John Mayer Teaches: HOW to PRACTICE & Play Guitar (1 Hour Guided Lesson with fretLIVE)

so check this out this is what you should be playing this is how you should be playing guitar [Music] [Music] [Music] [Laughter] did it [Music] do oh [Music] whatever [Music] birthday boy [Music] hey everybody Gary here with pal music and in this video we're going to go over this amazing approach to playing guitar and practicing guitar that John Mayer outlined in this 2018 Instagram live so there's a lot more from John we need to listen to first so we're going to get back to that and then we're going to follow all of his practice suggestions at a much more Elementary level that even a beginner could do and then we're gonna go really deep on what he was actually playing throughout this video as well all right so back to John we'll take some notes and then we'll get started natural that's what I do foreign like you can do this at home but whatever level you're at as a guitar player sit and just choose and play your choices here first instead and it's always fun I'll still riff around play what's up here for like try to come up with what it is you want to do it's like Photoshop it's like you might you could be good at Photoshop but if you don't know what picture you want to see what's Photoshop for so you start developing that sense of what your vision for your song the next thing you want to hear is and learning the guitar that way or learning whatever instrument you have that way also I may be completely wrong in that I'm uh sort of forcing my age on other people and you're still at the age where you just want to keep crushing and I'm all for it but work this in as a thought process every once in a while with what you learn learn to implement it in your own way learn the function of a scale and then just sit and slow and even if it's with a metronome [Music] I'm playing music right now [Music] as long as you're feeling that you train yourself to feel that without having to burn burn burn burn all the time it'll be you'll just be so much of a better player for it and that's all that's what I was doing before I signed out was to practice that stuff I might try to think inside the scale no I don't think even about the scale anymore really um yeah just implement it and when you learn something no matter what it is in life if you learn how something works start slotting it into your brain and how how you want to express yourself with it that's all but you still have to practice see here's the trade-off you still have to practice so I'm not telling you don't practice pentatonic scales practice practice practice practice practice practice Play and play and play but wouldn't it be fun at the end of a practice day to give yourself a five minute timer 10 minute timer however long you want to just meditate inside of what you know even if what you know has been playing for three months you just know the pentatonic scale and you're just starting to learn how to bend up to the note a little bit just narrow down your focus so that's what you do for five or ten minutes and say something with it and learn to implement it in a way that is very expressive and isn't about playing guitars about playing music for a minute you'll feel you'll go to bed so happy you go to bed so happy and I'm gonna go to bed so happy not now I'll play some more guitar and I'm gonna go to bed happy and that was Sunday night guitar lessons and I think the world of you all and I will talk to you later and thanks for listening and watching Okay bye so is it any surprise that this is how John Mayer practices and plays guitar to me not at all he's a singer songwriter composer he's someone that has a vision for how things should sound and then brings it into reality so I don't think it's a coincidence that so many of our favorite guitar players are also singer-songwriters Jimi Hendrix [Music] David Gilmore who crafted some of the most singable solos in rock history such as this one on wish you were here [Music] Thomas playing some tasty riffs here on his MPR tiny desk concert [Music] Stevie Ray Vaughan so this clips from the song Tin Pan Alley live in Tokyo about alcohol addiction and he just said that's how it is so Stevie's exercising his demons right here not just singing But crying through the guitar [Music] foreign [Music] Clark Jr now what's great with Gary is he could play a solo using just one or two notes and it's awesome because there's so much feel check this out but then once he gets going he could shred as well [Music] [Applause] [Music] man people were obsessed with Kenny Burrell's sound SRV covered his song chitlin's cone carne [Music] Eric Clapton himself letting it rip here on a Slow Blues [Music] George Benson defensive with combined guitar with scat singing as a regular part of his act so he was kind of the pioneer BB King and all the kings Freddie King Albert King all the great blues singer guitar players [Music] it's a complete package they write songs they sing they play the guitar right so it's all just the voice it's all just musical intention coming out with whatever tool they happen to have so us guitar players that don't write don't compose don't sing we might go you know years without really connecting to what we're playing we're just playing things we learned we're pressing certain buttons at the right time because we know that it'll work right but we wonder why we don't have our own voice why we don't have that special touch that we hear in John Mayer's playing so we want to create that connection by using the voice by listening to that voice in our own mind so even if we don't want to be a singer we're going to use our voice to help us sing through our guitar so we're going to go from the mind out the vocal cords onto the guitar we build that connection and then we sing through our guitar so you're going to see me attempt all that in this video at a level that's not even close to Bob Ross if John Mayer's on the Mountaintop I'm just your regular guitar player walking down the road so I'm gonna try to put to the test some of his ideas on how he's practicing and some of the stuff that he's doing to just kind of give you an idea of how us you know mere mortals can try to do this as well we're going to listen to the rest of the video talk about it try to put some of the activities into action and then at the end of the video we're going to analyze everything that he created and played during the video such as in the beginning with our fret live animations where you know he went from a minor to C major then he played a little bit of harmonic minor scale Dorian mode we had that chromatic chord progression and so many other great things he played as well if you want to download the tab to go along with this lesson so everything you saw on the Fret live is also tabbed out numbers on the lines as playable tab or PDF and if you want a PDF with the different chord progressions he played that's all available for pal music patrons and the link is in the description by becoming a patron you could also join me for twice weekly live small group interactive guitar Hangouts and access the entire back catalog of tab and additional resources for all my lessons also in the description you'll find links to free scale PDF downloads for the diatonic scale and pentatonic can blue scales and also discount codes for pal music's courses that all use the Fret live technology all right let's get into it so like I said he said we could do this at whatever level and that we should play what you hear inside now you might be wondering well I don't hear anything inside I've never composed before what does that even mean so let's go all the way down to no guitar metronome and just trying to feel something first so even if it's with a metronome [Music] I'm playing music right now try to feel a beat right feel that beat with me right and now just try to imagine something happening over the beat you could close your eyes if you want it could just be a rhythm if it's just a rhythm maybe it's something like so even if you're not comfortable with pitch yet just trying to hear a rhythm in your mind there's so much you could do with the Rhythm let's say we're in the key of A minor and we want to use that rhythm [Music] right that could become the basis of an improvisation the basis of a song riff so any little idea has the potential to turn into something really awesome it doesn't have to be the first thing you do you know you could do this process for a long time until you find something that you really like so now I'm going to try to hear a little bit of Melody which is the combination of actual pitch and Rhythm so see if you could hear just a simple Melody it could be just a few notes so I just heard and then that made me hear [Music] so I was basically just mumbling right with a little bit of pitch and then that led to right so now starting purely by ear I'm going to see if I could put that on the guitar so I don't even know anything about scales or anything I'm just trying to match pitch but that's a d fifth fret on the a string see if you could find that Bo dough goes down dog goes down again d c a or fifth fret third fret open on the a string or what I'm gonna do is play the A on the low E string so five three five on the E ve [Music] right two of the same notes [Laughter] so I know I'm in this a minor tonality and that's probably what I heard from the Riff earlier is in my head [Music] so being I know my a minor scales [Music] this is a minor pentatonic sounds mostly pentatonic to me then I have an idea of where the note's going to be by knowing the sound of the scale right so [Music] let me put that all together one two three [Music] do do die alone now when I did that uh I knew that was not pentatonic that was a half step [Music] let's stop right there so see I'm trying to combine my knowledge of the key with what I'm hearing with where it is now even if you don't know any scales you could still find it it just helps to know the framework to say okay I'm in the key of A minor what I'm humming is probably in the key of A minor or very close right so let's play it an octave higher so instead of we'll go one two three [Music] right that kind of thing now if you don't know your scales give yourself even more credit you figured it all out with no Theory knowledge whatsoever and then maybe after the fact try to figure out okay what key is it let me try to figure out what scale this is in right so you can go pure ear and then seek out the knowledge to try to make sense context function of what you're actually playing even if what you know has been playing for three months you just know the pentatonic scale and you're just starting to learn how to bend up to the note a little bit just narrow down your focus so that's what you do for five or ten minutes and say something with it and learn to implement it in a way that is very expressive and isn't about playing guitar it's about playing music for a minute you'll feel you'll go to bed so happy all right so he said even if you just learned a scale right so let's say let's just take a minor pentatonic [Music] I would recommend trying to sing the scale [Music] I have a horrible falsetto it doesn't really work so that note I can't really sing let's see if we could sing it in one octave [Music] okay so now let's see if we could hear something that sounds like it's from that scale so we had boom boom boom boom boom boom that's the scale boom boom boom boom boom boom let's go backwards [Music] that's something that I'm hearing within that scale down [Music] down bomb down down down down [Music] and then he mentioned you know trying to make it sound more expressive slide maybe a little Bend there [Music] maybe I do a Bend [Music] on on there's the scale again [Music] [Music] [Music] right so now I'm also developing my instincts for if I want to hear that sound in my head how do my fingers have to move to make that sound right I'm making the connection between what I'm hearing and the way my fingers have to move to make that happen all right so that was the end of the video now we're going back to the beginning he kind of taught a lot of just riffs and things in the middle but in the in the beginning and the end he really talked about his philosophy to practicing so let's see what he said in the beginning I'm playing the sound stuff out it's like a calculator you know it's like a music calculator and as long as I know where my ear wants to take the Baseline of something then I can sort of just compose through things as long as you know what you kind of want to do next like last night I went uh if I'm gonna see [Music] all right I mean that's absolutely beautiful but the main point he just made there is as long as he said as long as I hear the bass line I could compose through it so he's hearing bass lines so we start with one note bow then try to find that no we've got a match boom then try to hear the next chord so that's our bass note [Music] I didn't have to go there that's just what I heard I could have done something completely different I could have gone boom boom boom boom boom but that's not what I heard [Music] foreign that's a g so I've got a a c c b c g [Music] e g so I've got a a c c b b g e a [Music] right now maybe I want those to be actual not just the Baseline I want to add chords so first place to look is let me think of these as root notes so is this going to be a minor chord or a major chord definitely minor how about this major so minor what happens if I do the opposite no right now this one hmm I don't like either of those I don't like the B to be a B minor B major so maybe this note is not the root note maybe it's the you know the fifth of the chord or the third of the chord so if it was the third of a chord it would be the third of the G chord like if we think here's a g but we start on this note so we could do something like so then that would be [Music] I like the sound of that foreign this is part of the same chord [Music] right so like okay now I'm going to try to hear a melody [Music] all right so I'm hearing [Music] so I know I'm in the key of A minor so by knowing the key it helps me kind of narrow down what I'm probably singing I'm probably singing in the key of A minor [Music] so I'm in this a minor scale [Music] you don't have to know that to do this activity you could just foreign but when John talks about function learning a scale then implementing it it helps to have the road map having the road map is going to give you confidence to find what you're looking for and to just go for it let's see if I can play this riff over the loop [Music] let's do that in a different octave there we go so we go [Music] thank you all right so there's the first phrase so let's see what else I could hear [Music] I like that [Music] thank you foreign that's nice okay so I like this nah Okay so foreign as well one two three four [Music] right so simple I think anybody can do this right maybe I did it a little faster than you will do it but I also had to for the sake of the video I don't want you to sit here for 20 minutes but if you have to sit for 20 minutes with that metronome until something is in your head so let it be let it be 20 minutes right some people never write a song in their entire lives if you need 20 minutes to come up with your first phrase that's nothing that's just a tiny drop of time right so you can sit there just try to hear something come into your head and then try to match it even if it's a single note [Music] um um again a flat something with a flat is in my head then try to hear another note to go with that bone [Music] see that's a little bit of ear training right there I know that though relative to this note do is a fifth if you want to get good at that stuff join my fret life fretboard Mastery Program no don't all right so here we go down down I sang the pop progression it's in my Consciousness one five six four one five six four that's fine but now I'm not playing it because I don't know what else to play I'm playing it because I heard it that's a huge difference right let's try with that one so [Music] so that's a flat to e e flat major to F minor to d flat major one five six four [Music] I don't know where this come from [Music] all right let's see if I can make that happen so I'm trying to find a good place okay here we go [Music] so now I want to see if I can do both simultaneously [Music] okay see I was hitting the wrong note let me just get that phrase down okay [Music] one two three four [Music] yeah there we go [Music] [Music] yeah so that's another great thing we saw John do is try to sing what you play seeing what you hear and hear what you play and put it all together at the same exact moment so like George Benson was a master of that but John Mayer is no slouch so now let's check out the Baseline and chord progression that John Mayer heard in his head last night I went uh if I'm gonna see [Music] come on [Music] foreign [Music] [Applause] [Music] so this bass line is hearing C [Music] G f [Music] F B flat C but the chords he's putting there are very unconventional [Music] C major to G minor that's a minor V chord that is like a mixolydian mode thing but it's also from her and Daniel Caesar's best part which came out just before this Instagram video huge hit [Music] foreign performed it with Daniel Caesar on his show so that was probably rolling around in his head the sound of that that's a great sound I have a lesson on that do we have one [Music] minor five usually the five chord is Major in a regular major key a major four which is in both C major and C mixolydian but then minor four which is more like just a chromatic thing back to the one [Music] because then we get this this right if we think one is the c chord so we have so that's just the typical way to get back to the one chord in a Bittersweet way [Music] and that's flat seven major which is also native to c-mixelating mode so that's all mixolydian right there [Music] but anyway so he starts at the Baseline he hears the chords filled in [Music] we're getting like how do we get back to see now what would I solo [Music] foreign [Music] that's nice [Music] then he ended up in c minor going uh beef going a flat major G major or G dominant D minor to F major [Music] so he started with C major [Music] G minor to F major F minor B flat but then he ended up going a flat major G dominant to C minor to F major right so just taking it in different directions and hearing things on top where I'm at now is I sit and I practice in tension so what does that mean it means like we all know how to talk we know a lot of words and I'm super guilty of this go around using them just because we know them but if you talk from the heart and your intention is real you don't need to use the world's biggest words like you complete me are not Collegiate level words they're just really great use of language for intentions you know it really it has a full intent to it so like I can actually mix this with with dead guitar because someone just asked about dead guitar so what you what what I practice doing and it's much more of a mental practice and I I cannot stress enough for other guitar players to practice doing this is practice thinking from the idea first instead of what the guitar offers you get out of the geometry it's not whack-a-mole just because they're here just like you know words doesn't mean you just start mashing them you can just like it's fun to Freestyle it's fun to come up with ideas it's fun to riff with your friends but in terms of like coming up with statements on a guitar for me it's not looking at this based on what do I know scale wise so so I'll show you like sometimes I'll just sit down and go we'll pick a right and I'll just go I'll make this up but in my head I'm keeping time and I'm hearing a certain uh rhythmic bed and a harmonic bed so that I don't have to overplay on the guitar and I just focus in [Music] don't get bored [Music] maybe change the pickup [Music] [Music] um [Music] here we are all right so he said I'm just hanging there and I'm hearing a rhythmic bed and a harmonic bed so he had his Tempo then what he was hearing was a minor [Music] F E7 okay now let's talk about one thing he said learn it then implement it your own way and find the function let's take one of his reps and learn it and implement it our own way let's take the first thing he played [Music] okay so the first riff more or less was one two three four one right [Music] so what is the function well the chord is the one chord a minor in like a minor blues which goes one sharp five major five dominant to one and on that one he goes [Music] that's so it has a sound and what is it functionally speaking starts on the root One Flat three four flat three two flat seven one so really revolves around this A minor chord so we want to see it how it overlays over the chord so in this main pattern of the pentatonic or the minor scale [Music] so it's not just notes it sits in this a minor scale and it uses this flat seven this one this two this flat three and this four right now saying it our own way let's see if we could take that as a motif and move it through the full progression [Music] so I want to see if I can make that riff work over all the chords that's how I'm going to try to implement it and I'm going to try to work around the Rhythm a little bit here we go [Music] thank you [Music] [Applause] [Music] foreign [Music] okay so right now I feel myself wanting to use my intellect to make it work over the other chords but I'm going to force myself to hear it first so we've got dude [Music] that's what I hear [Music] [Applause] [Music] so now I'm implementing it my own way [Music] [Applause] see I want to hear it and then be able to play it [Music] yeah so I'm hearing something like that okay almost there [Music] that's really natural that's what I hear [Music] yeah I really like that note foreign oh yeah that does work okay that was the right note that's cool that I heard that [Music] um [Applause] [Music] yeah so I feel a bit of a confidence boost because we're intellectually I know that this note goes over this chord and I all the time do intellectual things like that like I might be going along but that's like that's coming from a place of knowledge right and I might half hear it half know it but this came purely from hearing so I played that note I sang it and then played it so that is such a deeper reason to play something then because you know it makes sense you heard it right it's a million times better than because you know it it's because you heard it right you hear it inside inside out so the more you do this the more you try to hear things over the chords the more you'll have to say on your instrument right but that was an example of learning it from John but implementing it my own way his riff is what was my starting point his riff was my creative fodder right and I don't have to go I don't have to go I could go right that's that is from his riff [Music] but it's a rearrangement of his riff right so implementing it my own way but I know the function the function is it starts over an A minor chord [Music] if I'm on a G minor chord I can remember oh that's a minor chord function [Music] dang I'm on a C minor it's part of your vocabulary but you can implement it your own way just that foot keeping [Music] that's nice [Music] so he said one minor two five see John knows structure two function so in the key of A Minor A minor but then he plays a B minor and then to an E7 okay find a motif [Music] so his motifs kind of rhythmic right so so if that's his rhythmic motif [Music] let's play that chord progression [Music] right so we could take that motif [Music] and move it to different places but maybe try to hear it like he did [Music] foreign [Music] so what I'm trying to do there is start the motif the same way but then end it differently [Music] so let's do that a little more one two three four [Music] Ah that's what it was [Music] so that was fun I started the motif on the guitar and then tried to finish it with my voice and then play the whole thing on guitar with my voice so I gotta say this is like like he said just do that and you'll be able to go to sleep feeling great like I feel so much I feel so musical because I'm not just pressing buttons I'm like I'm having an emotional musical intention and I'm bringing it to life so there's so much more of a sense of creation going on uh which feels awesome so you know it's like we swam out past the buoys because we were in a and you just keep swimming and exploring and tracking in your brain what works and doesn't and you get so much more I feel like out of um and don't use the guitar as this full bore thing to just bang out as much guitar music as you can bang on you know what I mean investigate everything you play and find out is it because it's a note you want to play or is it because it's in the jungle gym and it's fun to climb around and you're just doing it because it's there that's what I'm trying to take out all right so that's the extent of what he had to say about how you should practice how you should play guitar let's go over what he played in that intro because there's a lot of cool stuff there [Music] [Music] [Music] so he starts with this little A7 sus2 [Music] I wouldn't play it like that I would play it like this [Music] I'm not as much of a thumb over person so I would do second finger ring finger index Pinky but now if you if you add this note on the if you add the fourth fret of the a string it's just an A9 so he's just leaving out the third which is what makes it a sus so this is sus and this would be A9 and a lot of times without a bass player people play A9 like this without the root which incidentally is the same as a c-sharp minor seven flat five [Music] but once we had the a it's an A9 great chord great in the Blues you know like something like [Music] so now these pentatives riffs I'm not going to walk you through them because because you could see them uh but we'll talk a little bit about this chord progression so this chord progression he played a lot throughout this video it's kind of like a minor blues thing where you got a minor [Laughter] even though he didn't play A Minor it's implied and then you go to the flat six major chord in this case F major seven and then to the V chord as a dominant so like if you think Thrill Is Gone by BB King the turnaround goes [Music] key of B minor you know so Thrill Is Gone is like if we're in the key of A minor [Music] four bars of a minor [Music] two bars of D minor [Music] back to a minor now we go to F major E7 [Music] a minor Actually I don't even think they go back to the five at the end but anyway so it's very typical of a minor blues so I didn't do [Music] it but then when he goes to the F he just does the same thing but starts on the F so he's here in that chord tone boo that rude which is obviously outside of the pentatonic but I left it pentatonic here because his phrasing is mostly pentatonic based phrasing and I wanted to start you simple before moving in to where things are very obviously he's playing more diatonically instead of pentatonic foreign over the E7 he's bending to the sound of the major third of the five chord [Music] so whereas a lot of times people go right you want to bend that note a half step on the V chord because a half Step Up [Music] is the major third of the five chord [Music] right so control of those bends in tension [Music] [Laughter] so we have that House of Blues area which is part of pattern two but most people don't play much in the lower strings of pattern too but on the top three strings it looks like a house and then he goes uh and then he backs down into this little two by two of pattern five so when we come down we could just bypass this note and instead play it here so [Music] all right so now he's going to transition to key of C and he's going to play a two five one and C very Jazzy so 2 being D Minor five being G7 and then one being C major but the five but the two is going to play as a D Minor nine than the five is going to keep this common tone the note uh e and then to the one so this note stays there right so we got very Jazzy boom [Music] foreign okay so now he's playing the five chord of a minor so a minor and C major are relative major and minor they have the same notes that's why you see the same scale shapes it's just we tonicize relative to C major we tonicize the sixth which is a relative to a minor if we want to go back to Major we tonicize the flat third which is C but same note so on a piano if you play all the white keys that's key of C or a minor if you make a your home note it's going to sound like a minor if you make C your home note it's going to sound like C major because your ear is hearing all the notes relative to whatever you make sound like the home note so this [Music] makes this sound like the home note whereas this makes this sound like the home note right it's all ear trickery so after he does the two five one [Music] now that is the dominant chord which this tritone wants to resolve to this this note wants to go here and this note can go back down to here so we've got this oh [Music] he plays a little blues scale thing [Music] and you know his pitch there wasn't perfect it was nice to see John be really flat for a moment and go didn't quite hit it with his voice but he knew the framework on the guitar and that framework got him there because he identified okay I'm doing that chromatic blues scale thing in my voice I'm trying so now we're back in a now this is my favorite part so he starts with a minor [Music] so this chord progressions actually almost identical to The Stairway to Heaven by Led Zeppelin it has this chromatic line that passes through all the chords and that creates some really cool Harmony check out how close they are [Music] okay so here we got a minor do diatonic mentality but then he comes down to that note [Music] now as you see when that happens what I have listed there is the a harmonic minor scale so all we did to create a harmonic minor is we raised scale degree 7 from a flat seven [Music] to a major seven Great Sound listen to the sound of the scale [Music] right so if you were improvising over this and I'll demonstrate in a minute the fact that he's playing an A Minor major seven that means an A minor chord with a Major Seventh means that if you just modify that one note and you are improvising through that scale you're really going to lock in with that chord [Music] okay so then he didn't play the actual chord but the motif here with the chords is to go a minor [Music] a minor major so you we're just dropping that note down one fret a minor seven so we got where do you think we're gonna go next here and that's gonna be the Third of the D major chord so this note is the same as this note so if here's how you might be accustomed to playing say A D major in the a shape this is a D major in the G shape but we're starting on the third so we've got [Laughter] [Music] right now that is a major four chord in a minor key what that insinuates is Dorian mode because to have a one minor to a four major only exists as Dorian mode in other words as if you're in the key of G major so now what you see on the screen is a Dorian mode and that accounts for this note think oye como va which is a minor to D major That's a classic so here he does that when he goes from the a minor D major so again if you want to be improvising through the scales at that moment and account for those chord tones you're going to want to nail that in this case f sharp [Music] but [Music] then he goes to the flat six major which is diatonic to the key of A minor so now we're back in a minor and he goes red just kind of runs up one three sharp four five The Simpsons so in a minor key the flat six if we think of all the tones relative to the flat six we have what's called a sharp four and that's the sound of lydian mode The Simpsons but it's still all just in the key of A minor so you don't have to think about it like that it's just the notes in the key of A minor and he's just connecting these chord tones with one of the scale tones so you don't have to think about it modally but but being he's sitting there it does have that lydian sound dude [Laughter] [Music] and then finally back to the V chord [Music] done and now there because we make that that chord diatonic to a minor should be an E minor but we make it an E7 which has a major third again to create that gravity that pull back to the tonic when we resolve back to a minor this motion as opposed to this that doesn't have the same if I if it was an E minor this would be the quality [Music] those sound kind of separate but this sounds the tension I want to go home home tension home so we make that five chord dominant even though in the minor key that's non-diatonic and by doing so again we end up with that harmonic minor scale that we could shed over that V chord and it'll sound really good which is what he does he goes foreign [Music] so if we just put that in the Looper and you wanted to practice these scales over that you can go a minor a minor major a minor seven D over F sharp f 7 okay so when I start I'm just going to be an A Minor then the second chord I'm going to be an A harmonic minor third chord back to a minor fourth chord A Dorian let's see if I get that much so let me walk you through it ready so minor scale [Music] harmonic minor back to minor Dorian Miner harmonic minor [Music] one two three four five six [Music] might be cool to just look at it on the top two strings ready so top two strings one two three four five six [Music] so that was it so we've got minor Harmony [Music] harmonic minor harmonic minor and then back to minor so really the lion cliche goes all the way up yeah dude yeah [Music] [Laughter] right [Music] so it's called the line cliche line cliche is just a chromatic line that carries through a chord progression you know uh Led Zeppelin [Music] [Laughter] awesome all right everybody if you really want to understand how Music Works in general but on the fretboard in a way where you're applying what you're learning each step of the way sort of like this we're talking about okay here's how you know here's three different scales and here's how you might use them in a chord progression or here's how different chords fit together in a key in the context of something that John Mayer is playing check out my fret live fretboard Mastery Program we start in the very beginning with the chromatic scale just all 12 notes and not only seeing them as letters but as intervals because the study of Music Theory is all about intervals you heard John Mayer say all right this is just a minor two five one numbers intervals right understanding the function of what you're learning how it fits with what chord you're playing that kind of thing so we start really simple then we get into how we can use the intervals of the chromatic scale to create a key with the major scale how from the major scale we create these chords within that scale then how we have our relative minor scale then we do cage part one two and three where we see all the different chord forms and scale forms and how they go together and how you could intermingle them we get into all sorts of other cool chords seventh chords ninth chords sus chords and we end things off in unit 12 with modes so it's a live session where you can at the same time as 40 other students get access to a new unit every week or two and you share your work and we meet up in Zoom sessions and we communicate and I kind of go over what the week's topic was and we do some ear training together and we perform for each other if you want it's totally voluntary or you could do a self-paced program where you don't actually interact with me or classmates but you just have access to all of the coursework all at once you don't have to wait week by week so links for that is in the description so I would really like to see some of you take these activities and come up with your own thing maybe it's the seed of a song that you end up writing and it starts doing this kind of an activity so please do that share it with me on Instagram at palmusic or you could share it in the fretboard Adventures Facebook group or come join me during one of my weekly live page patreon sessions they're small group guitar hangs for anyone that's a patron at the five dollar or more level you can join these sessions twice a week There's usually anywhere from five to ten people we're all on screen together we interact we play together and this happens twice a week for the last three years so if you want to join us there if you download the tab to go with this lesson then you'll automatically become a patron and you'll be able to download tab for all my previous lessons and like I said join us for these weekly live patreon sessions alright everybody happy playing I'll see you next time before I go I'd like to extend a special thanks to the following upper tier pal music patrons William Creighton Andrew Gunther Bill the board Boomer Dell Brad Tomlin Bruce yell Chris Freeman Dave hubner David McPherson Derek Mickel Don Stringham Donald James grass Fred Locke Jeff Weatherwax Jake Martin James J brilliant Jesse Jacobs Joe prangle John Barnes John Bunyan John Cushman Jonas Joseph McCarthy Kay Carter Kent gressen LW Michael L Michael Varney minor pentatonic mujang Nicholas Steinkamp Patrick Bennett Paul Davies Randy Wallingford Randy Yocum Scott Lee Sean Ellis Steve C Stephen Pisano Travis Thompson William Citgo and all of the rest of the pal music patrons thank you so much for your ongoing support happy playing and I'll see you guys next time

Channel: Pow Music

Views: 399,303

Keywords: john mayer, john mayer guitar lesson, how to play like john mayer, how to practice, pentatonic scales, how to solo, beginner guitar, blues guitar, gravity, slow dancing in a burning room, guitar lesson, pow music, guitar tutorial, fretlive

Id: JhZLw2DGmgk

Length: 74min 32sec (4472 seconds)

Published: Sun Sep 25 2022