sir..whoever is teaching these behind the scenes and that too with free of cost... i have my utmost respect and thanks to you... it is not everything... i know... but does help me to think out of the box... your a great teacher ❤️
This system changed my life years back you learn all the modes straight up the neck without hesitation. Fellas this IS the secret to it all believe that
The hexatonic scale (as shown here) is a very 'neutral' sounding scale, in as much as it can sound quite 'bluesy' or quite 'happy' (think major) or even quite 'sad' (think minor), depending on notes chosen and chords behind it. Of course the blues scale itself with that 'blue' note added is also a 'hexatonic' scale (containing six notes) - that extra note being an augmented fourth/flatted fifth. Another thing the hexatonic scale is good for is playing in 'swing time' - think 6/8 and jigs. So the hexatonic is used quite a bit in Irish and other Folk type music. The fact there are 6 notes in the scale means that you can settle on a very easy rhythmic strucure of playing one note on the fretboard for each division of time (if that makes sense) in the measure - and you can quickly get locked in to a very solid swinging groove. Try it by just going up or down all the notes in the scale with a 6/8 metronome behind you. You soon settle in to a very easy style where you can really lose yourself. The fact that the hexatonic (as described in this lesson) is so 'neutral' sounding as well, is a bonus, as you may end up playing quite fast (as in an Irish Jig) but it's hard to hit any bum notes or 'wrong' notes (as long as you don't misfinger) as all of the notes in the scale work in quite an ambivalent way, giving both a major and minor feel at the same time. Whilst still providing a very rich musical framework that just works across a wide range of backing music as long as it isn't TOO major or TOO minor sounding in itself. Having said that, you can alternate and vary with the odd bit of really major and really minor stuff in the backing track and the hexatonic still works and gives added spice. It's hard to go wrong really once you lock in to a groove. Hence Jigs going on for extended periods where the musicans just get lost in the music and no one wants to stop because the whole thing is just working so well. That's my thoughts on it. I might be wrong. But the hexatonic works just as well for blues or for rock, and even a bit of jazz (as fretjam demonstrated here) - you may not use it for the whole track, but it's a great thing to know to fall in and out of when you just want to 'cheat' a bit and be a bit 'mindless' and just noodle away and find that magical 'centre'. It's a magical scale, being neither minor nor major, whilst being both major and minor, at the same time, if that makes sense. That's how I pick up on it anyway and how it works for me. I could dissect it with finer harmonic theory if I wanted to, but that would just take the fun out of probably the most fun scale on the guitar neck, second probably only to the minor pentatonic, for being the easiest to play, that works across the broadest range of chords, and sounds the best with the least effort. Excellent tutorial fretjam. You really are the best guitar teacher on the whole internet, not just youtube. I'll be chucking you a few quid again when I get my finances sorted (got money, just no bank account at the moment). Thanks for the lesson!
Been playing since 1991, have pretty much read EVERYTHING scale oriented the Earth has to provide, not mentioning learning from many other guitar players and your lesson's are THE best and most easily connectable to! Just discovered your channel today and can't wait to binge every video! This definitely is your calling in life. Real "eye of the tiger" stuff. Subscriber for life
Also great for warming up and stretching the fingers. Maybe the best lesson on RU-vid. Genius is taking something complicated and simplifying it to the basic core. Thanks for the video.
This single video may have a more profound impact on my guitar playing, than anything I've ever learned in the last 25+ years of playing guitar. Seriously incredible and elegant...and I can't believe this was never so apparent until this morning! Thank you for unveiling this fundamental truth that was just buried beneath the surface - hiding in plain sight.
This is something EVH did his his playing from day one. Funny people didn't pick up on his natural style, as it applies what's taught in this video. Genius in its simplicity.
This isn't just a top shelf education in Guitar technique. What we're really learning here is Music Theory. And this gentleman understands, explains and demonstrates Music Theory clearly, efficiently and effectively like no other. This is a serious classroom. Thank You! ~TD, Boston
Wow. This is a revolution for me. These hexatonic scales show you how the guitar neck is built and how you can navigate on it. This video changed my understanding of the instrument. Thanks dude !🙏😊
Mate I'm studying your lessons for about a month. And I have to thank you, I've learned so much new stuff. You are trully great guy, thank you so much.
Ok I just memorized the first three of these patterns and tested them out on a few different backing tracks using different scales, and it's incredible. I'm already combining them and trying to lock them in my noggin. Then adding in some standard pentatonic with it. Thanks so much! You rock man!
The phrase I use is "symmetrical fingerings" or "symmetrical patterns" which is pairing the guitar fingerboard into "2 string groupings". The concept is useful for: 4 note groupings, pentatonic scales, blues scales, modal pentatonics, triads, 7th chord arpeggios etc. This gentleman has a clear visual way of presenting these concepts. I am an "old school" music store guitar teacher, so I have been diagramming these concepts on pieces of paper for my private guitar students for "decades". Thank you for allowing me to voice my thoughts regarding this subject!
The value of this exercise is how, through strategic note selection, we can have IDENTICAL patterns around the root so we can easily focus all our attention on visualizing the root across the fretboard, and not having to worry about "getting the scale pattern right", which can often distract from visualizing the target notes! Absolute gold 💎 Thank you good sir 🙏
This fretjam video is amazing for guitar lessons and has so much information on anything and everything to know about guitar. It helps me understand music theory much, much better. Thank you for making all these videos for the public, much thank you. Have an amazing day.
Mike, you're knowledge and the way you present it is unequalled. There's no way to thank you enough. I wish I had the money and time to study with you directly, if you do such a thing. Your musical I.Q. must be busting out into the stratosphere.
Another amazing class from the true master of you tube. The clarity and the work is just amazing. The length of the lessons too. I’ve donated more than once in order to give back and appreciate the quality of the work! Thanks 🙏🏼
Another great lesson, many thanks for your dedication on trying to explain (to me). the many shapes and patterns on the fretboard.. With all the theory I can handle. Much food for thought.. 🤔☺️🎸
I really really love this lesson. Consistently removing the same interval/note really makes for great modal run potential that is still really accessible, i had no idea. Not to mention as you implyed, with six reoccurring notes/patterns you can really fly around the fret board and create some faster melodic ideas. What a great lesson, i really got a lot out of this one! EDIT: Not to mention the fact that because the notes are spread along the fret board as they are using these patterns to crate riffs are much more interesting with the same amount of effort or less than playing boring but easy isolated chunks of the neck.
Keep doing what you are doing man. You are doing the right thing and for free and you are not like others that talk about a few general things and afterwards they invite us too get the full lesson we need on their course
Thank you so much for this..this is guitar gold. A must have for any play and it makes absolute sense. Really gave me an insight into how Francis Dunnery plays and his runs with It Bites
Fantastic, another eye opening whytf didn't I think of that moment! I like 3nps scales for the easy to remember and figure out patterns and these ideas fit very well with that view of the neck, so it all works together very effectively. Thanks very much.
How amazing. I 'discovered' the alternate pairing at 04:17 mins only today and was wondering how to find more reference to it - and here you are already. Your resource page is amazing.
I have been playing guitar for like 15yrs but always just learned songs and stuff. Never even really "practiced", just played, but now I find myself wishing I knew more theory and being able to improvise over a chord progression and this channel is amazing. I can play guitar but with this kind of thing, I didn't learn for a long time because I didn't really know where to start but a few of these vids popped up and I am starting to pick it up. Really great vids/lessons. This one is very useful cos you can combine several things in one lesson. Some modal playing but also develop some legato/picking exercises and connect parts of the neck together. For example lets say I am following a G major backing track....I know the main position, I am starting to learn how that I can land on a chord tone for a strong note choice and throw in some colour tones here and there too, and if the next chord is Am or D or C etc, I can connect some of the positions as per 10:46 or use some of these exercises to shred a little. At 10:46, the only thing I could think to maybe improve the lesson a bit is to include the chord and maybe the target note/interval. There are other lessons for that but it helps to always be reminded. reinforcement learning. It is also a good exercise to figure that stuff out, and I will if I can, it shouldn't be too hard, it's just a matter of finding time
Really appreciate you taking the time to comment. You make a valid point about including the target note/interval. I want to create a separate lesson on how to think about and become spatially aware of target tones. Target tones are a crucial part of making scales or even purely "felt out" lines work. And that includes target pitches for string bending. So I definitely want to make that the focus of a future lesson. Cheers!
SUBSCRIBED!!! How can someone tell whether a teacher is good? Answer: When the teacher can take something difficult, and simplify it! I've watched videos and bought a book on this subject, but it's all been for horn players. Thank you for simplifying triad pairs/hexatonic for guitar! Your patterns are much easier than what I was working on. I'd rather use your method and leave out a note, instead of learning pentatonic (at least for now) -- yet another scale set. This method seems easier, less to learn, and more versatile. *Suggestions?*
Have no idea how I’ve never found your channel it’s awesome! Already committed to a patreon page that I’m doing a 30 day lesson but I will 100% become a patreon member of yours soon 🙏
Mike, you have explained this method so well. Great video, really well produced. I'm sharing this with everyone I've ever tried to explain these patterns to... !!!
This is a great lesson. I already knew most of the scale patterns for Dorian and pentatonic. This just added a neat new flavor to my improvisation toolkit. Thank you!
This is really cool. I kinda knew it already but never separated it out like this. I immediately made a bunch more that work for 6 note groupings. It's nice that it just jumps octaves so your six note finger pattern always matches. Sweet.
This is another of those damned 'lighbulb' moments! I've just tried it over a reharmonised version of 'Streets of London' -and it seems to work - not marvelously but hey - I've only just watched this video... and I'm playing it up the neck on a dreadnought... so it's a bit tight!
Well this is clearly stated and brilliant. When you can explain things to thick headed dolts like me then you really know your stuff and you've explained it magnificently.
These lessons are fabulous! I think Paul Gilbert has something on these type of patterns, but yours is crystal clear in a musical sense. Much more understandable in a big picture way. Personally, you have so much awesome content, I find it hard to buckle down on one of them. They are all super interesting.
Thank you. I'm the same with buckling down on one particular concept. Focus is difficult when you're attracted by so many musical possibilities! I'm only scratching the surface here. Take your time. There's no "deadline" 👍
Where you from pal ? Yorkshire subscriber asking :) The way you explain and demonstrate theory is excellent. You are my favourite teacher on YT for theory by far. I was taught all of this at a very young age as a piano player. Started playing guitar at 15 (25 years ago) and although I am good for theory I still watch most/all of your videos to make sure I don’t forget anything. For anyone new to music, you are a rare gem amongst many confusing theory teachers.
Eyup! I'm just outside Sheffield. Celebrated Yorkshire Day in Knaresborough a couple of weeks ago :) Thanks for the kind words. I find that people who started on keys do tend to be more versed in theory, and this knowledge transfers over to guitar pretty smoothly. A lot of this is more "nice to know" than absolutely essential. But I hope I can spark some new ideas for guitarists who haven't had much grounding in theory and show that theory is valuable for guitarists to spend a bit of time on.
This is great stuff. New flavors, modal comprehension in a beautifully crafted lesson. However, on the subject of the omitted C Maj patterns - particularly the pattern 6th string/10th, 12th 13th fret, 5th string/ 10th 12th 14th fret which omits the tonic - what is this flavor? B Locrian? Maybe Phrygian Dominant over the iii - Em? Feels like music theory sudoku. I may have it all wrong theory-wise, but it is great for the ears trying to figure it out. Also agree that combining these with Pentatonic and Heptatonic phrases is a good play. That one odd interval repeated too often is unsettling but combine with Pentatonic's larger intervals it sounds lovely. Also feel that slurring into the next string set from the adjoining pattern occasionally creates a momentary Heptatonic to keep that ambiguous hiccup from overwhelming things.
Great video! And with RU-vid's ability to slow the vid down, this becomes easily accessible to anyone willing to put the time into it. Liked - Subscribed!! 🔥
Hexatonic road map? : *Roy Ziv intensifies* * In reality this is super helpful and demystifies what I thought this scale concept originally was this is perfect your videos / lessons are excellent, serious value here! * Cheers from Niagara falls Canada keep up the great content 🤘🙏 - Adam
I just know this is really good just my brain can t quite figure it out. Yet. It has nothing to do with the teaching just my not being great at understanding theory. but I'm hoping to work it out. thank you fretjam.
Holy macaroni! Thank you!!! Something just finally clicked here after watching and playing the first two patterns and I think I might have just crossed that threshold mark of 100 hours😀
This six note scale is also called the “religious scale”, adopted by Dickey Betts in the Allman Brothers, he has used it famously four years. Thank you very much, this presentation is priceless.
Great lesson and incredible detail/clarity put into the video and the webpage. Quick question: Trying to figure out which of the hexatonic positions to use over different chords of a given progression. At 5:17 in the video, "This would be the equivalent of a Lydian flavor...", you have the notes labeled as 2/3/#4/5/6/7. Is that #4 note the #4 relative to the key of C, or the #4 if we shifted the key to F major and made F the tonal center?
Been doing this heaps recently to compensate for my inability to sweep anything other than the harmonic minor across 6 strings. Figure out 5 notes of the hexatonic and alternate across octaves is also fun. Also, skip strings for some sweet melodies. Apparently, Marty Friedman does this a bit according to Rick Beato from hanging out on tour.
ive been coming back to this video regularily just to listen to these amaing phrases at 10:45-11:00. even my gf knows them by heart by now. PLEASE! any tips for these kind of phrasings, or inspiration for players with this kind of touch, would be just brilliant.
