OFFICE HOURS 54 | Friday, Sept 10, 12:00PM EST
Added 2021-09-08 23:55:35 +0000 UTCNew here? Wondering where to start? Click here
Hi Everyone,
Here are the questions from this Office Hours
Question 1: Mathias had some questions about how to mute strings when you're playing in the middle of the fingerboard.
Question 2: Hieu was curious about a few things - how to make solos feel less robotic, what are some good jazz, blues, and R&B guitarists, and how to navigate chord voicings in different parts of the neck. I recommend CAGED Basics for that last one.
Question 3: Taco asked if I have other videos like the "Phrases" video on my YouTube channel. Overall, there were a LOT of questions related to soloing this week that I think will be mega helpful if you watch: CAGED Soloing I - ii, I - iii and I - IV, MTM 17, 18, 19.
Question 4: Dennis was curious about why we don't just switch scales for soloing over chords. I went DEEP into it because this is, in my head, a crucial concept to understand when moving through the music world.
Question 5: Russ was curious about the word "diatonic"
Question 6: Chat question about the best way to learn a song
There were a couple more questions from the chat after that, but I've a little lunch date to get to!
If you've got more questions or followup clarifications, or whatnot, check the community forum.
Check out the Lesson Archive for more Office Hours.
Comments
Hi Scott, I was recently watching an interview with the amazing Pat Metheny, and when explaining his song "James," he said the song is "diatonic to the scale." I've heard a couple of other guitarists use this phrase as well. Do you know what this means? Thanks! Russ
Russ Cobb
2021-09-10 16:08:37 +0000 UTCHi Scott, I asked this question a while back but then deleted it because I thought I had figured it out. However, I am finding myself confused again. I was practicing the pentatonic scale using your key of A, I/ii chord progression jam track and I realized that the A pentatonic and the Bm pentatonic shared 4 of the 5 notes. The difference being the major 3rd in A vs the flat 3rd in Bm. It really opened my eyes that in this chord progression I could play any box I wanted (A,B,E,F#) and then work with the chord changes and add either the C# or the D. Does this correlation work with any key in the I,ii? Also, are there any other progressions where this is true? For example a IV/V or a V/vi etc... Thank you!
Dennis Frazier
2021-09-10 16:02:26 +0000 UTC
