Lovely David! I also find there is a huge difference between playing the boxes you show here - and actually adding the b7 of the stadard pentatonic scale. The way you do it here really give sthe dorian touch!

Wow David this is incredible! You always come up with the best backing tracks for your lessons too. What a cool funky beat. It will take a while to learn this one but it is inspiring.

Very cool stuff, i love yours style man

This is great. I've been struggling trying to solo using the full dorian mode (with all the notes). This puts things in perspective! Thanks!

Kizaze

Hi David.
Great sound and excellent phrasing!
But I'm hoping that you cold help me out theory-wise, because I don't understand the connection between reading a scale formula and applying it to the guitar. My starting point is for instance the G octave on the low-E string and the D-string, and I know that it's an octave, hence the "8th" step in the scale. But how do I figure out what steps the other notes are?
Im asking cuz I'm working on my ability to not solely rely on scale patterns, and instead be able to figure them out myself while playing.

It seems to me that you REALLY know your theory, and I would just LOVE if you would make some theory-lessons with video, as I find texted lessons like Andrew's confusing.

Thanks in advance!

Great use of maj 6 inside minor pentatonic,
not typical dorian sound of 7 notes,well done David!!

Great lesson, I really enjoy the backing track!

Excelent, Love how you use the modes

Hey, that´s so good!!!!!!! Excelent lesson!

We really need a quote function here

But what I wanted to know was how a scale formula can be applied to the guitar?
For instance the minor pentatonic, we know the pattern thoroughly on the guitar, but the formula itself, and how to apply it to the guitar is what troubles me.

1-b3-4-5-b7

Lets assume it's the A-minor we're looking for, how do we know if the minor 3rd isn't just a major 2nd? or is it the same? The notes are of course A-C-D-E-G, but I just dont see the logic.

1-b3-4-5-b7
A-C-D-E-G

What I don't get is why C can be the minor 3rd step? Why not just the 3rd step? Is it because of the half-tone step between B and C? If so, please explain a bit further.
1 2 3 4 5 6 7 8
A-B-C-D-E-F-G-A

Im sorry if this is confusing, but I really wan't to understand the theory behind the music as well.

Because note B is major 2nd to A,and C is his minor 3rd.

Okay, then it makes more sense! So C# is a perfect 3rd to A?

really cool backing track!

hey david!!!!!!!nice job!!!!

excellent

nice job indeed bravo!