@@satchrules101in case you still don’t know, it’s being called the G form because the chord shape is the same shape as an open G chord. For example, a C chord in the ‘G form’ is when you play the E strings fretted on the 8th fret, the A string fretted at the 7th & the D, G & B strings on the 6th fret.
I listened to your whole lesson. Been playing guitar and bass for 52 years, all styles and genres, for free and for a fee. Your online instruction is one of the best. Thanks
It takes a whole lot of discipline and determination to force one's self to stay in one or two positions instead of jumping to familiar key positions when improving but it's so worth the effort. It opens up so many doors to spontaneous, melodic lines.
Liked and subscribed. Excellent, intelligent subject matter. It will take me time to digest it, but someone finally is explaining how to use fundamental theory on the guitar.
What a gift this lesson was and what a terrific teacher you are! I was just laying out my practice curriculum for the coming year and I thought I'd find a comprehensive approach to 4ths and BOOM! there you were. Thanks Jared. I'll be checking in regularly. Happy New Year.
I just finished your Chords on Command course and am wanting to go beyond the chords and learn to improvise. This lesson was very useful. I’m sure I’ll return to it again and again as I advance. I’m definitely at the beginner stage when it comes to playing scales on guitar.Thanks Jared.
You have inspired me to start over and really ingrain the foundational concepts that make the guitar the elegant instrument that it is. I sincerely thank you for your posts and your thoughtful approach to instruction.
Thanks! The way you organize information is outstanding. I thought I had made fairly good progress with the major scale but really helped open up new vistas. 🙏
My theory is pretty strong but doing stuff without delay and also getting the muscle memory is so hard. I know where all the chords / arpeggios are relative to each other and the root notes but I still have a hard time naming where each scale degree is without counting it out. Learning the positions around each shape should make this a bit simpler. Also having that almost instant method of just picking a shape based on the root in a limited area (choosing one shape for each root in that cluster) really trivialises the starting point.
So few lessons, even paid ones, have a rigorous and incremental approach to gaining skills. You've done a thing here I've not been able to find anywhere else!
This is great! Thank you sir! I’ve been working on interval skips and sequences using the caged system and while learning to damp out unwanted string noise. But this is another form of practicing I can add to continue building knowledge which seems to be very important. Thanks again for sharing this valuable information. Best wishes
Lots of instructions out there on open position.. Which is great for folk and country. Lots of methods for shedding, rock and blues... Lots of good classical stuff. This is the first time I have come across a good system for getting started on major scales for people interested in jazz. Good job!
Hi Arren, yay! Very glad to hear that this is what you were looking for! :) Thanks for the comments and questions and let me know if you need anything else anytime
Jared, I've seen the master level exercise described before and understood the value but it seemed so daunting. Your preamble of the Circle of 4ths and the levels of difficulty make this approachable. Great lesson. Thanks from this nerd and new subscriber.
I definitely understand the value of learning this and also understand that naming each position by number can be confusing but I do not get what makes the G position the G position or the A position the A position etc. I realize you are using the letters of the caged system but what attribute gives each position it's letter assignment. I don't fully understand the caged system so this may seem a silly question but if I understood this it might make things easier.
Perfect for my level, thanks so much! To add some variety to my backing track for parts 4-5, I did the following, 4 counts C M7,, 4 counts Am, 4 counts F M7, 4 counts Dm and so on, always interspersing the relative minor. Same scales of course! Haven't done his Minor video yet but this is fun!
Well thought out, I think we've had more than enough drama, it's in the best interest of the country to shine a light on our problems in order to fix them and not stir up things based solely on emotions. Thanks 👍
This has gotta be the most impactful lesson I've ever seen but I'm sure that partly had to do with where I'm at in my journey. If I had watched this at some earlier time it would have slid past right over my head. I always wondered what the guiding logic was when I heard players do chord progressions that just had a pleasing connection throughout and now it makes perfect sense that they were probably using the circle off fifths and fourths. Once I get this under my fingers well enough I'm thinking it'll try to use the circles in custom ways such as going by internals other than single steps. Maybe double, or triple, or double and triple would also find pleasurable rings to them. Hats off to you Jared
In order to mute easily remember what notes map to any form it seems you could say, rooted on the 6th and 5th strings, the ones higher up the neck use the pinky roots (G, C forms), while the others use the first or second finger (E, A forms), and the ones rooted on the 4th string all use the D form
The body, heart, mind and spirit merge in your lessons and point to the mystery of the creatve powers. Only a handful of teachers reach that level. That's why it's easy to tell you: You are Great.
Awesome, thanks for sharing it! I really appreciate it. This is one of the earliest videos I made and I like the method and exercises a lot, but not a lot of people get exposed to it. Glad you liked it. Cheers, -Jared
All of your videos are tremendously helpful. This one in particular hit home for me and I think it's one of your best. I struggle with making the changes as keys change in jazz tunes. This program is going to help me a lot. Can you please post the five major scale forms chart that you used in the video? Also, did you create the iReal Pro backing track or is it available on their site? Thanks for all you do for us students!
Thanks this was exactly what I was looking for. I've been tryign to figure out how to learn to change major keys smoothly. This was a great help! Thanks again!
Thankyou very much for these tips! I saw them late. Alsoobserved. I don't know if you mentioned this or not, as the keys are laid out in the Circle of fourths. The patterns also change in the patterns of fourths. For E.g the G form pattern goes to C form which is a forth, then the E form goes to A form & then D form in that particular fret, Also a helpful tip to remember which patterns to apply on which string while switching keys.
Truly enjoyed the video & learned quite a bit. Only sad that I didn't learn this when I was young. Started playing in 62 but from 80's till about a yr ago didn't play because of personnel issues. Always understood chords, reading music, progressions etc but when it comes to CAGED, Modes, theory nada. Anyway thanks for the help. As we retired Marines say, SEMPER FI. 🎸🎸🎸🎸🎸
This started out really promising with the suggestion of which of the 5 positions to use depending on the interval one is changing to but other than learning where the tonic is in each position I cant see why its not the same as learning anything "by wrote" rather than shining a light on the understanding. For example the exercises dont appear to help with understanding that if you have to play a 6 5 4 1 how to easily move from a none tonic note of one scale to the next any differently to just learning caged and the tonics there in. Also a lot of rockier stuff is minor key based and I fully understand its the same thing just a different tonic note but I cant see how this helps me understand the relationships any differently to the way its traditionally taught. I love your demeanor but am I missing something ?
Okay, Level One. What scale PATTERN are we using. Are we only using the G PATTERN or are we using the Chart to the right that you have to switch Patterns with each New Low Root Note??? Edit: okay yes, you use the different scales according to the first note with the different mark on it. Okay. Got it. Been practicing and this is the best video on this ever. You really helped me get to the next level. Thank you.
Thanks, Blake! I have tons of videos here on the YT channel, some of them go pretty deep, and then I also have courses on my site www.soundguitarlessons.com/store. Thanks for asking :)
@@elevatorconversation Excellent! You'll be in great shape if you can play through all the scales like that in level 2 and know what root you're playing off of. Awesome! :)
Hi Jared, Thank You for these. Question: at 16:05 when you start playing root + [2] notes. The notes you are playing don't match the notes on the form or am I missing something?
I have found your channel just yesterday and there is so much interesting content. But I would like to start with something and the amount seems really overwhelming. Is your chord course a good place to start? Is there any other series that may help a somewhat beginner guitarist?
So is this playing i all keys in almost one position? DO you have a way to do this with 3 notes per string scales, also in Harmonic and Melodic minor, blues scales etc?
Hi theese are some brilliant tips and i’m alresdy noticing improvements! i used to just go over scales in position up and down and it was doing no good for me, Thank you very much! Just wondering how long should i spend a day on these excersizes?
Hello sir I am not able to understand level 4 & 5 exercise will you please provide me the tabs used in both exercise or you suggest me anything so I can complete this lesson till level 5 exercise. I have learned a lot from you thank you so much.
Glad I discovered your channel. As an 'ear' player my technique has usually been to grab a backing track with the preferred key/scale/mode, and then I'll either use the scale layout in the video (if has) or the guitar scale app I have on my phone. I always go to around the 12th fret position and see what's there if there's a pattern. Once I get the feel and sound of the scale I just use my ear to flesh it out all over the fretboard and then it's pretty much stuck in my brain and usable, but that doesn't excuse my lack of theory which is why I'm here.
I really like your teaching methods. My question is; how do you determine a 7th,9th,11 th,13, whether it's on the top or bottom strings? Can it be either or? Thanks 😊
Great question. Chord extensions like that can be anywhere on any string. Check out my chord extensions explanation video for more thorough info on that stuff if you're interested: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7V2bUFmaYEY.html. cheers! :) - Jared
Heyy!`Thanks for the lesson. I had one question.... you told for what keys what form will be used ON THE 5TH POSITION. But what about the other positions?? Like how do we know what form to use for what key...say on the 7th position
As someone relatively new to guitar, this was an extremely helpful video. Thanks for sharing. I wonder if you might explain the relationship between a key and its scale form. For instance, why should I use the E Scale Form when playing in the keys of A, B flat, and B. Why not utilize the G scale form? Another way of asking this: what is the inherent relationship between the scale form and the key? Also, could we not see these scale patterns as modal variations? The A scale form seems like a version of the Lydian, just leaving out the initial F note on the low E string. Thanks again. I really enjoy your channel. Its super informative. Has helped me a lot!
He asks us to focus on the area of the fretboard where the index finger will be on frets 4,5, or 6 when beginning from the thickest string. The exercise is to get us to play all 12 keys in the same neighborhood to avoid jumping up and down. the fretboard The relationship of the scale shape and key here is only a constraint for the lesson - play all 12 keys in the same neighborhood. To accomplish that we figure out which shape is available to us for each key in the specified neighborhood. Outside of this lesson, we use the shape that makes the most sense for the musical ideas in play at the time. Most guitar solos for rock and metal generally start closer to the nut on thicker strings and then end on the thinnest strings closest to the bridge providing a crescendo and climax. modal variations - If we play a major scale, we have a root or tonic note that is "home", having the "strongest gravitational pull". If we decide to make the tonic the 4th note in the scale instead of the 1 but still play the same shapes, this is Lydian, a relative mode. Jared and many others have videos about modes.
Great video mate, really re-motivated me to finally learn guitar theory. Hoping you could help me with one question I had though. Google tells me the notes of an A Major scale are A B C# D E F# G#. I can see from your diagrams that A major should follow E Form. E Form seems to start correctly on the note of A however the next note in E Form pattern is Bb instead of the expected B note?
I know this is an old video Jared but I’m just getting to this level. Love all your videos and teaching methods. Sorry if this is a simple question but I’m baffled. When you do the order of 4ths, C F Bb etc, I can play the corresponding major scales in all positions following your chart. However, I find it hard to remember all the position names C F Bb etc for all the keys. Then say if I wanted to play A on the 6th string I understand the 12 key pattern would remain the same but I would need to know all those position names. Is there a simple way to remember them?
Great lesson, Jared! Was a bit long but worth it in the end. I have been wanting a set of exercises to help me become familiar with notes on the fretboard. This is exactly what I need. Thank you! 👍👍👍🦘
You have a talent for simplifying the complex. Thank you. I learned the major scales patterns as modal patterns. (Oh, horror! 🙂) I know that raises the hackles of about half the guitar-teaching community since modes require a magical incantation and chords to before they can be distinguished from scales. But since the seven modes derive from the seven notes of the major scale and there are seven patterns for the seven modes, why only five patterns/shapes for the "non-modal" major scale? (When I look at the first pattern above, I see the pattern/shape for the Lydian mode. But since it's the "C" scale, the 4th degree of the indicated pattern/shape is NOT raised, so I know it is not a modal scale. But that does not answer, "Why only 5 shapes/patterns for non-modal scales?") Some times the obvious, isn't. Well, at least to me.
Hi Jared! This is awesome! So for the minor scale I can also apply this but just using the relative minor chords based on the cycle of fourths . Correct? So C Maj would be Amin?
I can jam along to the Circle of Fourths with pretty good accuracy, but I don’t understand the strict adherence of the “forms.” I learned the major scale/modes in 3 note per string movements and know my 1 note per string arpeggios so the forms I am struggling to understand. Is it just a matter of the challenge of staying in the same general position?
Yeah, the point is just to stay roughly in the same position to connect keys without big jumps on the fretboard. You can apply the same concept with 3NPS system or on any other position on the fretboard. This is just the way I do it :)
@@soundguitar thanks for the answer! I keep coming back to this lesson since I found it a few days ago. I’ve been improvising with progressions I’ve written and tried to follow the changes, but this is the first time I tried following the circle of 4ths, something I wasn’t entirely familiar with and I was surprised how my well my ear led me and once I started remembering the chord changes I could anticipate where I was going. But holding that generally position is quite challenging, so I’ll keep trying, it’s a great challenge and is breaking me out of my regular scalar patterns.
I play 3 notes per strinng and the way I work out the different keys is remembering the major chords 145 are always the same pattern. No matter what key you are in. If you just remember 3 chords you cover nearly the whole neck. I got about halfway through this video before I got a bit lost though. I can see the advantage of being able to do this, but my brain is not engaging LOL.
You're very welcome William. Thanks for watching. - it's called a "dynarette". I just ordered it online, if you search that term you'll find lots of places to get one. I use it every day :)
at 16:31 im confused by the diagrams. What are the letters on 5 different scale forms mean? as in the top has c then next has f etc. Because if i'm not mistaken the F on the C form diagram is on the wrong fret. how is the E form supposed to include the key of B if it doesn't contain the B on the 6th string 7th fret? I feel like i must be misunderstanding something here
Thanks for the questions! Sorry that it was confusing! The letters on the actual fret notes in the scale diagrams are the root notes of the scales and they are the exact note of that fret. The F on the C form diagram is on the correct fret: Fret 8 on the 5th string and fret 6 on the 2nd string are both F and that's where it's written. The E form is to be used for the key of B major by moving it accordingly (up a half step from where the diagram is written). I hope that helps. Please let me know if I can help clarify further. -Jared
Great lesson. The scale shapes are set in a fixed position, is there a similar template to be applied if we moved to another fixed fretboard position ? thanks
Hi Jared, I'm wondering, these are the pentatonic major scales right? as opposed to regular major scales (sorry, don't know the theory word for them) I would play on the piano. I am trying to learn those scales, but saw your video. Is there an advantage to learning these scales as opposed to those? Also, just curious why you want us to start here on the fifth fret. Thanks for the video lesson!
Like you said in the other comment, yep, these are "regular" major scales. The technical term would be "diatonic" major scales, meaning that they include all seven notes of the key, as opposed to pentatonic which only include five notes out of seven. There are other types of scales too, like octatonic, which have eight notes and are called "synthetic" scales which mean that they don't exist in any key but are artificially manufactured. Great scales to focus on at first are: Major diatonic, natural minor diatonic, and major and minor pentatonic. You can do this same process with any scale type and once you do it will be easier to apply it to all kinds of other scales as you wish in the future, like harmonic or melodic minor, or modes of scales.
Here's a video I made talking about modes of scales that will be a good supplement to this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-YPSUVZiUUYQ.html
@@soundguitar thanks for the explanation. Also, are you going to make a video about how to learn and play the pentatonic scales? ;) if not, I'll figure it out I'm sure. Just thought I'd ask. Thank you, thank you! You're the BEST!!!
@@arrenlenau3077 Thanks for the requests! They really help me decide what videos to make next. I have couple scale videos coming up. I'll include a note about how to turn normal scales into pentatonic scales during those videos. It's really just that if you take away the 2 and 4 of a major scale you have the pentatonic scale :) But explain more in those upcoming videos and talk about how they can be used as major or minor (which uses the same logic as the modes video approach). Don't hesitate to request a full-on pentatonic scales video even after those if you still want further guidance on them. And of course let me know if you have any other questions anytime :)
Interesting! but I noticed that your 5 diagrams for the Major scale does not match up with the 5 patterns of the Major scale that I searched on google for? (I could not remember in detail all the patterns), I have no idea why this is?
Found my answer :-) In circle of fourth, you are cycling each new scale in a counter clockwise fashion adding an extra flat note. Circle of fifth goes clockwise and adds sharp notes.
