GUITARISTS: How to Break Bad Habits - Part 02

Welcome to the second part of "Breaking Bad Guitar Habits." In this episode we're going to check out a number of more practical issues that relate to breaking bad guitar habits. 

Our focus will be on solving issues that can cause you to have lasting problems...


A serious bad habit is getting stuck within playing only one style of music. It is so detrimental on many levels. Becoming well rounded will most certainly involve branching out to other music styles. It expands your feel, your theory knowledge, your technique, sense of rhythm and so much more. By neglecting this area, you are doing a great deal of harm to your overall playing ability.

Let's test your skill for playing guitar in different styles of music. Since not doing this work is a bad habit (that many players get stuck in), expanding to other styles will be amazing to your overall ability and confidence.

Students who are only playing in one or two styles of guitar, (often times Blues or Classic Rock), are going to love trying out a collection of styles. In doing so you'll find out which ones you're good at, and which ones you may need some work on.

Country Western:

Reggae riff:

Jazz idea:

Hard Rock /Metal:

If you easily played through each of those styles with next to no effort, then you did great. If you had some slight difficulty with a couple of those riffs, then I'm sure with a little practice, you'll be able to polish up any rusty areas.

But, if every one of those riffs were tough to comprehend, and felt difficult to perform (with the right feel and dynamics), then you'll have some work ahead of you to be able to get all of these general music styles up to speed. Next, let's test another area of playing - acoustic finger-style guitar. 

Playing acoustic finger-style, or classical guitar ideas are generally weak for a lot of players. Not for all players, but many guitarists will find that finger-style is a difficult area to get really polished at, so let's test your skills with a couple of finger-style riffs, and you can find out how well you can keep up...

Acoustic Guitar - Pattern Picking riff:

Folk Finger-style riff:

If either of these finger-picked riffs caused you grief, you'll need to look into getting a little better when the pick is out of the picture and all you've got is fingers only. Finger-style is an important area of skill and having some ability for it is definitely a good thing.

The last area I want to cover is fret-board knowledge and music theory basics. This is like saving the best for last because so many guitarists blow this stuff off for years. They'll wait far too long and when it comes down to learning their fingerboards and understanding the basic elements of music theory related to the neck they feel totally overwhelmed.

So, let's run through a number of important guitar neck and theory principles, and you can gauge your skills and get a better perspective of where you're at.

- Notes across the neck
- Fingerboard regions
- Major and Minor key theory
- Scale and arpeggio concepts
- Open chords
- Barre Chords
- Other Chord Types (7th's, extended, altered)
- Chord Inversions
- Intervals

Well, this wraps up my two part video on helping you with starting to break down your bad-habits and move through them into more productive levels of study, and onto better guitar playing.

If you can start to realize the initial types of issues (to do with bad habits) along with the things that are associated; psychologically, and then, take action onto some real world playing studies, you'll not only expand your playing ability, but most importantly, you'll change how you think about learning music.

Thanks for joining me, If you want to learn more about what I do as an online guitar teacher, then head over to my website at; and sign up your FREE lifetime membership.

And, when you want more, you can always upgrade to either a Basic, or a Premium lesson package and start studying the guitar courses I've organized for the members of my website. I hope you enjoyed this program, if you did, then give it a thumbs up and subscribe for more. Thanks again and we'll see you on the next video.



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GUITARISTS: How to Break Bad Habits - Part 01

If you play guitar, you probably have a few bad habits. It might be something simple like only playing music that you already know, and never venturing off to music that's foreign to you. Music that will force you to leave your comfort zone and try new ideas is extremely beneficial. This 2-part series will explore several ways that you can start breaking away from your bad habits...

Other bad habits will also often include neglecting Guitar technique. And, neglected technical issues can become problematic. These may include poor picking hand technique, or a lack of accuracy with the fretting hand. No matter what it is, once these habits settle in, they can become a real burden to your guitar playing.

If bad habits aren't addressed, they can last for years... 

So, on this episode of the "Guitar Blog Insider," we're going to discuss, "How to Break Your Bad Habits." This will be a two-part episode, so be sure to watch both segments of the program...


BAD HABIT #1). "No Plan"
The number one bad habit of guitar players is that far too many guitarists have no established plan for developing themselves on the instrument. If you have no plan, you can't accomplish much. What are you going to study? How are you going to grow? What music can you play that will be a challenge? These are all basic questions that need to be addressed if your guitar playing will expand. And, this can be an especially bad situation for a player who has no instructor and no curriculum to follow.

Start by taking out a sheet of paper and write down a few things about where you are now. Do you know the notes on your neck? Are you aware of how many sharps and flats are in the keys of music? Do you know barre chords, do you know your major and minor seventh chords? Can you perform a guitar solo? Are you good at rhythm guitar? These are basic things, but so many guitar students haven't a clue about a number of them.

Far too many guitarists do what teachers will often call "noodle." They putter around on musical ideas that are well known to them. Ideas that are easy to play. Ideas that require no real effort to perform. It might be fun, but doing this offers nothing with regard to expanding your potential. In order to get better, you've got to expose yourself to new material. And, that means ideas that you do not understand.

All it takes is making a list, and then forming a plan based upon the list.

BAD HABIT #2). "Neglect of Rhythm"
If you were placed into a 3 piece band, and you had to play rhythm guitar, how well would you do? It's a pretty simple job (as guitar jobs go). It is just, "Playing Rhythm Guitar." But, would you do alright in that band? It would mean that you'd need to know quite a few chords. You'd need to learn a couple of dozen songs. And, most importantly, you'd need to have a good sense of rhythm.

Your timing would have to be there as well. After all its rhythm guitar - right. Your sense of rhythm needs to be pretty darn good if you're going to have some success. And, if you think that you might be neglecting your rhythm guitar skills, it's probably time to start considering taking a closer look at your rhythm guitar ability.

My suggestion would be to get a drum machine and learn to play grooves in as many styles as possible. Both the Boss Dr. Rhythm DR-3 and the Boss DR-880 are fantastic. Plus, there's also the Alesis SR-16 along with the Alesis SR-18 are excellent, and they won't break your bank account.

Once you have a drum machine, run through the units presets and keep it on for hours. It'll do wonders for developing your abilities for rhythm guitar.

BAD HABIT #3). "Lack of Learning Flexibility"
If I had a dollar for every time I heard a student say, "I don't need to learn that," or "I'm not going to bother trying or learning that because Hendrix and Clapton and Gilmour they didn't know that," I would probably be able to retire right now - this minuet.

It's a little upsetting that so many guitar players are under the impression that just because some famous player didn't know how to do something, that somehow that concept is relevant. Not everybody is going to get rock-star fame when they're 24 years old like Hendrix. Or tour the world at 22 yrs. old like David Gilmour. It's so unrealistic to compare yourself for even one second to some of these guitarists.

What they knew, or did not know is largely irrelevant to you. Especially when you're trying to compare what they were doing on guitar 50 years ago, yes that was 5 decades ago.

When you look at what they knew compared to what most of us have to do just to play a weekend wedding gig today, it doesn't even compare. In fact, it is unlikely any of those players would be able to keep up to most players of today who simply work in top-40 bands.

In this era, you have to be flexible and you need to be ready to learn everything. All the theory you can, all the scales you can, learn to read, learn classical guitar, learn jazz guitar. The more you can learn the better. And, the more you learn, the more that you'll earn.

Well, that brings us to the end of part one of this two part series on "Break Your Bad Guitar Habits." In part two we're going to take a more hands on approach, I'm going to offer you some exercises that you can do to attain better technique and gain a better understanding of the neck, how notes are organized and how you can move away from the bad habits that are holding you back from playing better guitar.

Thanks for joining me, If you want to learn more about what I do as an online guitar teacher, then head over to my website at and sign up your FREE lifetime membership.

And, when you want more, you can always upgrade to either a Basic, or a Premium lesson package and start studying the guitar courses that I've organized for the members of my website. I hope you enjoyed this program, if you did, then give it a thumbs up and subscribe for more. Thanks again and we'll see you on the next video.



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GUITAR SOLOING 008: Killer Solos with 3-Note Triads

September 15, 2017:
Lesson 008 - Killer Solos with 3-Note Triads

Performing solos using 3-note triads allows for a very interesting blend of harmony and melody. Once melody lines can be inter-changed with 3-note chords, the impact of a lead takes on a whole new dimension. 

Lesson 008 explores this idea in detail... 

As guitar players, one of the more unique sounds we have as soloists is the option of using multiple notes to create our melodic passages.

Watch the Part One Video FREE on YouTube:

PART ONE:  In example one, we study how the 3-note triad can be applied to single-note lines. A solo segment in the key of "G Major" uses two triad punches to highlight the melodic line in the solos 2nd and 4th measures. The use of 3-note chords map the lead part across each phrase producing a crisp attack to the parts of the lead that involve changes to the harmony.

Example two explores how to use 3-note triads for the fast tracking of chord changes. This is a powerful idea since the sound of rapidly moving triads (closely positioned) can produce a strong embellishment to any melody. The key of "D Minor" melody line in example two demonstrates this effect in measure four. Be sure to begin by learning all of the triads and how they flow one to the next in the example. Become clear about their fingerings and build their speed afterward using a metronome.

PART TWOIn example three, triad soloing ideas will be matched to rhythm punches in order to form a blended line between rhythm and lead. The impact of this effect within a worked out solo is very dynamic and produces a strong highlight to any part where these are applied.

NOTE: Doing "matched rhythm concepts" within any ensemble will require advanced planning between the rhythm guitarist and the lead guitarist since the parts are essentially, "worked out."

Example four studies how certain color tones in a solo can be directly focused on using target tones built using the 3-note triads. This technique is explored using a progression in "F Lydian." The focus is placed on the unique color tone of this mode, (the scale tone of "B"). In the example, we highlight the modes color tone (B) and help push the harmony of other chords across the solo. This technique is one of the best ways to zero in on the unique color tones of key centers and modes.

Paid members can download the handout along with the MP3 jamtrack in the members area at:



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ReProgram Your Brain & Play Guitar Better

Everyone who plays guitar tends to want to play guitar better. The problem is that most students have no plan to go forward and organize an efficient way to do that... 

I've seen over a thousand guitar students at my music school across two decades now, and almost all of them naturally want to get better as fast as possible. But, most do not organize themselves in the best ways to achieve this. So, the question is, how can this be done. And, the answer is, You need to, "Re-Program Your Brain to Play Guitar Better."

Watch the Video:

In order to start re-programming your brain to play guitar better you need to understand the way that you're using your brain now to get the results you notice occurring day by day. Most importantly, you need to take a lot more stock in what is going on with you when you get exceptional results. How are you feeling? What is going on in your mind? Your body, etc.

Most guitar players (who have spent a few years getting into playing guitar) tend to have a decent set-up for a "Practice Room," in their residence. They also generally have pretty decent gear, including (more than likely) a fairly nice guitar, a good amp, and maybe some recording equipment. However, players may still feel like no matter how much they study, they are more or less "floating along" day by day making the same strides of achievement. Why is that? How come success isn't happening a lot faster?

In order to understand this, you have to become a more tuned into what happens in those specific times when you've felt like you've learned a new idea on guitar quickly and easily.

When a period of exceptional learning takes place (and I'm sure that if you've played guitar for awhile, you've experienced this), in those times exceptional results occurred, when a new idea just clicked for you and you connected very easily to the new idea, (whether it was a; phrase, a scale run or a new chord pattern), what made the event special?

When there seems to be an uptake of information where things go differently, why do they go differently? Try to think back to when you had an exceptional learning experience, what happened, how did you feel, what was it that made it different?

Maybe you were inspired, maybe something amazing happened that day and you were in an incredible mood. Whatever it was, you probably noticed that your ability to process ideas in that moment was really dialed up. Your normal flow and sense of overall movement was quite likely up in a higher state and you probably felt different. Your creativity was probably up and you likely felt very clear and tuned into what you were doing in that moment.

If we have exceptional learning experiences something is different. When this happens (when our minds learn things very quickly and easily) our mind is working better than average at that moment.

This means, that it is important to be on guard for anything that can slow down our mental reflexes which in turn will slow down our in-take of information. This includes how well we're learning to play the guitar. So, step one to reprogramming is awareness.

Take stock of what could be slowing you down. It could be drugs, (even Advil), or reactions to food, it might be pain, or how stress levels are making our mind feel clouded. What's important to understand is that you want to be clear on what could be slowing you down from learning faster with less stress. And, anything that promotes "Brain Fog," is a big factor to pay attention to.

The next thing that you want to take into consideration is to consciously shape your thinking process. Too often people have a lot of issues that hold them back. Maybe they're disorganized, or they have social conditioning that causes them to behave in ways that won't allow for their bodies to get into a good state that releases the correct order and sequence of events that promote; learning, memorizing, planning (and for instrument players) movement.

The important thing here is to realize that you can "build in" a realization and a response that will help with shaping your thinking process. This is just as important to your study periods as owning a good guitar.

Learn to get into a state of mind that will promote learning by doing something that brings on inspiration before practice. It could be a; walk, a bike ride, maybe even just a trip out to the store and back. But, don't just jump into the practice of guitar. Instead, begin by first getting into a; motivated, geared up, inspired state of mind. Without having (owning) the right state of mind, you may not experience the ultimate learning period. A poor mental state can cause issues with focus, with mood and with memory. It affects all of the cognitive skills.

The final point I want to make with respect to "reprogramming your brain to play guitar better" is what I'm going to refer to as, "clarity of vision balanced with physical tone."

What I mean here involves two concepts. One is basic clarity of thought. And, there's no better way to achieve this than to create a clear understanding from yourself with respect to specifically what you want to practice. And, this must be something that is attainable.

Saying something like; "I'm going to learn every solo on every Stevie Ray Vaughn album in the next 3 days," is unrealistic. It's doomed to failure... But, saying you're going to practice a specific number of measures from parts of the song, "Texas Flood," is realistic and attainable. It allows for a clear vision...

The other side of this is physical tone. Not guitar tone, but your own bodies physical state and how healthy that you're keeping yourself.

I'm not kidding. If your body is suffering, if you're eating badly, if you're smoking a lot, if you're not drinking enough water, or maintaining a balanced diet, if you're not exercising. It will affect your brains ability to get great "optimal" work done during your practice sessions.

Take as best care of your physical self as possible, eat well, exercise and replenish your body with what it needs daily, (especially water, it's surprising how many people do not drink enough water). As we get older many of us neglect ourselves and there's no need for it. Your body is your temple, keep it in as perfect condition as possible.

That brings us to the end of this discussion. As you can tell, there are a number of ways to re-program yourself for better practice. But, I'm not going to kid you, this takes a lot of awareness to achieve, and you'll need to become very tuned into these techniques.

But, when done, this stuff is well worth learning because when you're well balanced and you know how to get better results, you simply learn faster and achieve a lot more every time you sit down to work on your music!

Thanks for joining me, If you want to learn more about what I do as an online guitar teacher, then head over to my website at and sign up your FREE lifetime membership...

And, when you want more, you can always upgrade to either a Basic, or a Premium lesson package and start studying the guitar courses I've organized for the members of my website. I hope you enjoyed the above video, if you did, then give it a thumbs up and subscribe for more. Thanks again and we'll see you next time.



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ACOUSTIC LESSON 007: Inversions for Acoustic Songwriting

Acoustic Guitar 007: 
Inversions for Acoustic Songwriting...
When an acoustic guitar player has more chord tone options their selection of chord types and chord transitions can occur in more connected ways. 

Inversions also allow the upper and lower voices of a chord to create smoother transitions...

Watch the Video:

In this lesson of acoustic guitar, we'll begin by covering a common group of 3-note triads. The inversions will be applied in an acoustic songwriting example progression. Further work will explore comping and fingerpicking technique, and the final piece will demonstrate how inversions can function within a more intricate acoustic guitar fingerstyle melody

In example one, a series of major and minor inversion patterns are applied across a drill that covers the neck from the 3rd position to the 12th. How to practice the patterns will be shown in the video. The exercise drill incorporates both "C" major and "C" minor inversion patterns, (but it is important that they be practiced off of several other roots in order to master their use across the neck). 

These inversions are some of the most popular shapes on guitar and should be well memorized. They are used in countless chord progressions across many different styles of music.

Example two applies the triad inversions (from example one) into an acoustic guitar songwriting exercise. The piece used in example two has a core purpose of showing the value of how inversions compliment standard chord movements. The key of "C Major" progression highlights the use of smooth and connected bass lines. Pay particular attention to the lowest notes of each chord and how they transition from one measure into the next..

PART TWOThe second part of the lesson explores more detailed application of the inversion patterns. In example three, the techniques of both comping and fingerpicking are combined across a series of chord changes from the key of "D Major." Chord inversions are abundant across this progression. Take notice of how the lowest tones of the chord patterns establish a smooth connection from one chord to the next on both 5th and 4th guitar strings.

Example four demonstrates how to use triad inversions within a more complex acoustic fingerstyle melody. The key of "G Major" acoustic melody in this example demonstrates the value of inversions applied across a fingerpicked set of changes. 

The composed fingerstyle arrangement in example four uses inversions to support smooth and connected transitions from chord to chord. Nearly all of the voice leading occurs from scale tones above the lowest voiced tone of the upcoming chord.

Related Videos:

Inversions for Acoustic Songwriting... 

ACOUSTIC GUITAR 006: Chord Strumming with Grid Systems

ACOUSTIC GUITAR 005: Rhythm Comping Technique

ACOUSTIC GUITAR 004: Travis Picking Accompaniment Style



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Guitar Chords | F Chord | Guitar Notes | G Chord | C Chord | D Chord | Guitar String Notes

TONE is Where its at: Fender Stratocaster

I'm often asked why I always play this same Fender Strat in pretty much all of my videos... And, if I use very many other electric guitars... 

One time, I even got an email that said I'm like Brian May in how I'm so hooked on using the same guitar for everything all the time. Well, on this week's Guitar Blog Insider, I'm going to discuss some tonal reasons why I use this particular Fender Strat for almost everything I do and why I Love playing the Fender Stratocaster...

Watch the Video:

The first reason why I initially wanted a Fender Strat as a kid (and why I felt that the Stratocaster design and style was the right one for me), has to do with my early guitar heroes. This included; Stevie Ray Vaughn, Jimi Hendrix, Ritchie Blackmore, and David Gilmore. These guys along with Clapton (and later Eric Johnson and Yngwie Malmsteen) were the big inspirations early on.

As you are probably well aware, they all played Fender Strats. In the early days, I wasn't sure why they all played Strats. The first time I ever played one, I actually wondered what it was that they liked with them. At the time, I felt that the three single-coil pickups were actually quite awful when the distortion and overdrive were cranked up. And, since I was only 13 years old at that time, I actually bought another guitar. So, unfortunately I gave up on Strats for awhile. I didn't realize that the pick-ups could be changed out.

When I got a lot more serious about my playing and I took the plunge and purchased my Fender USA Stratocaster (for a whopping $400). I never even let it leave the store without changing out the bridge pick-up. I immediately replaced that single coil bridge pick-up for a Seymour Duncan Hot-Rail.

Right away it gave me a better sound for overdrive and it offered a really nice rhythm tone when combined with the stock (middle position) single-coil pickup. Not long after that, I also replaced the neck pick-up with a Seymour Duncan Cool Rail. At that point I felt that I really had a great sound and most importantly a super versatile guitar.

In the 1990's (from specifically 1993 through to the early 2000's, maybe around 2002 / 2003, or so), I was working in all kinds of different playing situations and the thing that I kept realizing was that no matter what I was doing, if it was a jazz gig, or if maybe I was doing a Latin, or a Caribbean gig or maybe doing Reggae, or if it was more of a Rock or Hard-Rock situation, the Start could always pull it off and make any one of those playing styles work very nicely. So, my Fender USA Strat became the number one guitar for me.

In playing all of these different styles and having to get the best tone for any one of these gigs, no matter what I was doing, (if it was live on stage or if it was in the studio - recording something), the Strat could always offer a ton of flexibility so that I always had a good sound.

As time went on I started to feel more and more that it's not just what kind of gear that you run through, (in fact that's probably only 50% or less of the sound), it also has a lot to do with the way the guitar you're playing is built. With the Fender Stratocaster, I liked how the guitars 5-way switch operated to create so many different tonal responses, and also there's the amount of choice I have with the layout and spacing of the Stratocaster's "3 pick-up" configuration.

I can get a nice deep sounding tone from the neck position pick-up. And, then split that off with the neck blended against the middle. The same is true with the bridge and middle, with the addition of the option of dialing out some frequencies using the two tone controls on the Strat. So, whether I'm using bridge or neck, I can dial up a sound that can work really nice for a lot of different playing styles.

Well, I hope that you gained a little more knowledge about the Fender Strat through this description video. The flexibility of this guitar is what I feel allows it to have so many different playing options.

Thanks for joining me... If you want to learn more about what I do as an online guitar teacher, then head over to my website at and sign up your FREE lifetime membership. When you want more, you can always upgrade to either a Basic, or a Premium lesson package and start studying the guitar courses I've organized for the members of my website.

As always, I'd be interested to hear your thoughts on all of this in the comment section below... if you enjoyed this, give it a thumbs up and subscribe for more. Thanks again and we'll catch up next week on my other channel, for another episode of the, "Guitar Blog Insider."



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QwikRiffs #008 - Blues-Rock Modal Riffs "A Mixolydian"

NEW: QwikRiffs Series - Video (008)

The latest QwikRiffs video, Blues-Rock Modal Riffs "A Mixolydian" is available in the members area. Includes PDF handout!

QwikRiffs are available to members at Creative Guitar Lessons in the QwikRiffs Series run through collections of rhythm guitar riffs covering all types of playing styles. I cover different 'famous artist' playing approaches and I will demonstrate ideas based on rhythm guitar techniques... 

Daily Deal:

Episode #008 covers three "A Mixolydian" Riffs.

Riff one works on a 2-measure Tonic Chord vamp that focuses on the root, third and seventh of the "A Mixolydian" mode.

Riff two takes the feel of a shuffle riff progression through two turnarounds and applies chord phrasing that targets the Mixolydian modes minor "V-chord" of "E Minor."

Riff three covers a Funky Blues-Rock progression that targets the extended dominant chords of both "A6" and "A9." The dominant 7th chord is also supported by the use of an associated "Major 7th," IV-chord (G Major 7), as well.

Sign into the website (or create your free members account) to join the members site. Sign up for the Basic Monthly or Premium (annual) membership to download the PDF handout for this lesson and study all of the other classes available on the website. 

Become a FREE member of the website, sign up today!



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Better Guitar Scales & Solos in 1 Hour (or Less)

In most cases guitar players will learn their scale patterns within one position. But, we can learn scales a lot faster (and actually apply them better, in more melodic ways), by learning a scale laid out in a double octave. This simple trick stretches the scale out along the fret-board across five or more frets... 

The best part about this trick is that this is really easy to do with any scale. I'm going to show you how you can start doing this with two of the most common scale shapes out there (the "Major and Minor" scale shapes).

Since it's so easy to memorize this concept you'll be able to use this scale approach to perform some jams and guitar solos within about an hour (or less)...

Daily Guitar Deal:

Watch the Video:

The first thing I need you to think of is a double octave layout. In our case we're going to take one octave between the 6th to the 4th string, as well as, go from the 4th string up to the 2nd.

OCTAVE STACKS: Here's what this looks like on the fingerboard using the scale tone of "A" going first from 6th - 4th... and, from 4th - 2nd...

"A" Octaves (6th - 4th and 4th - 2nd strings - in 2 positions).

Next, let's build our initial scale octave layout using an "A Nat. Minor" scale pattern.

"A" Initial Octave Run (along the 6th - 4th off of the 5th - 7th fret).

Now, we're going to build on that and stretch this idea out into the next positions stacked octave.

"A" second Octave Run (along the 4th - 2nd off of the 7th - 10th fret).

These stacked octave patterns create a longer scale layout, that follows 90% of the same fingerboard geometry, (aside from the easy to apply shift of only two notes on the second string - due to the guitars tuning), there's nothing much new to actually learn here. It's almost like you're simply taking the first shape and just placing it up into another area of the neck, but compensating for a strings tuning - that's it.

So, now let's do this exact same thing using a Major Scale and learn how that scale layout can become stacked on the neck too.

Just like we did with that Minor Pattern, we'll begin by building our initial scale layout for the first octaves' shape by using an "A Major" scale pattern.

"A" Initial Octave Run (along the 6th - 4th off of the 5th - 7th fret)

Now, we're going to build on that and stretch this idea out into the next positions stacked octave.

"A" second Octave Run (along the 4th - 2nd off of the 7th - 10th fret)

Thanks for joining me, If you want to learn more about what I do as an online guitar teacher, then head over to my website at and sign up your FREE lifetime membership...

And, when you want more, you can always upgrade to either a Basic, or a Premium lesson package and start studying the guitar courses I've organized for the members of my website.

I hope you enjoyed this video, if you did, then give it a thumbs up and subscribe for more. Thanks again and we'll see you on the next video.



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