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i love this! well done!

John squire must be tone deaf standing behind ian brown every night

Hendricks

The '60s: Peter Green, without a doubt.

Andy Powell from Wishbone Ash was right up there in the 1970s, but with only albums and no singles, he remained obscure. Best man ever on a Flying V, no doubt in my mind about that!

I honestly thought that everyone knew this. Nice lesson though.

I'm 70 and I've been playing guitar since age 17. I made rapid progress in learning chords, even barre chords by simply playing until I fell asleep every night! Unlike you, I had no idea about even basic theory, having made up my mind to completely forget everything I'd learned up until age 10 on mum's piano. I hated classical music, and still do, to this day and will hate until I die. So with no internet, no guitar playing friends to jam with, no money to buy those awful guitar how-to books, I set off down the mysterious path of teaching myself to play guitar. I have an incredible ear for working out songs, as far as chords go, but lead guitar came a bit harder, until a guy at work gave me the guts of a low wattage valve amp and showed me the minor pentatonic scale. He didn't know what it was, and so, of course, neither did I. It didn't make no sense at all at first, then I bought Status Quo's Blues album, Ma Kelly's Greasy Spoon. I began to teach myself all Rossi's guitar solos as best as I could manage, and by age 18, I was fronting a Blues-Rock band, playing lead and rhythm, as well as bottleneck slide guitar. Johnny Winter and Rory Gallagher were my biggest inspirations, and of course Eric Clapton. I agree with you 100% about Eric being the best exponent of Blues-Rock guitar playing ever. Too bad he lost his was completely and never found his way back again. Eric Clapton's "Bottle of Red Wine" saw him playing sliding Lydian sixths, whatever the hell that actually means, and I fell in love with my guitar all over again, now that I had the ability to move rapidly from one end of the neck to the other in a very musical way which of course dazzled the audiences. I literally played them non-stop for hours a day. I was working in a power station that was "mothballed", but had to have a crew there in case it needed to be fired up when peak supply wasn't up to the demands of the grid. So, I'd sit in the back of my panel van, out of sight of any of the bosses, and just play all day long. I was there for almost seven months, and the progress I made, teaching myself and experimenting with what I could remember of Clapton's solos was unbelievable! . . no cassette players in cars in 1973, or at least none that I could afford on $35 a week apprentice wages anyway, so I had to just remember what he'd played and then try to replicate that on my acoustic guitar. Most of Cream's music was way too hard for me to figure out but I did my best to come up with what I'd hoped would fool the punters, and thankfully it did. Now I was the best guitar player in my entire suburb, if only because there were no others! I'd put my name down in any music shops that kept lists of musicians looking to join bands, and in 1976 Jack Bruce's son from another mother came to see me. His name was Vaughan Gipson, and he'd come up listening to the same music as I did, only as a bass player. We played songs by Cream, Free, Lynyrd Skynyrd, Mountain, Steppenwolf, enough to play a full gig, plus a long encore. I was still discovering new things to play when my hands suddenly stopped working in 2021. Bone spurs on my neck vertebrae have pinched the radial and ulna nerves to my hands. They actually stopped working on November 6th at a music festival, ON STAGE, two songs into my set! My right hand is at about 50% of full usage, while my left hand is down to about 15% and getting steadily worse! I'm a complete non-functional unit.

Echos of Syd's story..

The VENTURES and SURF bands have played these guitar notes 70 years ago. In the fifties and early sisties.

Uhh... Excuse me? Is this a joke?

Keith made the most of rock & roll

You could make it easier at the start with two simplifications: 1. Instead of hybring the natural minor and natural major you could do it with the pentatonic minor and pentatonic major. 2. You could chang scales when chords change with a simple pentatonic scales. It's just path's to the same thing as we agree in the end the full thing you do is best. Note that changing scale when chords change is most important in my opinion.

Great comments here! Thanks everyone!

You can play in any key anywhere on the neck if you know the fretboard.

Thank you so much for your service to our community. Namaskar

I guess Johnny Marr had to be disregarded here as he didn't really do blues based rock as a creative decision. I do love Slash and at the time there is no question he was a bigger star on the guitar sky (although the Smiths were pretty much done before Appetite for Destruction came out, right?). Looking in the rearview mirror though, and influence-wise, I am not as convinced. It took time for the world to warm up and wake up to the absolute brilliance in Marr's and Rourke's interplay. Some people reading this still won't be aware. If so, I recommend you try to learn a couple of Smiths tunes on bass and guitar. I also think the 90s crown is somewhat in dispute... Bernard Butler and Graham Coxon were not exactly lead gutiar heroes, but F me, did they write some good riffs. A lot of Coxon's early stuff is buried in the mix, but if you isolate it, the genius becomes apparent. Just my opinions, of course. Rock on.

Juice wrld using 999 makes more sense

This was featured in the mid 1980s by Guitar for the Practicing Musician magazine. It was explained differently and had a couple different names, really quite simple. Take the pentatonic major scale and combine the notes with the pentatonic minor notes of the same root note, then add the blue note (b5): 1 2 b3 3 4 b5 5 6 b7 8 The pentatonic major/minor combo scale, aka the modified mixolydian scale. The b5 is optional of course, you don’t have to use it. But now let’s get really crazy: take the same combo scale and add the b6 and major 7 notes, and pick a few spots to play those 2 notes sparingly. Chromaticism galore! It works! Or try leaving out the 2nds and 6ths with more emphasis on the b3 and 3rd. B.B. King city!! Featured artists in the magazine lesson were Eric Clapton and Gary Rossington - major proponents of the pentatonic major/minor scale. Many slide players also use/used this scale: Dwayne Allman, Rod Price, Billy Gibbons, Ed King, Joe Walsh, and probably all of their blues predecessors.

All of the notes between the root and octave of a scale can be used in any key...it's how they are used that makes them work...think Rory and Stevie

I was born in 1956, so 8 y/o in 1964. I didn't much like the Beatles for a long time. They were just bubble gum pop to me, my sister's music. I was brought up on Beethoven, Bach, Ravel, Rimsky-Korsakoff, Dvorak, etc., and also my dad was into "soft" jazz or at least jazzy music. Really "white people jazz" now that I think about it. My favorite was Exotica by people like Les Baxter and Martin Denny, but also Brasil 66, Chet Atkins, Boots Randolph, Herb Alpert, Henry Mancini. That's the kind of stuff I grew up on. Then when I hit puberty I got into Metal. Back then it was just Metal: Cream, Iron Butterfly, Alice Cooper, Black Sabbath, Grand Funk Railroad, Humble Pie, Mountain. And then Jimi Hendrix, The Allman Brothers, Johnny Winter, Leon Russell, John Mayall, Sly and the Family Stone, Santana, BB King, Canned Heat, Taj Mahal. Anyway, there was a hell of a lot of stuff going on besides the Beatles. Finally when I was 19 a friend introduced me to John Lennon, and I liked his stuff. That was 1975, long after the Beatles had broken up. Then that's how I got into liking the Beatles.

Nice. But it's only a "secret" because rock musicians tend not to do the work of figuring stuff out... except the great ones like Eric do and always have or they couldn't be great improvisers.

Slash? Get serious. No mention of Jeff Beck? Blackmore?

Well done!

Hendrix and SRV are missing. As Herbie Hancock once told me, "I want to hear your life and not just a bunch of notes" I learned from A list players that knowing when not to hit notes is just as important as playing notes--so they would play a painfully slow 12 bar blues and encourage me to play with my "soul" and let the guitar be my voice. I still love to shred over slow blues (who doesn't) but my teachers made me play slow and get in the groove of the song. That opened a whole new chapter in my playing discipline. Thanks for the excellent lesson.

THE SECRET SCALE USED BY ERIC, JIMMY, SLASH & JOHN WAS ACTUALLY A TOLEDO SCALE. THEY USED IT OFTEN TO DIVIDE UP THEIR STASH WITH THE BOYS.

Because a massive drug addiction ended my playing guitar & writing on it, which started @ age 16, & lasted 'til my early-to-mid-20s, & am looking to get back into it soon, (I'm just now 42) how long would it take me to reach Noel Gallagher's self-admittedly "rudimentary-at-best" skillset, roughly speaking??? Thnx again for anyone & everyone who responds in good faith! Cheers from across the pond!💯🇺🇸🇬🇧✊🏼

60s belongs to James Marshall Hendrix.

Dorian scale with an added major 3rd blues seems to fit with level 3.

Fookin hell! This MUST'VE contributed to Clapton's nickname "Ole Slowhand," aye?!!

As an American guitar novice who only learned to play guitar because he wanted to be like Kurt Cobain - til I realized just how sincerely depressed, bummed, & even $u!¢id@l (if you believe that really was how he died... which I just so happen to deeply 'question') he deeply was - & then Noel Gallagher came along & I realized who I wanted to LITERALLY* BE! My father bought me a lefty MIM Strat, a coworker of his gave me his first-ever acoustic guitar whenever he bought himself a $1000+ Martin, an Ibanez Performer which I immediately restrung lefty, & I bought a 600-watt Peavey LTD 400 amplifier/(& preamp), w/the original 15-inch Peavey 'Black Widow🕷️' speaker still fully in-tact, & he even gave me its original tremolo & reverb pedal too! But it was shorted out, & would sometimes shock me, & so I, very foolishly scrapped it, but still wish to God I hadn't.... It had a natural overdrive that required ZERO effects pedals! Probably because it was designed for an electric pedal steel.... 😆! But that natural overdrive sounded BRILLIANT! And if ever I get back into it.... I'm buying an MIM, or as they're now called, Player Series, Stratocaster & another Peavey LTD 400 amplifier.... But I digress... Love your work, James!👍🏼💯 Edit: This is aimed @ James, but anyone can answer so long as it's done in good faith... Because a massive drug addiction ended my playing guitar & writing on it in my early-to-mid-20s, & am looking to get back into it soon, (I'm just now 42) how long would it take me to reach Noel Gallagher's self-admittedly "rudimentary-at-best" skillset, roughly speaking??? Thnx again, & cheers from The Banks of The Mighty Mississipp', Cape Girardeau, Missouri, USofA!🇺🇸🇬🇧🎸‼️

Thank you!!!

It's just a pentatonic scale with the minor/ major 3rd and a flat 5th.

You don’t need to know the fretboard inside and out. You just need to visualize chord shapes over your scale to land on safe notes as the chords change. Knowing E A and D shapes and the chords they make up the neck is enough to master lead. Creativity and having something musical to say is far more important than pedantic fretboard mastery.

you nipple !!! lolololol

Pretty much every country player does the solo/scale chord change thing

The Mixo-dorian blues scale

This video was amazingly helpful. Thank you for saving me all that time. I wanted to point out something that I noticed: The scale you taught in this video: A,B,C,C#,D#,D,E,F#,G A blues scale A, C, D, D#, E, and G. A major pentatonic A, B, C#, E, F# What you're teaching is the two added together.

14:30 "Adaptive Hybrid Scale" wtf....not a single reference on the internet for this scale... It must be a huge secret. It seems like adding more chromaticism is the secret. Am I close.

'60s Hendrix, '70s Page, after that it doesn't matter. What Page was really a master at was mixing Major & Minor scales, and also mixing them with Mixolydian. And sometimes throwing in Dorian & Lydian. LedHed Pb 207.20 🎶 🎸 🎹

"She Can Fly" is a mega tune. Spirit of the Roses and Verve without ripping them off. They need better production -- they'll earn it.

The German Satanist Put a Spell on him.

Jeff Beck? Gary Moore? Peter Green?

just let the cat out of the bag ,,,,, mmmm !!

Appreciate that even though it's over my head I will at least take it as far as I can thank you😊

Well, there's also modes and arpeggios. Playing outside and/or chromatically. And other technique based things that just spice up your solos. We all know standard hammer ons but I like to hammer on way up the neck maybe while bending for a maniacal feel. There's noises and pinch harmonics. There's more than just scales. Then you can start to get into some interesting stuff like the Byzantine scale or the Phrygian dominant or the melodic minor. You can also go from minor to major over the chord changes. Like try doing a major pentatonic over just the 4 chord. and other major minor blending that's not what you described. But it is cool. I'll definitely give it some practice.

Thanks mate!

Hi James, You don't just give your knowledge to us for some random reason. With sharing this knowledge you help people make better music for this world and because of that the quality of music in general has a higher chance to get back to a nice level like it was in the 50s 60s70s80 and 90s. And that is a very good contribution for this world. Thank you! 🙏😎

Thanks!

It's theBBbox

lets not forget they buried him in live forever lol dude i always wondered about the ride cymbal crash beats, the way they are panned is odd, unique, and quite interesting