Hi Anthony, first I would like to say thank you, I really like these lessons, they have helped me stop sounding like I’m playing scales. Also, the srv grip lesson has completely changed my playing for the better. I can’t thank you enough!!!
My question is, that although I am a big SRV fan, I also like the styles of guys like Jimmy Page and David Gilmour. I know that these boxes are based on the blues, but can I use them for slightly less bluesy (classic rock) music? If I’m moving along the fretboard and I’m in position for the bb king box, but I still wan’t to keep that minor sound, what do I do? I hope this question makes sense.
Hi Wes,
You will find that a LOT of bluesy rock playing is done in these exact same boxes. The licks change, but the positions are often identical.
In terms of keeping a consistently minor tone across the boxes, I go into some details in the full lessons on each box about how there are major and minor scale notes in each position. Knowing where they are allows you to keep a consistent feel across the boxes. However, you will find that for most minor bluesy soloing, it happens in Boxes 1, 2 and 4.
Hi Anthony,
Great stuff and incredible playing! I’m a noob so I suppose it’s OK if I’m confused… but, I would have thought these 5 boxes would equate to the 5 pentatonic scale patterns I’v been learning (or portions of them at least). They do, in SOME cases (boxes 1 and 2, if I recall correctly) but then it seems to differ… quite a bit in some cases. Some notes in a particular pentatonic scale/pattern are NOT included in the your boxes, and some notes which are NOT in the pentatonic scale, ARE in the boxes. I’ve read that blues often includes another other “blue note” (a “flatted 5th”?) added to the pentatonic scale. Is that the reason your boxes differ from the pentatonic scale patterns?
Thanks! - Keith
A lot of people get confused about this, but that’s why I recorded Lesson 26 where I talk about the differences between what I’m teaching and the traditional methods.
Anthony,
I’m a little confused over block 5 - it seems to me that it should be three frets higher on the neck - then it would be exactly like box 1. I don’t know much about music theory but it just seems right to me. I’m thinking there should be a box between 4 and 5 that looks similar in shape as box 2 and 3 and overlapping the two high notes of box 4. Please let me know your thoughts.
Box 5 is the same shape as Box 1, just 3 frets down, the entire pattern starts over again at the top of Box 5, with Box 1. Check out lesson 26, for more info. I’ll be getting into why Box 5 looks the way it does a couple lessons from now.
Ok i willl try again hope this is not a duplicate. In short it is actually very sensible what AS or SRV is doing here.
The notes that change from position one for two reasons, first they adopt notes of the chord under the new hand position 4,5 etc but still incoprate the original key plus they are better suited for bending in the new position. Strings require less bend to hit the next note up the closer you get to the bridge. It is not a scale it is a scale that adopts for chord changes by position it is similar to how jazz players focus of the notes of the chord in the position the a playing lead.
Love your lessons thank you so much for them cant wait for lessons on box 3 and 4 since im having trouble linking mainly box 3 it always sounds weird to me moving from 2 to 3 dunno why but your lessons will probaly reveal why thanks keep up the lessons
Awesome site. Great lessons and I will be practicing these. I will also practicing your lessons on Texas Flood. I think that you did a great job breaking it down and after only a couple of days I made some real progress. I will be downloading a couple of lessons this weekend. Thanks again.
Anthony,
This is a great lesson. One question. Does it start over after box 5? And if so does it pickup with box 1 or 2 from box 5. Again thanks so much. Your hard work is making a huge difference in my playing.
Great lesson, I like how you referred to users different riffs within each “box” while blending major and minor pentatonic. keep em coming, and dig that “life without you” reference…
Now I am a little confused. Your 5th box contains F#, B, andC# notes, that are not in the other boxes. My fifth box looks different.
Does this have something to do with the relative major scale?
or am I confused?
Great site, have learned much in a short time.
Thanks much
Actually you are right. The original scale which is Ab minor pentatonic contains Ab, B, Db, Eb, and Gb. The first time I noticed going out of the scale was on the 3rd box by using the minor 3rd (Bb) instead of the major 3rd (B), and the Major 6th (F) instead of the Minor 7th (Gb) but this is made up for in the fourth box, but that goes into another Bb on the 3rd string 14th fret. The 5th scale is fine it is just a different scale from the original. It is a Ab Major Pentatonic. So it really is a completely different scale from the original. Don’t get me wrong this is a great lesson, there are just some spots where it goes outside of theory which I am fine with because I believe that just using the same set of notes all the time is just holding everything back. I say play what notes you want to play, don’t let the rules hold you back. That is one of the main reasons I couldn’t stand the guitar teacher at my high-school. Everything was by the book theory…It drove me crazy…Listen to Hendrix, and SRV they did this kind of thing all the time. The first solo that comes to my head is Foxey Lady, Hendrix plays a lot of notes outside the scale but it works.
Thanks Anthony, love the lesson!!!
If I’m gonna run my mind like this then we need a forum…
Actually now that I looked it up….All this works….as a Gb Japanese Scale which contains 1,2,3,#4,5,6,7….Kind of strange, but I guess you learn something everyday.
Man, I’m glad someone understands this stuff, because I certainly don’t! If you haven’t guessed it by now, I’m not much of an expert on music theory, it’s all about how it sounds and feels for me. Musical rules were meant to be broken, and if the theory police come around, I’m guilty as charged
Seriously though I do think it’s a shame when someone lets the boundaries of a scale determine what they play. However there’s a use for everything, and because of my lack of music theory knowledge, there’s some opportunities I’ll never have as a musician. It just so happens that I don’t much care for those opportunities anyway so it works out…
I’m with you man. Theory pisses me off but I was cursed with a teacher in high-school that made me learn it. Some of it can be interesting but I believe that a lot of it can get in the way of personal progress and discovering your own sound. I guess it is always a nice thing to have stored away as long as you don’t let the rules take you over. Seriously your scale shapes are proof that no matter what you play it works out in the end in someway…..I mean a Ab Japanese scale??? Whoever heard of that???
BTW, I took your advice and bought The Tony Vega Band album….Great stuff. It reminds of of a mixture of the Fabulous Thunderbirds with a bit of a bluesier sound…So thanks for the tip…. You should check out Buddy Flett’s Mississippi Sea album, Theres some great blues on there. Its much more Delta influenced than Texas but it is some good stuff.
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August 2nd, 2008 at 4:58 pm
Hi Anthony, first I would like to say thank you, I really like these lessons, they have helped me stop sounding like I’m playing scales. Also, the srv grip lesson has completely changed my playing for the better. I can’t thank you enough!!!
My question is, that although I am a big SRV fan, I also like the styles of guys like Jimmy Page and David Gilmour. I know that these boxes are based on the blues, but can I use them for slightly less bluesy (classic rock) music? If I’m moving along the fretboard and I’m in position for the bb king box, but I still wan’t to keep that minor sound, what do I do? I hope this question makes sense.
Thanks again
[Reply]
Anthony Stauffer ( StevieSnacks Teacher ) reply on August 4th, 2008:
Hi Wes,
You will find that a LOT of bluesy rock playing is done in these exact same boxes. The licks change, but the positions are often identical.
In terms of keeping a consistently minor tone across the boxes, I go into some details in the full lessons on each box about how there are major and minor scale notes in each position. Knowing where they are allows you to keep a consistent feel across the boxes. However, you will find that for most minor bluesy soloing, it happens in Boxes 1, 2 and 4.
[Reply]
June 26th, 2008 at 5:50 am
Hey Ant,
Awesome lesson, you make it so easy to follow, appreciate what your doin so much!!! Your really an inspiration!
[Reply]
April 8th, 2008 at 4:32 pm
Hi Anthony,
but, I would have thought these 5 boxes would equate to the 5 pentatonic scale patterns I’v been learning (or portions of them at least). They do, in SOME cases (boxes 1 and 2, if I recall correctly) but then it seems to differ… quite a bit in some cases. Some notes in a particular pentatonic scale/pattern are NOT included in the your boxes, and some notes which are NOT in the pentatonic scale, ARE in the boxes. I’ve read that blues often includes another other “blue note” (a “flatted 5th”?) added to the pentatonic scale. Is that the reason your boxes differ from the pentatonic scale patterns?
Great stuff and incredible playing! I’m a noob so I suppose it’s OK if I’m confused…
Thanks! - Keith
[Reply]
Anthony Stauffer ( StevieSnacks Teacher ) reply on April 8th, 2008:
Hi Keith,
A lot of people get confused about this, but that’s why I recorded Lesson 26 where I talk about the differences between what I’m teaching and the traditional methods.
[Reply]
March 3rd, 2008 at 1:08 am
Anthony,
I’m a little confused over block 5 - it seems to me that it should be three frets higher on the neck - then it would be exactly like box 1. I don’t know much about music theory but it just seems right to me. I’m thinking there should be a box between 4 and 5 that looks similar in shape as box 2 and 3 and overlapping the two high notes of box 4. Please let me know your thoughts.
[Reply]
Anthony Stauffer ( StevieSnacks Teacher ) reply on March 3rd, 2008:
Hi Pat,
Box 5 is the same shape as Box 1, just 3 frets down, the entire pattern starts over again at the top of Box 5, with Box 1. Check out lesson 26, for more info. I’ll be getting into why Box 5 looks the way it does a couple lessons from now.
Anthony
[Reply]
February 20th, 2008 at 9:35 am
Ok i willl try again hope this is not a duplicate. In short it is actually very sensible what AS or SRV is doing here.
The notes that change from position one for two reasons, first they adopt notes of the chord under the new hand position 4,5 etc but still incoprate the original key plus they are better suited for bending in the new position. Strings require less bend to hit the next note up the closer you get to the bridge. It is not a scale it is a scale that adopts for chord changes by position it is similar to how jazz players focus of the notes of the chord in the position the a playing lead.
[Reply]
February 16th, 2008 at 4:58 pm
Love your lessons thank you so much for them cant wait for lessons on box 3 and 4 since im having trouble linking mainly box 3 it always sounds weird to me moving from 2 to 3 dunno why but your lessons will probaly reveal why thanks keep up the lessons
[Reply]
February 8th, 2008 at 6:26 am
Awesome site. Great lessons and I will be practicing these. I will also practicing your lessons on Texas Flood. I think that you did a great job breaking it down and after only a couple of days I made some real progress. I will be downloading a couple of lessons this weekend. Thanks again.
[Reply]
February 4th, 2008 at 9:00 am
Anthony,
This is a great lesson. One question. Does it start over after box 5? And if so does it pickup with box 1 or 2 from box 5. Again thanks so much. Your hard work is making a huge difference in my playing.
[Reply]
Anthony Stauffer ( StevieSnacks Teacher ) reply on February 4th, 2008:
It sure does! I go into more detail about that in the 30 minute version of the lesson.
[Reply]
February 2nd, 2008 at 8:53 am
Great lesson, I like how you referred to users different riffs within each “box” while blending major and minor pentatonic. keep em coming, and dig that “life without you” reference…
[Reply]
January 31st, 2008 at 10:31 pm
Now I am a little confused. Your 5th box contains F#, B, andC# notes, that are not in the other boxes. My fifth box looks different.
Does this have something to do with the relative major scale?
or am I confused?
Great site, have learned much in a short time.
Thanks much
[Reply]
Andrew Smith reply on February 1st, 2008:
Actually you are right. The original scale which is Ab minor pentatonic contains Ab, B, Db, Eb, and Gb. The first time I noticed going out of the scale was on the 3rd box by using the minor 3rd (Bb) instead of the major 3rd (B), and the Major 6th (F) instead of the Minor 7th (Gb) but this is made up for in the fourth box, but that goes into another Bb on the 3rd string 14th fret. The 5th scale is fine it is just a different scale from the original. It is a Ab Major Pentatonic. So it really is a completely different scale from the original. Don’t get me wrong this is a great lesson, there are just some spots where it goes outside of theory which I am fine with because I believe that just using the same set of notes all the time is just holding everything back. I say play what notes you want to play, don’t let the rules hold you back. That is one of the main reasons I couldn’t stand the guitar teacher at my high-school. Everything was by the book theory…It drove me crazy…Listen to Hendrix, and SRV they did this kind of thing all the time. The first solo that comes to my head is Foxey Lady, Hendrix plays a lot of notes outside the scale but it works.
Thanks Anthony, love the lesson!!!
If I’m gonna run my mind like this then we need a forum…
[Reply]
Andrew Smith reply on February 1st, 2008:
Actually now that I looked it up….All this works….as a Gb Japanese Scale which contains 1,2,3,#4,5,6,7….Kind of strange, but I guess you learn something everyday.
[Reply]
Andrew Smith reply on February 1st, 2008:
Sorry I meant G# or Ab Japanese scale….
[Reply]
Anthony Stauffer ( StevieSnacks Teacher ) reply on February 1st, 2008:
Man, I’m glad someone understands this stuff, because I certainly don’t! If you haven’t guessed it by now, I’m not much of an expert on music theory, it’s all about how it sounds and feels for me. Musical rules were meant to be broken, and if the theory police come around, I’m guilty as charged
Seriously though I do think it’s a shame when someone lets the boundaries of a scale determine what they play. However there’s a use for everything, and because of my lack of music theory knowledge, there’s some opportunities I’ll never have as a musician. It just so happens that I don’t much care for those opportunities anyway so it works out…
[Reply]
Andrew Smith reply on February 1st, 2008:
I’m with you man. Theory pisses me off but I was cursed with a teacher in high-school that made me learn it. Some of it can be interesting but I believe that a lot of it can get in the way of personal progress and discovering your own sound. I guess it is always a nice thing to have stored away as long as you don’t let the rules take you over. Seriously your scale shapes are proof that no matter what you play it works out in the end in someway…..I mean a Ab Japanese scale??? Whoever heard of that???
BTW, I took your advice and bought The Tony Vega Band album….Great stuff. It reminds of of a mixture of the Fabulous Thunderbirds with a bit of a bluesier sound…So thanks for the tip…. You should check out Buddy Flett’s Mississippi Sea album, Theres some great blues on there. Its much more Delta influenced than Texas but it is some good stuff.
[Reply]
January 31st, 2008 at 10:23 pm
Anthony,
All I can say is wow, your lessons are great! I’m going to tell everyone I know about your site. =)
[Reply]
Anthony Stauffer ( StevieSnacks Teacher ) reply on February 1st, 2008:
Well I certainly appreciate it!
[Reply]