Building the Better Guitar Scale Series Pt.1 An algorithm for every scale mode & position (3NPS)
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Complete BBGS series playlist:
Complete BBGS series playlist: Building the Better Guitar Scale Seri...
Printable PDF of the booklet: https://www.buymeacoffee.com/MichaelP...
Printable PDF Reference poster: https://www.buymeacoffee.com/MichaelP...
Or you can buy an 18x24 printed poster here https://bbgs.creator-spring.com/listi...
Free booklet for Amazon Unlimited customers: https://www.amazon.com/Building-Bette...
If you would like to see more videos, please consider making a contribution to help offset production costs. My intention is to make this information free and available to everyone, however writing, recording and animating these videos is labor intensive. Any contribution would be appreciated.
https://www.buymeacoffee.com/MichaelPi
Errata: 7:29 D should be 10th fret, not 9th.
Update: A number of people have asked about the underlying theory behind this method. It can be illustrated as follows:
Take any diatonic mode and extend it up into infinity. Now slice it every three notes. Each sliced section results in some combination of whole and half steps giving us the 3 finger shapes (X, Y, and Z)
These slices in the infinite scale not only create the finger shapes, but they also span the interval of a fourth, from first finger to first finger. Given that the guitar is tuned in perfect fourths*, this combination creates the order of shapes horizontally all on the same fret (our infinite guitar).
The shape order repeats every 7 shapes because of simple mathematics. 3 notes in a shape, 7 notes in a mode. 3x7=21. 21 is the next number in the series that’s divisible by both 3 and 7. So it repeats every 21 notes.
There are two exceptions to the ordering of shapes all starting on the same fret.
1. Every diatonic mode contains one interval of an augmented (raised) 4th, also called a tritone. This tritone always occurs when moving from shape X to shape Y. Therefore we have to shift up a fret to accommodate. This is what gives us Rule #1.
2. *The tuning between the 3rd and 2nd strings is a major third rather than a perfect 4th. Therefore we have to shift up a fret to accommodate. This gives us Rule #2.
That's all there is to it.
Good luck in your practice, and thanks for watching.
Printable PDF of the booklet: https://www.buymeacoffee.com/MichaelP...
Printable PDF Reference poster: https://www.buymeacoffee.com/MichaelP...
Or you can buy an 18x24 printed poster here https://bbgs.creator-spring.com/listi...
Free booklet for Amazon Unlimited customers: https://www.amazon.com/Building-Bette...
If you would like to see more videos, please consider making a contribution to help offset production costs. My intention is to make this information free and available to everyone, however writing, recording and animating these videos is labor intensive. Any contribution would be appreciated.
https://www.buymeacoffee.com/MichaelPi
Errata: 7:29 D should be 10th fret, not 9th.
Update: A number of people have asked about the underlying theory behind this method. It can be illustrated as follows:
Take any diatonic mode and extend it up into infinity. Now slice it every three notes. Each sliced section results in some combination of whole and half steps giving us the 3 finger shapes (X, Y, and Z)
These slices in the infinite scale not only create the finger shapes, but they also span the interval of a fourth, from first finger to first finger. Given that the guitar is tuned in perfect fourths*, this combination creates the order of shapes horizontally all on the same fret (our infinite guitar).
The shape order repeats every 7 shapes because of simple mathematics. 3 notes in a shape, 7 notes in a mode. 3x7=21. 21 is the next number in the series that’s divisible by both 3 and 7. So it repeats every 21 notes.
There are two exceptions to the ordering of shapes all starting on the same fret.
1. Every diatonic mode contains one interval of an augmented (raised) 4th, also called a tritone. This tritone always occurs when moving from shape X to shape Y. Therefore we have to shift up a fret to accommodate. This is what gives us Rule #1.
2. *The tuning between the 3rd and 2nd strings is a major third rather than a perfect 4th. Therefore we have to shift up a fret to accommodate. This gives us Rule #2.
That's all there is to it.
Good luck in your practice, and thanks for watching.
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