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Instant Fretboard Freedom with just 2 SHAPES! Shred hard with Uncle Ben Eller Weekend Wankshop 262

Jun 07, 2021
Is it possible to cover the entire guitar neck with hot licks while


thinking about scale


too easy to visualize with the secrets you're about to learn in this video? Yeah, you might like the guy who's a good friend, Uncle Ben, again. I had like 70% less hair than last time, that's because I cut it off and donated it for children's wigs, so if you've ever been on the street somewhere and see a kid with beautiful, radiant hair, tell him what Uncle Ben says. Hello, back in the days of my youth, whenever I saw my favorite guitarists like Paul Gilbert, Steve Vai and Joe Satriani play licks that spanned the entire neck of the guitar, I could only imagine that they were visualizing each scale pattern.
instant fretboard freedom with just 2 shapes shred hard with uncle ben eller weekend wankshop 262
They have never been done and they definitely go in and out of them and for all I know maybe they are, but from my own personal experience my homeschooled mind


can't keep up with thinking about moving through the neck, enter and exit a giant vertical scale.


I like to keep things nice, simple and easy to visualize by using any local route notes I can to figure out a pattern I've memorized and the E minor based lick I played at the beginning of this video is perfect An example of that, though It covered everything from the third fret to the 24th fret, here I was just thinking about too easy to see patterns all the time and in today's video I'm going to show you those two patterns and how. you can incorporate them into your own plane to start covering the entire neck of your guitar quickly before we get into it, let's listen to it again at stepdad speed, as always, you can find free tabs on my Instagram page at Ben Elder Guitars, just look at the hashtag.


when you buy 260 to find the tabs and start


ding today downloadable tabs backing tracks additional lessons and much more are available to everyone who supports my channel on my patreon page just video detailing how I use this trick scale visualization with all seven of the major scale mode, so you don't want to miss that and a lot of other great bonus lessons are available to everyone who signs up on my patreon page, even at the $1 a month level, so Make sure to click the link in the video description and check out the Patreon page today.
instant fretboard freedom with just 2 shapes shred hard with uncle ben eller weekend wankshop 262

More Interesting Facts About,

instant fretboard freedom with just 2 shapes shred hard with uncle ben eller weekend wankshop 262...

Well, a lot of the things in this video will use my 3+4 method for organizing scale shapes across the board. I think the first video I made to introduce that idea was a couple of months ago, I think it's called my 3 plus 4 scale shape secret or something like that. I'll put the episode name and number here on the screen, be sure to check it out, it'll help you even more with these things. here's a quick crash course on the idea of ​​the 3+4 scale pattern that we're going to use in this lesson, so the cool thing is that if you take the notes of a scale and arrange them so that there are three notes on a string, two three and four notes on the next two three four notes a little position change that I made right there with my fourth finger one two three one two three four that's almost a full octave of the scale and that means you're ready to restart again. new from the root note, this new root note is very easy to see because it will be here at your fingertips just the octave above the note you started with, so basically you can go from this G note now and restart the same pattern one , Two Three. two three four connects to the nearest G which is here one fret B string that I can use that same pattern again one two three one two three four boom so it's very easy to see two string scale shapes that just connect with between yeah all over the board and this lick that I made here in the key of E minor uses two of them, one of them is the G major shape that I just played a second ago, which is like that wide stretch back then another one, then skip a whole step and the other one is the beginning of the yang major scales, it's a natural minor scale, the E minor scale, if that sounds like a bunch of gibberish to you and you don't know what it means, don't do it .
instant fretboard freedom with just 2 shapes shred hard with uncle ben eller weekend wankshop 262
Don't worry about it, basically all it is are two sides of the same coin, the G scale, isn't it G a b c d e f sharp g the E minor scale is the same notes in a different order e F sharp G ABCDE, everything It's still the same seven ingredients so we can use them interchangeably whenever we want, so here are the two different ways we'll use to play across the neck. Here all we have to do is sniff out the nearest local root note, be it the G for the G major shape or the E for the E minor shape, attach this to the string scale pattern and that's it, let's go with the three plus four scale pattern, now the other half of this is going to be our E minor form, which we're going to use starting here from the seventh fret on the a string, there's an e again, you can use any e on the neck as a point viable starting point for these patterns and using them in this way is great because it teaches you how to find fundamental notes.
instant fretboard freedom with just 2 shapes shred hard with uncle ben eller weekend wankshop 262
On things other than the low E string, many guitarists never progressed beyond learning all their scales being Retd from the bottom string, so here's the E minor shape we're going to use. We're going to start with an E note again on In this case, the 7th fret on the A string and we have to use that kind of 1 3 4 pattern right here, so I'm playing on 7 9 and 10 just like the major scale pattern , we're going to repeat the same thing on the A string. next string, so also 7 9 10 on D in this case and again just like your major scale shape, all you're going to do is after that last note go up one full step and you will have completed all seven notes of that scale e f -Sharp G a B C D you could take a second here and find all the different G's on the neck of your guitar and delete that G major scale pattern like maybe if it started here from the 10th fret to again, that's a G note that's workable. starting place for this pattern and use the major scale and one with wide sections like this, maybe start here from the low E string fret number 12 which is an E note use your scale pattern Imai nur 2 1 3 4 1 se It looked like this.
The only thing that gets in the way here is, of course, the G and B strings. Every time we go from G to B, we always have to raise the B string an extra half step due to tuning. Those weeds on the guitar are like, for example, if you were starting that G pattern here from the 12th fret G string, it wouldn't be the symmetrical pattern stacked on top like when you've been using it here and here you'll notice it. . It will look like this half a step up. You know that the B string always takes everything out of your Imai, it wouldn't even look like that half a step up, so same thing.
You know, the normal full step and everything that follows, but remember every time you go. to string B, these patterns aren't going to stack, they're going to carry over to the ranch here when you go from string B to E, no problem, it's always just G to B, that's the problem kid, so now that you've got the patterns Below is the actual lick itself and how you should visualize it across the guitar's


. I'm combining the power of these 3 plus 4 scale patterns with my hobby of playing straight sixes across the strings last week on my channel.
Upload a video called six six sixes that describes some of my favorite ways of expressing things and six-minute groupings. In fact, you could also use a couple of those ideas in this lick, but in this case what we're going to do is play each of these three. net groups twice in a row like this, so I'll start here with the G major type scale pattern again. Harmony-wise, it's minor because I'm playing all these chords and the E minor chord, but it's good for you. to have that trace in your head is to think that this is what the G major scale looks like, but again harmonically, since it's played in E minor, everything sounds like a minor.
What I'm going to do here is start with that big one. wide stretch again. I'm reading this with the third fret, the low E string, the G note that we're reading here and just play three five seven twice in a row alternating selecting six notes next, which you're going to do. is jump to the a string, play the same thing and remember how I said, you know we changed the pinky up right there, which creates another three note pattern that we can use, which is the five, seven and nine on the a. string and again I just played that twice essentially what you're doing when you move to this shape here is you're simply using the back two notes of the initial pattern as the first two notes now and using that little Move it up with your pinky finger to complete that figure and make a three note grouping, so we start by playing the sixes in our G pattern and this is great because it gets you very close to an E note from which you can start the E minor pattern.
Well, right now your first finger can go up to the 7th fret, one string again, there's an E root note, we can route these patterns from any string, you should take advantage of that, it really frees up a lot of RAM space. in your brain it's like that, you're not trying to think of what other large scale pattern it fits in, you just play the ball where it lies, buy locally, use the nearest root note to eliminate these patterns, so if you put your first finger there on that seventh fret one string again, this is a perfect place to put our E minor pattern that we learned earlier and we're going to use the same idea of ​​the sixes to highlight that minor panic, let's start by playing the seven nine ten on the two string times in a row alternately playing the same thing on D and kamekona stays on the second on the G scale pattern visualize these two notes as the front end of the next pattern you know so you can see how to replace fingers three and four with fingers one and two , that means my little finger will be able to come up here and grab that D note that was our position change note, so lastly complete this by playing nine ten twelve on the D string twice. first you have the G section, listen from our root note on our 3rd fret, low E, then we use the closest local e, our 7th fret, one string to use the E minor pattern, now this puts us close to another G note which we can find here on the tenth fret one string, so let's start here and play the same first major scale pattern again six is ​​on each string it will look like this, start by playing ten twelve fourteen on your string a twice the same on the D and then go up a full step and play the twelve fourteen sixteen you get the same pattern that we played at the beginning we're just using this G as I read it now from this position you're in a great place To restart that minor pattern, there's a note E right here on the D string of the 14th fret, so again we can use that note right there to start that minor pattern that we learned before, this guy head again, let's make it like six.
You'll notice that I'm using fingers one, two and three after the 12th fret, anything goes if you want to use your pinky finger and continue with one, three, four, that's fine, but you know, beyond the 13th or 14th fret, It's where you know my fingers. They get wider than the frets, you know, so sometimes I'll get rid of my little fingers when I play things as high as this, but your mileage may vary, so we'll use the D string at the 14th fret, Ino, as our starting point. departure for a smaller scale. We're going to play 14 16 17 on that string twice the same thing on G.
We're going to have that position change that happens here, which makes us play 16 17 19 on G. Wouldn't you know it? I'm here. close to another one, a note at the 17th fret on your B string there's another root note E and again we can use that to reset this, a minor pattern very easily again that's no different from the other Imai or the patterns you've been using, It's just getting started. this e note instead of this or this one like we already have it, so what we're going to do is play that 17, 19 and 20 on B twice the same on the high E position change here, so we have 19, 20 and 22 and then if you want you can work it out by playing the 24th fret high E string if you have 24 frets, if not you can always play that 20 second fret on the high E string and make a big tone and a full step and that would be Finish that off nicely too and that's the full lick again, we're covering multiple octaves across the neck of the guitar and we're just thinking about two simple patterns this guy for G this guy for minor really easy to visualize and Again, it best here is that it will get you used to finding route notes on any string and having a scale pad that you can think about and use like that, it's what you can mash in any position, any key you're in. let's summarize it again here G starting from the third fret low E G minor starting from the seventh G's starting from the tenth a minor starting from the 14th D D minor starting from the 17th B and solved, so if that's the damage you can do just knowing two different major and minor patterns, imagine how lethal your game can be if you know the seven modes organized across the board like that.
If you sign up for the Patreon page today, you can go there and find the bonus lesson I'm uploading along with this one showing. Guys, the shapes you can use for the sevenways, that way you can destroy the neck of the guitar with that you know overclock your processor here, so make sure to click the Patreon link in the video description below and sign up today, thank you. Much to watch, be sure to like this video and subscribe to my channel to receive new content all the time and ring the bell to receive notifications every time I upload a video and they cut a fried stop.
I hope you have some fun with that one. I'm trying to hit that speed that I did at the beginning. The first one in the video was sextuplets, meaning six notes per beat at 110 bpm, they get nice and slow and visualize those shapes across the board. Well guys, it's been fun as always, but I have to hit the road for you guys to go. from the computer grab your guitar and start practicing, let's click on it more selection

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