Steve Stine Live Theory Session 5 of 5: Combining Scales for Effective Solos

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RoboShark 82 says:

I watched all week and learned some stuff that had baffled me before. Havent mastered any of it but I feel like I have some direction after about 2 years of trying it on my own.
Thank you

Daudbaig Sapien says:

Am from Hunza north Pakistan #Hunza valley lies in the north periphery of Pakistan. Despite internet deprivation I try to connect u

Vic Morrison says:

Fantastic! Thanks!

nick name says:


JD Caperton says:

Enjoyed you live sessions, quick question though. You in this lesson stated you like to play in mixolidian( a major mode) then drop into minor pentatonic .
Other than because it sounds good, from a theoretical perspective why would you do that? Are you outlining a chord change going on underneath or borrowing from another key? Hope that’s clear, I think I answered my own question lol

Donnie Marhefka says:

Killer course and lessons! It helps me sooooooo much that these lessons are numbered and in order. Thanks Steve, you helped turn on a few lightbulbs for me.

6th MichCav says:

Positive teaching approach? Check.
Teaching while playing? Check.
Leaves ego at the door? Check.
Shows you how to play something accessible from pentatonic? Check.
Thank you, Steve! One of my favorite teachers on YouTube!

Dean says:

Great series of introductory lessons Steve!!!

the classic rock says:

great lesson of combining scales for effective solos.enjoyed your lesson very much.sir, thanks a lot for the tutorial.

Ray Marsh says:

The big problem that I have is with the backing track when I am doing a solo. If I change from E Major Pentatonic (E, F#, G#, B, C#) to A Mixolydian mode (where there is no G# like in E Major Pentatonic, because it is the 5th mode of D Major), or to a scale like E Flamenco or E Phrygian Dominant then it sounds like I am doing a modulation to another key in the Maj/Min system, and I find that I have to adapt the new mode or scale in a new key to suit the backing track, or otherwise record another backing track and alter it to suit the modulation effect caused by the solo's shift in mode or scale. Doing the horizontal part of music: the melodic line, is not all that hard, but adapting all the parts in the vertical (melody and harmony) is what seems to sort out the great guitarists from the so-so ones. I am pretty much almost so-so.

Gilles Bigras says:

This is some GREAT STUFF! And Really well explained, I am interested in this masterclass

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