The SECRET SCALE used by Eric Clapton, Jimmy Page, Slash & John Squire

[@richardbrown5420]

Flippin' heck mate - that is the best guitar lesson I've ever had! So in terms of scale tones its: 1 2 b3 3 4 b5 5 6 b7 BUT you shift to match the current chord. [corrected - I missed out the 5] You absolute star! You have completely blown my mind. I've been playing guitar for years and never discovered it. Thank you so much! You know on the inside of the gatefold sleeve of Led Zep IV there is a mysterious figure holding a lantern? Thats you that is.

[@JamesHargreavesGuitar]

Thanks so much 😎 Very concisely summed up there - I’ll pin this for others. Cheers 🍻

[@ponzo1967]

I have to admit I've never thought of lead guitar this way. This is super interesting.

[@noahestes589]

In the Lydian chromatic concept, George Russel gives a similar blues scale in his section of horizontal scales. 1 2 b3 3 4 b5 5 6 b7 7. I’ve cross checked it with Ian Ring’s scale computations, and with all of these intervals it not only combines all the notes of George Russell’s vertical scales, but it’s also a merely proper scale. Weird comment for me to leave, but I figured may as well.

[@karlwilson2021]

That's the crux of it, but you can't really use the b3 or b5 of the IV chord when it moves to the IV, you can with the V chord though

[@ronmatthews1738]

@@noahestes589 I you want to consider modes, this is the Mixolydian with the blues scale added. Hence it is sometimes called the Mixo-blues scale. It is also called the nine note blues scale. I don't understand why the presenter had never heard of it; it is a commonly used scale in jazz, especially piano. The important thing is how it is used, so emphasising the 6th and 2nd (9th) give a BB King sound. At the same time I use the major third as a passing tone to keep the blues feel. Obviously this doesn't refer to Rock playing, which the video initially did.

[@michaelsharpe4415]

Thanks! I appreciate this so much. I started playing guitar in 1977. I am now 63 years old and live in Nashville, the land of 100,000 guitarists! For the longest time I was obsessed with Jimi’s Red House. I could not figure out what he was doing during the solo. I could never make it sound right. But over time I figured out the major pentatonic. Jimi would slide effortlessly between the minor and the major. This would be another great lesson for intermediate players. All the great blues players do it during a Blues solo. I appreciate your hard work on this! Cheers.

[@zicowilco60]

63 IS THE NEW 43 BRO ...IM 64 ..I LOVE BEING THIS AGE ..GOOD LUCK 😂😂

[@Ezzgamerr]

Save ur money

[@JamesHargreavesGuitar]

Thanks so much for your support :) much appreciated, glad to have been of assistance

[@jMerkyJJ]

Dude its simple, if you burn a candle in front of any les paul at midnight the fret board glows with said scale

[@joecummings9662]

What

[@davidmacleod9313]

Wut

[@johnutah293]

It worked! 🎉😅

[@warrenbutterfield4208]

Oh Lord, I did this Pagan ritual and lit the Les Paul on fire… I'm gonna have to send it to Peter Frampton's guy and have it restored...... Meanwhile, I discovered the secret HendrixoLydian scale.... I got myself an Ouija Broad too.... She's pretty hot.... I'm considering selling my soul down at the Crossroads For a couple of lost chords

[@jMerkyJJ]

@@warrenbutterfield4208 🤣🤣🤣

[@Whatdyoumean]

A click bait title that turned out to be the heart of everything I've been trying to learn, played guitar for 12 years now... wow Thank you so much.

[@metalman5798]

Right seems like it’s everyone else’s crap but he is spilling the tea on this industry and I have been searching for this lesson for years and years now

[@fredoatreides5104]

7:00 Did you turn black in order to study? Explain yourself.

[@paulfrohlich6473]

@2:15 Pentatonic Scale @3:26 example @3:55 full Scale @4:25 example @9:08 12-Bar-Blues @9:21 example @10:02 Lvl 1) Major Scale @10:10 example @10:46 Lvl 2) Minor over Major @11:09 example @11:45 Lvl 3) The Hybrid Scale @13:48 example @12:28 use b7 @12:55 add b5 @13:37 add b3 @14:34 Lvl 4) Adaptive Hybrid Scale @16:36 example @17:08 Lvl 5) Total Fretboard Mastery @18:26 example Thanks for this great description and sharing of knowledge!

[@rosewoodsteel6656]

I use a secret scale to weigh myself in the morning.

[@atomicwedgie8176]

I've known this secret scale for years... makes my drumming solos crunchy!

[@nopenope9945]

Ozembic sounds like a brand of drums amIRight?

[@TomClarkSouthLondon]

Don’t break it!😮

[@rosewoodsteel6656]

@@TomClarkSouthLondon Ha! I've been maintaining at +/- 180 for about a year now.

[@rosewoodsteel6656]

@@nopenope9945 You're right!

[@computermediaonline]

Thanks !!! You filled in some gaps in what I've taken 60 years to work out by ear. I'm 73 and playing in a classic rock band that only does benefits: wounded veterans, first responders, hurricane victims, etc.

[@06DaNnY07]

The fact that you had to tell us says youre doing it for yourself more than the people in need.

[@lisakuykendall7850]

I'm 38 years old. Been playing since around 5th grade. The best and easiest explanation I've ever come across. When you start playing in a band and meeting musicians out in the world and setting in with them and them setting in with you, you start to see how much talent is out their. Attitude will make or break you. Your gonna run into people not as good as you, people better than you, and people on another level. I am self taught. When I started getting out their I realized pretty quick I was lacking in some areas. What this man just gave us is where you need to go to (find yourself) so to speak. And some of the best advice I've ever gotten is play what you feel. And treat the other musicians with respect. Play rhythm just as good as you do lead. I've played with lots of good lead players. But when it came for my turn, the rhythm wasn't their like It was for them. And no matter how good your lead is if the rhythm isn't their your lead is not going to sound like it should no matter how good you know the scale. Support each other like you want to be supported. This took me awhile to figure out. It's really hard to find musicians that understand this is a team effort. Their are egos, and everything else you can think of out their on stage with you. Always respect each other, play what you feel, from your heart, and when you play with another guitar player and he is on another planet with his chops. Appreciate the time and effort he put in honing his craft. Instead of feeling some type of way about him shining more than you. Doing that got me alot of places that other wise I wouldn't have been able to go. Great video man, I feel like i owe you money.

[@sbpsychology1109]

what you said

[@Diplomat924]

Very well said Sir. Just learn the difference between "their"and "there" and your writing will be as clear as your guitar soloing. Cheers mate. ;-)

[@beyondreamtime420]

Don’t worry about the spelling and grammar bro , the first two comments obviously don’t get the bigger view of your explanation, let me get it correct for ya , “ knowledge on the guitar can give power in the band but character of who you are earning you respect in the band “ nail it

[@frankstephenson1746]

Well said, I would like to add the masters just LOVE guitar. I takes a lot to play at a high level, you better love it.

[@andrejz8954]

out there* you're gonna* out there* rhythm wasn't there(2x)* there are egos* out of there* with his chops, appreciate...*, otherwise* Really shocked you put a comma in your last part, way to go! But really man, great comment, just gotta accept the word "there" exists. Sorry for being an asshole, but it's me who's gotta live with it 24/7 :S x)

[@svenbuck9072]

One of the best guitar lessons I have ever seen on YT so far! Thanks for sharing these „secrets“ and your incredible way to explain it so tangible. It has blown my mind away, introducing a new universe of playing lead guitar. 🎸

[@JamesHargreavesGuitar]

Glad to hear it! And thanks so much for your support. Much appreciated :)

[@Quintao10033]

“Blues is the constant tension between major and minor” - Adam Gussow

[@codelicious6590]

Thats cool.

[@onesdrones3000]

Blues is also the constant tension between equal temperament and the natural, or Pythagorean tuning. This is why there are varying degrees of the b3

[@UmVtCg]

All music is about tension and release.

[@HighlyInsulatedDummy]

​@@UmVtCgI know right?

[@michaelsasnow4291]

Seems like it took him 10 years to discover that major and minor are not “all there is” (eg 8+ modes that have infused music all over the world for over 1,000 years, creed simply by shifting the relative placement of half and whole steps, which is all he’s manipulating here); that (OMG!) some melody notes actually need to shift to accommodate chord changes. Any composer in any style (except blues?) knows this-and that there are lots of potential variations that surprise us and make things interesting. Oh, and that some basic music theory actually IS needed-because with it, none of this would have been an impenetrable mystery. This is a good basic framework for understanding, for someone just starting out , or mostly self taught-but to present it as having cracked a previously impenetrable mystery? The beauty of his favorite players isn’t this amazing secret-it’s their fretboard mastery, and ability to do it fluidly all over the fretboard.

[@daveprietojazz]

You're playing a jazz blues scale (Dorian + b5) adding a M3 depending on if the chord you've playing over is major. Playing on the chord is called "vertical playing ". Wonderful theory lesson for an intermediate player.

[@jakeborish3597]

Typically they’re doing this over major chords so it’s Mixolydian with a couple of tones from the altered scale. Sometimes you’ll hear straight ahead blues players play the flat nine too. Any extension that you put on a dominant will sound good.

[@andrewdobson813]

I think you are missing the point. he is saying that it is a scale in its own right. It isn't really legitimate to add, subtract and change notes to derive one scale from another. allow me to do that and I will transform any scale you want into any other scale you specify.

[@IIJamesII]

It's not a scale in it's own right. Well, you are free to think of it that way if you like. You could also combine the major and minor blues scales and call it a single scale. That's what he has done here. But I would not recommend that. I would recommend thinking of them as two separate scales. They each have their own flavours. Get a feel for them on their own first. Later start to blend them together to taste depending on context. But if you are set on unifying the scales then I would highly recommend you check out the chromatic scale.

[@andrewdobson813]

@@IIJamesII I think I'll stick with the set of notes recommended by Greaves. Using the chromatic is going to be a problem when it comes to the 1/4 tone between the minor and major thirds on Robert Johnson's 'Me and the Devil Blues'

[@treypeters1087]

Would you like any grey poupon u dweeb

[@scottroewe1687]

This an excellent presentation...I've been teaching high school students age 14 - 18 how to solo for 15 years, and what you are talking about is quite on target. You are talking about using the appropriate scales for each chord. Jazz players call these "chord scales". Your scale is based on the mixolydian mode, with additional notes of b3 and b5. Many jazz playerds will call these approach notes, meaning one can use these notes to approach the major 3rd starting with theb3rd or the major 5th starting with the b5, but in the blues, one can sit on these notes, and that is what makes the solo sound bluesy. In other words, while the b3 and b5 can used used as approach notes, they are also notes that can be used as melody emphasis. Your scale needs a name, and I suggest it be called the mixolydian blues scale, ss the scale contains all the notes of a mixolydian scale as well as all of the notes of a minor blues scale. This scale works over dominat 7th chords when playing in a blues style. 😀

[@hopetea7670]

spot on!

[@nicolaskrinis7614]

it can be any mode. + "". a few extra. notes"", nothing new here.

[@riassslave558]

indeed you put it very simply but getting ppl to wrap their head around & freely incorporating it is something else entirely🏆🤔

[@michaelseay9783]

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.

[@kevinbate4255]

You're explanation of achieving this musicality in soloing is way more on point to how these greats achieved it than this guys unnecessarily complicated long winded typical british ideology. Even though these players are British they didn't arrive at it like like that.

[@Nexando]

What kind of keys sorcery is this?

[@danielrutschman4618]

That's an awful lot of jargon just to say that every note of every scale are all right there within reach wherever your hand is on the fretboard and all you have to do is pick the notes that fit your mood.

[@pevsfreedom]

@@danielrutschman4618 Lmao yes. The chromatic scale redefined.

[@jeanpierrepolnareff9919]

Minoxidyl scale

[@wdfusroy8463]

What about Mark Knopfler? I think his technique is so unique that he should be considered the greatest British guitarist of the 1980s!

[@string_bender]

Knopfler is in a LEAGUE of his OWN. No doubt!

[@reorkberserker4626]

And is also the only one of them who played with Chet Atkins

[@davidcollin1436]

Laughable ignorance

[@bigbwatt7872]

Mark K is a class by himself. Great musician…❤❤❤

[@jonswoveland]

I see you too are a person of culture.

[@Page00yeah]

Suddenly, I'm playing guitar with the same excitement I had as a teenager again. Thank you, good sir!

[@markusgarvey]

Wait until you see the rest of it. Yes there is a lot more. You will see it.

[@Diplomat924]

Brilliant lesson. I am almost 70 years old and have sort of figured this out on my own, but having your clear description validated everything I have worked for these many decades. Now all I need to do is to work on artful phrasing that conveys emotion. Part of that, I think, is to imagine your riff before you play it. I call that thoughtful phrasing. It is harder than you think. Maybe that is why Clapton has that pained, closed eyed look when he plays at his best. He is thinking about what he wants to say, rather than just riffing along with the chords in time. Thanks so much James.

[@78tag]

...you nailed it - it is hard to release the phrasing/emotion without the work required to get past thinking about which notes belong where.

[@haydraismaeel9245]

Dude i've been learning for months just tryna figure out how to go with a chord progression through a solo and u literally explained it in just 7 minutes, every second of this video is A MUST TO LEARN AND LISTEN TO.... keep it up man your videos feel like they're made of GOLD

[@teameuropeltd]

I am not a guitarist James but for anyone who is, that free lesson is very generous of you to put it out there. Topman👍🏻👍🏻

[@CatharticGuitar]

This is a nice way to present “following the chords.” I actually learned this on my own before I figured out, “Hey wait, I can actually stay in the same box for all the chords!”

[@oceancrosby4578]

Ha, well, I don't over think this stuff. I've learnt all my solos by ear, I can't read tablature or music though I do read chord charts and I understand mode/scales, for me it's a mixture of cuss words and find that sound... I don't fret over fret's if a note doesn't fit into a proper pattern so be it.

[@78tag]

.... in other words it takes concentration, hard work, and inspiration/feel. You are now where without all three.

[@BaldPerspective]

The best English guitarists for the '60s, '70s, '80s, & '90s is Jeff Beck, Jeff Beck, Jeff Beck, & Jeff Beck, actually.

[@mandanglelow1442]

Meh...🥱 I respect him as a player but never got the hype on him being the greatest.

[@ericsuperdietz9936]

Air Blower

[@eddiesmith6096]

Agreed 💯

[@BaldPerspective]

@@mandanglelow1442 He's not the greatest, but he is easily miles above most ppl, yawn emoji all you want.

[@mandanglelow1442]

@@BaldPerspective See, that's the thing about ART, you like who you like and thats perfectly okay. That's why there's no scoreboard in art and that's why there's no Greatest in any art because it's totally subjective to each persons own opinion. Your greatest doesn't have to be mine. I personally don't hear the magic you hear with Beck.

[@claytonworld]

Nice insight. 33 years of guitar and 25 years of teaching PE, behind the theory, the final minute is the best advice you could give anyone. The tech is out there for anyone to tap into that with ease now. 10,000 hours' practice for mastery. No excuses.

[@MattHumphrey2408]

Jeff Beck has to be in there somewhere

[@ricardob.6924]

James said guitarrists from Britain. Jeff Beck was from another planet.

[@MattHumphrey2408]

@@ricardob.6924 fr! 😂

[@kevriley3255]

​@@ricardob.6924 😁😁 Well said bro. Well said.

[@JoeGator23]

David Gilmore is as good or better than any on this list...

[@leejohnson6516]

Steve Lukather

[@garrisonic]

Jeff Beck all four decades

[@wesleyAlan9179]

🤘YESSS!!!

[@dr4337]

This x 1000

[@thomas-wd9ow]

Absolutely,dead on it.🎉

[@SwamiOrchestra]

Who is Slash...?

[@wesleyAlan9179]

@@SwamiOrchestra Don't hate on Slash, Slash is cool.

[@sebastienaudet4620]

Mind blowing !! You've unlocked decades of misunderstanding about this bloody scales principle in few minutes only... Great thanks to you man !

[@tonybatt3081]

Good job James. Clapton's playing got millions of young men on all continents loving the guitar.

[@steveowen9125]

Eddie Van Halen inspired millions to pick up the guitar, and yes Clapton was Eddie's influence, a guitar teacher on the tube said Eddie inspired many to pick up the guitar, and Holdsworth had millions put the guitar down (LOL). Of course it was for fun reactions.

[@jacobsaintjames]

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.

[@Dad-Gad]

Couldn't agree more , too much theory makes your playing sound sterile imo , mistakes and sloppy bits make it real .

[@LoveOneAnotherHeSaid]

This approach is in fact musically limited.

[@micha0634]

Both is possible and and you can choose, what's your favorite. It's not about what's better or worse. Knowing the fretboard helps and it needs constant practice. Letting yourself go and follow inspiration needs practice too. The combination of both is very interesting.

[@Musicsports]

This approach is Eric Clapton. If you can't do it, stay quiet. Ok? Got it?

[@timmccarthy3034]

yes, BUT ......if you do not know that fretboard like your own reflection in the mirror, then you MAY hit a wrong note by accident, that just kills the song, like if you are in a gig.....

[@briansandford3596]

Awesome! I've been playing guitar for 35 years and though this idea isn't exactly new to me, you've given me much to think about. Thank you.

[@mbmillermo]

In an A blues, you can stick mostly to the A blues scale (A minor pentatonic plus ♭5), but when you hit the D and E chords, the pros often play the major 3rd to mark that transition to the new chord. You hear it all the time. Those notes are the F♯ for the D chord and the G♯ for the E chord. Sometimes they do this by bending E to F♯ or bending G to G♯.

[@MichaelD-dh3tg]

good advice, thanks! Mike

[@gmitter-sl3qq]

the other way round is also common: playing C# (or the A major blues scale) over the A7, and the A minor blues scale over E7 and D7

[@ketanca1]

1. Really understandable , very clear way of explaining - 2. This lesson is brilliant and really opens up my learning & experience

[@macmccallum6298]

Absolutely revelatory. As a teacher myself (long retired) I have to congratulate you on the clarity of your exposition. Thanks.

[@Paul-s1u6d]

Alvin Lee was as good as any of them

[@alainmelchior5808]

Ohhhh yesssssss !

[@jameswestmoreland9717]

50 years after.

[@MrMojabo]

Hes the only guitar player that hangs on my wall.

[@davidcollin1436]

Guitar playing isn't an adolescent wank off like a cheap sports competition

[@WesleyWattley-xy4fg]

Yes Alvin Lee❤uk

[@Commonsenseprevails23]

One of the best lessons iv seen on youtube for guitar

[@78tag]

Every interested beginner blues player should see this video. It is a clear path to success. Then comes the inspired effort to learn each step - no short cuts.

[@jotwea]

I've been playing in bands for a long time, I'm 67 now. Wow! This video is simply brilliant and gets straight to the point. Thank you very much!

[@boogaloojohnson2]

You just saved A LOT of guitarists a trip to The Crossroads.

[@michaelmccullough2023]

This is, by far, the best guitar instruction video for the Blues ever made.

[@78tag]

He just boiled down years of experience into minutes of understanding.

[@voornaam3191]

Do they teach you quint essentials in that 5th grade? What on earth is a 5th grade? Are you being cooked slowly? It sounds like the unfree masons.

[@RWayneCumberland]

great lesson I'm 58 played guitar all my life i was more of a songwriter singer feel like i wasted a lot of years not mastering the guitar now im in 2 bands i play and learn everyday i work on Vocals and guitar and this just inspired me dig deeper thanks for the help and the extra motivation

[@garyshepherd9226]

Clapton played great in the scales - Page could and did, but also played memorable melodic lines. So Page is my favourite - although I think the live Crossroads is one of the greatest ever tracks, not just because of Clapton, but Bruce's bass is phenomenal, and Ginger Baker's drumming is just the best - he drives them on forcing the pace.

[@patyak1133]

Jack Bruce was strongest player-and proved it many times after Cream

[@BullyMaguire4ever]

Clapton is pretty basic, but has clean technique and great vibrato. Jack and Ginger really elevated Eric’s playing.

[@mindfield9832]

Clapton’s only scale. Page was more inventive. Listen to “In the Light”. Zeppelin has some funky note choices in that. Then check out Dead Meadow. I feel they must have listened to that song a lot.

[@greg6509]

​@lb2696 It's all about the emotion he plays with and how he makes it lyrical. Most listeners feel his emotions in your soul when listening. That's what has made slow hand great.

[@wdfusroy8463]

Jack Bruce is still underrated in my book. He was both a great rock and innovative JAZZ bassist. He certainly contributed his "third" to the powerful Cream sound. And, when in Cream, he was the one who knew the most about music theory and its applications. Not a bad singer either. Since his death respect for him seems to be growing.

[@hackfraud7842]

Dude, i fuckin love your passion about finding/helping create the next oasis/nirvana, you are doing the lords work

[@JamesHargreavesGuitar]

Someone’s got to do it 🎸🎸🎸

[@Swashbuckler9x]

...Like Clockwork

[@dmitryowens]

Please, dear God, no. Especially not Oasis.

[@rickrevoir1683]

​@@dmitryowensNoel Gallagher is no joke. Oasis meh.

[@dmitryowens]

@@rickrevoir1683 He's slightly above average.

[@SarojPandeya-zl2cc]

What I understood from this video is that, we basically play the mixolydian scale and throw b3 and b5 in between. Minor scales have b5 as their blue note and major scales have b3 as blue note. Now since mixolydian is a major scale since it's the 5th mode, adding b3 would make sense as it's the blue note for any major scale. But b5 is blue note for minor scale, but it works, why? Because in blues we can use both major and minor scales to solo over. So throwing that b5 which is used in minor scale(whether it's pentatonic or natural or harmonic or melodic) into the mixolydian mode scale (which is a major scale since it's 5th mode of any key), totally makes sense... Think of it like: Mixolydian mode (major scale with b7 instead of 7) : 1 2 3 4 5 6 b7 Add major scale blue note: b3 Add minor scale blue note: b5 That makes up our Hybrid scale: 1 2 b3 3 4 b5 5 6 b7 At last for every chord change: play it's mixolydian mode with added b3 and b5. Targeting tips: The chord tones(triads: 1 3 5) using arpeggios and add colors like : b7 to sound mixolydian.. (or for 7th dominant chords) 4 to add colors(Watch david gilmour walking up from 4 to 1 using arpeggios) or sound suspended.. (or for sus4 chords) 2 or 9 for adding color (or for 9th chords).. Use blue notes as passing notes to walk around (don't overuse): b3 and b5 to give minor and major flavour. Would appreciate if anybody adds something that they think might be wrong with my interpretation OR just to add more context OR extended knowledge that they have. Thank you

[@dwright6182]

Thanks, James - This is the best Internet lesson I've ever encountered.

[@frankslade33]

It's part of the charm of David Gilmour too, he is always acutely aware of the chord and uses those notes in his phrases.

[@fakesnowman]

I think it totally bizarre that James can say that any guitarist is miles better than Dave Gilmour. But this is James Hargrieves after all

[@rawl747]

@@fakesnowman Guitar is not my main instrument, but rather cornet/flugelhorn and keyboards are in that order. That said, I have listened to both Clapton and Gilmour since the 60's and each has shown their mastery of solo guitar. The strength that Gilmour shows is his ability to improvise very melodic solos. More so than Clapton IMHO. So many of Gilmour's best recorded solos are ones that you will end up humming or singing to yourself. Not so much Clapton's. And you really need to watch them improvise live to hear the difference. I have seen Gilmour live in person multiple times both with Pink Floyd and on solo tour. With Clapton it is just his recorded live performances but with hours upon hours of his live recordings going back decades. The reality is that none of us will come close to either one. Both are just a great listen.

[@JonathanNiday]

Gilmour uses a lot of different scales too for even more saucy playing.

[@JonathanNiday]

He will switch a key or scales for a phrase. He follows chord tones very well.

[@michaelseay9783]

Name one song where Gilmore uses this particular scale. We are talking about a specific scale and note usage.

[@london-vasari]

Jim -- absolutely brilliant vid. Both inspirational & informative and you are a natural teacher. It's like a best mate giving you guidance rather than an online pro demonstrating how clever they are. And thanks for the time you take to share this stuff ... !

[@MrTCAllen77]

*Throws my book in the air and walks out cursing my guitar teacher.

[@JohnGolanowski]

Me too..........grrrrrrrr!

[@Taylor.Dude.]

Also, let's say you are soloing over an A Minor chord. The chord has A-C-E. You can pick out the notes A, C, & E and then add in whatever other notes you want to add while playing over that chord. For instance, A Minor has the notes A B C D E F G. But you could make something else up such as A Bb C D# E F# G because it has the notes A, C, & E in it. You can make up your own scales. They probably already exist but if you don't know them then they're new and invented by you! Also, put two chords that "don't fit" together, take the notes from that and make a scale. Etc. Plus learn how to utilize Chromatic scales if you are unaware of them. That can teach you how to insert weird notes at the right time too.

[@ragingspeedhorn]

Dropped the mike.... picked up the guitar again. Joy!​@@JohnGolanowski

[@78tag]

@@Taylor.Dude. It all depends what you want it to feel like.

[@78tag]

I tried "teachers" a couple times before I realized they were just teaching me like a monkey to repeat chit in the mirror. You have to be careful how you go about it but the ether has everything you need to know - you just need to figure out what you need to know and when. Easier said than done but you can do it.

[@Late2theShowagain]

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.

[@Oldswamppuma]

What you said "When not to hit notes" is what is in my head. I hear awesome leads pausing and then increasing notes. Unfortunately I am a novice guitar player and I am almost certain I will never have the ability to put into a guitar what's playing in my head. I have even dreamt of bad ass solos in my sleep. Don't really know what to do with it really. I have always loved Clapton and Hendrix.

[@thegrimreefer3185]

Are they British? If you're gonna go there then you forgot Roy Buchanan, Danny Gatton, and a bunch of others.

[@ErikRundgren]

What about Jeff Beck, Peter Green, Mike Bloomfield and Roy Buchanan?

[@Musicsports]

Hendrix was born in England. It doesn't matter, these were his examples and influences, people need to stop adding their 2 cents and just listen.

[@nicktf1]

Hendrix died in England, but he was born in Seattle

[@MOTTY.J]

Awesome thanks James. I've been a massive Clapton and Squire fan forever. I'd sit listening to steppin out live trying to figure this out myself. This is a brilliant video and means I can finally practice in exactly the right direction. Nice one. Motty

[@CreamBootlegs]

You should also check out some of Cream's other renditions of steppin out

[@cradd00]

This is the most valuable guitar lesson I've ever had. I've been playing for over 40 years, and I've known about the blue note and all of those "secret" licks and phrases, but you lay it out in a perfectly organized and coherent thought. I've be playing like this for many years, but never really knew how to pass the information onto my students so they could understand without confusing them. Thanks for the great video and sharing your knowledge!

[@davidmiller4078]

Surely this is a blues scale variant or mixolydian with additional notes ?

[@frannyp46]

@davidmiller40. Yeah ultimately it is, but he took the time to break it down.

[@mattgilbert7347]

Yes.

[@unknownpleasures_nic]

Yeah, that’s how I started to figure it out a few years back. “Why Every solo I like is on Mixolydian?” I now try not to over analyze it. This blusy mixolydian while changing root notes thing just works

[@idw357]

Funny, I’m seeing it as A Dorian. But I guess it all depends on where your root note starts. I think the Dorian mode is easier to integrate with the pentatonic scale

[@davidmiller4078]

Or jiust simply cromatic passing notes ? Its all good

[@nOpOrOpMoP]

I figured out that I was supposed to play the key that matched the chord a few years ago on my own but what you just taught me was that I can play those keys in the same position without shifting which is Golden. Thank you for that. amazing lesson James, you are the man.

[@SJLCinemas]

9 minutes in and still waiting for the lesson to start

[@anthonyhilton4168]

Thanks for the tip.

[@ManuelWendt-k3d]

My first comment ever on KZbin, really, that means something. But I had to thank you so damn much, fellow, for filling the last (at least alot) mind gaps about blues and why it works in so many kinds of creativity and sounds. Thanks for your will to share with us, and greetings from Berlin. SmileeDime

[@derekstocker6661]

Fabulous guitar lesson, the best I have ever had certainly but I actually gave up playing around five years ago as felt I was getting nowhere, now I just love to listen to people like yourself doing the job properly! Thanks so very much for this, amazing!

[@bobolson5423]

Jeff Beck all day

[@steveowen9125]

Allan Holdsworth all the way.

[@madscientistdave]

I've been banging on guitars for the last 45 years and this is the best explanation I've ever seen. Thank you!

[@JC-ye3do]

holy cow man... i spent two years trying to figure this out as a teenager before work and other things took over... Ive honestly been intimidated to try again... You just changed my life

[@YellowJello57]

George Benson's 'Billie's Bounce' has entered the chat

[@GS-uy4xo]

Ouch 😂

[@berdeter]

George Benson is a jazz guitarist that has done other music's. He's a master of improv.

[@adamrooney6711]

He's American 🙄

[@steveowen9125]

Indeed the master himself.

[@keneisner3445]

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

[@Wardaug]

If this guy put chills down BB kings back then he should be top dog lolol

[@SeanJepson7]

Not really a ‘rock’ player in the way the judgment was intended.

[@keneisner3445]

@@SeanJepson7 Greeny created the exact template for Led Zeppelin.

[@tedwojtasik8781]

@@keneisner3445 Um...no, not even close. Peter was a great player, but Page was a creative genius way beyond Green IMO.

[@monsterzero1965]

Not about your favorite BUT the secret scale. You people are morons

[@soulshoe]

All that money I paid to find this piece and here it is under my nose! I knew there was something missing BUT James explained it so clearly..... Thank you, man...... The wonderful journey continues.

[@michaelheller8841]

In the 60s I chose Peter Green, 70s Page, Mick Taylor and Beck, and 80s Gary Moore and Stevie Ray Vaughan.

[@musicandsongideas]

Mick Taylor = 1,000%

[@minnixmusic]

So I'm a piano player, and guitar player. And on piano, I always heard that scale called the Mixolydian + scale.

[@6040nick]

It starts out mixolydian, but then the b5 (#11) and b3 (#9) are added..

[@minnixmusic]

yeah, that's why we call it the mixolydian plus scale. Because it adds those other two notes to the mixolydian scale.

[@rothloaf1980]

​@@6040nick Yeah... Alt Dom7 is what I was taught the name was. Alter 9 and 11 then think in modes of a dim scale or mixolydian.

[@kcmet79]

Thus the “+” wink

[@iagainstiification]

I was thinking the same. 6 of one half dozen of the other I guess. In one way, it’s “easier” to think of it as a modified major scale cause then my brain can still picture the other modes more easily as I think of major as being the “home” scale, etc.

[@michaellegge2177]

im 58 been playing a while ,this is like the pennys just dropped ,the best lesson ive every had , thank you james very kind of you to share this is going to keep me busy

[@rhettmiller3842]

Clapton is that good that he hasn't had to fret a note with the left hand pinky yet. If anyone has footage of that left pinky doing anything please send it.

[@gernblenstein1541]

I think it’s like a Royal thing. The less you use that pinky and the higher you hold it, the fancier you are. Everybody knows that!

[@TheNoncritical1]

Does it matter which finger hits a particular note? Django didn't use his left hand pinky either, and he did okay.

[@davidpignatore6532]

Slash doesn't use his pinky either, or very very little if he does.

[@GuitaristDog87]

If you look up Eric Clapton and Buddy Guy 1987 on YT, I think they're playing Key to the Highway, I swear you can see him using his pinky during the solo which is very rare.

[@denisblack9897]

I started using pinky after 3 years on bass. You are forced to use it on bass, wo it grows strong and useful 💪

[@fossilmatic]

What a great lesson. I’ve also cobbled together bits and pieces over many years to find a lot of this information towards an approach to playing musically in the song. It’s what I first heard in Cream as a kid, what lead me to play guitar, what frustrated the hell out of me for years as I tried to step up. Your explanation is very clear and focused on a path to get there: to the place where you can start listening for your own dynamics, phrasing and effective excitement within a song. So many “musicians” miss the last part. It’s what sets Clapton and others above so many technically, theoretically, and athletically enabled players.

[@jimhamby]

Well done, mate! I've been playing for 30 years and never heard anyone explain this concept in such a practicable way. God Bless!

[@andrewdobson813]

Every would be blues guitarist should watch this video. It took me decades to work this out for myself and I have never seen it explained so well. He seems to lose his way at step 4 but keep going. He pulls it all together at the end.

[@stevefossen6853]

Thank you. I'm almost 72, I hope it's not to late.

[@stevefossen6853]

@@CC-hv9ei Dude, thanks. Our band just opened a Blues Fest here in Minnesota last Sat. It went well and that's probably the height of my fame. It was a blast. But I'll keep tryin'.

[@pjl8119]

I'm 107.

[@JamesHargreavesGuitar]

Never too late mate. I intend to still be playing live when I'm 90 if I can!

[@gonehome6245]

I'm 83 and it's still not too late. LoL.

[@stevefossen6853]

@@gonehome6245 Well then, you set the bar for me!!

[@kurohimestudio1857]

I bumped into this approach to soloing on my own -- it felt good and it sounded good. But now I know why. It all makes sense and gives me the confidence to deploy it across any music I want to play. No need to look at tabs -- I already know where I want to go.

[@markstone2153]

60s Harrison, 70s Page/Gilmour, 80s Marr, 90 Squire

[@RaiderJay9092]

In Rock, one could argue 60s, 70s, 80s, 90s, the same person for all decades, Jeff Beck.

[@boneytony5041]

Jeff was something else. Great players, with something all their own in the original post. We are spoiled for choice.

[@jrm2fla]

Agreed that Beck covers all the decades!

[@filho4437]

I don't see how anybody could give squier the 90s when he wasn't even around for the vast majority of it.

[@fiergascon]

@@RaiderJay9092 definitely agree ...

[@mnbv990]

Best instructional film I've ever seen. Well played sir!

[@Wodawic]

I have probably the most colorful scales ever known. The ointment is just now starting to work... But seriously, one of the best presentations on this topic - kudos to you Sir.

[@briancroner3717]

James, this is very good. I'm an old man, I've been playing since I turned 12 (1969). I used to play a game with myself called "Stay in Key". I would noodle around with some lead guitar with a 12 bar blues in my head. But it wasn't until I learned scales from a book that I started to understand what I was actually doing. When you know the scales up and down the neck, you don't hit bad notes. And I encourage guitar players to learn every chord inversion chromatically as possible. You just got a new subscriber.

[@christophergriffith3420]

This is called chord tone targeting....

[@williamsporing1500]

Exactly

[@RLC7771]

As a keyboardist and piano player I want to thank you For this awesome insight, keep it up brother.God continued to bless you for sharing some wonderful information

[@chicachicawahwah6032]

"Roots man" 🎶 U got 2 be knowing your roots... 🎵 There your jumping off & finnishing points....And the Inbetween is the 'creative' fun... "just like in life' u need 2 be knowing your roots' 😄 "irie ai"

[@DougSmith-y4o]

Awesome comment! So true!

[@steveowen9125]

Ah yes the root.

[@JC-jr9hw]

Have you ever heard of a guy named Johnny Marr? He had this little Indie band called the Smiths that were pretty good. Wink wink.

[@saturnsabyss]

Don't forget John McGeoch of Siouxsie and the Banshees! One of his biggest influences and a star that burned too bright too soon before he passed.

[@jrm2fla]

Agreed about Marr… but to me he’s more about creating great riffs and song structures, less about playing lead lines

[@JC-jr9hw]

@@jrm2fla True, I guess it depends on what you mean by best guitarist.

[@suncat5160]

Johnny Mar can't play a guitar solo to save his life.

[@dannyc91a]

But he could not even re-string Slash's Guitar so its a non point

[@michaellegge2177]

im 58 been playing a while , this is the best lesson ive ever had , its like the pennys just dropped . thank you sir

[@davidmacleod9313]

0:25 You had me right up to Slash! Lol

[@Diamondolphin]

Same dude

[@michaeldillard5452]

Concur

[@TheAvivProjekt]

Thank you my brother.. I’ve played for 28 years and never had anyone explained that so simply or correctly 🙏🏾

[@rickm4295]

Pretty cool explanation. You kind of start understanding this as you live life but to have this video out there for pure beginners its a huge help.

[@ragnarkoric]

This is the first time I’ve come across your channel and so happy I did. This was a great lesson on a subject I’ve been interested in. Though finding it explained without confusion is hard. You explained it so clearly I have a road map now. You sir have gained a subscriber today. Thank you

[@JamesHargreavesGuitar]

Glad it was helpful!

[@2011littleguy]

As a guitar teacher myself, I seldom give a thumbs up to a video because most cover techniques that are very basic. But this video adds something new. It adds the CONCEPT that the notes should change with every chord change. Thanks for this video!

[@IanTaylor-jk3sg]

Thank you, James. Clarification of things I sort of knew, confirmation of things I suspected, and contagious enthusiasm for climbing that ladder. Congratulations. Great tutorial.

[@saucyjk6453]

As a teacher i called it the "majorminorpent"

[@makmcqueen8634]

I saw the video and wondered is it just how to master major - minor pentotonic, loads of players do that myself included

[@melvynobrien6193]

as a teacher I call this BULLSHIT

[@steveowen9125]

@@melvynobrien6193 Allan Holdsworth.

[@GraemeSPa]

I am 69 . I have been playing guitar from age 14. I have never used a scale or a rule in my entire life. I write tabs for the kids I teach, but I tell them to learn the notes to get the framework straight, but then to step outside the box . The secret is in finding the notes that fit - go find them. There are hundreds of videos of kids copying famous name solos - that's great - but it is just copying, If you have any nous - go make your own solos using the same chord patterns - THAT is what defines music.

[@pjl8119]

I'm 102 and have been playing guitar since a toddler.

[@samuelstacey2309]

And I’ve never even looked at the fretboard of any guitar I’ve owned since..”all you ever play is utter utter gibberish and your complete lack of foresight and common sense not to mention the shear… makes us all want to vomit with rage and pure frustration!”

[@stikcler]

pjl8119 I'm 610 and I've been playing since I was a zygote. And I STILL suck. Maybe I should just give up.

[@daveylee4677]

I was musically ‘aware’ at age 5. If I liked a song on the radio, I could sing the lead, the harmonies, and the sax, or guitar solos, a cappella, and hear all accompaniment in my head. I was 15 when I finally got my 1st cheap guitar. No classes, lessons, just a Mel Bay Book 1. I discovered 10years later that when I played lead, that there were “scales” with names that I could relate to, but never fully understood. 40 years in many bands and I still Don’t read music. Never had to. Just a love for music and the desire to get better at it every day. Anything is possible if you put your mind to it…✌️

[@bobhughes1163]

Excellent video! Loved it. Been playing 46 years and it was great to see from your video that I should continue to work on improving. Learned to follow the chord progression with solos, switching between major and minor scales, but, never tried to go that final step of fretboard mastery. I definitely need to work on incorporating the Hybrid Scale more(Thank you so very much for this tidbit too). Excellent work on your video.

[@78tag]

.... ah, if we could just go back and talk to that beginner in all of us.

[@frannyp46]

Good stuff James. Would love to see a part two to this where chord tones, guide tones and dominant seventh arpeggios are added. Also on how to avoid that fourth interval at times which can leave the solo hanging if played slow. Great lesson though!

[@Tsa-SONGS-ABOUT-BEING-a-DAD]

This sounds interesting

[@motherlessblues1565]

It’s called “ chord tones”

[@chicagomatt3300]

Yes, totally about chord tones. For example, it's good to know that while the dominant 7th works for the I chord, it's the major 7 that works if you're on the V chord. But the real reason you go to the major 7th for the V chord is because the major 7 of the root scale is actually the major 3rd of the V chord. It's part of the basic triad. So, in my opinion, it's more useful to master all the inversions of any given chord. This starts with what now is known as the CAGED system for major and minor triads. Then understand where the 7ths and 9ths are, and what is a flat 5 and augmented 5th and how those are used. It's about resolving to a note that's part of the chord you're on at the time. In blues this is usually a I, IV, or V.

[@johnmcleod8961]

bloody amazing...and you execute it so well...see, I'm convinced a lot of potential guitar players give up so easily is b/c nobody breaks it down in pragmatic terms as you have done...truly blues you can use...most teachers are about impressing you, not actually teaching you...and we're supposed to be inspired by that?...you're a great teacher man.

[@greenatom]

This is a vital lesson except for that scary diagram of the fretboard labeled with all the note names and the directive that it must be memorized. That's like saying to play chess you have to memorize b12, g7, c3 etc. You don't, you just have to know how the pieces move, which is the same wherever they are. Similarly, all you need to know are the chord shapes of 1 4 5 (and others as needed) and the best locations to each other. You can plop the 1 down anywhere on the fretboard and the other chord shapes are always there with it. Memorizing a matrix of labels is easy for a computer, for us humans learning shapes and linking them together is far easier.

[@s_cube4200]

I cant explain how big of a treasure this video is to me. Thank you so much. -an 18 year old guitar player

[@jamessawtelle5661]

Your Hybrid Scale/True Blues Scale that you reveal in this video was published in the 1999 book, The Ultimate Scales Book by Troy Stetina on pages 24-25, which is the 9-note "Major Blues" scale. He wrote that is was created by combining the straight blues scale with the major tones of the Mixolydian mode on page 42 of the same book. To summarize your Hybrid True Blues scale is precisely the same as the Major Blues scale contained in the aforementioned book. However, that book doesn't reveal how to exploit it at all, much less in the supremely important way that you shared here. Instead it just shows that scale in 3 different keys over the entire fret board, and how to shift the box patterns shown to find the keys not shown in the book. Thank you for your generous video!

[@lukecharlton9448]

Been playing for 25 years. Mind blown.

[@RobertFairweatherMusic]

Chromaticism. Jazzy.

[@stgirat]

60's: Rory Gallagher 70's: Rory Gallagher 80's: Rory Gallagher 90's: Rory Gallagher 1995 to date: who cares!

[@handlebar82]

This guy is only talking about British guitarists.

[@thesongremainsthesame76]

A lot of people don't seem to understand that Ireland isn't in Britain. Great Britain is the name of the island that contains the three countries England, Scotland & Wales, you must be from one of those 3 countries to be British, although in some cases the Northern Irish will refer to themselves as British since they are apart of the United Kingdom (UK = Great Britain + Northern Ireland). The Republic of Ireland where Mr Gallagher was from is completely independent from the UK and Great Britain, they use different currency and are still apart of the European Union unlike the UK. You should NEVER call an Irishman British! It's a bit like calling an American Canadian or an Australian a Kiwi but worse lol just because the countries have similarities and are geographically close doesn't mean they are the same!

[@Otisleevonridge]

Without a doubt one of if not the most informative lessons on advancing in blues guitar understanding and improvising!! Thank you and well done!!

[@gianthills]

There are no "secret" scales. 😅😅😅

[@adriano34186]

I thought the same 😂😂😂

[@eyetalic]

Secret in that they weren't admitting it to other English guitarists so they could limit the competition. Because Clapton was a child compared to Hendrix.

[@lucianotesta5019]

Is it called the Mixolydian/blues hybrid scale? Thanks for this. Subscribed to your channel now.

[@fannarragnarsson6686]

Wow. I have never seen such professional lesson in my life. you are pure genius. you just blew my mind thanks Sir.

[@jottailirik9581]

As always you forgot Rory Gallagher

[@joeblair4897]

I'm not sure the good people of Ireland would appreciate Rory Gallagher being called "British"

[@MichaelStefano-k3b]

@@joeblair4897dayum

[@blahzay_]

Rory is IRISH you bellend.

[@GreatbarrierislandtourismCoNz]

Might be because in his opinion Rory wasn't one of the greatest British guitarists.

[@doctorbuamusic]

No , because he's irish

[@acooper8910]

Er, I think you'll find it's simply rock n roll guitar - which was a hybrid of blues & country. If you want an even higher level, add in the maj7 on the way up from the min7.

[@6040nick]

I actually thought he was going to add the maj7 back in at some point..

[@pseen]

He stealthily does it at 18:48.😊

[@rockabillyrevolution]

Took me a long while to figure this out too - it was only when I studied classic rock and roll it became clear. Good job 👍

[@onemanband3579]

Hands down probably the best guitar lesson I've seen on the net, cheers. Subbed.

[@nicolasayastuy]

For those with ADHD, video starts at 9:10

[@brandonpriest3604]

Bahahahaha, fo sho