Active Melody

Learn to play blues guitar.

The easiest scale pattern to visualize on the fretboard. Play major AND minor keys w/ this shape – EP506

Description

In this week’s guitar lesson, you’ll learn how to visual an easy scale pattern that can represent major and minor scales. It all depends on where you place the pattern on the fretboard.

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Comments

      • Rodney W says

        I am no expert ,but as you haven’t got a response yet i’ll post an answer for others to expand on.or perhaps correct. Your question is possibly based on a misconception. When improvising you do not have to start on the root note or tonic, ie the note that gives the key its name. The characteristic of the root note is that it is that note that the tune hovers around and “wants “to return to. However, you might be asking what note does Brian’s pattern for beginners start on, when playing in the Myxolydian mode. This should be easy to work out just by looking at his fingers in the video and visualizing his pattern up near the twelfth fret. As someone points out later on, it is the notes of Emajor that one uses for A myxolidian, so I can see where you are coming from..

          • frankie_u says

            Paul (and Rodney), according to one of Brian’s videos, (I watched and rewatched so many recently, I do not recall which), finding the major scale for the mixolydian scale you want to play is as easy as finding what note the 5th note is in a major scale. (eg. If you want to play the G mixolydian count backwards five notes and you get C major, likewise for the A mixolydian counting backwards five notes you get the D major scale.) A mixolydian and D major are the same scale, so yeah, bingo, it all adds up!
            One thing I realized is the only difference when playing the A mixolydian using the D major scale is one needs to use the A as the tonic, or start at A within the D major scale. A is home base, sorta thing. Correct me if I’m wrong but playing it sounds right to me. Stay tuned!

        • Mike S says

          I’m no expert either but it seems that G major is the same notes as A Dorian as Brian said about dialing up Major by moving two frets. I believe bridgeward. Although we make Minor Major by moving 3 frets nutward.

    • Anthony I says

      What I love about you for me personally is that you explain it to me in EXACTLY how my music brain works. You answer my question right when I’m thinking about them. Then I realize you answered a question that I know I would have asked. I find myself nodding YES! as you make me aware of something that I might have figured out years from now.
      But this I’m afraid I would have NEVER figured out. After your modes lesson, which by the way, was the best I’ve ever seen, I realized it was too intricate for my limited mind and would take too much time and effort (I’m old). When you do stuff like this I can expand my voice quickly. You make me get excited to learn, experiment and play with my jam friends.
      I was a teacher for four decades. You take your knowledge. You then approach it in unique way, that makes it easier to absorb, and then explain it as if I was sitting by your side. THAT, my friend is a GREAT teacher and I let anyone who asks, that you are the man.

    • Neil R says

      Hi Brian,

      Another great video. My question is when you play the Dorian mode over the A Major on the 5th fret, isn’t the pattern the same as the mixolydian mode on the 12th fret or did I miss something? I thought it was the same notes with a different mode name?
      Thanks

  4. Stephen S says

    Brian, WOW, this lesson was so helpful. It is overwhelming try to learn all the scale shapes in different boxes or positions. Knowing that there is one shape that can be used to begin to improvise (in different modes) is very very helpful. What a great lesson! Thanks for all you do!

  6. Charles R says

    I practice pentatonic, major, mixolydian in all positions and learning dorian now. Whenever I see a piece of the fretboard what I want to know is how does it fit into the entire picture. Like how does the shape you describe overlap with the scales I play across all the positions. It’s a style of navigation; if I know how my route overlaps with the general picture I have greater confidence in my understanding of the path, I will know if I am off and why, etc.

  9. Joseph B says

    This may sound very basic . I understand part one of this lesson, but before going on to Part 2 …. how do I identify if it is a Minor scale ?? Is it totally based on the first chord of the progression ?? May sound simple but I struggle with this . Any help appreciated.

    • Brian says

      you mean how do you identify if it’s a minor key? Just listen to the sound of it – you can tell if it’s minor sounding (nothing to do with tempo) – that first chord is a really good indicator

  10. Scott L says

    While I understand the concept and my fingers can play the patterns i have no idea how to implement this into my playing. i just draw a blank when i try to use it. I know your trying to help those of us that are frustrated but translating this to use while playing is just not connecting with me. Maybe its just me.

    • charjo says

      Hi Dave,
      Yes, the notes of A major when started from the note B creates a new series of intervals known as B dorian. Likewise A major has the same notes of C# phyrigian, D lydian, E myxolydian, F# Aeolian, G# locrian. There are only 5 shapes of the major scale and all the modes can be played from those 5 shapes.
      In this lesson Brian is using the upper 4 string dorian shape to get all his modes, ie. the A major sound from B dorian, an A dorian sound from A dorian (=G major), and an A minor sound from D dorian. If you think about it, A minor comes from the C major scale which has the same notes as D dorian. It takes some mental gymnastics but it’s all from those 5 major scale shapes.
      John

  13. Harry B says

    This is genius, Brian. I have been using Lesson 489 about the box pattern in my practicing for the past several weeks and it is improving my playing. Now if I can master this pattern I will be a guitar virtuoso. Ha!

    In all seriousness, those two lessons together, 489 to learn how to play the pentatonic scale, and now this lesson to learn how to play the diatonic scale gives a person all they need to know about guitar playing.

    I can understand why you call it an epiphany. It really is.

    • Harry B says

      This lesson also helps in understanding modes and switching between major and minor. I am not big on learning theory, I just want to play the guitar better, but your practical application examples help.

      Thanks so much, Brian. I recommend you to my friends who want to learn to play the guitar or get better at it.

  18. Peter R says

    Comes at the right moment for me as I in the process of automating the major scales. I was just wondering, if I play in the key of the song (like in A) but some of the other chords are in minor, would it clash if play a major scale on top of one of these minor chords or is that only when the key of the song is minor?

    • Peter R says

      I have asked ChatGPT 😉 and this was the answer: In general, it is common to use minor chords in a major key song, especially for chord progressions that create tension and release. For example, in the key of A major, the chords C#m and F#m are commonly used, both of which are minor chords. In this case, playing an A major scale over these chords may sound harmonious because they are still within the context of the A major key.

    • Keith P says

      I think you may be confusing major/minor chords vs major/minor scales. A scale, whether it’s a major scale (e.g. A major) or minor (e.g. A minor) determine the 7 notes within the scale. Those 7 notes also define the 7 chords within the scale, and each of the chords will contain 3 notes from the scale. There will always be 3 major chords, 3 minor chords, and one diminished chord. These can be referred to as in key chords, and the corresponding scale can be used over each of the chords since the chord tones are in the scale.

  19. Kevin S says

    Thanks for another great lesson. Helped clear up some confusion left over from last week. You played dorian and I’m thinking. “Hey, I thought that pattern was mixolydian.” Anyway, thanks for the deeper dive. Also wanted to comment on the new wrinkle you added last week looping in a slower version of difficult passages in real time. Very nice effect

  20. sciencefiction says

    Great lesson, Brian. I also learned from one of your previous Breakthrough lessons, that the identical dorian pattern (played over Am minor pentatonic, pattern 1), becomes mixolydian for any key, when played over the A bar chord shape for that key. Very versatile shape.
    Larry

  21. michael f says

    This lesson broke through for me. It unlocked 5 modes using just ONE shape!! By not even bringing up the major scales that lay behind each mode, your teaching was suddenlty less confusing as far as what major scale lays behind each mode. Playing them felt freer; finding them easier. I did wan to go back and work out the major scales behind each mode, but by you not even bringing them up , it was liberating. Here they are:
    For major sound: A Dorian (G major), A Ionian (A major), A mixolydian (D major). And for a minor sound: A Dorian (Gmajor), A Aolian (C major). Then you ultimately bring these modes back to the pentatonics. Great. I usually don’t get through the second video, but tonight I grasped both videos in one sitting. Great lesson. TY

    • michael f says

      Last two lessons have used dorian mode, so I wanted to rephrase my above comments from “for a major sound” and “for a minor sound” to “for a major key” and “for a minor key”. Brian has made this point a number of times: you can play both major and minor scales when playing in a major key, but only minor scales work if a minor key.

  22. Edwin D says

    Hey Brian
    While on Vacation the past month I brought along my music theory book and chose to do a deep dive into modes. So I ‘m very excited about this lesson and the one last week. I think your pattern is incredible and has allowed me to try using modes without being lost down a rabbit hole. Many Thanks

  24. Laurel C says

    Wow what an epiphany and I’m sure it is a first in the way it has been packaged. A pattern that keeps giving. Could not get my head around it at first until I saw it with my own eyes with the help of visual aids, then I believed. Yes, all the scale modes in the Key A and every other Key do have this pattern, then the epiphany hit. Yet another world opening up within 12 frets and 6 strings. Blew my mind that this pattern has its own alphabet formula order: e.g. Key A from the top fret down, Lydian (G Shape) -1 fret – Phrygian -2 frets -Dorian (E Shape) -2 frets – Major – 1 fret – Lochrian – 2 frets – Aeolian – 2 frets – Mixolydian (A shape) -2 frets – Lydian repeat. The whole step, half step approach between modes and mode order is the same when applying to other keys just the fret order to caged changes. Interesting that with 7 modes and 5 shapes C-A-G-E-D that the Lydian and the Phrygian share the G Shape and the Major and Locrian share the D Shape being that both are a half step distance. This lesson has opened a huge window to explore in the journey of how to work with modes with the examples and ideas given. Modes being one big jigsaw puzzle with many levels.

    • Michael B says

      Hi Laurel,

      I was thinking about this myself last night couldn’t sleep, but I organized as follows;

      Column A: Modes

      Column B major scales:

      A Ionian. A
      A Locrian. B flat
      A Aeolian. C
      A Mixolydian D
      A Lydian. E
      A Phrygian. F
      A Dorian. G

      But you are right in that it works for any of the CAGED shapes, th problem is knowing what to do with this knowledge, to get it to my fingers

  31. Mark S says

    Thanks for all that you do Brian. I am a new member to your website. I have been playing for about ten years and was really just confused by some of the theory I have been trying to learn. I truly have a better understanding now , thanks to you! My problem is going to be trying to absorb and retain it all. thank god for rewind !!!

  32. Ken says

    I am a bit confused. When Brian played the mixolydian it looked like he was playing the D Major scale.
    The first position I believe was a GM scale the second of course was A M scale and the 3rd position DM
    I though the mixolydian scale for A was E?

    • Keith P says

      In this lesson he is playing different A modes not different modes of the A major scale.
      A Dorian uses the G major scale (A is the 2 of G)
      A Aeolian uses the C major scale (A is the 6 of C)
      A Mixolydian uses the D major scale (A is the 5 of D)

  33. Ken says

    Screwed up in my thinking GM is the first position but it should start on B to be Dorian but Brian is playing a GM scale? AM scale for ?
    DM scale for mixolydian?
    I hope some can get me on the right track

    • Keith P says

      In this lesson he is playing different A modes not different modes of the A major scale.
      A Dorian uses the G major scale (A is the 2 of G)
      A Aeolian uses the C major scale (A is the 6 of C)
      A Mixolydian uses the D major scale (A is the 5 of D)

  34. Daniel H says

    This is a great pattern. I can anchor this to chord shapes to make it accessible (depending on the feeling I want to emote) and then anchor neighboring scale patters to this. Perhaps I can finally not get lost on the fretboard when I jam with other players!
    “Just a spoonful” lessons like these are highly effective! Thanks Brian.

  37. Jim M says

    I have seen this scale pattern before, but never moved up and down the neck to created different modalities. A simplified method that takes the complications out of understanding modes. This could be a breakthrough in music education Brian!!!

  38. DerekBlue says

    I know this will be a very clear approach for me.
    One pattern in different positions = different modes

    Focus on the four “essential” modes for blues, rock, bluegrass. The other modes can be explored later, but are really optional.

    Use the different positions to help associate the modal sound and then learn how to put them on top of each other for playing efficiency.

    Thanks Brian. Can’t wait to get started!

  40. Raymond P says

    This was a great lesson and quite an eye opener on how to incorporate these modes into our guitar playing. Would it be possible to create a PDF on the several modes you demonstrated in this lesson? It would be a great reference tool and much easier than listening to the lessen again to see where they appear on the fretboard.

    Thanks Brian

  41. Jason F says

    Thanks Brian, very helpful lesson! Can you post the chord changes for the backing track? I think that would be helpful to see when best to make the changes between minor and major positions. Thanks again!

  48. Derek F says

    Hi Brian – super lesson. Can this pattern also be extended to cover the lower E and the A strings? I imagine that the lower E just follows the pattern of the high E, and that the D string is frets 5 & 7. Can you please confirm. Thanks.

    Derek

    • Keith P says

      Yes, this pattern is just the high 4 strings of the 3 notes per string scale pattern. For the G major scale use frets 3, 5, and 7 on both the low E and A strings. The pattern on the high E string in NOT the same for the low E string. The following shows the scale degree numbers that are being play on each string using the pattern.

      E: 2-3-4
      B: 6-7-1
      G: 3-4-5
      D: 7-1-2
      A: 4-5-6
      E: 1- 2- 3

  49. Bruce G says

    Great lesson Brian. Really great to hear it explained this way. Talking about using these scales in this way, and really talking about them in the context of simply major and minor—versus a lesson on “modes” is very helpful. Feels much more approachable. You are a very thoughtful teacher—thank you for all of this!

  50. Stan says

    Hery Brian I enjoyed this lesson open up alot for me this simple pattern is in so many songs leads ive been working on now instead of reading tab and trying to remember i found out most of it is in this pattern so it change my entire mind thought when figuring out songs good lesson i enjoyed but then i enjoy most i watch.

  52. Tim R says

    Subtle change in delivery style for this one Brian. Seemed more laid back, less intense. Don’t know if that’s what you were going for but do it some more, it’s great! Usually I’m burned out by the end of Part 1 but in this lesson I got through both videos back to back and at the end still felt like I kept up.

  53. Nevada Fats says

    Brian,

    Made another connection with 506. Great supplement to 374 / 375. It’s the simple concepts that are so important. For instance playing the A Dorian pattern over the A major chord (E form) for that bluesy sound and the same pattern two steps up for that major sound – I understand the connection to the G major scale. Just had not put the concepts together. Duh. Thanks. Keep connecting the dots.

    Chris

  55. mritalian says

    Thanks Brian, as usual you knocked it out of the park once again. I really liked the way you put it all together for me as far as changing modes and keeping with the same patterns. A Dorian is G maj, etc, etc. And then I saw the A minor as the C major scale. It may be simple to so many but thanks for clearing up the mud in my pea brain. Keep up with the great lessons. Ron T

  63. Gary K says

    Enjoying all your lessons. You said that you can’t play a major scale over a minor key. But you can play the relative major of the minor, yes? Also, couldn’t you think of the Dorian that way, e.g. playing a C major scale over a D minor? Thanks.

  64. Burns C says

    Just in the nick of time—this lesson crystallized a mess of ideas in my head that were keeping me from improvising effectively. It was a simple key that unlocked my playing and the joy is back. Thanks Brian!

  65. houliAK says

    I get the concept but Im having trouble landing on the chord tones as I noodle in the different patterns. I seem to fall on the clashing notes too often. It’s gonna take some deciphering and practice.

  66. Douglas W says

    So, all this time when I walked myself into the pentatonic I was actually using this lesson. I could do it but now I realize why it sounded right. This is what I needed to better understand what I was doing. Great lesson!

  67. Chris G says

    Hi Brian, love this lesson. No matter which of the 5 pentatonic positions you’re playing in, it’s seems pretty easy to adapt it to that first pattern you introduced – the Dorian shape. Question: Does that mean there is only one Dorian shape? Sorry if this is a dumb question – my music theory isn’t advanced. Thanks again, Chris G.

  69. Alan V says

    Incredible approach Brian. I worked out that shape ages ago, but never realised this same shape can be shifted for different sounds in the same key.

    It also gave me a much better insight into modes.

    I suspect that the same approach can be used with a different shape that works from another basic CAGED position
    It would be amazing if you can continue this series.
    BRILLIANT STUFF!!

  70. Pat says

    Hey , 506 is a lot of fun. Fun jam track and changing modes is so easy! I just loop the jam track and keep on playing and changing modes.

    A while someone called u the modern-day Fernando Sor. I agree!
    Thanks Brain.

  77. Frank N says

    This is a great lesson. I’ve been learning some Lynyrd Skynyrd solos lately and this puts it all together and helps make sense of the way they switch seamlessly between major and minor using the modes.

  78. Steven G says

    Brian, I’ve been a member for many years (8-10?). So many fantastic lessons on soloing/scales here, but something about this one that I connect with more so than many others. Even though the pentatonics, maj/min, mixolydian and dorian scales are all accessible in the same “neck” of the woods, your method taught here is easier for my brain to comprehend and remember. I’ve had a ton of fun with this method playing over various maj/minor progressions these past few days. Many thanks for your hard work and many (over 500!) lessons all of these years, brother. If I ever find myself in your area, I’d love to buy ya a beer or coffee.

  79. Scott R says

    Thanks Brian. This is such an important and timely lesson. Two minutes before this lesson arrived, I opened Hal Leonard’s Incredible Scale Finder – Over 1300 Guitar Scales. O boy that sounds frustrating. I turned to the A Minor Pentatonic Scale and found notes from past EPs. Pattern 1, 2 and 4. I put the book down in frustration thinking “man do I suck, I cannot seem to remember this stuff.” So, I took a break to check e-mails and EP506 arrived. The title alone was helpful. I can get my mind around this simple pattern. Maybee, I don’t suck. I am so grateful for Active Melody and all your work.

  80. Dan S says

    Thanks for this. One of my goals ( as mentioned in your New Years Lesson) is to work on scales in all patterns. So I have been using the diagrams in EP374 everyday to drill it into my brain. This is a great supplement and timely surprise. Going great. Dan 😀

  82. Sam V says

    This lesson was a breakthrough for me! Thanks so much! For some reason, I’ve always had issues visualizing the modes. This lesson totally simplified it for me. Thanks again. You’re doing great work!

  84. John W says

    Terrific and very helpful lesson! I can’t say the “light bulb came on” completely, but it’s starting to glow! You know engineers (like me) have to make it more difficult than necessary .
    I noticed that as you played over the jam track, your switching between positions (modes) seemed to correspond to Chord changes in the jam track. If I’m correct in that observation please explain/amplify more about that.
    Thanks so much!

  85. Ted L says

    Great lesson Brian……. my brain hurts a little though. Going to put this all together with a new jam buddy on the weekend ……who just happens the be a fellow subscriber. So we should be on the same page right away.

  87. Vegimite says

    Brian,
    I have been watching your U Tube lessons for 3 yrs now and been a Premium Member for 2 yrs. In that time I have seen your teaching methods improve greatly and as a consequence my guitar playing has improved out of sight.
    Fantastic work keep it up.
    Paul
    From the Land Down Under.

  89. David H says

    Hi Brian, I have been learning my hand positions, pentatonic scales in five positions, etc. I have been at this almost two years, practising a few hours every week, about three days a week. And as you mentioned in your lesson, like many students and guitar players, I get a little crazy from it now and then. Your lesson gave me a little short cut so I could start exploring with all this theory and actually make a little music. So like a kid learning to read I feel like I have put down the primary reader of “Jack and Jill” and am now trying to read something a little harder, like “Treasure Island.” It kind of encourages me to keep learning. One day I will read “War and Peace.”

    • Gary C says

      P.S. I noticed your T-shirt. I met oh John Hartford and he was quit the man, and boy could he play, but he wanted to be just a river boat capstan I have a signed poster of him in my music room that he gave me. Just a great memory of a great guy..

  93. Robert C says

    Great lesson Brain. I have been thinking a lot about playing vertical across the fretboard and using this pattern in all the modes the way you showed makes you do this. My goodness mix in the pentatonics and there are endless possibilities. Thanks

  95. Lou V says

    Interesting way to bounce around the neck using the same scale pattern but different modes. One observation though, It looks like the starting scale in the key of A is actually the G major scale? See the G major scale using the D shape in lesson 374, click on the download tab 5 positions. So is this really starting in G Dorian?

  96. Chris H says

    My soloing days are kinda gone,, Brian, but I like learning this stuff just expand my knowledge of the fretboard and music theory. Oddly, I had just watched vid by Jens Larsen … https://youtu.be/PBOpRy6ghJs … about a Joe Pass solo that kinda blew my mind. Your lesson was a little more down to earth, but still had some loft to it. I get where you’re going, but I still have trouble keeping it all straight in my poor little cranium. Bottom line is I think you’re point about overlaying the three patterns in the same position is the magic key to understanding what is going on … but that is easier said than done.

  98. Stobes says

    So….. playing the first pattern, (A dorian) is the same as the G major. Playing the second pattern is B dorian, but highlighting the A note in the pattern, you are actually just playing the A major scale. The third pattern is a dorian pattern again. Which then says to me it is therefore D major. How does this become mixolydian then?

    • Stobes says

      Right! The fifth mode of D major is A mixolydian. If you play A mixolydian at the 5th fret and then go up the modes from there, by playing the third pattern in the video you are playing E dorian! My confusion for this bit is the third scale pattern at the 12 fret,is derived from A mixolydian and not A major?

  101. Douglas R says

    Great lesson
    Alright, what are the ‘rules of engagement’ over the chord changes?
    Can you continue playing some version of the one chord or do you play a scale of the chord you’re playing over?

  102. Rick L says

    Nice lesson Brian…Duke Ellington wrote an encyclopedia of music when he simply stated “If it sounds good, it is good” This lesson exemplifies that to a “t”. thanks

  104. Bob B says

    Great lesson. Brian. Brilliant idea to show the same pattern for the 3 modes – makes it so much easier to mix them.

    BTW are you related to the great writer/producer Billy Sherrill? Is that where your great gift/talent comes from?

    Best regards

    Bob

  105. frank p says

    Great lesson! ! ! But I have a small question related to memorizing the mixo in all positions (and all keys) : if I see the A mixo correctly , A mixo = the added notes of E major penta + E minor penta. Right or not ?

  106. Mark H says

    Hoo boy, I need to put in some time in on this. Would prefer to just overlay the Dorian on top of the A scale, not a big fan of sliding up like that if I can get away with it, and I think it would be more usable and sound better. I’ll transcribe it unless someone has a handy diagram of alternative Dorian patterns.

  110. Eric S says

    Great lesson. It’d be awesome if you could post a little song where you play some rhythmic solos going between the modal scales so we could learn shifting those patterns within a key by some rote practices.

  113. Peter B says

    Hi Brian, these new style lessons are brilliant and I am learning my guitar like never before and hearing and feeling the guitar neck under my fingers. So much enjoyment!
    Thank you.

  115. Andrew P says

    Brian, if possible can you share the chords played in minor and major backing tracks? It sounds kind of like the 12 bar pattern type of thing (1st, 4th, 1st and 5th) is that correct?

  117. Andrew P says

    Brian, a totally different topic but I was wondering what tools you use to produce your backing tracks? I always enjoyed your lessons and backing tracks were always good. Do you use BIAB/RealTracks or some other tools? I think it could be interesting lesson topic, though a bit different than your usual.

  118. C Frank O says

    Since the music is moving all the time, I didn’t think that you could find the key of the song just by hitting the first chord of the key, I was more thinking that you had to be on the same chord that the song is at when you strike the guitar; It is easier than I thought then.

  119. John E says

    This one works very well. I need to play the lesson over a few times, but I know I can make it work with these modes, now that I understand them better. Thank you for the backing tracks too! this will stick to me, because it was simple and the demonstration and following along is a confidence builder. I’m grateful for your teaching, the methods and I can tell patience! It was a one on one lesson. Thank you very much!

    John E.

  121. Rob N says

    The Major stuff is so much fun, swapping between Dorian, Major and Mixo then adding the major/minor pentatonics. Suddenly I’m moving around freely and finding little tunes to interact with the changes on the backing track. Brilliant!

    BUT! only a minor gripe, excuse the pun 🙂 the minor backing track comprises a bass guitar only and my 70 year old hearing struggles to pickup the chord changes in the bass register. I worked out using headphones to pick the pattern out that it’s ||Am, 8 bars | F, 2 bars | Am, 2 bars, | F, 2 bars, | Am, 2 bars||: repeat.
    So second time around you hang on Am for ten bars (long time). Some short stabby guitar or keyboard chords would be much easier to hear. Its knowing where I am in a long chord sequence I struggle with, the chord changes arrive out the blue and I’m late coming in. 🙂

    Another fantastic lesson Brian.

  123. KENT G says

    Yes yes yes! I started from ground zero 4 years ago at age 59, your lessons have helped me immensely . My music pals can’t believe the progress I’ve made in such a short time, thanks to you. I’ve had several ah ha moments and this was certainly one of them! I was ready for this lesson. Thanks Brian!

  124. Steve C says

    Just found this today and it’s great!! So very helpful in seeing the modes and notes. This has been very helpful and it got me over the hump of seeing Dorian and Mixolidian working together. Thank you!

  127. Thomas H says

    Brian, you keep saying it all depends on where you start. But I heard any thing about where that is? The root, 3rd, fifth? If the start changes from pattern/scale to pattern where is the starting point?

  128. Gary H says

    Brian
    Ive been playing ,strumming picking a few licks for over 50 years this is my second time signing upon this site.
    I know every note on the neck pentatonic and major scales this video was lights on for me I got it I improvised and knew what I was doing
    for the first time ever IM on fire now im going to be able to set around and play the blues !!!

  129. Timoci R says

    Thanks Brian.Prior to lesson ep506 I’ve been using the five pentatonic scales on the guitar keyboard and they’ve work very well especially for church music thanks to you.Now with lesson you’ve given other new aspects that I will surely use and definitely cherish.

  130. nneihaus says

    The way you explain concepts totally clicks with me. Hundreds and really thousands of dollars worth of lessons and yours are far and away the best. Teaching small pattens at a time makes it so much easier to understand. Thanks so much!

  134. John S says

    Brian,

    Each lesson I work through opens up the fretboard and makes my playing guitar 🎸 enjoyable.

    What was once a complicated maze know is becoming a familiar territory for fun and music.

    Thanks!

  135. Carlisle H says

    I’m a beginner and so I clicked on the “Basic Lessons” link from your website where I found this lesson. Wow, you explained this lesson’s concepts very well even for a novice such as myself. My fingers haven’t “figured it out” yet in terms of automatically hitting the right strings/frets but your explanation made perfect sense, and I at least know where to aim those fingers (and why) to get them to start learning. Thank you, Brian.

  139. Dwayne says

    Great beginner lesson….but it’s a bit confusing…I’ll have to replay this video over and over and over again…when I don’t have any distractions at my home…dogs barking because it’s storming outside, wife keeps showing me food photos of different foods that she thinks we may like and she will make them…while I was watching this video…and a whole lots more going on…and all I wanted to do was watch this video without distractions…

    Oh well, it is what it is…

  142. Steven C says

    I’ve been working on EP506 which is in the key of A. Previously I was working on EP489, Simple Square Pattern, which in the key of B.
    Then I moved EP506 up to the key of B and played it with EP489. Or just combined the two in the key of A.
    So they fit together when in the same key. And I can play a lot of EP506 by playing EP489 boxes and bending a few notes.
    I also realize the minor pentatonic scale fits in.
    I guess I’m confused and getting more confused.
    Where am I headed with all this? Do I need to learn all the positions and the CAGED system to make sense of it all?
    I’m obviously new to improvisation. Am I missing something?

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