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Making the Changes - Guitar Position Training

Jeffery Marshall's Next Level Guitar

3,183 views

In this lesson we break down how to utilize guitar scales alongside chord voicings to create more interesting musical textures. You will see how integrating these visual guitar fretboard diagrams helps you visualize the neck more effectively during practice. This approach is designed for intermediate players who want to bridge the gap between basic shapes and more advanced lead guitar techniques.

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00:00 - Intro Jam
00:23 - Lesson Intro
02:08 - Patt 2 (A shape) major scale
02:55 - 1-4-5 Chord shapes
04:37 - The Pentatonic Scales of the chords
07:23 - Playing with intention
08:17 - Demonstration
10:00 - Demonstration Analysis
11:00 - CAGED System Concepts
11:59 - Quick Review
13:20 - Wrap up

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Jeffery Marshall is a professional guitarist, solo artist, producer and instructor who teaches guitar and pro-audio at Musicians Institute in Hollywood, CA and has toured with artists such as prog-rock legend Alan Parsons and Bo Bice from American Idol. He's been featured in Guitar Player Magazine and the 'No Guitar Is Safe' podcast #85 hosted by Jude Gold, and has also created multiple instructional guitar series for various online music lesson platforms, such as Jamplay. In addition to releasing his own material and producing a number of albums, he also scores original music for the Discovery Network.

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6 Comments

@jopie-r5r 1 month ago

Great lesson! Great teacher! Thanks Jeff

@riffmanrob 1 month ago

Excellent stuff Jeff. Thank you.

@SolidBuildersInc 1 month ago (edited)

Really enjoyed the Lesson.

The Ah Hah for me is this 514 chord pattern on the 456 strings.

Adding the Arpeggios and scales around this truly gives you a command of any Key.

Thx 4 sharing your view.

The more you Play, The Easier it becomes.

Keep Playing

🎉🎉🎉🎉🎉🎉🎉

@deweeseoutdoors2716 1 month ago

I down loaded your Ebook thank you! I learned the major caged system awhile back. Now need to dig into the minor version of it!

@JunkYour925 1 month ago (edited)

What you mention at 7:37 is what I realized myself after taking your course at Jam Play. To play matching pentatonics to six chords in a key in any frame only involves 3 shapes not six. Relatives are I and vi, V and iii, IV and ii. Many don’t know or realize that. Scale shape is the same, just the root notes shift within it and incidentally the triad chord tones too.

@JunkYour925 1 month ago (edited)

Hey Jeff, as usual another great lesson and ILLUSTRATION. Where was this stuff back in the seventies when we were starting out?! What’s cool about this is you can see why the 4 in the IV has to be raised to be diatonic to the key. Same for the V. The 7 has to be lowered for same reason. I guess having the major scale burned into muscle memory and the ear tells you this if you choose to add in either of those two missing diatonic notes. Fun stuff. I use triad shapes or root note octave grip to tell me the shape to play depending on which strikes me first. Do you do similar? It becomes reflexive after a while to the point you don’t realize it. Also what software are you using for illustrations?