Jimmy Herring On Unorthodox Playing 

couldnt agree more ,...well said...

That's it?

Joe Boomer. Lol. Unfortunately, I think that just about covers it. He's amazing.

@Born Unloved handle checks out

@Born Unloved "This channel doesn't have any content" - like your argument

yep, reminds me of pat martino

N.i.h..

sduke39 agreed...a real artist cannot explain how he or she does what they do. This is way beyond minor and major pentatonic scales

You must be talking a few centuries cause people have been bending strings for at least 150 yrs now.

alejandro torres I didn't say it didn't exist earlier, but nothing compared blues players beginning to bend light-gauge strings in the 1950s.

allanb3blues Yes indeed and theory as well and can expound on it quite effectively. Seems like a good guy too.

Not just guitar players... ***PEOPLE, most PEOPLE

Its really a Bm7 with that A note. 7th fret. from low to high B-X-A-D-F#-B (but he's not playing the high B)

Thank you Frank, you are a true gentleman for answering, I appreciate your explanation very much.

Also is the fingering he is using Middle, X, Ring and pinky barring the bottom 3 strings? Do I have that right?

Yes, the typical fingering is middle finger on the low B and you can either bar the 4th and 3rd strings (A and D notes respectively) or play them with your ring and pinky. In a band setting where another guitarist/keyboard is playing higher notes, you can just play B-X-A-D-X-X... The F# is the 5th degree and sonically close to the root, so sometimes it can be left out (the pure 5th doesn't tell your ear what type of chord you're playing). In a band setting, one thing you do not want to do is play the whole chord as if you're playing alone. Unless its for an effect (like adding heaviness/thickness), let each harmonic instrument take their place in the spectrum.

Beautifully explained, thank you

True.. but I've never.. heard anyone else like Jimmy.

+ventor11225 get a teacher and mentor

ventor11225 commit yourself to learning the major scale up and down the neck. Start on, say g, and learn the shape of the scale up and down the neck. From there you can build on that for your chord theory, learning to identify keys of songs you hear by mapping it out and so on. You just shift that shape to whichever key your in and presto you have you jumping off point for any given situation. Also realize learning the major scale in one key is also essentially learning the relative minor scale of another key. So you're learning two scales at once since they're both derived from the major scale. So if you're learning the a maj scale starting on the 5th fret of the low string, you're also learning the relative f# minor scale on the 2nd fret of the low string. All that "matters" ( not really) is which tonic or root you're emphasizing relative to the key you're in. But playing the same notes will work over each of these keys. These patterns repeat over and over up and down the neck so you just get familiar enough to shift it around.