The FASTEST Way To Amazing Solos! (Everyone Should Know This)

[@Bernthguitar]

Download your PDF tabs/sheets, guitar pro files and backing tracks for this lesson here: www.patreon.com/bernth - happy practicing! :)

[@johna8085]

Hi! Is it possible to precise somewhere in youtube description the lesson number to be able to find it easily in patreon. TVM Amazing channel!

[@patrickstarr8688]

Can you teach how to use the whammy bar? I'm trying to do it but its sounds terrible 😂

[@matthope3392]

Can't believe Bernth provides this level of tuition for absolutely free on KZbin, what a legend

[@brunosarue]

He makes us fell ashamed we are not in his patreon page every week... I ll be joining it as soon as the currency exchange rate drops a little bit

[@nicholasbrewer2023]

well there is also Synysters Guitar School that has been free since it got made

[@guitarzan2979]

That was extremely helpful! The most important lesson I’ve seen in a long time, if the the most important I’ve ever watched. Thank you, Bernth!!!

[@novembro7603]

@@brunosarue so Why don't you marry him?..

[@brunosarue]

@@novembro7603 ????

[@WeeFreeMan78]

I made a huge mistake and I must admit it publicly : when I first saw one of your videos pop up as a suggested, I though "Oh great, another poser with pointless fretboard wankin" . But MAN was I wrong... I apologize brother, subbed for quite some time now and I bow in respect for the quality of your content. Be safe man!

[@ricardozr2006]

This god is the most underrated KZbin guitarist of all, still he is the greatest and a wonderful teacher

[@raghdzahr8072]

This is a great video, Bernth! I remember in an interview with Joe Satriani, he mentions how if he wishes to extend a melodic phrase, he will purposefully resolve something on the 2nd, 4th, or 6th - and how if he wishes to end something, he'll opt for a perfect 5th or maybe even a 3rd instead. It's a very interesting system - I will definitely be incorporating this!

[@JustinNogle]

I almost made the same comment! An awesome share with the community! Satch never fails to impress and inspire! 🎸🤘

[@LevitatorMusic]

I never saw that but thanks for sharing dude! I'll definitely keep that in mind while improvising

[@TmanWdaPlan]

I wrote this comment down. Thanks

[@caseyorr2447]

sometimes progress down this long road of study can feel like a life or death struggle, with endless hrs on the fretboard the results begin to matter. slow halting progress can feel self depricating.. self respect and passion begin to fail at times... Thank you so much for all your efforts to help us down this path. your energy pushes me forward, pulls me up. Thanx Bernth

[@lightninginmyhands4878]

We've all been there. Keep going!

[@mksounds6326]

Another great lesson, Bernth! You explained this well without getting too far into the theory weeds. I've been playing 30-years and I learn from you every time I watch. Thank you very much for the inspiration. We are lucky to have your channel. All the best from the Bay Area. MK

[@codysmith1279]

Been watching all his videos all day. Ive NEVER found somebody Who eplained it correctly. Dude this is seriously AWESOME!!!!!! ALL OF IT

[@vickysahani5786]

One of the best KZbin guitar teachers ever

[@mikeivey8471]

This information is too valuable !! Definitely saved this video to my favorites list !! Bernth , thank you so much for this !! You really are the best lead teacher on KZbin !! Hands down !!

[@EclecticEssentric]

A year and a half ago, I had no clue. Now I grok this stuff and you are one of the teachers who got me here. Thank you so much!

[@grneyedvillain2084]

This is an awesome lesson brother. I never miss them. One thing I would recommend is that for "beginners" the way you made the bottom layout of the guitar neck, it would be more helpful if instead of the "e" being on the bottom, you should put it on top so we can see the neck like we would see it above the guitar. So it would be starting on the bottom, EADGBe. I believe it would be a lot easier to understand and follow you. Thanks for everything you do! You are friggin awesome!

[@antoniotrapani2617]

I have literally just learned the d minor scale with all the modes, 5 minutes ago i decided to improvise something with a baking track and i wasn't entirely satisfied, i saw the notification and opened the video and now I'm like wtf this is the right video in the right time thank you bernth

[@JTisOneCrazyMan20]

Could also be, and I'm not trying to imply this, but a lot of people learn modes incorrectly/get confused with them. Without googling or checking, type out the notes of the D phrygian, and then, the D mixolydian scale. Indulge me, I want to help. You can either write them out with the name of the key and mode, then the notes like D E F G etc or by string, like 5 7 8 a string, 5 7 9 d string etc

[@antoniotrapani2617]

@@JTisOneCrazyMan20 i have a notebook where i write every scale I'm studying, with a fretboard diagram, every note goes in the right fret and i also have them color coded (so the root is always red, second is blue and so on)

[@JTisOneCrazyMan20]

@@antoniotrapani2617 that's great! So, I want to know, what are the notes of a D phrygian mode? Tell me. And also the D mixolydian. Write them out for me.

[@antoniotrapani2617]

@@JTisOneCrazyMan20 the d phrigian is the fifth mode of the g minor scale, so it is D, E flat, F#, G, A, B flat, C and the d mixolydian is the same as the D major but the seventh note is a semitone lower so it is D, E, F#, G , A, B, C

[@JTisOneCrazyMan20]

@@antoniotrapani2617 @Antonio Trapani @Antonio Trapani perfect, ya got em down. Keep practicing them and practicing what makes each mode what they are in relation to the major or minor scales, like you just said with the mixolydian being the same as the major scale with a flat 7th, phrygian is a minor scale with a minor 2nd and major 3rd, etc. Once you remember how all 7 modes are constructed, all you really need is to know your major and minor scales, and you can switch into whatever modes you need to on the spot!

[@daviddarko2665]

Every video/lesson you post is just a wealth of knowledge! 👌 I, personally, really appreciate it and it has helped me quite a bit. 🙏🤘

[@brianstanley572]

Dude... you're the man. Great content in your lessons! I think I just might have to join your patreon. My only critique of this video, and it's probably just me, is I'd prefer to see the "interval mind map" the other way, as if i was looking down at my guitar, not as if i were looking at someone else play guitar. But nonetheless, great stuff! Keep up the amazing work, we appreciate it!

[@yogakhismaiswara]

Hands up, this Channel is the best.

[@JustinNogle]

Fantastic video Bernth! Targeting the tonic so often is most certainly the root of many improv and soloing issues. :-) Abysmal joke aside, watching you work through the intervals we should target and NOT going after the 1 and 5 was a super helpful demonstration. Many thanks! 😎🎸🤘

[@rhr7799]

Awesome lesson!!!! I never realized this concept!! Thank you very much!!💯👍

[@davidjohnjr]

I rarely hit the "subscribe" button but I appreciate your videos. Working from home gives me a lot more time to practice!

[@lics50001]

Thank you Bernth!

[@oldrrocr]

thanks! humbling. I had no idea how little I understood about guitar.

[@13Hard]

Awesome! Thank you very much! The RB Fridge is killing me 🤣

[@eddiezurita6830]

Thank you a lot!! You are my favorite guitar teacher of all time man thank you!!

[@fabiojardim8537]

Master, thank you so much! I keep learning a lot with you. Very very great tip. Best regards from Brazil man.

[@gus3333]

Super useful! Thanks man! Cheers from Madrid!

[@crushedoremusic]

I really had never thought of the recommendations for finding the 5ths, 2nds, etc - I kind of knew where I might find 5ths - but this approach helps reinforce that to memory and location strategies - thank you!

[@lightartorias552]

I'm going to implement this today!

[@mariofloreshernandez4467]

The best guitar tips are here in this channel, thanks for share Bernth ¡¡¡

[@knightstalker87]

What a perfect practice for build my speed and comfort in the skills I have to work on.. Thanks for your SHARING.. AWESOME 😎👍🏽❤️ I LOVE IT!

[@chadjones4236]

The lesson I've been needing👍👊👊👊

[@ilirk.2080]

Wow great content and very good approaches to try out and hopefully master ;-) ! Thank you. I wish Bernth a lot of subscribers!

[@intellectualmetal9850]

Great video man! Very informative, thank you Bernth!

[@yesmusic4208]

Thank you for this awesome video..Bernth👍

[@Joypoddar08]

Thanks a lot man ...great video as always🤘🤘🤘

[@Voxxicon]

Staring at the guitar diagram for 5 solid minutes wondering wtf is this guy talking about until I realized the head is on the right lol. Guess I'm used to head-on-the-left diagrams.

[@danieldiettmann8190]

this he truely is a great teacher but having to rewatch something ten times cause its backwards compared to how ive been learning everywhere else can get frustraing

[@kaustubhbajpai12]

Thanks for this mate! ;)

[@madarame0ghosn]

this opens up lots of things. thanks

[@monocyte2210]

incredible, this is a very unique appraoch

[@girdeshworyumnam]

Super helpful thank you man!!!

[@codbmc]

this video helped so much thank you

[@lightninginmyhands4878]

This system has unlocked a ton of fun! :)

[@bazarista4720]

you are amazing bernth thanks for everything :)

[@pantastic5599]

Fantastic lesson! Couldn't help but notice a few of those red bulls were missing.

[@bayukebab3248]

Great lesson

[@dagsisay9639]

Your videos changed my playing a lot bro thanks.plz do one video by Acoustic guitar

[@excxmoody]

Every time I watch anyone's video...highly exciting to the extreme low depressing.

[@zionlee1004]

Amazing... just amazing.

[@francesco0185]

Mmmhh, I know all these positions on the fretfoard but when I listen to a solo played by a guitarist, the interesting thing is not to notice if he's playing the third, the fifth or else, because he plays some licks, some phrases. And I don't know if it's right to consider these licks like a concatenation of minor third, fifth, minor seventh and so on. My doubt is: once I know all those notes on the fretboard (and I know them), what's "the FASTEST way to amazing solos"? I hope my explanation was clear enough.

[@austinhayman7023]

Creating licks and phrases in the same way you create and use chord progressions. The note choices reflect chord progressions, there is just less harmonic information. So, go from the third to the seventh, down to the fifth and then resolve on the one - works for both melodies and chords. Listen to any ambient guitars in the background of a song, or lead guitar melodies in the background. They either reflect vocal melodies (which can sound really good on any instrument as well) and/or the chords in the song. That's what I've found works anyhow.

[@Corey_G]

A “CAGED” chromatic Interval pattern for rack position would work great too.

[@islandofmisfityoutubers6734]

Thank you

[@tonyjones1560]

Hey, Bernth! Let me see if I understand this. Are you saying that if I solo using the notes of a chord but avoid the scale, the root note and the fifth, I’m “on the way” to a more interesting sound…depending on the other notes I choose? BTW…Happy New Year 2023! EDIT: or maybe not the scale?

[@BlackLabel990]

Hey, I’m new to the channel and loving it so far, is there any chance you can create a playlist in the order that you think people should view your tutorials? I find them all so good but I’m not sure which order I should watch them in

[@kearnsguitars2236]

I love this!! Thank you

[@BedroomGuitarHero]

Thanks so much man for sharing your knowledge, this is incredible, I'll defo join your patreon off my next salary :D

[@soulcaliber256]

Nice bro. :) That's really great very useful by the way do you some exercise for tapping?

[@zingkhe]

Interval are the best!

[@Crowsinger]

How would you approach fast chord changes? You don't have time to play a complete melody over each one - do you pick a certain interval in each chord and follow the chords' movements, or do you do something else?

[@JoseHernandez-oi5qw]

Just like u said yes. Pick a chord tone (R 3 5) or extension (9, 11, 13) and play that note (9th for example) over each respective chord. Then you can slowly change up your "target notes" and add short/long phrases, sequences etc. and then finally chain them together. Don't forget to add some rests and always with a metronome !

[@arjankanina7142]

You are the best friend 👍👍

[@kingofkingsVAR]

Thank you!

[@papamurf7653]

Thank you🙏🙏🤘

[@excxmoody]

You play well!

[@Michael-bl4no]

I would like to support on Patreon however, I don’t (and won’t) use Fakebook. However, I would like to be able to submit my material to you for suggestions and I have a few direct questions. Long time player, not a noob (I’ve played over 3,000 gigs) but I am liking what I see in your lessons and already I am seeing improvements. Thanks man!

[@FraeMius]

Amazing

[@jericpaulo4101]

Hi Bernth, great lessons. Just a follow up question, do you think of intervals based on the root note of the current chord or of the whole chord progression/key? i'm struggling on how to use this system effectively. It seems that i don't deeply understand the context. The concept of learning to play by this method is superb, but applying it confuses me.

[@JTisOneCrazyMan20]

If I understand you correctly, for this example he's already using in Dm, you are using the intervals based around the Dm chord. Knowing that from the D note on the a string, that the perfect fifth is right below the root on the e string or 2 frets ahead on the d string, the perfect fourth being above the root on the d string, the minor 3rd being three frets ahead on the a string or two frets behind on the d string, etc. When it's comes to the key/chord progression, if we take all the chords in the key of D minor ( D minor, E diminished, F major, G minor, A minor, Bb major, C major dominant, back to D minor), The D minor scale will sound fine being played over all of these chords, so play it over all of them! The real trick and goal is to be able to know what chord you're playing on top of in the chord progression, and kind of highlighting the chord tones of each chord as you're playing over each chord. As in, if your chord progression is, let's say, D minor, F major, G minor, C major, you'll be playing and applying these intervals on top of the D minor chord/scale/root note, and then when switching to F major, applying these intervals over the F chord, which you could either keep playing the D major scale over but kind of focus around the chord tones of F major (F A C are your root, major third and fifth), or you could also play around the F major scale while also focusing on these chord tones and even your perfect fourth Bb ( which is in both the D minor scale and F major scale), your sixth which is D minor, etc. All these intervals are notes that are in BOTH your F major and D minor scales, so they are all the same notes, thus why the Dminor scale works being played over them both. Now when you switch to the G minor chord in our chord progression, again, you can play in your D minor scale, or your G minor scale. Now here's where the juicy part comes in. You can play your G minor scale, and the intervals around that G minor. So your root, G, the fifth, A, the minor third, Bb, the perfect fourth, C. But your sixth is a D#/Eb! What a minute, Eb isn't in our D minor scale! But, since the chord we're currently playing on top of is that G minor chord, that D#/Eb is perfectly playable (and will sound really cool) being played. Now, we're on our final chord of our chord progression, C major. We can still play our D minor scale as usual. And we can play our C major scale, again highlighting our intervals, which would be root C, our fifth, G, our major third, E, perfect fourth, F, etc. Now our sixth is an A, which is fine, but let's say we want to play our major 7th... wait, that's a B...again, like our last chord, this should be a problem, as there is no B in our D minor scale..but since it's in our C major scale (and is also in the D dorian mode, but that's a whole other story) so it works. This is what this all comes together as in the end. You can play your D minor scale and by highlighting those intervals, and your solo will sound fine. But if you also pay attention to and know and highlight the chord tones and intervals of each chord in your progression as those chords are being played, this will sound even better, and add a lot more variety to your solos! I hope this helps, it's been years since I've taught anyone so I'm a bit rusty, so I hope this wasn't confusing, and hope it helped!! If you have any questions, ask away!! I'll answer them the best I can.

[@EarthAltar]

@@JTisOneCrazyMan20 You could do that, and it would be perfectly fine over that chord progression of Dm, F, Gm, and C, (a vi, I, ii, V progression), but you could stay in key better by playing the notes from the corresponding mode for each chord. For instance, Dm would have the notes from D aeolian (the minor scale), F the notes from F ionian (the major scale), Gm notes from G dorian (minor scale with raised 6th), and C the notes from C mixolydian (major scale with a minor 7th). This would be the harmonically "correct" way instead of just playing the major scale over major chords, and minor scale over minor chords approach. It works, but there's more sophisticated and interesting ways to approach harmony. In theory there are no "wrong" notes if you consider the chromatic scale and its intervals. In practice however some are going to sound better than others because some will harmonize better with your tonal center while others may sound dissonant to it. Basically for each chord you have 12 half steps from root to octave. Finding the ones that are in perfect harmony is great, but can get stale after a while. Don't be afraid of those "outside" notes. They add tension and excitement, and can create some great melodies. Rock on!

[@JTisOneCrazyMan20]

@@EarthAltar oh yea of course, I just stayed with the major/minor scales for him so I don't confuse him too much by throwing modes in as well.

[@EarthAltar]

@@JTisOneCrazyMan20 I hear ya. It can get confusing real quick for someone starting to learn this stuff.

[@jericpaulo4101]

Thank you for the explanation. It was very helpful. Perhaps the take away is, i should focus first being in the scale of the key. The others are just adding unique flavor to the chord but should always keep in mind that the i am in the key of Dm.

[@jaya4205]

Superb

[@kasperdenouden7650]

For some reason that bit reminded me of one of Mark Knopfler's licks

[@alapdsangma924]

Thanks you

[@jjlbridge7877]

I’m a big George Lynch fan. Take 2 sounded just like his style.

[@MrFinntrollin]

Going to be becoming a Patreon when November starts, I get a lot out of your videos and definitely want to get the guitar pro files! I'm also interested in your online course, is that a good supplement to the patreon since Its different content?

[@alexisb9608]

And what happend when the chord change in the backing track for example to Dm to Gm, should I do the same diagram in the position of G in the 5 string ?

[@gabb8199]

Feels like I improved a lot watching his videos 3 months ago

[@ruchirsajwan]

Could you please make a video of your studio tour? 😁

[@daralenoach]

So cool

[@miniguitarjams]

love the delivery and the content but it is just a bit too advanced for me right now. some simple lessons first and i'll be back

[@barkofash]

On the fretboard diagrams why does the perfect 4th have a 5 on it and the perfect 5th has a 4 on it?

[@darrenwoolley51]

I'd really like to know, what model Ibanez is this guitar that Bernth is playing... I want to know what the difference between the angled headstock and the flat "Strat" style neck...

[@WizardOfArc]

I noticed that you also had more of a “plot” or progression in the second melody... like a walking a path or telling a story

[@novembro7603]

What do you think about poputar. The ledneck guitar..

[@jimmycardinale7382]

Hey Bernth, what amp or modeler are u using in your videos?

[@Bernthguitar]

Kemper for this one :)

[@pureblood8198]

Gettin a little low on the Reb Dull there bud.

[@silenciobarrett]

buena data!

[@bobbyyakumba]

Why you choose ibanes?

[@phil6899]

BERNTH... brother, I have never seen anyone show the strings in reverse like that. So very confusing, man. You're an absolute superstar but, man... Flip dat shit.

[@leofunks31]

How can we apply this over say, a 2 5 1 progression?

[@mksounds6326]

I try playing with the changes over the II/V back to the root. If that doesn't sound good (even if it's musically correct), I'll play off the tonic. George Lynch and Steve Lukather are big on emphasizing the 6th when soloing, which gives a cool flavor. MK

[@AnchoredSoulSband]

I got some songs I would like to get ur opinion on

[@dolo2233]

Wish I had learned this stuff earlier. Been playing 13 years and NONE of this video made sense lol

[@ravvij9643]

This video brings up an question I've had for a while. At what point do fast riffs start sounding indistinguishable from each other? For instance, I had a friend a while back that I asked to play a different sweep than the one he always uses. He changed the notes alright, but the sweeps sounded identical. I told him so, but him and someone else in the room said they were different. I asked for another one. Same thing happened. Is it just me?

[@EclecticEssentric]

Basically, you seem to need more ear training. You seem to be hearing the cadence of the mechanical movement, but not the variation in pitches as well. I'd suggest practicing the intervals and intently listening to the differences, as opposed to learning the shapes/distances mechanically. You're not alone in having trouble with the "hearing it" part. I'm very left brained and I struggle with hearing the music, even though I understand the shapes and theory quite well. It comes with time and practice though. Good luck!

[@ravvij9643]

@@EclecticEssentric I can get that, I know I struggle with hearing things, but the problem was that he asked me for an opinion on a solo he was working on and he wanted some input. He has this bad habit of doing the same thing for most of his songs. I said, "do a different sweep," and he makes a sweep that sounds identical to the other one. I watched him change the notes (or at least his finger positions) and still manage to make a nearly identical sweep. He can't read music by the way, he plays by ear and feel and didn't know or understand why the notes he played had names (ABCDEFG), so I suspect he naturally picked the same set of notes when he moved the sweep. Even so, I hear sweeps from all kinds of artists in the music I listen to or from videos. One thing I've noticed is the only artists I can hear a difference in sweeping usually comes from very highly skilled guitar players like Andy James. I wasn't much better about knowing scales and theory at the time either, but I still want to know if and when a string of notes becomes identical or indistinguishable at a certain speed.

[@EclecticEssentric]

@@ravvij9643 Oh, okay. A string of different notes should never sound identical no matter the speed. C note hit 1000 times per minute should never sound like C# hit 1000 times in a minute. This is true for arpeggios too. If I wire a machine to play arpeggios quickly, CEG arp will never sound like DFA arp, no matter how fast the machine plays them. They will each turn into a drone or hum, one with a C maj feel and one with a D min feel. (Note that if you record them on tape and then speed up the tape, then the pitches will change. But by mechanically playing the notes, they will never sound the same regardless of speed). The only caveat to this is that some share notes, so CEG (C maj) and EGB (E min) share 2 notes, but they should still be distinguishable even at high mechanical speed. So he might have played the same notes in a different position. Like playing ACE arpeggio in 2 different locations will still sound like A minor, because it is. And if he simply played them as 'unison notes', then he essentially played them as the same exact octaves too, just with slightly different timbre (pronounced tamber). Timbre is the individual sound caused by the material of the instrument/strings/whatever, like open E on first (high) string and E on second string fret 5 are the same octave, and therefor unison notes, but they have slightly different timbre. Does this help? (High E string and arp clarification).

[@ravvij9643]

@@EclecticEssentric More or less, yeah. I already knew about timbre and tape speeds and that, it's moreso the intervals that got me thinking about the way his sweeps sounded. Other than the pitch, the sweeps sounded the same, like you said. There wasn't any real distinguishable difference in how it sounded either. I think part of the problem is he tended to play them "in a box" rather than varying them too much. Also the number of notes in the sweep didn't change much either, now that I'm thinking about it more. So yeah! This helped out a lot. Thanks!

[@caismith6131]

this guy is the metal version of marty schwartz

[@prognacio]

What guitar model is that?

[@somecringegamer1437]

bro plss tutorial on your intro plss

[@danieldiettmann8190]

your videos are great but my god how you display the fret board is super frustrating

[@mijit.859]

Bernth ! I find finger tapping really somewhat very hard to do !?? Why?? ☹️🥺😰🤦🏻‍♂️

[@AndyG_75]

I definitely like take one better

[@jarrettc2490]

8:15

[@lcf3335]

🤘

[@IbamChannel]

👍👍👍

[@nash5425]

Imagine he is my teacher i would be eddie van halen

[@Humanity.79]

💖🤟

[@nimanthapathum2383]

♥️ ♥️ ♥️

[@christopherheadcase6886]

The hardest part i have with solos is when the song is in a drop. Primarily drop C

[@SixString_J5]

Why does drop tuning hinder your thought process? Soloing is rarely ever happening on the lowest string, you just need to first try and visualize where your scale is on the top 5 strings. If you are in Drop C and you wish to play in minor you find the C on the high D string (10th fret) and put your 1st pentatonic box there as a reference point. Transpose your 3nps from there. Once you are comfortable with navigating the top 5 strings and matching your desired scale to the mode of C you wish to play in, then add the 6th string with the awareness that the 6th string and 4th string are perfect octaves of each other. If it works on the 4th string, it works on the 6th all the same notes across the 6th and 4th strings, just an octave apart. I know I'm not Bernth, but I Hope that info helps. Good luck!

[@christopherheadcase6886]

@@SixString_J5 you lost me half way thru that... I will have to read and apply each statemebt at a time.. I believe it is because thebpositioning of the frets alters from a standard tuning position for me... Let me see how i can apply this. Thank you very much

[@SixString_J5]

@@christopherheadcase6886 Really focus on the scale shapes top 5 stings and try to visualize the root note on the highest string (if you are in drop c the highest string is d). If C is your root note of your mode (C minor,C major, etc.), which usually is the case if you are in Drop C, your Root on the D string is at the 10th fret. Don't let the drop tuning trip you up, soloing happens on the higher strings. The foundation of soloing is finding the key you are in and playing within a scale that fits the key or progression. If you are having trouble doing that, then adding alternate tunings is going to seem like a roadblock as all the tutorials you find are going to be in standard tuning.

[@christopherheadcase6886]

@@SixString_J5 for me its a bit more difficult to move to higher frets on higher dtrings. My muscle memory is set to D standard which for memory gets me as high as the d string 15-17 fret. Anything beyond that us a mystery then add into account the notes for a drop c have shifted those frets thatbis where I get lost

[@SixString_J5]

@@christopherheadcase6886 keep at it. Practice is the key to everything. If your muscle memory is in d standard then just shift all your shapes down 2 frets when you drop tune to c. You got this!