Get a new perspective on your scales with this Easy Horizontal Run From Overlapping Scales lesson from Guitar Control instructor Darrin Goodman. Be sure to click the link for the free included tabs to go along with this Easy Horizontal Run From Overlapping Scales lesson.
Introduction
Hey everybody how’s it going? This is Darrin with GuitarControl.com bringing you this video lesson. Today I want to show you an Easy Horizontal Run From Overlapping Scales or the modal shapes, whatever you want to call them. This just can kind of help you to break out of the rut sometimes you get from just staying in one position so you just can kind of see the way that the scale patterns overlap each other across the fretboard. You can just use what we’re going to do here is like a run, but you can also use it as a way to take licks that you already know and then play them in each position as you move up across the fretboard. Anyway be sure to click on the link in description for the tabs and let’s get close up and take a look at this Easy Horizontal Run From Overlapping Scales.
Horizontal Run From Overlapping Scales
All right so we’re doing this Easy Horizontal Run From Overlapping Scales in the key of G major but we’re not starting on G, we’re actually going to be starting on B, so we’re going to be starting on the third position of the G major scale. So the third position is the Phrygian shape. So if you don’t already know these scale patterns, you can learn what we’re going to do here without knowing them, but it is extremely beneficial to know them. I did a lesson quite a while ago where I went over all of the shapes of all seven shapes, so I’ll just leave a link for that video right here so you can you can check that out. So we’re starting off this Easy Horizontal Run From Overlapping Scales here, we’re in the Phrygian shape, the third position; and another thing too is that this is a movable shape, so once you get this down you can move it around to whatever key that you want. So we’re starting off here, we’re on the seventh fret of the low E string, which is B. So we’ve got; seven, eight and ten on the E string and then seven, nine and ten on the A… string or the A string. So that’s like the first six notes of the third position or Phrygian. I’m just going to call them by their modal names just because it’s just going to make it easier to kind of understand. So now we’re going to shift up into the next position which would be the Lydian shape and we’re going to play the fifth and the fourth strings. So if you don’t already know the shapes overlap each other, so these two notes right here on the ninth and tenth fret of the A string are notes one and two of the next of the next position. So now starting on the A string we’re going to go to 9 10 12 and then to the D string 9 10 12. Now we’re going to go into the next position, so again these two notes right here are notes one and two of the next position. So now the next position is Mixolydian. So we’re going to go 10 12 14 on the D string and then 11 12 14 on the G string. All right so now I’m going to shift up into the next position again, so this will be the Aeolian or the natural minor; so again these two notes right here, notes two and three on the G string of Mixolydian are notes one and two of Aeolian. So now we’re going to shift up and we’re going to play 12 14 and 16 on the G string and then we’re going to go to the B string 13 15 17… And then for our final position we’re going to go to Locrian. So these two notes are notes one and two so we’re going to shift up on the B string, we’re going to do 15 17 19 and then to our high E 15 17 19… All right, so what we’ve been able to do is we’re still playing in key, but instead of being stuck you in that one position, this is just a way to connect them together so you can move more horizontally across your fretboard. I’m just alternate picking this and if you got this up to a fast speed it would be like a cool run. You also want to practice this both ascending and descending. Now after you know the other patterns you can do the same Easy Horizontal Run From Overlapping Scales, you don’t have to start here, you could start with the first position which is Ionian and then you would go Ionian through Mixolydian or whatever you want; like I said they’re movable, you can just move them around. So this particular thing even though it’s in the key of G major and we’re starting on B, to make it truly modal then you’d have to know your chord progression and center around that B minor chord, but we’re not going to get into all of that stuff right now. So after you get this down then you can take other lick sequences that you already know or ones that we’ve gone over before and you can kind of apply it to this. So I’m not going to go over a whole bunch of these but just to give you an example. If we took one we did before… now what I’m doing there is I’m going one two three four three two one two three four five six, referring to the notes, because in this position there’s six notes so you just do that as you move through the positions and then you can do the same thing with descending. There are lots of different things that you could do within this Easy Horizontal Run From Overlapping Scales. So the first thing you want to know, if you haven’t already learned the modes, like I said you could check out that other lesson and learn those, it’ll make this a lot easier, especially if you want to hook other ones together, but in the meantime you know that you can just do this sequence and even if it’s a song you’re playing that’s in the key of G major or E minor you could still play this because all the notes in Easy Horizontal Run From Overlapping Scales are going to be in that key, it’s just all kind of centering around B.
Conclusion
All right, so I hope you enjoyed Easy Horizontal Run From Overlapping Scales and you got something out of it. If you liked the lesson be sure to give me a thumbs up. Leave a comment down below if there’s something that you’d like to see covered in a future lesson by myself or one of the other instructors at GuitarControl.com. If you have not already done so, please subscribe to the channel and hit that notification bell so you don’t miss any of the content that we upload throughout the week. So that’s all I’ve got for you today. Thanks for watching Easy Horizontal Run From Overlapping Scales and have a great day.
Lessons on Guitar Scales
Make your playing sound more musical and Get Out Of The Scale Rut With This Easy Sequence from Guitar Control instructor Darrin Goodman. Be sure to get the tabs to go along with this free Get Out Of The Scale Rut With This Easy Sequence guitar lesson.
Introduction
Hey everybody how’s it going? This is Darrin with GuitarControl.com bringing you this video lesson. Today I want to show you How to Get Out Of The Scale Rut With This Easy Sequence, somewhat of a continuation from a lesson I did a week or so ago, I’ll leave a link for that lesson right here so you can check it out. But what this is, is just some sequences to kind of break up the major scales and can use this for all positions, I’m just using it with the regular major scale, the Ionian shape, but you can do this with Dorian or Phrygian or any of the three note per string patterns. So we kind of get into this habit of just, you know playing the scales, or even you know doing different licks and sequences and things like that, what this does is it just really breaks it up so you’re not playing so many sequential notes, you’ll see when we get into it, but it just really mixes it up so you’re not just playing a note and then playing either the next note in the scale or the previous note of the scale continuously. So this kind of breaks it up and gives it kind of a little bit more of a musical vibe without even really being a lick still just playing through the sequence. So be sure to click on the link in the description for the tabs and let’s get close up and take a look at Get Out Of The Scale Rut With This Easy Sequence.
The Major Scale
For Get Out Of The Scale Rut With This Easy Sequence we’re doing this in the key of G major, but you can do it anywhere, it’s a movable shape. So if you don’t already know the three notes per string major scale, the Ionian mode, let me quickly go over that. So we’re starting here, since its G, we’re starting here on the third fret of the E string because that’s G. So we have three, five, seven and then on the A string, three, five and seven, the D string we have to shift up one and we’re four, five, seven, same on the G string, four, five, seven and then for the E and E we have to shift up again, so we’re five, seven, eight and then on the high E, five, seven and eight. Now as I said you can play this in a different position, you know you could start up here on B and play it there, it’s going to be the same shape, it doesn’t matter where it is, just whatever note you start on is what key you’re in. Now another thing really quick with this, when I play these with the two whole steps I use my first, my second and then my fourth fingers, some people find it more comfortable go first and third like that, not using their second finger, that’s really awkward for me, but I see a lot of players that do it, but it’s usually people who have big gigantic long alien fingers, you know; Steve Vai, Paul Gilbert, guys like that. I don’t have that luxury of having those long fingers like that. I’ve got little hands, so this just makes it a lot easier for me. So whichever way you want to do it, one way isn’t correct more than the other, it’s just whatever is more comfortable for you. So now lets check out the sequence.
Sequence Ascending
All right so for the sequence the pattern, instead of just going one or you know three, five, seven, we’re gonna go three, seven, five. So at first you can memorize this by looking at the tabs and you can base it off what frets you’re on, but what you really want to memorize is based on which notes since there’s three notes per string. We’ll call the first note one, the second note two and the third note three, so each string one, two, three, one, two, three, one, two, three, one, two, three, so on and so forth. So what we’re going to do here is we’re going to go 1, 3, 2… and then the next thing we’re going to do is we’re going to go to 1 on the next string, in this case the A string and then back to the third note of the low E, to the second note of the A, to the first note to the third… So that’s just like the repeating pattern, you just keep doing that across all of the strings so it’s pretty straightforward until we get up here around the D, G and B strings and then I’ll show you what we’re going to do there. So again starting over it’s one, three, two three and then to the first note here, one, three, two, one back to the third fret or the third note of on the E string, to the second note on the A string, to the first and then to the third, to the second and then to the first note on the D string; so it’s just that same sequence, just keeps repeating. So if you just memorize that little pattern, thinking about which number note it is per string. Okay now when we get here, we go to the second string, so this the second note here on the G string and the first note on the on the B string are on the same fret. So if just roll up and then when we go to the third note here on the seventh fret it’s the same thing, we just roll up to the same fret. All right, so that’s the sequence for ascending it.
Sequence Descending
Now we actually end there on the ascending part. So for descending we’re going to start here on the second note to the third note of the B string, first note of the E string, second on the B third and then one… Now we’re going to go to the G string. So it’s on the same fret again, so you just take your ring finger and just roll up to that and then the same here.
Conclusion
All right so I hope you liked Get Out Of The Scale Rut With This Easy Sequence and you got something out of it. If you like the lesson give me a thumbs up and leave me a comment down below. If you haven’t already done it, subscribe to the channel and hit that notification bell so you don’t miss any of the content that we upload throughout the week. If there’s something that you’d like to see covered in a future lesson by either myself or one of the instructors at Guitar Control leave me a comment, let us know what you’re interested in. Anyway that is all I’ve got for you today. Thanks for watching Get Out Of The Scale Rut With This Easy Sequence and have a great day.
Lessons on Chords and Rhythm Guitar
Introduction
How’s it going? This is Darrin with GuitarControl.com bringing you this video lesson and today I want to show you a cool exercise for chaining the positions of the major scale together and it’s just a good all-around picking exercise and an exercise for your fretting hand for shifting back and forth between the positions. So be sure to click on the link in the description for the tabs and let’s get close up and take a look at this.
Diatonic Scales
All right, so the first thing here let’s just go over these two scale patterns just in case you don’t know them. So these patterns that I’m using are three notes per string. I like using the three note per string scales because it just makes it easier for alternate picking and for hooking the patterns together and this is completely movable. So we’re doing this in the key of G major, but you can move this around to whatever key you want.
Ionian
So I’m starting here on the third fret of the low E because that’s G. So we’re starting on G and we’ve got three, five, seven and then on the A string three, five, seven, the D string we have four, five, seven, the G string, four, five, seven, the B string, five, seven, eight and the high E, five, seven and eight; so that’s our G major scale, G Ionian.
Dorian
So how these hook together is there’s three notes per string and notes two and three are notes one and two of the next position. So the next position is going to start on the fifth fret, this is our Dorian shape. So now we’ve got five, seven, eight and then on the A string we have five, seven, nine, D string five, seven, nine, G string five, seven, nine, B string seven, eight, ten, and high E seven, eight and ten.
The Exercise
All right, so for this little sequence what we’re going to do is we’re going to play the first six notes of Ionian and now we’re going to shift up to the next position. So right now we just left off we’re on the third, fifth, and seventh fret. So we’re going to move up to the next position which will put us at the fifth, seventh and ninth fret, and then we’re gonna descend the Dorian shape, so nine, seven, five, and then to the low E, eight, seven and five. So that’s basically the entire sequence and then all we do is just move on to the next string. We’re starting on the A string and we’ll do the same sequence based on the A and the D strings. So now for the A string, we start on the third fret, three, five, seven and then to the D string, four, five, and seven. Now again these two notes here at the fifth and the seventh are notes one and two of the next position, so now we’re just going to shift up nine, seven, five, and then on the eight on the D string and then to the A string, nine, seven and five. Now we’ll just start the sequence over again on the D string, four, five, seven, and then to the G string, four, five and seven. Now I shift up nine, seven and five on the G string and nine, seven and five on the D string. Now we start the sequence over again on our G string, so again we’ve got four, five, and seven and now when we go to the B string we have to shift up a half step and it’s five, seven, and eight.
Now we shift up to our next position, so again notes two and three here are notes one and two. So starting on the B string, ten, eight, and seven, and then we have to shift down a half step when we go to the third string, nine, seven, and five. Now we start the sequence over again on the second string, the B string, so we five, seven, and eight and then to the high E, five, seven, and eight. Now we shift up ten, eight, seven and go to the B string, ten, eight, seven and then end there on eight. Now the reason I end there on eight is that it’s our G, so it just makes it resolve.
Changing Keys
All right, so again like I said, this is movable. If you wanted to do this say in the key of A major, then we would start here on the fifth fret, so on and so forth like that, it’s movable, you can move it around to wherever it is that you would like it to be, whatever key you would like to play in. Now the entire thing is done with alternate picking, so I’m down, up, down, up, down, up, down, up, down, up, down, up and then we go starting on the fifth string it starts with a downstroke, so no two downs in a row no two ups in a row. All right, so like I said it’s pretty simple to play. If you don’t already know those scales you’re going to have to get them down first, so that adds a little bit of a challenge to it, but basically what I want you to get out of this is just the exercise and the way that it hooks together. So I did a lesson a while back that went over all seven of the modes and the patterns and stuff, so if you refer back to that you can not only learn the two scales that we used, here but the other five that go along with it and then you can do a larger arrangement of this exercise. So you could start off with G Ionian and then A Dorian and then shift up to B Phrygian and then up from there to Lydian and so on.
I’ll put a link for that lesson right here so you can go check that out and learn the other patterns and then you could expand on this whole idea.
Conclusion
All right, so that is all I’ve got for you today. I hope that you enjoyed that you got something out of it. If you like the lesson be sure to give it a thumbs up. Subscribe to the channel and hit that notification bell so you don’t miss any of the content that we put up throughout the week. That is all I’ve got for you today.
Thanks for watching and have a great day.
If you really want to Dominate your Fretboard click here.
]]>Check out this free lesson from Guitar Control instructor Darrin Goodman. This lesson will Challenge Your Guitar Chops With String Skipping using two different ideas. Be sure to get the tabs so you can follow along.
Introduction
Hey everybody how’s it going? This is Darrin with GuitarControl.com bringing you this video lesson and today I want to show you a couple of string skipping ideas that you can incorporate into your playing. I’m not going to lie and say they’re really easy because they’re not. If you’re not familiar with the technique it’s simply just a matter of instead of playing notes that are sequential, you know from string to string, you’re actually going to be skipping over strings and there’s some cool sounds and things that you can get from doing that. So be sure to click on the link in the description for the tabs and let’s get close up and take a look and Challenge Your Guitar Chops With String Skipping.
Overview
All right so the very first one is just something I made up a long time ago when I first got introduced to string skipping. It through Paul Gilbert and the string skipping stuff he does is incredibly difficult, but I’m going to show you the very first thing that I learned from a Paul Gilbert lick. So this thing that I did much, much, simpler, so basically what it is I’m just playing the notes of a scale, but instead of just playing you know straight up the scale I’m using some legato, some hammer-ons and pull-offs and I’m skipping over every other string. So this is in the key of E minor and I’m using the fifth position of the scale, so if you know your modes it’s the Mixolydian pattern and it’s going to be starting on D.
String Skipping With A Scale
So we’re starting on D here on the 10th fret of the low E string. So the sequence is 10 12 14, 10 12 14, 10 12 14, 11 12 14, 12 13 15 and 12 14 15. I don’t remember exactly why I decided that this was the pattern that I wanted to use for doing this, it may have just been because of being in the key of E minor, that it was just the location that it was on the fretboard, but anyway this whole this idea can be used for any of the seven modes. So what I’m just going to do legato, so I’m going to pick and hammer and hammer and then I’m going to skip the A string and go to the D string and I’m going to pick hammer and hammer and pull and pull. So at first you might actually want to start off with that. It’s just three notes on the low E and then jump to the D string. Then now I just simply start on the A string and do the same thing but now I’m going to skip the D string and go to the G string. So when I go back to the A string it’s the same pattern, but when I go to the G string now I have to move up a half step so I’m at 11 12 14, we’d start on the D string and go to the G string then to the G string and then to the high E.
So as you can see it’s not a super easy one to play, but it’s not incredibly difficult either, it’s just something you just have to work with and I would just break it down like that, work on it when you can play just the E and the D string and then work on adding in the A string and so on and so forth across the board.
String Skipping Arpeggio
Okay so then the one that I wanted to show you that like I said, this is the one that first got me into this from Paul Gilbert and instead of being out of the scale, it’s actually a string skipping arpeggio. So we start off here, we’re on the seventh fret of the G string with your first finger and I’m gonna do this legato, it seems like he may have picked all this but I can’t pick anywhere near as fast and efficient as Paul Gilbert does, so I’m gonna do it with legato. So I’m starting at the seventh fret, it’s pick and then hammer to the ninth fret and then hammer to the 12. So it’s a pretty big stretch right there, then I’m going to skip the B string and go to the high E and I’m going to go 7 10 12. So it’s pick hammer hammer pick hammer hammer pull pull, back to the G string, pick pull pull and then skip over the D string and end on the tenth fret of the A string.
Now the way he does it and I do it too and I recommend you to try to work this into it too is that there’s a one more note but he actually taps it. So when you get up to the high E, tap the 15th fret pull pull. So this one is quite a bit more difficult than the one, at least in my opinion, than the one that I made up and I think this sounds a lot cooler too. Now you can also do some stuff like that, just tap some different notes up and down that are in the scale. So I’m doing this, I’m doing down hammer hammer up hammer hammer pull pull down, just like that.
Conclusion
All right so I hope you enjoyed Challenge Your Guitar Chops With String Skipping and you got something out of it. String skipping is a pretty cool technique and it’s just a really easy way to add a little musicality to a major scale. As I said, you can do that same idea for the one that I made up just by you moving around, changing keys, but also changing the sequence, so any of the three note-per-string seven major modes work really, really well for doing that. Some are a little harder than others just because of the transitional changes. I played around with and I decided that Mixolydian was the best for me, but that may not be the case for you. I’ve had students before that have done really well with Ionian and another one that really liked to do it with Locrian of all things.
Anyway, that is all I’ve got for you today. Thanks for watching and if you like this lesson be sure to give it a thumbs up and leave a comment down below if there’s something you’d like to see covered in a future lesson either by me or somebody else here at GuitarControl.com.
Thanks for watching Challenge Your Guitar Chops With String Skipping and have a great day.
Simple Guitar Chops Teachings
String Skipping Arpeggio Lessons
Here´s Alejandra explaining the Diminished scale!
Hope you enjoy it…
This is Cameron with another cool guitar lesson
about the melodic minor modes applied to the guitar!
Hope you enjoy it!
Lead Guitar Lesson – Learn the Melodic Minor Guitar Modes – Guitar Theory
Hello. This is Cameron Rasmussen for guitarcontrol.com.
Hi, guys. Today we’re going to be talking about non diatonic modes again.
Now, as I’ve discussed in earlier videos, a mode is a scale that sits
within another scale when you rearrange tones and semitones and you
start and end on a different note than you began with originally,
but still using all the same notes of the original scale.
This is part II about guitar modes from Cameron…
about the greek modes applied to the guitar!
Hope you enjoy it!
Lead Guitar Lesson – How to Play the Modes on Guitar –
Part II – Guitar Theory
This is Cameron Rasmussen for guitarcontrol.com.
So today we’re going to be talking about modes again,
part II. This is because years ago when I was learning
the modes for myself I had to look at them in so many
different ways until I actually understood what they
were and how to use them. Now, that’s why I want to do
this video today and we’re going to be looking at them
from different perspectives.
Now the first mode we’re looking at today is G major
or G ionian and the numbers for it are arranged as such:
1, 2, 3, 4, 5, 6, 7, 1. Simple. The tones and semitones
are arranged like this: tone, semitone, tone, tone, tone,
semitone. So that’s the template for the order of tones
and semitones that we’re going to be using and changing
around for every other mode that we look at today.
This is Cameron with another cool guitar lesson
about the harmonic minor modes applied to the guitar!
Hope you enjoy it!
Lead Guitar Lesson – Learn the Harmonic Minor Guitar Modes – Guitar Theory
Hello. This is Cameron Rasmussen for guitarcontrol.com.
So, guys, today we’re going to be talking about non-diatonic
modes. Now, as we’ve discussed in earlier videos, a mode
is a scale that’s within another scale when you rearrange
the order of tones and semi tones and start and end on a
different note than the one that you began with.
The modes that we’ve covered so far in previous videos were
diatonic modes; modes that come from the major scale. Today
we’re going to be covering modes that are not diatonic, such
as modes that come from the harmonic minor scale.
We’re going to be using the key of A flat minor for
these examples and we’re going to be starting with
the first mode, harmonic minor in A flat.
The second mode is locrian natural 6, and it goes like this.
The third mode is ionian sharp 5, and that sounds like this.
The fourth mode is called dorian sharp 4 and it sounds like this.
The fifth mode is called phrygian dominant and it is
the most commonly used mode of harmonic minor.
The sixth mode is called lydian sharp 2 and that one goes like this.
The last mode from the 7th is sometimes referred to as the
diminished scale. But it’s not in the traditional sense
like a whole-half or half-whole diminished scale.
It sounds like this.
So out of all the scales and modes I showed you today
there are two that you should definitely have under your
belt. The first one is the harmonic minor scale from the
root. It’s very widely used through lots of kind of metal,
like shred metal and neo classical metal, because it gives
you that more classical baroque sounding side of metal.
If I had a groove like this in A flat, I could just use
the scale however I wanted, implying that natural 7 on
the groove, like this. I was just randomly choosing
little licks in harmonic minor and it fits.
So the second scale that you should know, as I said before,
is the phrygian dominant scale. It’s very widely used in metal
as well as jazz, and this is because when you take the arpeggio
that’s built from it using the root, 3rd, 5th and flat 7th of this,
you get a dominant 7th chord. In this case you would get E7. If
you use the rest of the notes from the scale you get flat 9 and
flat 13 from this scale. These are nice tensions to add on a dominant
7th chord when you’re using it and you’re improvising. If I just had
some kind of groove on E7… And that was all using phrygian dominant.
All right, guys, this has been a quick lesson in non
diatonic modes in harmonic minor. These are good
modes to use because they give you new flavors and
sounds when you’re improvising and even composing
your own stuff that isn’t as widely heard by people.
If you learn them they won’t let you down.
Please click the link in the video description
if you’d like to see the tab for the examples I
showed you today and I’ll see you next time.
This is Cameron with another cool guitar lesson!
This one is about the greek modes applied to the guitar!
Hope you enjoy it!
Lead Guitar Lesson – How to Play the Modes on Guitar – Part I
Hey, guys. This is Cameron Rasmussen for guitarcontrol.com.
Today, guys, I would like to talk to you about modes. Modes
are a very, very important part of all music and understanding
them is a great way to breakthrough in your improvising when
you’re soloing on anything. It opens so many doors and it opens-up
the way you see the fretboard in such a great way. That’s what
I’d like to look at today.
What a mode is, is a scale that sits inside another scale.
You pick whatever scale you want to use and then if you pick
a different note inside that scale, play all the same notes,
start an end on it an octave up, you’ve played a mode of that
scale. That’s what a mode is in a nutshell.
We’re going to be looking at the modes inside G major today.
G major is a mode in itself. It’s also known as ionian. Ionian
is the first mode we’re going to be looking at. Major and ionian
are interchangeable terms. So this is G ionian. Here it goes.
The next mode, dorian, goes like this. The next one after that
is phrygian from the 3rd. It goes like this. The fourth mode,
from the 4th, is lydian and that goes like this. The fifth mode,
from the 5th, is mixolydian and that goes like this. The sixth
mode is known as aeolian, which is also an interchangeable term
for relative minor. They’re both the same thing. That one goes
like this. The last mode from the 7th, locrian, goes like this,
down here on the 2nd fret.
There are seven modes that I just showed you, and they all have
a lot of applications when you get into higher levels. But two
of them that I’m going to show you now, mixolydian and dorian,
have two very essential applications whether you’re playing jazz
or blues or rock. You can use it in lots of different places,
but they’re very important to know.
The names of the modes, again, like I said before, going through
them are ionian, the major scale; dorian; phrygian; lydian;
mixolydian; aeolian, relative minor; locrian and back to ionian.
Certain chords, sometimes specific on context, but certain chords
always get matched-up with certain modes. One example of this would
be any 7th chord. So if we had an E7th chord, we would have —
mixolydian would go with that because it has a natural 3rd and a
flat 7, just like in an E7 chord. So it’s like a major scale with
a flat 7. You’d actually look at that as your root if you were
soloing on just that one chord.
Now, in jazz, on any minor 7th chord, let’s say D minor 7,
you almost always use dorian on that chord. It gives you
the natural 6th instead of a flat 6 from aeolian. That gives
you a much more jazzy sound and depending on if you’re
playing in moving-chord context or a modal context, you
can use that natural 6th a little bit more. But for minor
7th chords, it’s generally dorian that you use.
So, guys, you can play around with the modes I just showed
you inside G major and make sure you use the root of that
mode very specifically and like make it strong. Play around
with the sound of it and you’ll notice it has a very unique
sound, even though you’re still inside G major.
All right, guys, please click the link in the video description
if you’d like to see the tab and I’ll see you next time.