How to Actually Use Modes in Your Playing w/ 4 Examples

[@zombieguitar]

If you liked this series, definitely stop by and check out my website www.zombieguitar.com !

[@themacocko6311]

Thank you for the videos on modes here lately, especially this one!

[@whenifeellikeit]

Perfectly explained. I've never understood the point of explaining modes using only one chord or tone just to hear how the mode sounds like or feels. To me, modes are primarily patterns which enable me to play in one key using the whole fretboard and not getting lost. If a D major chord pops up in the key of C major I know that I'm temporarily in the key of G major and have to temporarily play G ionian or A dorian or B phrygian ... All those other youtube videos explaining modes are for jazz players or film music. If you are playing in C Lydian mode, you have to be aware that you are in the key of G major, that's the FUNDAMENTAL stuff.

[@michaeldelucia7352]

I’ve watched hundreds of videos on guitar playing and you are absolutely the best…. You keep it simple and repeat the important facts.

[@zombieguitar]

Thank you! I appreciate the words. Thanks so much for watching 😀

[@Nikage23]

This video is the one. The ONE. The one which have made me understad what on earth I can use the modes for. Technically I've learned the modes quite a long time ago but I could never understand what those magical spellings like "F lydian" is all about. Finally, I do. Thanks Brian!

[@WhoCares_Official]

This guy deserves more subs share him around!

[@zombieguitar]

Thank you! 😁

[@hannaobrc1947]

100% agree with you

[@AF-fb6yp]

These mode videos you are putting up are great and your method of how to choose what to play over a borrowed chord (using circle of fifths) is new to me. Thanks mate 👍

[@tonytechquuo]

Brian thank you for all 3 videos,nobody explains modes like you do 🎸.

[@toniomiklo2406]

This lesson is absolute gold. I doubt you can find this stuff anywhere on YT (I for one didn't). Excellent teacher.

[@clodufault]

Vous êtes le meilleur pédagogue et le plus honnête de tout cette bande de ………

[@NM-bp6dy]

This knowledge is GOLD! Thank you so much Brian. How I wish this video had been available 35 years ago. Amazing,thank you.

[@zombieguitar]

Glad you liked it! Thanks for watching 😀

[@FitzyStrings]

Really appreciate all your lessons on here Brian, thank you so very much for helping me understand music theory in relation to guitar!

[@RichardDeighton]

Thank you Brian 👏 That’s the most comprehensive explanation of modes (across the 3 videos) I’ve seen to date. It has also highlighted the importance of knowing where all the notes are on the fretboard; something I still haven’t mastered.

[@JonseyWales]

BRILLIANT EXPLANATION!!! Best I've seen on modes, you've really brought great clarity to the subject with these lessons. Many thanks!!!!

[@JS-nr7te]

It's so nice when someone explains something they actually understand. Your videos are the best and you make this stuff as straightforward as possible. Keep doing what you do man

[@zombieguitar]

Much appreciated! 😀

[@morrisgentry8624]

Your explanation of how to select a good key signature/scale for the out of key chord ... why have I never thought of that? Another great tip, Brian. You are the best!

[@deadSalesman_GD]

So a great way to start adding chromaticism is to start using non diatonic modes over the different chords. If we take the first example (I V vi IV in C) sure we can use C major over the whole progression or we can use C Ionian over the I chord G mixolydian over the V etc. OOORRR we can can play C lydian over the I chord and G Mixolydian over V then A Phrygian over vi and F Ionian over IV (these are just examples, you can use any major mode over a major chord as long as you pay attention to phrasing and how it transitions into the next chord/mode). This adds in non diatonic notes but will sound good over each chord. You can even mix and match modes if the chord sticks around long enough so if the I chord sticks around for a whole measure play C ionian for the first half of the bar then switch to lydian in the second half of the bar and make it really hip by using the F# to resolve to G at the beginning of the next measure. Another hip move would be playing C mixolydian over the I chord then using A to Bb to B with the B landing on beat one of the V chord. This essentially treats the Bb as if it’s and A# which is the #9 of the G major chord.

[@mk767mk]

Thanks Brian. Almost every other video on modes I watched focused on the scales but not the chord progression. I sort of figured that out on my own, but your video confirmed that and took me so much farther. Thanks

[@kendipietro6855]

Thanks Brian, this series has been the definitive explanation on how modes fit into the picture.

[@johncharal1698]

Thanks, Brian, you filled a theory gap in my circle of fifths knowledge re: finding the closest key for an out of key chord. Love your explanation of the options to solo over out of key chords.

[@jamessbca]

These three videos you've created are OUTSTANDING. You seriously "thumbs upp'ed" / validated my way of thinking at 8:12 !!! Thank you!!! I've been trying to put the pieces together in my head to develop a very basic set of "rules" for making sure I'm playing the "legal" notes. (Rules are mean to be broken, but as you said in one of these videos, it's good to know the rules, then break them!) My way of thinking: "What is the function of this chord in the progression...?" OK, we're playing the 4th chord, so I'll play the Lydian "scale / shape" for the chord being played, emphasizing the Major Triad Notes OK, now we're on the 6th chord... I'll play the Aeolian "scale / shape" for that chord, emphasizing the Minor Triad notes OK... now we're on a "borrowed" major chord that doesn't fit into the Key signature... I'll play it safe and only use the major pentatonic scale so I don't trip over anyone else's notes... (in case the other musicians think the notes are from a different key signature than I think they're from...) OK... now we're on a "borrowed" minor chord that doesn't fit into the Key signature... I'll play it safe and only use the minor pentatonic scale so I don't trip over anyone else's notes... (in case the other musicians think the notes are from a different key signature than I think they're from...)

[@zombieguitar]

I appreciate the words James! Glad this vid was helpful for ya 😀

[@themacocko6311]

This is huge for me. Now it's making more sense!

[@hannaobrc1947]

Great video..i am so hapy pick up guitar 3 y.ago and start learning gutar scales..after that startin with caged to visualize my roots 3 5 b7 Triads all other notes are pasing notes..guitar is such great instrument..for simple camp fire sing song or to dive deeper and knowing basic theory is only plus..its fun..

[@dannywilliams4689]

Wow I learned mode from a friend that went to GIT you are the only one on here I have seen that really understands modes

[@rocktorrocks]

Thank you so much! I truly mean it. I’ve completed basic music theory classes in years past and understood what modes were in context of the circle of fifths and different keys but struggled to really apply it in my guitar playing. This helped me connect the dots and I finally feel like I can start to apply what I know in a practical manner. Great lesson and the graphics were super too.

[@zombieguitar]

Awesome! Glad to hear that this video helped to make some things click. Thanks for checking it out 😀

[@rocktorrocks]

@@zombieguitar Sure thing! Keep up the great lessons. Cheers!

[@gonicjon]

excellent teaching...i wish i could have had the lesson back as a kid but now i'm a 62 newbie

[@terrybanks5063]

great lesson! will have to come back to this one a couple times to get my head round it lol. cheers brian!

[@silversurfer2156]

Not a moment wasted. Gives you all the options. Including mental points of view.

[@zombieguitar]

Thank you 😀

[@photoguy4212]

This is game changing. Thank you. I was making it way harder.

[@mariostako2022]

the best video in you tube about modes!congratulation sir thank you so much!

[@scottc7952]

Best lesson on modes... very clear

[@ytemg]

Thank you. This is exactly what I’ve been looking for. Thorough and clear explanations. I learned a lot more than I was actually thinking I needed to learn.

[@zombieguitar]

Awesome! Glad to hear it. Thanks for checking out the vid 😀

[@denispickering5660]

it is becoming a lot more understanding but i still have a lot to learn. Many thanks Brian and KEEP ON ROCKING IN THE FREE WORLD

[@jpsilverplaylists]

Hey Brian again gotta compliment your way of explaining, thanks man

[@zvonimirsarcevic7928]

Thank you. Your explanation makes it all simple and clear ...

[@Ahmed-kv4up]

Thanks, Brian. Brillant lesson. I think we can consider progressions 3 and 4 as modal mixture : C ionien and C dorien (4), C ionien and C aeolien (3).

[@midi1529]

Nice explanation of using a non diatonic chord in a diatonic harmony. Ex: was Bb Maj as the 4 of F so Bb lydian is a good choice as F is closer to original C maj harmony. I think I got that - very good lesson!!

[@r0bophonic]

10:53 You just demystified modal chord progressions in less than two minutes! 🤯

[@zombieguitar]

Thanks for watching!

[@quozr]

Excellent ! Best explanation out of thousands. Thanks, subbed

[@rayberczik7251]

Love your lessons Brian, I would love to see an in depth video in triads. I know your a busy guy and have a lot going on but I know you could make triads easy to comprehend. Best of luck and will be waiting for your next lesson bro!!

[@gregstoner66]

Whoa you just connected some dots together for me. I’ve had most of the individual parts but never could connect it all in my head before. Huge help Brian, thanks!

[@MohamedElHanoun]

This is the best Explanation Thank U

[@1cleandude]

Again so helpful Brian thanks again brother!🙏🏻

[@michelecavatorta1557]

I'm glad you remembered to switch on the light this time. amazing series Brian, thanks for sharing

[@zombieguitar]

🤣🤣🤣 these high tech cameras...you push one button and its literally a night and day difference!

[@soniatiwari3579]

This was the theory on modes i was looking for..you are brain boosting😍❤🔥🌻legend

[@mikestroud9969]

Great job of explaining. It's about time someone took the time to explain in detail thanks again Big B. 😎👍👌💯🎸🎸

[@regsburg]

yes thank you best ever .....nice how you review it over and over for some of use slooow learners

[@hkaszowi]

Man this REALLY HELP! THANK YOU!

[@saymyname3097]

Fantastic thanks Brian.

[@t.childs1128]

EXCELLENT !!! as usual ... THANK YOU !!!

[@huseynguitar4676]

It was a wonderful lesson

[@maradonel88]

best modes explenation on youtube

[@raulmanzoratte8065]

Thank you Brian ! I am starting to decipher the mystery !!! You explanation , just great my friend! I am becoming a Zombie!!

[@zombieguitar]

Glad you liked the vid Raul!! 😁

[@MaukaMelodies]

Great explanation Brian!

[@freelearningresources5552]

Amazing, as usual!!

[@markwelsh9068]

Another great one Brian. One question though (I haven't thought it through yet): In the 3rd progression with the Bb, the first thing that came to mind for me was Mixolydian since the Bb would be the flattened 7th in C Major. I realise you couldn't play mixolydian throughout the chord sequence but wouldn't it be possible to think C mixolydian, rather than Bb lydian, when soloing over the Bb?

[@zombieguitar]

Yes exactly! Two different thought approaches to achieve the same thing 😁

[@midi1529]

Right C mixolydian is the same as D min. D min is Bb lydian... technically notes are the same as it were...

[@colincannon8072]

Great video Brian. Thanks man 👍

[@leonlu1141]

thanks a lot. at least i can play modes a little.. great brian kelly

[@Noewel]

Thank you, this is great!!

[@Mo-ui8nb]

Another great video man, great explanation!! I have one question tho, let’s say I’m soloing over a minor chord like Am for example couldn’t I use any of the three minor modes, aeolian, Phrygian or Dorian depending on a certain feel I want for the solo?

[@phillipwalsh7648]

Great, practical examples!

[@mikestroud9969]

Right on buddy 😎👍👌💯 🎸🎸🎸

[@SolidBuildersInc]

Thanks for the Clarity on Modes. I think it shaved a few months of wasted time off my plate so I can stay focused on the fundamentals.

[@zombieguitar]

Glad to hear it!

[@Azarie03]

Thanks, dude.

[@philjames1019]

Brilliant lesson Brian ..... and it's great to see you with the light on!! LOL!! I wonder who the jerk is that cannot wait to give every one of your videos a thumbs down within minutes of their release ...... he's a very sad dude!!

[@zombieguitar]

🤣🤣🤣

[@StarDarkAshes]

Hey Brian (or if anyone else knows) I was wondering what makes a harmonic major “harmonic” and what makes the harmonic minor “harmonic “? Basically I don’t understand why it’s quality is “harmonic “. I get the difference between a minor scale and a major scale being the 3 being either major or flat. I understand basic theory but I’ve never stumbled upon the meaning or reason that a scale is “harmonic “. Natural minor has the flat 7 and a harmonic minor has a regular 7. The harmonic major scale is a major scale with a flat 6. Why does the flat 6 make it harmonic? Why does the regular 7 in the harmonic minor make that scale harmonic as opposed to the natural minor. Just need clarification on the terminology and the why if anyone can explain or post a link to an explanation. Thanks Brian or whomever has any feedback.

[@gauravsingh8274]

super duper video for learner

[@cosmonautz6304]

YES!

[@robertmogavero4596]

Hi Brian, I have a question in the case where that F minor pops up would you also be able to use the F minor scale? Will that not work and I do realize you said it would be best to just play F Dorian, which is an e-flat major but I was just wondering if the F minor scale would work as well

[@zombieguitar]

@@robertmogavero4596 good question! The golden rule is "if it sounds good, then do it". However when it comes to "switching scales" over out-of-key chords, you typically want to use the least amount of accidentals as possible. In this example F Dorian only has 3 accidentals (aka. out-of-key notes) from the original key, whereas F Aeolian has 4. This is why you'll probably find that F Dorian tends to sound better than F Aeolian over this Fm chord. Make sense?

[@robertmogavero4596]

@@zombieguitar thanks

[@robertmogavero4596]

Hi Brian been studying a bunch, and noticed that another very useful scale change in our example of borrowing the f minor when playing in c major is to use the c minor scale, as I am sure you are aware f minor is in the natural progression of the c minor scale……not sure if you have made a video pointing this out, but if not, it make a good one, as I’m finding if the borrowed chord is in the minor version of the original scale used it also sound quite well to just switch the that minor scale, so if playing in c major, check c minor for the chord, borrowed, if you have not explored this, give it a shot and let me know what you think

[@StarDarkAshes]

Hey Brian. Not necessarily relevant to this video but I was trying to find an answer to this and I didn’t delve too deep but I figured you might be able to answer this pretty quick. What is the difference between a C min b5 and a C minor 7 b5. Just wondering what the comparison of the formula would look like. I know that the C minor seven flat five is a R-b3-b5-b7 but is the formula for a C min b5 as follows R-b3-b5? Or is that just another name for a diminished triad? Basically I know how to do a full diminished I know how to do a minor seven flat five but I saw somewhere some cord was a C minor flat five. Is there even such thing as a C minor flat five or would it just be a C minor (add flat five). I just wasn’t sure if this cord actually existed. And if it does exist what is the formula? Thanks in advance and if anybody else knows and wants to answer the question I’d appreciate it.

[@zombieguitar]

Yup Cmb5 is just a diminished triad as you said...R b3 b5. You got it 😁

[@ofmenandtortoise-anthonyco4856]

Damn finally got it

[@LOFIGSD]

Bing, light bulb goes on, thanks Brian.

[@cuanhogan4330]

Hi Brian, when you show the shape you are playing for the F Major Chord (7.07) shouldn't it be a b flat, not the B note shown ? Thank you so much for all the great lessons you share

[@zombieguitar]

No, because I was playing F Lydian there (key signature of C major) 😁

[@jantestowy123]

❤❤❤ helped a lot!😊

[@henrypaul8823]

I have one question about the circle of fifths, how come the key signatures only contain 6 of the diatonic chords when a key actually contains 7 notes or chords?

[@zombieguitar]

Because this version of the circle only displays major and minor chords, not diminished. There are 3 layer circle of 5ths that have the dims on the inner most circle 😁

[@henrypaul8823]

@@zombieguitar thanks I already figured it out before I read your reply but thanks anyways. 😄😁

[@tammyjo2570]

You’re the Best

[@helicoptera75]

Nice one B..

[@ArneWidding]

To be honest you really added to the confusion you mention in the beginning in the video for me. You talked about a wrong way of looking at modes. Then you started talking about the parallel perspective which sounded to me like what you called the “wrong way” to look at it. Both perspectives together made the difference and I realised I had understood all along.

[@zombieguitar]

@@chrisheaton2271 yes exactly 😀

[@ArneWidding]

@@chrisheaton2271 yes, that is what he was trying to explain. He did a lot better in this one fortunately.

[@artlazo2218]

Brian...u COOOOOLLLL

[@SyntagmaStation]

A great part 4 would be how to construct modal chord progressions (beyond a Santana-like two-chord vamp). In Parts 1 and 3, it appeared that you played the 4 and 5 chords in the key, along with a minor chord as the tonal center. Are there other possible ways to do it? Can you do a four-chord modal progression? How do you figure that out?

[@zombieguitar]

Yes, you absolutely can. Take the key of C major for example....make the G major chord (the V chord) to be the tonal center...you can use as many chords as you'd like, even including some outside chords as well. The result will be a Mixolydian progression! If you can do it with the C major chord (the I chord) or the Am chord (the vi chord)...then you can do it with any of the other chords!

[@SyntagmaStation]

@@zombieguitar thanks Brian. Great to know. Keep up the good work. What I like about your music theory lessons is that you cut right to the core issues that confuse people. It took me years to figure out modes on my own and come to the conclusions that you teach. I like hearing you confirm them. And you’re always careful to keep it consistent and not say things like “here we are in the key of Am.” Instead, you would say, “here we are in the key of Cmaj with the 6th, Am, as our tonal center.” That consistency and clarity matters, and I for one appreciate it.

[@pistachio66]

Hi, Can you explain how the A harmonic minor scale would apply to the chord progression with the f minor chord and how that relates to the key of f minor? Can you also provide a method for figuring out which key a chord out of key is the most closely similar without using the circle of fifths? I memorized the major keys, but I never learned the circle of fifths, but I can learn. I enjoyed watching your videos on modes. There is one thing I am unsure about. If I were in the key of c and I were playing an f chord, would it really be f lydian if I played the notes in the c major scale without targeting the f note? Thank you so much

[@zombieguitar]

This is a loaded question, so I'm going to be quick with my replies. 1.) Switch to the harmonic minor scale when you encounter a major III chord (major perspective) or a major V chord (minor perspective) 2.) Without using the CO5, you could also determine the nearest available key signature simply by looking at the sharps/flats. Whichever key signature had the least amount of altered sharps/flats is the closest one! 3.) The mode is dictated by the underlying rhythm section! Hope that helps 😁

[@pistachio66]

@@zombieguitar thank you Brian, I used A harmonic minor because the third in the f minor is Ab so I thought all the notes would be in the key if I did that with the exception of the A note from the chord f major Thanks again! David

[@zombieguitar]

@@pistachio66 the #1 rule that trumps all other rules is "if it sounds good, then go with it" 😁

[@JulianFernandez]

thx

[@QBRX]

Wow, a bit complicated, but I like the idea of just targeting the note that is missing from the scale. That seems simpler and more doable.

[@grantnagle4375]

Everybody’s always quick to kiss ass on the internet… But really thanks a lot for your mode series. I really understand now. Literally almost figured this all out on my own and my guitar teacher said no , like I was dumb. Wtf? I wonder how he thinks about it. I’ll never know we had a communication barrier apparently or ego got in the way. Are your sweatshirts cheap and thin? I’m buying something for sure

[@greggriffiths9053]

Where I get stuck is patterns or scales there seems to be a lot but I have a lot of the theory I need so that's good i see players doing all these patterns that sound right but I'm overwhelmed with how many teresa are.

[@zombieguitar]

Just remember...there are only 12 notes on the fretboard. These notes form "patterns". However, at the end of the day it's about the actual notes that you are playing. The whole "patterns" vs "notes" things has been confusing guitar players forever. I try to help clear all of that up!

[@greggriffiths9053]

I sometimes over think it and get confused but I keep finding your videos and it makes it make sense for me when I learn something new it's always hard to understand but I eventually get it.

[@soniatiwari3579]

If I'm in Dminor key but the G major chord is used in the song,then how would i figure out which mode is used??

[@zombieguitar]

Well the nearest key signature to F major/D minor that contains a G major chord is the key signature of C major/A minor. In that key, the G major chord is the V chord...V chord is Mixolydian... So G Mixolydian would be the scale that would most likely work the best in that scenario 😁 Make sense?

[@soniatiwari3579]

@@zombieguitar thanks alot..can we go both the sides in the cirle of fifths to look the nearest key signature??

[@zombieguitar]

@@soniatiwari3579 there can only be 1 answer though. The original key is D minor, and you are trying to determine which key signature the G major is found in that is closest to this key. There will only be one answer to this question!

[@soniatiwari3579]

@@zombieguitar thankyou so much 😊❤love from India😊

[@DWeirich76]

I bought a "scale bible" book off Amazon and spent weeks and months trying to memorize all the different mide scale shapes.... What a waste of time. Thank you for un****ing the whole mide thing.

[@zombieguitar]

Glad to help. Thanks for checking out the channel 😃

[@trissweet]

🤙🏼

[@gautamasakyamuni6688]

In "modal" chord progressions you won't ever use the fifth chord of the scale (the Dominant and even the Sub Dominant sometimes) you are using because that leads you back to the Diatonic approach of the "tension/release" thing, being the fifth the tension you introduce that WANT to take you back to the One chord. So if you make the E minor your tonal center(as in your second example) avoid the G chord all the way....otherwise it has nothing to do with a "Modal approach", you can hear clearly that once you hit the G, landing back on E minor does not sound "right".

[@zombieguitar]

That's a matter of opinion. It sounded right to me 😁

[@gautamasakyamuni6688]

@@zombieguitar Hi Brian, what I'm trying to say is that in here (second example) you are still in C Major Scale, keeping E minor as Tonal Center (wich is right for a Modal approach) so you should not hit the C Major "Fifth" chord or the Modal "feeling" simply it's not there, there are tons of examples both in modern music and in Classical muisc, every Modal progression will never touch the Dominant or you'll loose completely the meaning of Modal sound and feeling. Every Mode you'll want to use for your progressions will always rotate around the chord that you make as the Tonal center, and every Mode has some chords (and notes in solos) that are "avoided" completely otherwise you're back to the Diatonic way "tension/release". A Modal progression 90% of times is a two chord sequence, three at best but always avoiding tensions (Dominants and Sub Dominants).

[@zombieguitar]

@@gautamasakyamuni6688 I hear what you are saying, but I don't agree with that line of thinking. This is the foundation of my previous arguments where I claim that there are not 24 keys. I personally do not see a difference between writing music in Aeolian vs writing in Dorian vs writing in Phrygian etc. All 7 chord are available for any mode that you choose to write in. People will have differing opinions on this though, so I totally understand where you are coming from. I am going to have to respectfully disagree though!

[@gautamasakyamuni6688]

@@zombieguitar Of course we can disagree, but please have a look at this video, the Modal approach is clearly explained in all its "inner secrets" very clearly and simple kzbin.info/www/bejne/lWjLfnicjLmKpq8 to have the Modal "feeling" in your progressions you have to avoid certain notes and chords, otherwise you're back to the Diatonic approach, no matter what 😉 Every Mode have its own "right" special" notes that have to be highlightes, while you must avoid some others, or it's not Modal at all. Check Miles davis's progressions during his Modal jazz period and you'll see it very clearly.(or some of Steve Vai's works as well) Hans Zimmer too uses a lot of Modal stuff in his soundtracks.

[@zombieguitar]

@@gautamasakyamuni6688 my primary argument here is that if these "restrictions" apply to modes other than Ionian, then these same restrictions must apply to Aeolian as well...therefore disproving the "24 key" line of thinking.

[@raulmanzoratte8065]

kind of complicated, need to practice!

[@elitecombatfitnesscentral6170]

First

[@ryanmcdonald2027]

i find modes and scales very hard to understand on the guitar and very hard to play on the guitar !!!!! there are so many different notes that are actually repeated all over the entire fretboard of the guitar and the notes seem to appear in different random orders on random different strings and on random different frets that seem to be all over the place on the guitar with all sorts of tricky intervals inbetween and seems very messy !!!! but on the piano i easily understand modes and i can easily play modes and scales on the piano ! cause there is only 1 semitone/half step interval between each note on the piano and you can easily play the scales and the modes in asscending order and in descending order on the piano cause everything seems to be very easily accessible and very organised on the piano ! so on the piano things get so much easier ! i have had 20 years of experience on the piano, but i am a total beginner at guitar and am not so good on the guitar. so i don't think i shall ever like to improvise on the guitar ! far too hard for me ! lol. If i want to do a guitar solo i think i shall just learn the original solo tab from the original record verison of my favourite song that you hear on the radio and i shall pay money to get that solo tab transcribed for me professionally from a professional musical website like fivree, or i shall get the original transcription for the original solo tab for my favourite song from a website like youtube ! other than that i shall just stick to just playing chords and chord progressions and just basic songs on the guitar ! so much easier for a beginner like me ! lol

[@zombieguitar]

There's still only 12 key signatures on the guitar, but the notes have 3 directions for which they can increase/decrease in pitch. Whereas the piano only has 1 direction. That's why guitar is more confusing. On the other hand, all of the shapes and patterns are movable on the guitar. So anything that you do in 1 key applies to all 12 keys. That is one of the benefits that we have on the guitar!

[@cyberghost4043]

Adam Sandler😃

[@fu2201]

you talk too much

[@zombieguitar]

@@fu2201 you don't listen enough