Intro to my next series... The Holy Grail of fretboard control!! Check it out!

[00:00:00]Hey everybody, Minds Eye Visual Guitar Methods here. What I want to do right now is make like a 10-minute lesson as a preview for an hour and 34 minute lesson. I I just made those hour-long lessons sometimes shy away people that could, you know, are missing maybe one of the greatest lessons of their lives.

[00:00:20]Because like I'm saying in the title, this is what I consider like the holy grail of understanding your fretboard, organizing your visualizations to make you give you complete control of not only your fretboard, but the music that you're trying to produce, which means controlling all the chord tones and knowing where they are in a way that and knowing where the noodle notes are in a way that you can't do when you learn giant scale shapes as just a simple background road map. um great things to have as a foundation, but they won't do what this can do. So, here's what we're learning today. We're learning we we get all the notes categorized. And this is just a brief overview so I can make a fiveminute lesson to entice you to watch the hour and 34 minute complete explanation, especially if you are a beginner. You may be able to just see what I'm doing if you're an advanced player. We got to get all 12 notes categorized. So, we do we put them into little groups. If we put a group of four, it's easy to know four notes. Easy to know. Three notes and then five leftover notes. Okay. What are these notes and why are they special in this organization? Well, four notes, four corners of a box. These four chord tones create your safest um notes. So, you get a a choice of four great notes to solo as a beginner over any chord. And they're going to put you inside with no wrong notes. That gives you confidence. that makes playing fun.

[00:01:48]So that's a step in the right direction for a beginner. And then at the same time, the way to think about it and why why this isn't just all you need to play a great solo was these are the lowest risk notes. They have low risk. They're not going to be wrong.

[00:02:03]They're always going to sound right on top of the chord. Um and that means that there's going to be lower reward, less surprise for the audience. Um, and not as much trickery that the audience likes to hear. Trickery being why the u solo in Kid Charlemagne sounds like it's got all these jazz notes in it. And how did Larry Carlton do all that? So, um, it's because he's using more than the chord tones, but he's mostly focused on the chord tones in each moment. That's what gives it that inside outside dynamic that sounds so technical, precise and and perfect without with a bunch of crazy notes without any noodling. So low risk, lower reward, but harmonious frequencies is how they work. They're the frequencies that match the frequencies of the chord of the moment.

[00:02:53]This is inside. This is release. If you've heard all those other topics, you're trying to make sense of what they are, where they come from. Let's gather four notes. That gives us a nice little pool of a little playground to play the entire fretboard with. These structures as organized create a pattern that G gives you an easy way to link up your entire fretboard as well. So there's navigation and understanding built into this method. It's very very powerful. Um liberating I guess uh for you trying to learn you know how to be a better solo guitarist and not Noodle. My hourlong lesson has has a ton of uh talks from me about noodling, what it is, why you sound like you're noodling, more than you get more than you hear anybody else explain, at least as I've ever found uh in my and I watch a lot of YouTube. I'm uh yeah, I'm all over the place with uh watching these uh other teachers that are doing what I'm doing.

[00:03:54]So anyways, you have then it leaves you with three scale steps and you want to know those. Those are going to be your character notes that create all the turn your chord into, oh, okay, now he's Why did the solo sound like that? Why did he use that one note? Why did How did Larry Carlton know how to use that one note right there? Well, he was catering to the four chord is what someone would explain. What does that even mean?

[00:04:18]You're going to know it when you understand these three other tones and then where they are on your fretboard and how this organization makes them super easy to find. and know and play.

[00:04:31]Um, so we'll and I'm to save time, I'm not going to show you any uh sonic soundings because this will start turning into the hourlong lesson here.

[00:04:40]So, or you're going to have to watch the hourlong lesson for that for to actually hear this stuff. Um, so we've got uh fully outside notes then left over and there's five of those.

[00:04:53]Now, these fully outside notes. So, some of you are going to want to know where these are so you can avoid them so you don't play the wrong note. This is going to be the note that would definitely sound wrong. However, jazzers play these notes and then they sound right. And nobody can seem to tell you why or how.

[00:05:12]And and also, you're watching some of these great jazz lessons and they'll they'll give you some tablete. They'll show you what they played and you're thinking, you know, okay, this is they've explained that this is all in the C major scale, so it's, you know, easy. But then you're like, well, where did that note come from? Well, there's a black key there. It's one of the one of the piano note black keys. How does that even how would I know to do that? And well, what you're learning is these are genre specific notes. You're going to hear that in jazz, but you're not going to in rock. These are going to be like your This is where some of them people would call these avoid notes because in rock you would probably want to avoid these notes unless you're Jerry Garcia or Larry Carlton playing the solo for Kid Charlemagne or another bunch of other solos. So, yeah, there's there's way to even use these in rock, but you're going to have to know it know just simply understand they're high tension. So you start to learn where you want to put high tension, which chords accept higher tension, kind of kind of want you to play the higher tension, the five chords, right? And then it's all about the most important thing with these ones, rhythm steps. You're stepping in on the rhythm. You can use these. You're playing with rhythm, which is another aspect of great playing. So you're really nailing the rhythm. If you can plug these in, that's when you see, you'll notice a lot of the lessons where it's in the table for a, you know, that was included in a Jen's Larson lesson or something.

[00:06:46]You can see that there was sliding in or it was an enclosure.

[00:06:53]It was just simply quickly done to get to the right note on a beat. So, there's rhythm involved as well.

[00:07:02]So that's where the now you know you've got control over a bunch of sounds now because 4 + 3 + 5 is 12. You've got now an organizational understanding of your chord tones and that's what these players have. That's where they're controlling this. He makes great phrases. What are the phrases? The phrases are inside and or tension and release or away and home. home where the plus sign is first step away really far away better get the hell back home notes. Okay. So now we're going to dis we discuss in the lesson how we can turn this into one pattern, one pattern, one master pattern. There's there's two shapes and you know some couple fun shapes very easy to memorize but they're the same for major, minor and dominant. And you say how can that be? But it's possible that even major, even minor can have the same arpeggio shape. You're we're trying to chunk all the information. The key core the core key here to to give you this freedom is to take the big information and turn it into small background chunks so that this can be forgotten. Going along with what the great say like Miles Davis. Um, now I'm repeating things that are in the the longer lessons, so I want to stop doing that. But, um, Miles Davis said, you know, hey, you know, learn all your theory. Yeah. Because you need a foundation, but then you forget it. And you say, well, what do you what am I going to remember it for and learn it all if I'm just going to forget it? But that's what he means. And it goes along with some latest findings in neuroscience where they found that people especially jazzers, piano jazzers that could really improvise certain regions of the brain shut down when they when they were between if they played a memorized piece versus just improvised over it. The improvisation actually shut some systems down, meaning that they were relying on a what they had found in other ways was that there was like a the core of information was there and that enabled them to shut certain regions down and just play. And that's so that to me was the correlation there between they said, you know, that the way that they're doing that is because they had a foundation. the the piano players that were able to do that the best had a foundation somewhere a foundational understanding of things that was down deep learned. And so it seems like a lot to learn. And if you learn big scale shapes, you've got so much information that you're trying to use to get around the fretboard and then it's okay, which interval is this and and how do I play it? Then you might be able to learn little tricks here and there that just keep you locked into little things that are going to repeat all the time in every solo. That's not going to work either. How did Larry Carlton just be in and your favorite guitar player just be able to do things all over? Um or just work things out, you know, in the studio and then sound like they're going all over. It's because of the mastery of these three uh tonal concepts here.

[00:10:23]organizing your into bigger categories and organization in general. So this is going to be what gives we're going to figure out then I want you to see why there there's uh there's an anomaly that happens to make these shapes the same for each and every chord that makes it easy and you'll if you if you don't really understand why that works that makes it kind of confusing to know. We don't want any confusion. So, I show you here.

[00:10:53]It looks all confusing, but I go through this step by step and we figure out why and how all this stuff. There's the, you know, we see, we'll play it out on the fretboard. We'll start to see where the intervals are and all of that stuff. So, there's your 15inute highlight of what's coming up on our hourlong lesson on our next thing for Minds Eye Visual Guitar Methods. Check that lesson out. If you like it, then you can uh consider uh donations and stuff would would be good for for the information, but evaluate it and see the power of love like Huey Lewis in the news. No, sorry. I just, you know, my mind makes all these associations all the time. Thank you for watching. Have a great day. Check out the uh the lesson will be uploaded at the same time as this one. So, um you can check that one out. Uh now with you have some incentive to actually click on an hour and a half long lesson and hear me rambling, but we uh we definitely cover things for beginners as well as intermediates. All right, so thank you for watching. Um hopefully you'll check that lesson out. Let me know in the comments if this was a helpful helpful introduction to the main lesson. And if you're an intermediate, maybe you're able to pick up just, you know, pause the screen, check out what's, you know, uh, being pictured here and what's being said and maybe you can uh, get uh, what's what's going on. Uh, thank you for watching. Have a great day. We'll see you uh, we'll see you. And this is going to be part one, part two, part three, part four because after this explanation of the musical control, then we're going to place it. We're going to find a way that this links the fretboard up very, very easily. And after that, you have full control because like I say down here, this plugs into because we're using all 12 notes. Every concept on the guitar is going to be within this structure. Meaning chords, you're going to be able to get to your chords. You're going to be able to get to all the other chord shapes. You're going to be able to find your modes. Yes, modes are in here.

[00:12:52]Pentatonic. If you want to fly into a pentatonic right from this shape, you can do it. It plugs right in. There's nowhere to go. You can literally fly into any pentatonic shape, one of the five uh triad shapes, and we also explain why pentatonics sound noodly.

[00:13:07]So, definitely follow along in the hourlong lesson for that. And anything else, a chord extensions, uh major with a flat 13, not a likely chord, but if you found it, you can handle it. Major with a major six chord, a minor with a flat n, a dominant chord with a flat this and that, and the other thing, totally easy. you're going to be able to plug it all in and understand it in a solo context as well. So, thank you for watching and we are going to catch you on the hourlong lesson. Have a great day.