My Game-Changing trick for Unpredictable Guitar Improvisation.

Описание: My Game-Changing Trick for Unpredictable Guitar Improvisation | Selective Note Groupings Explained

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www.leedsguitarstudio.co.uk

Are your guitar solos starting to sound repetitive? In this video, I’ll show you my game-changing improvisation trick that adds creativity, unpredictability, and flow to your playing — using selective note groupings.

You’ll learn:
🎵 How to escape scale-box thinking
🎵 How selective note groupings create tension and surprise
🎵 Simple fretboard examples you can apply today
🎵 How to sound more expressive without changing your scales

This concept works for blues, jazz, rock, and fusion guitarists who want to make their solos sound fresh, dynamic, and musical.

🔥 Perfect for guitarists who want to:

Sound less mechanical and more expressive

Develop a personal improvisation style

Improve phrasing and rhythmic variation

Unlock creative solo ideas across the fretboard

💬 Drop a comment with your favorite note-grouping ideas!
👍 Like, subscribe, and hit the 🔔 bell for more creative guitar improvisation lessons.

0:00 | The Problem of Predictable Improvisation Addressing the common guitarist habit of running up and down scales, falling back on muscle memory, and the need for new shapes and ways of thinking about the neck.
0:45 | The Fix: Selective Note Groupings Introducing the core solution: deciding to play two notes on one string, three on another, and cycling these groupings, often in pairs of strings or groups of three, rather than always playing all three available notes.
1:30 | Transition to Seven Examples Transitioning to seven specific lines or examples that can be learned and integrated immediately.
1:45 | Line 1: Three then Two (Ascending/Descending Flip) Demonstration of playing all three notes on the first string and the second two notes of the next string, cycling in pairs from low to high. The descent flips the pattern to use all three, then the first two. This technique is interesting because it tends to imply different tonalities (such as A minor 7, G7, and F major 7).
2:30 | Line 2: Outer Two and Second Two This line uses the outer two notes of the first string and the second two notes of the next string in a pair, with the descending pattern simply flipping the order.
3:00 | Line 3: Pattern of Three Selective Groupings A slightly more complicated example utilizing a pattern of three selective note groupings: the first two notes, the outer two, and the end two. Variation is achieved by reversing the order of the middle two notes.
3:45 | Line 4: Increasing Complexity and Order Variation This line uses three selective note patterns (first two, outer two, and all three of the next) with variation achieved by mixing up the order of string groups (high-to-low, low-to-high, middle, upper, lower). The note orders are reversed for the descent.
4:30 | Line 5: Alternating Two-Note Patterns (The Technical Challenge) Conceptually simpler but technically more challenging to play, this line alternates the first pair on the first string and the second pair on the second string, resulting in the roll of a fourth or a tritone.
5:00 | Line 6: Outer Two and Subsequent Pairs This pattern uses the outer two notes of the first string and the second pair of the two subsequent strings, changing the note order on the middle one. The descending part flips the pattern accordingly.
5:45 | Line 7: Symmetrical/Diagonal Shape The final example creates a symmetrical/diagonal pattern (compared to playing tic-tac-toe). It utilizes the first note on the first string, the second pair on the second string, and all three notes on the third string. The sequence is repeated after moving up a position.
6:30 | Conclusion: Variation and Next Steps A "hell of a lot of variation" is possible just by varying the number of notes on each string, their placement, and the number of patterns in the cycle. Let me know what approaches you take to get out of the running up and down problem!

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