of the b7, so he omitted the b7 and added the 6. It's true you can look at that as the "Dorian with the b7 and b3 removed".
Yes, Peter used this on "Need Your Love So Bad" and elsewhere. So did B.B. , Freddie, Joe Walsh, Jimmy Page, Clapton, and even John Mayer. It's a great way to easily play through complex changes once you get your ears accustomed to the changes.
So, does it work because it's A major? Because if I'm not mistaken, it's A major. And that makes sense, because the blues is typically minor played against major, so major against major is technically more "correct". I used to drive players crazy at open mic blues night at a bar when I was in college, because I would unapologetically throw in major licks during fills and solos. All these incredible blues players couldn't figure out what this mediocre kid was doing, but you'd think I had committed heresy. lol
Thanks for your comment Will! The way I showed it here, in its simplified form, it's ambiguous because the 3rd and b7 are taken out. In its "full form the 6th is substituted for the b7 and the b3 is left in. So technically its a minor sort of scale, because it has a minor 3rd. B.B., Peter Green, Page, and others often played the simple shape shown here, but bent the notes (here B and E) differently depending upon the chord they were playing over. So it can take a major *or* a minor flavor on. That's a big part of what makes it expressive.
