Rabea Massaad | Breaking out of the Minor Pentatonic (LIVE STREAMED FREE LESSON)

[@timv1284]

Bea, If you use D# as a key signature, you get an F double sharp and a C double sharp . So in order to have less confusion, they rather use Eb in stead of D#. D# E# F## G# A# B# C## D# Eb F G Ab Bb C D Much respect and appreciation from Belgium :)

[@MP_Soundbox]

Such a groove player. Perfectly works for my learning process. Thanks.

[@RNAMusic]

Watching NOW! While I work. So excited.

[@mattolver1645]

I read the caption in the top right as 'music is um live?'... made me giggle...

[@franciscassidy2966]

glad u posted this, i was worried i missed the livestream. really good stuff! Thanks guys

[@MusicalMetaddicta]

The true sofa king...cool dude. Appreciate this, I do.

[@AlbinacersGaming]

I love your groove man, excellently done.

[@mang3139]

Bea, you are an inspiration dude, totally make me want to pick up my guitar..........and play it lol.

[@trevorenglish9355]

I really like watching Bea play. I think there's a lot to learn off him and this is why I think its really important to not forget the simple licks you learned when setting out Of course you are playing those simple licks infinitely better now because of timing and phrasing. I am a far better keyboard player than guitarist and when I was learning could spend months doing the same things. Bit like writers block. Then a new note comes, or a new technique. Then its months of the same, with the new idea added. And the complaints from my mum (back then) and my wife (now) of "why do you just keep playing the same thing over and over" The problem with rushing is that the muscle memory will just set to the latest one and you forget the one you learned 2 mins ago. One at a time and perfect it until you are sick of it. Bea's timing is absolutely mint. Unfortunately that only comes after years of practice. Dont fall into the shredding trap of staying there. Shredding this and shredding that. The simple licks you learn along the way are now smart licks due to your timing improvement. You dont build a conservatory onto your house then never go in any of the older rooms do you? You have a Captain and Chappers comparison. Lee has spent so long at a ceiling of development that his timing of those simple phrases is perfect. Perhaps Rob stays at advanced too much for me, and thats no criticism. I love the guy and the role model he sets.. My point is, I think Bea does both. Thats probably why I prefer to listen to him more. My 2 peneth

[@frmcf]

Wait, did you marry your mum?

[@itmeSpike]

Knowing whether a note/chord is a sharp or a flat is determined by whatever key you're playing in.

[@davidjones4452]

nice....great

[@EDAR96]

I love my ml-1 pro but I wish it could've shipped with that carve top

[@franciscassidy2966]

28:35 especially good idea, definitely using that

[@Tarsiuslima]

Congratulations to all of the musicisum team ! What's this cam?

[@Zakuma101]

13:03 i love how he busted an improvised stairway solo just from technique alone, amazing.

[@IPushHard]

Bea, I really like your phrasing.. which is partly why I'm watching this. I do think this video (title) is a bit off though. This video is not really about breaking away from the pentatonic scale. Its actually about being better within it. The pentatonic scale (major/minor/blues) and the major scales are literally the only scales I know. I do know them in every key and position.... so there's that. My guitar survival theory has always been to just play within those basic structures, and let my ears find the paths to make things different and interesting...and sometimes that even works. But I was really hoping this video was in sync with its title, because if anyone needs to bust out of pentatonics, its me That said... Im going to look at some of the string skipping exercises you demonstrated, so I will get some mileage out of this video even though it's not what I was hoping for. Thanks for the excellent clinic!

[@TomTobin67]

I like your hoodie,Bea.

[@jrsinoy7028]

Nice vioce and giutar

[@chrismcmahon7917]

Good instruction, imho

[@Greglnt]

Actually the Eb D# thing comes from sheet music. In most keys, if the # was used insted of b, and vice versa, it would be impractial to write the key signature, since every note is different ( there couldn't be a G and a G#, but a G and an Ab).

[@rogermichou8654]

love his Hendrix haircut

[@playingforbritain]

Just in case anyone is wondering... The reason that D# is normally Eb, and other examples like that, is because when you talk about accidentals in one key, you don't switch between types - E will always be referred to in sharps, say, and never flats. If you then consider Eb, you only have 2 flats throughout (Eb F G A Bb C D). D#, however, would switch all of those around, so not only would you have 4 sharps, but you'd also have to have 3 double sharps (D# E# F## G## A# B# C##). Obviously, 2 flats is much easier to think about, write out in a key signature, etc. The only time D# exists is when you change key from another 'sharped' key (E, for example), and it's easier to stay thinking about sharps, and deal with the mess that is D#, than it is to naturalise everything and then make the appropriate notes flat. Hope that helps

[@jordanmarino7831]

+playingforbritain excuse my ignorance, but what the fuck is E#? Isn't that F?

[@playingforbritain]

Jordan Marino It is, haha. When you're writing a heptatonic scale (i.e one with 7 notes) you're only supposed to write out each letter once - you couldn't have Eb and E, for example. If you wrote F instead of E#, then the scale would become D# F G A, and then either A# or Bb. Since both create serious issues, it's easier just to read E as F on your sheet music.

[@Truthmoses]

hey, we're over here.....

[@chrisdaviesguitar]

what pedal are u you using for the distortion?

[@chrisec001]

Which chapman guitar are you playing bea?

[@Blackfuture420]

Ml1

[@chrisec001]

but its got a cutaway body in it and the Ml1 has not got that

[@Koga_fan_013]

chrisec001 ml1 pro I guess

[@denholmrobert528]

chrisec001 its a new prototype ml1 with a carve top body and a set through neck

[@chrisec001]

I like it !

[@embreesmith7613]

how exactly does this " break out" of the pentatonic scale ..? seems basic pent's is all that was discussed

[@matrixx29]

he started talking about incorporating dorian and aeolen modes about an hour in..

[@spencertait4708]

"how do you play stairway solo...?" ~casually shreds stairway solo~

[@irelandcitizen531]

lmao 35:39 that explains the hairdo m8 ;)

[@FendCore]

I like watching your mouth when you play XD (Got the same problem ^^)

[@nethbt]

Doing a guitar lesson without fret markers?

[@theotherbrittany]

Whatever

[@theotherbrittany]

If your on this lesson then you’re good enough to know what fret he’s on and/or be able to count it out on your own fret board. 🤷🏾‍♂️

[@Deadnoise6417]

If Beethoven had "grown out" of shredding we wouldn't have the 3rd movement would we? There're soooo much more than the pentatonic scale Jesus!! Don't limit yourself people..

[@spacejazz6272]

well said (the 3rd movement was always my favourite)

[@xTitan1]

you guys should check out exmortus's cover of it

[@jdimeleegoku2971]

Robert Bradley pentatonic is a good skeleton