Musicians can be terrible when it comes to over-thinking their music and their creativity. I've seen way too many musicians who will compose a great song, rehearse it, start recording it, and then give up a few days into everything because the song doesn't feel right... 

And, it doesn't stop at songs, it can happen to many different kinds of creative projects.

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In this video, I'm going to discuss my thoughts on why I work very hard to not over-think things when it comes to my own creativity. My music, the lessons that I create, my YouTube videos, and my other music related projects need to flow along. There's no room to start second-guessing anything. And, most importantly, there's no time for it.

KEEP GROWING - KEEP LEARNING:
Musicians need to keep growing, to continue learning, to expand knowledge through study and to always, always, ALWAYS create. 

As artists, we need to realize that a lot of what we will create may not be perfect. We'll come up with concepts for songs, for teaching, for live performances - things that sometimes won't connect well. But, that's okay, because in doing the project, we either learn what to do, or what not to do, and then we can move on. That's growth.

This reflection upon results allows us to move forward to be able to create something better and better all the time. The whole process allows us to be able to create projects that will work for us at a higher levels. And, the successes as well as, the failures help us improve ourselves. This benefits us, our students and our audience.



THE UNKNOWN:
Nobody knows what will happen long term with any project. But, even if we are unsure, we still have to try. Over time all of those attempts combine (they compound together) and they can end up forming something that's really cool. Something that a ton of people are eventually going to think is absolutely fantastic.

One of the areas that scares a lot of young musicians is the unknown. I'm mainly talking about the musicians who are just starting to get really serious about their career. These are the musicians who may have just quit their day jobs, or who borrowed a lot of money to get their album recorded, or who are going into debt to start a tour. Or, it could be musicians who are fresh out of music college. Fear of the unknown is nasty, and must be controlled.

One of the things that really bothers the artist to no end is the unknown. But, as a creative person, you've got to realize that you can't control the unknown. All you can do is be confident in your abilities to figure out the future challenges. Those are the challenges that you'll have to experience along the way.



I'm not talking about confidence in your music skills, (you better have already worked on those skills and you better already be confident there). No, I'm talking about confidence in being a truly creative person. Someone who is so creative that they can invent what they need to do - in order to become a success in the areas that they are working in.

BE AN OPTIMIST:
Quit being scared, quit over-thinking every creative situation and get to work on yourself so that you know you can handle anything that comes your way. Be an optimist, learn to be grateful for what you've got. Your skills and your creativity. You need to realize what's practical and what's not.

Creativity is an insular game, and every time you let somebody's voice get into your head, (either what it is they are doing, or especially their opinion), you'll become insecure. When it is just about you, and all of your focus is on yourself, that's when you'll win. That's when creativity, and music, and art - all help you to WIN.



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 creativeguitarstudio.com 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 discussion, if you did, then please like this video and subscribe for more. Thanks again and I will see you next time.

Scales played on the guitar function a little different to how scales are studied on other instruments. The main difference is that guitar scales are better developed as visually memorized universal patterns. Once you learn a scale shape, it functions for both major and minor keys, as well as, for modes. In this lesson I'm going to give a basic breakdown of, "How to Play Guitar Scales."

Let's begin by analyzing how guitar scale tones are structured on the neck. We do this by way of grouping notes that relate to the span of frets we're able to cover with our finger reach. We have 4 fingers, so covering 4-frets is very attainable. 

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Let's go ahead and perform a scale pattern in the key of "C" played at the third string, from 5th fret.

"C" Major Scale Pattern: 


For students of guitar, the way that we will typically find scales given in many books and in online lessons, is through TAB charts and sometimes with music reading notation. While this can be okay for guitar licks and for teaching songs, it isn't exactly the best way to learn the scale patterns. 



Let's look at another way to study scales on the guitar. This system (I'm going to show you now), uses diagrams of the fret-board and relates the scale tones as locations to put down your fingers on the neck. Basically, it's entirely based upon visual learning. And, it has nothing to do with specific keys.

The Major Scale (as a universal Visual Pattern) 


Another cool thing about this geometrical system is that because it's based upon shapes, as patterns on the neck, all we have to do when we would want a minor scale or a mode is change our tonic note. This is the naming or the "principle" tone of the scale. The note that we would both start and end on. Here's the same shape, but this time performed from the Minor scale's tonic note. 

The Minor Scale (as a universal Visual Pattern) 


The new primary tone in this layout of the pattern gives us Minor. And, you could also do this same approach for performing a mode as well.

In the development of our scales on guitar, we need to be able to study the scales as a shape. And, we need to comprehend that scale patterns allows us access to several different types of scale sounds, like; major, minor and modes as well. Once you start studying scales this way, they'll finally start making sense and you'll be able to use them easier.



If you want to learn more about scales, chords theory and what I do as an online guitar teacher, then head over to my website at creativeguitarstudio.com 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 please like this video and subscribe for more. Thanks again and we'll see you on the next lesson.

Where are your skills at for playing up and down the neck of the guitar? Do you understand how scales are inter-connected? Can you work through one scale pattern and have it flow easily into other scale shapes? If you're curious about how this works, stay tuned because this weeks "Guitar Blog Insider" is going to discuss, "Playing Scales Up and Down the Guitar Neck."

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Most guitarists will learn their scales in fretting regions and the tendency is for the student to begin from a perspective of the "shapes function" working more vertically (than horizontally).

The trouble with this form of learning is that when it comes to using scales, the scale is locked into a box. So rather than applied in more horizontal ways - the scale feels more comfortable as a vertical shape.



In order to better comprehend how scale tones can be applied all over the neck, we can  learn octave templates to better understand the neck areas. Then we can learn to inter-lock those templates to form a more horizontal scale-run that allows for a greater reach.

Let's begin with a scale template that involves octaves to help us set the boundaries of how our scale will sit on the neck.

We'll use "three" separate octave layouts to form the boundaries of the places that we'll target on the neck for building our "up and down" the neck perspective.

Octaves of "D Notes" from the 5th through to 10th neck positions:


Now, let's establish some generic in-position one octave scales to fill in the region within the boundaries that we'd established with those octaves. Our scale to work through this part of the example, will be the "D Minor."

5th Position / 5th String:

 7th Position / 3rd String:

10th Position / 4th String:

Now that we've established our octave region and we're familiar with some limited scale layouts within those boundaries, let's organize a phrase that operates across that region and that uses notes from all of those small segments of the "D Minor."

Melodic phrase using "D Minor" from the 5th through to 10th neck positions:


Practice playing this along the neck, "D Minor" scale phrase both ascending and descending. Then, use the principles (that we've established in this lesson), to create some of your own "up and down the neck" scale runs.

After you get used to seeing boundaries (by way of octaves), and once you can understand how smaller scale segments can combine to form phrases up and down the neck, you'll be able to begin making up all kinds of melody lines that operate up and down the fingerboard.



So, I hope this helps you get a system established that will lead you to developing you own ways for performing guitar licks and runs up & down the neck. All it takes is some study time devoted to how scales connect within a limited boundary.

After awhile, you can work to expand that boundary further to include an even grater span of the neck. If you want to learn more about what I do as an online guitar teacher, head over to my website at creativeguitarstudio.com and get your FREE lifetime membership... And, when you want more, you can always upgrade to either a Basic, or a Premium paid lesson package!

The guitar fingerboard can be a little confusing at first, so one of the ways that a guitar player can get better acquainted with the notes on the neck is through a fun game that focuses on scale phrases, rhythm as well as Ear Training... So, stay with me because this video is going to run through a fun to play, "Guitar Fretboard Game."

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We're going to get started by perceiving the neck in three (5-fret regions). They'll be; "Open to 5th Fret," The, "5th Fret to 10th," and the "10th Fret to 15th."



GAME ONE:
We'll take a selection of 3 notes (in one of these regions) and play a short - rhythmic phrase.

Game (1) - Starting Phrase: (mid-region)


Now, take 30 sec. to find the next two (exact) copies of this phrase in the other two fret-board regions... (low and high)...

GAME TWO:
Now, let's play the game again, but we'll change two things. One thing is we'll increase the amount of 'notes in use' to having a phrase that uses 4 notes. The other thing, is we're going to invent a new rhythm for our second game.

This time we'll start in the low neck region using some open strings for our Starting phrase...
Game (2) - Starting Phrase: (low-region)


Now, take 30 sec. to figure out the next two (exact) copies of the phrase in the other two fret-board regions (mid and high)...

You can keep going, adding more notes and using different rhythms. The game works to help enhance a lot of areas including; notes on the neck, pitch location, ear training, rhythmic feel and fretting range!

I hope you had fun messing around with this "Guitar Fretboard Game." After awhile, your knowledge of notes and how they operate across the three regions of the neck will get really good.



And, be sure to play this game with others. When you do that, turn your back to the other players and have them learn the phrases by ear to add another whole "ear training dimension" to the game.

If you want to learn more about what I do as an online guitar teacher, head over to my website at creativeguitarstudio.com and get 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 all levels of player. So, I hope to see you on the website soon. Bye for now.

Game One Answer Key:


Game Two Answer Key:

August 04, 2017:
Lesson 005 - Multiple Position Whole Neck Soloing

Learn how to view the neck as a series of segmented (yet inter-connected) lateral scale patterns to gain better control over the way all of your scale shapes will operate across the neck... 

Each exercise will help players develop isolated fingerboard areas into more "along the neck" systems. The lesson plan will help students establish a better understanding for how scale segments can function (as both isolated and as joined parts of the same scale) on the guitar neck....

PART ONE:  In example one, a 2-part ascending phrase is isolated into two separate scale segments. The key of "C Minor" scale ideas are given in separate fingerboard locations. The first (example 1a), is isolated in the fifth position. The second (example 1b), is isolated in the eighth position. The exercise involves learning each phrase and then combining them so they will ascend smoothly from the fifth to the eighth positions.

Example two operates in much the same way as example one. In this study, a key of "E Minor," descending phrase is developed from the twelfth position down to the seventh. A short scalar statement is shown in example 2a. Then, a more involved statement is given in example 2b. Learn each isolated idea on its own, and then connect both of them to form a more complete melodic phrase.



PART TWO: In example three, we will set our sights on the organization of our fingering. This topic is one of the most important concepts associated with performing multi-position scale phrases. In the long 16th-note phrase of example 3, a key of "A Major" melody is performed from the fifth position up to twelfth. Take note of the fingerings shown under the TAB of example 3 in the handout.

Practice the phrase using this fingering to start. If it works for you, commit it to memory. However, if any one of the suggested fingerings feels inappropriate, select a fingering that does work for you and apply that as a committed orientation. 

Regardless of the fingering chosen, the point of the study is to pick one chosen fingering layout and stick to it for ease of movement and for a smooth ability to transition along the neck when performing your 'whole neck' solos..

Example four applies a new strategy to multiple position whole neck soloing in where "2-string sections" of scales are used as a way to carry the scale phrases along and across the neck. In example 4, the melodic line applies an approach that travels along the 4th and 3rd strings in measures one and two. Then, in measures three and four the scale shifts to strings 3 and 2.

The melodic line is built from the "C Mixolydian Mode." It travels from the 3rd position up to the 12th. Be mindful of the third measure where the melody shifts into the new range.

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

After some time gets invested in chord studies (and after we've learned a lot of chord types and practiced getting good at playing chord changes), the standard chord voicings can get a little boring...


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If you've been wondering how to expand basic chord types, stay tuned because this video is going to demonstrate, "An Easy Way to Make Progressions Sound More Interesting."

 

In this session we're going to break down a chord progression in the key of "E Minor" that moves from the tonic chord (Em) to a diatonic V-chord, (Bm) and then takes an interesting twist through to the Tri-tone Sub of the Tonic, (Bb). The final chord is the IV-chord of the key, but the chord quality has been changed to major, (A major). This is a "Modal Interchange" effect from Dorian mode.

Now, even though this "Pink-Floyd-ish" sounding jam is already pretty cool sounding, we're going to use some altered and extended concepts to make it EVEN COOLER yet! Check it out...




Let me begin by playing through this fairly basic group of chord changes from the key of "E Minor."


Now those chords are all just generic barre chords played around the mid-point of the neck, but I'm going to expand on their sound by extending them out to sevenths and also adding in some altered 5th's. 




I'll take the first chord of "Em" in measure one, and add a minor 7th, along with a "#5."

In measure two, I'll do the same thing - extending that "Bm" voicing to the 7th and adding a "#5" as well... Now, in measure three, I'll convert the "Bb" major triad to a dominant 7th, but this time I'll add a "b5." (also known as a diminished 5th) Finally, in the last measure, I'll convert the "A major" triad over to an, "A dom.7 chord" with an "add11."




Although adding the seventh and altered tones, (plus extended intervals) is a more complex approach that will require a wider scope to your chord knowledge, the effect it has on the chord progression is really interesting.

All we're doing is creating shapes for the fingers to study and memorize. This means after some time, your hands will get used to these chords and you'll be able to control their application.



If you want to learn more about what I do as an online guitar teacher, head over to my website at creativeguitarstudio.com and get 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 course. Yes, I have a guitar course online.

I hope to see you on the website soon. Bye for now.

If you've been curious about why learning scales seems to cause so much frustration, stay tuned because this video is going to explain, "3 Sources of Scale Unhappiness." 

For most guitar players, the study of scales is something that happens way later on in guitar life. After a lot of songs and a lot of chords and a lot of strumming players will finally take the plunge into scales. Then, once the scale practice begins, there can be a lot of pain and unhappiness from how many patterns there are and all of the training, memorizing and discipline it takes to be able to use scales.

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Because learning to play scales is more often than not a routine that comes up way down the road in guitar study, players will quite often have problems with knowing what to do or not to do for a solid scale study routine.

Scales are often taught as shapes, so guitar players won't learn them in the same memorized ways that horn players and keyboard players will learn scales, (which is by notes). Guitarists will hardly ever learn scales by notes. That is why it's so common for a guitarist to only learn some root note locations from the 6th and 5th strings - but yet have no clue about where other tones exist on the fret-board. This (as you could imagine) could end up causing a lot of unhappiness!



CONFUSION:
One of the first sources of scale unhappiness will tend to be confusion regarding where and how scales are established across the neck. There's really no "one common standardized" way that the guitar's scales are taught, so players are (in general) exposed to around a 1/2 dozen different ways of learning the scale patterns.

The first method a player may learn guitar scales might not clarify root notes properly, another system shown to them might not explain the importance of degrees (major and minor tonality /intervals). Other scale methods could leave out details that will add to scale unhappiness.

Confusion tends to slow the feeling of usefulness for what we're learning. And, that vague clarity for "why am I doing this," will cause problems for players in understanding scale application. Especially with regard to how scales should be used to establish and to create melody.

This is why guitarists need a scale pattern system to follow. A system that plots scales off of the 6th, 5th and 4th guitar strings. Guitar students also need to know why the scale that they're playing is major or minor.



APPLICATION:
The second source of scale unhappiness is not receiving any instruction (when you learn your scale patterns) for having to do with "where and how" the shapes can be applied. I cannot tell you how many times I've heard a student show up here at Creative Guitar and tell me that they did learn all of their scales (at one point), but they've since forgotten all of them.

If you do not understand where and how a scale is used, there's no way that you'll associate any usefulness to the scale. The result will be that you'll likely forget it. It's going to seem irrelevant. Sort of like "What's the Point" of this pattern. What does it do? What can I do with this thing? Why am I doing this?

Guitar students need to know what the scale does, players need to learn licks, learn songs that have the scales in play, and they need to learn solos. Above all else, the guitarist must use the scale in a JamTrack, so that they can begin applying it and making music with it. If a student learns how to make music with a scale they'll never forget it.



TECHNIQUE:
The final source of scale unhappiness is more often than not poor technique. It's one thing to learn a scale shape, to memorize how it sits on the neck and to know how to plot the tones from memory, (maybe even be able to play a few short licks and the odd melody line). But, all too often, there's a lack of control over notes, and not being able to phrase what melodies are heard in the mind.

Those notes (from scale patterns) need technical control, a guitarist has to dominant the scale and manipulate it. Bend notes, slide to them, do "hammer-ons, and pull-offs" and grab at 2 and 3 note chord shapes to create movable lines.

Technique is vital to controlling those notes from your patterns, and that only comes from hitting high levels of left and right hand control. So, work hard to develop a series of guitar technique exercises that will improve your weak zones. Also, please use a metronome and learn to play your scales quickly from memory, using your unconscious mind /reflexes, so that your conscious mind can be free to create musical ideas.



CONCLUSION:
So, there ya have it... my comments on - three sources of scale unhappiness... If you want to learn more about what I do as an online guitar teacher, head over to my website at creativeguitarstudio.com and get 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 course. Yes, I have a guitar course online. So, I hope to see you on the website soon.