I Wish I’d Known This About The CAGED System Earlier

0:00 Today's lesson is all about this thing called the cage system. Now, uh if you look up the the cage system, there's a bit of controversy around the cage system as to its usefulness, but for me, in my opinion, the cage system is the bee's knees. It really is. It's the dog's danglies because it I can explain things so much easier if I use the cage system. Um there's some people who say that it's useless and blah blah blah, you shouldn't do it, but usually they are you know, they're kind of like [ __ ] sniffers, you know? Uh I really think uh um uh you should learn the cage system because if there's

0:45 a way into learning guitar, then you should have a go at it because you don't know cuz you don't know what you don't know, do you? You know, really. People who have never used the cage system generally tend to, and I'm being really broad sweeping here, have never really, you know, looked into it. Uh all they've skimmed it very slightly, you know, and not really seen how useful it is because you know, you'll know, guys, and you'll think about this from your own perspective, how you learn. I think there are there are three main call them sub submodalities. Uh people are either visual learners, kinesthetic learners, uh auditory learners, and their fourth idea is that some people like to write things down as well, which is why, actually,

1:32 in the back of the book, there are blank PDFs, so if you get them, photocopy them, in you know, there are little PDFs and tab papers and everything else in there and called empty card boxes for you to um work things out because sometimes you have to get a pencil, you know, scribble on the back, scribble on there, and then and then and then figure that stuff out because you know, [clears throat] um yes, Samuel, the the book is available in PDF, um and if you go to my store, then you'll find that there. Yeah, it it's there for you to purchase. It's pretty much instantaneous download, so it's all there, linked to those videos as well. Um right. So, yes, like I was

2:18 saying um so the cage system, and the reason the reason I think we can all agree that it that it's it's valid is because the really the guy who is supposed to have come up with it was Joe Pass. Now, if you've ever heard Joe Pass play guitar, the guy was a monster. You know, he's a jazz guitarist. He's a virtuoso. He even wrote an album called Virtuoso. You know, and he he called it the caged forms, this the the shapes. Yeah, so this is what we're doing. Yeah, um Telefunken said a good thing there. Look, that's a big tip. Laminate and use dry erase markers. Brilliant tip. I do that myself, you know.

3:04 Just do that, and then if you make a mistake, you just rub it out, you know? I think it's just a great way of of using it. Use write things down. Um so, yes. Oh, thank you, Anton. Right. Okay, so cage system. So, where is it from? I think I think what I'm going to do cuz I haven't done one of these for a wee while, I'm going to I'm going to switch to this camera here. Uh and I'm just going to go over a few things. Now, you can see I haven't finished this uh box here. Let me just get rid of that um business there. Where is it? Book ad. There we go. Now, the cage system, the reason it's called the cage system is because there are five master chord shapes. Now, let

3:51 me just explain what's going on here. If you don't know what one of these grid things are, then I'll explain. Here, we have six lines. Each line represents the string. So, we've got a string here, and we could we could even put that underneath there. That's E A D G B E. Eddie ate dynamite, goodbye Eddie. Those are our strings. And then what I do is I put these lines in. That represents the head nut. And then that represents a fret wire. That's the second fret wire, and that's the third fret wire. Excuse [clears throat] me. So, here we go. Right. Now, this is going to be the C chord. And you could get a gist with these. There is a there

4:37 is a visual shape to these, but there is also, when you play it, there is very much a kinesthetic shape to these. Kinesthetic is how it feels. So, we've got an A shape, we've got a G shape, we've got an E shape, and a D shape. And these are the chords that you you use all the time. These are your cowboy chords. These are the main five shapes. Now, what happens is, yes, some of these, I'll just kind of talk about this for a minute. The C and the G shape, these two um they don't modify easily. Yeah? Because they have double thirds. Now, don't want to get too far into that, but it's all in the book with some of the lessons on there, and I should say that

5:24 probably going to skip around the book today cuz I just had a little look at to see um which pages we would possibly be looking at. Pages 14, 15, 19, 20, 31, 43, and 73. Now, if that doesn't tell you that cage cage system is important, then you're going to miss out, really. Okay, so so what we're going to do, we're going to look at the C shape. Now, if I just put this in here, C E G C E. This is our bog standard C shape that we get there. Yeah, so that is the C shape. And I should just like I could put the notes in there like I just said them. That's a C. This is an E. This is a G.

6:10 This is a C. And then this is an E. Yeah, little bit tight there. So, that is the C chord. These are the frets. First fret, second fret, third fret there. So, we've got that going on there. The thing for me, and let me get some colors cuz you know me, I like my highlighters. [laughter] I really do like my highlighters. Let's do this, right? This is what the C shape looks like to me. I just looks like a diagonal going across like this. So, that's the C shape. Right. And what we essentially have here is with the C E and the G, we've got the root, we've got the third, we've got the fifth of the triad. And then we've got another root there, which is a repeat, and then we get another third there, and that is

6:55 the same that you see we've got we've got is you've got these two repeats there, double thirds in that C chord there in that C shape. That's that's the C shape. And if you played this with fingers one, two, and three, you'd notice that you could have your pinky free and play other notes, but it's still going to be a C shape. So, it's this diagonal shape here. That's the way that that I imagine it. So, let's put the A shape in here. So, we've got this note, we've got this note, this note, this note, and this note. So, this is going to be this is because this is an A chord, this is has the notes A C sharp and E. These chords are not all from the same key. They're not from the same key, so don't

7:41 go thinking they're from the same key. They are not. This is C E and G. So, those are the notes that belong to that one there. Yeah? They they generally, you know, live in different keys. And here's here's a little golden nugget. Let me just switch over cuz here let me just switch over. Here's something, right? Active listening now, guys. Just active listening and thinking about this. Any chord, major chord, can be called one, four, or five in the key, if you want to think about it that way. So, that means that A chord that I was mentioning there could be called one in the key of A. Does that make sense? Yeah? It could be called four, and it could be called five.

8:26 Yeah? Yeah? I think we need we probably need a a whole sort of workshop on keys. I think that would be good because key is the key. Yeah? Maybe somebody could type that, actually. In if A Yeah? What what key would A be called four in? What key would chord would an A be called five in? Yeah? You could use your cycle of thirds to find that. And begrudgingly, I'll say you can actually use your cycle of fifths to find that as well. Yeah? But the L7 grade is the way to do this. Yes, so look there, we've got an A, we've got an E. We've got an another A. Hang on, let me switch over, okay? Come on, switch over.

9:11 You don't want to watch me just writing off screen. There we go. So, we've got another A there. Then we get the C sharp here, and then we get an E here again. And this one just going to use the same color. This is like a little horizontal pattern there like that. Yeah? So, that's a horizontal pattern. Yes. All right, okay. Now, let's look at this one. This is the G. Look, fret one, fret two, fret three. Thing to note as well with with this, some chords, you see notice that the A chord here, this cowboy chord, it only lives it only lives on the second fret. Telefunken, you said C {slash} E if you play the if you play the low E, but

9:59 the dissonance between that's that the E there and this C here is a minor six. So, you end up putting a really classy sound at the the the foundation of the major chord. You know, you put a a real much strong minor sound there and it doesn't sound right. If a voice leading in the bass, you might do that. Okay. So, look, here we go. So, we've got the A shape, we've got the that A shape there. Let's do this G chord. Now, in my mind, there are there are two versions of a G chord. We've got the Dylan G where we have this business here. We could have that note there, but we've also got what I call the Oasis G, which is this version here. So, this we can have this here and we can have this here because just popping back to

10:45 this one. This is the root. This is the fifth. This is the root. This is the third and this one here is the fifth. Notice there's only one third in that chord. It makes it easier to manipulate. Yeah? So, it makes it a lot easier to manipulate. And this G chord, worth noting, you see how it's gone across all six strings. Notice how C and the A shape, they don't use the E string. Yeah? So, just you just use that from the root note. So, that's because of this root note and its position on the string. The root note there is on the A string as well. So, look at that. See that going on there. Right. So, the next one, we've got the G chord. The notes in

11:30 the G G chord are going to be G B D. We've got G B D. [snorts] Right. So, we're going to have G here, we've got B here, we've got D here, we've got G, we've got B, we've got D here, and then we've got G here. Now, that's the root, the third and fifth of this chord. So, when you look at this and that's this is what I'm pointing out here, that if we use that one, then it would be the third, but if we use that one, it would be the fifth. So, you're still spelling the chord out as long as you have your third knocking around. This is the root. This is the third. This is the fifth. This is a root. This is a third or fifth depending off on using a Dylan what I

12:16 call the the three-fingered G or putting this one on here. Yeah? Now, the thing with this is is for me, it looks like a it looks like a wedge. It just looks like a wedge. That's That's kind of how I see it. But, I do see this bit up here. Now, if you look at that bit, does that look familiar? Cuz it should do. Yeah? Because that there is the same shape. This is going to show you. This is how this all links up, guys. So, this is fret one, two, three. So, that's the C shape, the A shape. That's the G shape. You can form a triangle with that one. Right. Okay. Now, we've got the E chord and this is E G sharp and B.

13:01 So, this is this same thing. This is going to be chord one, chord four or chord five in three keys. Yeah? So, this is going to be in three keys. Right. So, the E chord, let's have a look. Let's put the uh notes in there. So, we get this note, this note and this note. So, we've got E, we've got B, we've got an E again, and we get a G sharp, we get a B and we get an E there. So, one, two, three. Okay. So, look at this. So, we've got the root. We've got the fifth. We've got the root. We've got the third. We've got the fifth again. And then what happens is we get the root. One third, nice easy to manage. This is why this gets used for bar chords. If I have

13:48 time, I will touch upon this as well. This reminds me of kind of a It's It's kind of like a hockey stick sort of shape going on here. It's a hockey stick going up that way. You know, so that's the way I see the E shape there. Um and and the you can see it's completely different from all the other shapes as well, hopefully. Yeah? Hopefully that makes sense. Worth noting, like I said before, let me just write it inside here. C and A, yeah? The root, let's put that here. The root is on the A string. Yeah? Those two, C and A shape, they have their root note on the A string. Now, the G and the E, notice the root note for this one, it's on the E

14:33 string. It's on this thick E here. And the root note for this one is on the thick E as well. So, you can think about that E and G, yeah? Oh, I've put them the wrong way out. C A. I'm going to do that like that just so that we keep the the acronym C A G. E. Right. So, we've got that there. The root note for those shapes is on the E string. Okay, that leaves one shape left and this is the D shape. D shape is Billy no mates. Billy It doesn't doesn't share strings with anybody. It goes here, here, here, here. There's the D shape. We're not going to use those two there. Yes, people are going to say, "Well, yeah, this could be the fifth and you know, you you know, you could put a note

15:20 over here and everything else." But, we're looking at them from the root position. So, they're root, fifth. Hang on. I've done that wrong cuz I was going to do the note names. We've got a D and F sharp and an A for that chord. So, that's going to be a D. Oh, Ricky, you made a mess. There's an A and then we've got another D here. Look how it spells dad. Yeah? D D major is a dad chord. And then what happens is we get a an F sharp there. So, this means that we've got nothing there, nothing there. We get a root. And that root is on that D string. So, the D, its root note is on the D string. It doesn't share with anybody else. So, just understanding that structure, root fifth. And then we get root and then we get

16:06 third. One third means it's nice and easy to manipulate. I'm just going to get another color here because I just want to show you something really, really quickly as well. Who's a rocker? Who likes playing rock power chords? Cuz I'm Cuz I'm going to I'm going to talk about these. I'm going to talk about the power chord thing as well. Uh and I might I might even play a few. If you get the if you're into the rock thing, then [clears throat] power chords are where you use the root and the fifth of a chord. Yeah? So, you you remove the third. By removing the third, you take the color out of the chord. You remove the emotional note. So, the root is the home note and the fifth provides stability for that that note there, but it doesn't add any

16:52 emotional color. Yeah? So, cuz it's not adding any emotional color, it's very, very benign. Yeah? So, you can do what the hell you want with it, which is why power chords are so powerful. And maybe that's even why they're called power chords. I don't know. But, it sounds as good an explanation as any. And if we want to look at the way that these cowboy chords are laid out. Oh, hang on. Let me just put this in here. The D shape is it's another little triangle there. That's what I see. I see a triangle like that. And you can see those shapes are all completely different from each other. But, like I was saying about the power chords, is the proximity of those power chords next to each other. The first one here, you can see that this root and this third is next to each other. If we want

17:37 a power chord, we've got to get rid of that third. That's not an easy shape to hold. Yeah? Cuz it means muting strings. We don't want any of that. Okay. But, this one, this is easier. Look at that. The root and fifth are smack bang next to each other. If you play that note and that note, you get a power chord. You only need one finger to hold that E down at the second fret on the D string there, and you have got a power chord. But, here's the cool thing. That root note, because it's the home sound, you can add that to it as well and thicken it up. Now, if you put two fingers on there, then you get a big thicker sound. Put that C sharp in, you're saying it's major. You're absolutely saying it's major because guess what? You're including that third. Okay. Same thing as the C, the G does this thing where

18:24 it's got a root, it's got a third next to it. You'd be jumping over. You can do. You can mute it out. Yeah, there are ways around it, but it's not as immediately um obvious. Who invented power chords? I thought it was Link Wray. Either Link Wray or Ray Davies from The Kinks. Here, let's have a look at this E chord here. Look, we've got the root and the fifth smack bang next to each other. Anybody who likes, you know, Metallica, you're going to know this one. This is the Metallica chord. Look at that. And then we can thicken it out there. We can play that there. Look, and this is just going to be You can hold those two notes there with one finger. With just one finger. How awesome's that? I like that. Now, what we can do is we can jump over here onto the D chord. I'll just put

19:09 these frets on there as well just so we've got all this business going on. We've got a root and a fifth again. So, you think about it, these are lower strings, so you're going to get a really low chunky sound. These are on the middle strings. I think this is more a kind of a uh standard sort of middle of the road rock sound. And then here you get it's a bit more It's a higher voicing and it's used It's useful as a kind of um a counterpointing riff to something that might be a bit heavy. You know, it's it's pretty cool. Yeah? So, those are where your three main Excuse me. Power chords live. Let me just take a a of water. And I'll just have a look in the chat

19:54 and just see how everybody's going on there. Who invented power chords? Yeah, so Romans are clear code not sure what that is. Romans. Uh yeah so um [snorts] Well, do you know something? I want to think about this. Um if you've ever heard of Gregorian chant, Gregorian chant is usually in fifths and fourths, you know, plain plain song when you hear monks, you know, that's usually in fourths and fifths, which is why I think it's lend that sound lends itself very well to uh you know, black metal and those kind of genres, you know, I think I think it's very very much the case that the case for that. Um okay, so now we have

20:40 the five shapes broken down. Uh Facebook user is here. [laughter] We've got those five shapes broken down. What I'm going to do is I'm going to show you that you see okay, we've got five shapes there. Brilliant. And I'm going to I'll put I'll I'll pull this down and then we can we can pull it up and down and see where everything goes. I wonder if I can actually do it on here. Right, I'll do it I'll keep it on the same sheet. I'm just going to have to be very very heavy with this pen here. Let's have a look. What have I got? What have I got pen-wise? I thought I had the pen that I needed out. No, this one will do it. Right, okay so

21:26 right? This is and this is my this is the way I see the shapes. And this means because you the cool thing about this is guys because you know where your root third and fifth is, you know where the third is, you know where to flatten it to turn it into a minor chord. You know where your root note is and this, yeah, is the same pattern that you would use use for chord scales and arpeggios because chord scales and arpeggios are the same thing. I've got a video that was a live on this channel on my YouTube channel and it was about synonyms. It says that everything is all the same thing. It's all the same thing. It's just we have multiple names for the same thing. But once you realize it's all the same thing, you go, "This is a hell of a lot easier than I thought." Yeah, the theory side of things especially, yeah,

22:12 you can get lost in the names and the terminology and everything else, you know, mixolydian and you know, diminished and all this sort of stuff and it's like and it can be very feel very much of a barrier, but once you realize that it's all the same thing, then it can be it's a lot easier. Right, let me just do this next bit. If you have the book, I would say um that this is getting into the section on something that I call caged octaves. Caged octaves are amazing, you know, you need to know your caged octaves because let me just find the caged octaves sheet is here. Caged octaves is page 20 lesson 15. Oh, no, that's not. That's caged power chords. We've already kind of discussed

22:59 that. So, caged octaves, sorry, is lesson nine page 14. [clears throat] And what this does is we can extrapolate from these shapes here. We can take them out and we can just take out a little nugget of information and we can apply this then to other things like our pentatonic scales to our to other chords cuz we only have three elements of pitch. We only have three elements of pitch. We uh that we kind of uh focus on. We've got chords, scales, and arpeggios. Chord scales and arpeggios. Those belong to a key. So, we have to understand what key we're in. You always need to know what key you're in. So, this is why you need to know key signatures. This is why you need to know what's coming up in that

23:45 key, right? So, this is all part of that same thing. So, look at this. So, let me go back to my thingy here and I'm just going to be really heavy with this red pen. Heavy red pen, right? Now, what I'm going to show you is this C shaped octave. Now, this here I'm putting a really big circle around it. This is a C and this is a C. And I can actually, you know what? I can I can draw a circle around those as well so that you can see root. So, that's a root and this is a root. Now, if you think about it, when we do a scale, yeah, we go root, second, third, fourth, fifth, sixth, seventh, octave. The octave is the same thing as a root. So, this is what I mean by uh

24:30 uh um caged octaves. Now, don't worry about this. I'm going to go switch to the camera and I'll jump on the guitar and I will show you how this works as well. So, that is the C shaped octave. If we were to get rid of everything else apart from these two notes here, that would be the C shaped octave. And right, okay, a use case for that. Let's see if this camera will zoom in enough. I'm not sure if it will. Right, let me just scoop that business. There we go. Right, we're in we're in here. So, [music] what we've got we've got this C chord here. Right, if we just keep this root note here and this root note here, we take the other fingers off, that is the octave. So, that's a C

25:18 and that's a C. But the cool thing is is that I can move this up to any note. So, if I just move up in natural notes, there, move it up a whole step, that's a D. So, that's a D as well. And I like this because if you think about it, [music] I want to know what the note is on the B string. I want to find that same note there. Cuz I want to go [music] I'm using string pairs. And like last week's lesson, I talked about string pairs. String pairs are amazing. Caged octaves [music] and string pairs, they belong together. It's how we we traverse the neck. So, look. So, there's the D shape. Move up a whole

26:03 step. That's an E. That's an E. [music] Half step, that's an F and F. Same shape. Yeah, so the C shape isn't just that. And that isn't just the C shape chord. Uh actually, while I'm [music] on that topic, what I can do is I can show you how this C shape would be transposed. I've just switched my fingers. I've got that C shape on there, yeah? So, I've got the C shape on. What I'm going to do is I'm going to pull it up here. I've slided it up, slid it up a whole step and now put the bar on and that has transposed the whole thing to be oops, sorry, to be a D major chord.

26:49 [music and singing] Yeah. Yeah, Gary says capo. Capo. This is what capos are for, yeah? Capo just is it's just a transpositional tool and that's the way we we can use it. So, there's the power of the C shape. Going up there, C, [singing] C sharp, D, D sharp, E, F, F sharp, [music] G. Hopefully that makes sense. So, the um C shaped octave, that's the way we are going to find that one there. This is working. This is isn't too what too bad. You can see the guitar neck there hopefully guys. I did [snorts] want to zoom in a little bit more, but beggars can't be choosers when one of the cameras won't connect. Let's do this one here. So, right, the A shape. Let's look at the A

27:34 shape. Well, I'm just I'll just circle them down here cuz they're already written out and you you probably start reading ahead of me. We've got one there and we've got one there. So, this here is the A shaped octave. So, there's the A shaped octave. The way I see it is I see the the fretboard almost like a chessboard. And power chords to me, they always looked like the way you move the uh knight in chess, you you know, look at that. So, if I if I do that there actually from that A to that E, you go up one, two and then over. Up two and over. That's the way that the knight moves and that's where I kind of think of the power chord. But if you want to do the same thing with the octave, if we go up two and over two, then we get back on the root note.

28:21 Right? So, we get back on the root note there. So, this is the thing. Up two, over two. Well, let me switch to guitar again. I'll just switch to guitar and put that on that. Switch to guitar. So, here's the A chord. Yeah. [music] Right, we've got the open A string. That sounds [music] a bit like a sitar there. Second fret there. So, look, it goes up two, over two. That is the root to the root there and or an octave. Now, if I move that shape up, then what's happening here is we've got a B flat or an A sharp, B, C, C sharp, D. So, just like the C shape, it's a movable thing. It's a completely movable

29:06 thing. Remember what I said before when I's switching back to this. C and A, their root note is on the A string. And look at that there. Look. It's on the same one there. Just to show you this so you can connect [music] these connect these things together. What we could do is we could take a C shape and then we can reuse this [music] note here because this is the starting point for our A shaped octave because we're going up the sequence C A G E D. Caged, the way it's spelled out, C A G E D. C [music] and there we go. Let's see again. So, So, now I've got

29:52 the same note on three different strings in very close proximity. [music] Yeah, that's cool. So, we've got got it up there. So, C and A are linked because they share that same string. Hopefully, that makes sense. Right. Okay. Cool. Right. So, let me just switch back over to this. [snorts] Um So, we've got um the G-shaped octave. This is the G octaves. Now, the thing is, right? Um the difference is the other the other two. Ooh, they're coming up soon. They're coming up very very soon uh are those lessons on that one. Right. So, we've got on this one. This root note on the um

30:37 E string there, we've got a root note on the G string, and we've got a root note on the thin E string as well because the thin E string mirrors the thick E string. Whatever happens on this string is happening on this string because if you remember that lesson that I talked about the guitar being a five-stringed instrument, this is why. Okay. So, what we've got is we've got three root notes for a six-string chord. That's a lot of root. That's a hell of a lot of root, a foundation sound, which is why I think that C shapes and E shapes look E shape does the same thing. Sound so strong. They sound so strong and so so um um um stable. So, we've got that's those going on there. So, let's just highlight those ones there. Now,

31:25 I think I I always find this one a little bit harder for beginners to see. Going back here from this to here. So, it's easier if we look up here. If we imagine [clears throat] that what we're going to do is we're going to try and play that back that power chord by going one, two, and over, but you'll see that the the fifth isn't there for it. It isn't waiting for it because we've got that kink in the tuning between the G and the B string. It's awkward. It knocks us out of shape here. But, if we come up here, then we can see that we get the D the that fifth there, that D, we get it by going up three and over one. That gives us this power chord. Yeah? That's a power chord for the for a G power chord there. Now, what we can do is we can jump over and we can grab that G there. But, the the way that we look at this is if we go

32:12 up three and over two, we're going to get that G-shaped octave. Now, just switching back switcheroo switcheroo on this here. So, we've got the G. There's the G. Right. And the other one's here. That's your octave. Let me just move that up the neck. [music] Now, if you want a a memory aid to help you, um this is somewhere over [singing] the rainbow. Yeah? You can think that. It's Yeah? That's the sound if you want to know whether the

32:58 um uh the octave that you think that is the octave that you're playing is correct because like I say, we've got visual, kinesthetic, and auditory. You So, you need to build up the uh the sounds in your ear. And the easiest way to do that is to have some um interval memory aids. And And do you know what? I'm going to do a lesson on that at some point really soon. So, we'll do that. Now, these octaves Wes Montgomery loved octaves. So, that you if you like that sound, then you you're probably going to want to do this as well. Now, remember, this is on an E string. So, we're going to throw it over onto this E string. So, here we've got [music] We can think about it that way. You can can play it like this.

33:45 [music] Yeah? You've got all three notes there. But, if you use this thin E string idea here that this and this are the same, then it's going to be easier to visualize it. Look. So, up three, over two. Yeah? Up three, over two. [music] That's the way we're going to get that octave there. So, that is the G-shaped octave. Go back to the diagram. Let's have a look. So, we've got the root note here. We've got a root note here. And we've got a root note here. So again we've got the same thing going on. We've got three root notes, which means that's the massive foundation of the chord. What I like to do with this one is is Actually, I'll just show you. And this

34:31 is how we manipulate this. This is a little bit of information goes a long way. If we play an E chord, what we can do is instead of sounding the note that's under the first finger there, if I allow the padding of my uh third finger to just mute out the G string [music] like that, what I can do is I can play um a big huge power chord. It is These are all roots and fifths. [music] Just by using two fingers there. So, root, fifth root [music] fifth root. This is why I like the E, A, and D shapes because it's easier to strip out that third, which adds the emotional volume. So, you can hear that.

35:17 [music] It will take minor scales on top of it. It'll take major scales on top of it. As long as the notes that are in this chord match the [music] notes in the scale, it'll sound great. Yeah? So, root, fifth. Most scales [music] have a standard root and a fifth. Yeah? Hopefully, that makes sense. Right. We could do the same there with the A. [music] I'm muting out the B string there. Yeah? Or I could play the A like this. See what I [music] mean about power [singing] chords? Root fifth root. [music] Let's not play anything too long because

36:02 the YouTube gods will frown upon us. So, [laughter] um So, [music] we've got that going on there. So, the these octaves there. Now, what I was going to show you I was going to show you this E shape here because let me just switch back back to my my uh diagram. Here, we've got this one here, which is the open E string. We have this one here. Now, if you remember looking at the A shaped octave, it went up two, over two. Well, the E the E shape does exactly the same thing. Goes up two, over two. Up there. So, it goes up two frets, over two strings. And you find the same note. We're just mirroring on this one and this one here, really. All right. Now, that's great. That's really good. That's super super good.

36:49 But, look. Let me show you the next step. Remember what I said about the C and the A shape because they're on the same [music] There's the C-shaped octave. There's an E-shaped octave. Well, what we can do is we could do the same thing. We've got to go through the sequence. If we think about it, this is a G. Yeah? Going to play a G like this. G G G. [music] Those are the three Gs. Not the Bee Gees. [music] If it was the Bee Gees, it wouldn't sound like this. It'd sound like jive talking. [music] We'd say this here. That's terrible. I know. Bad jokes. But, I feel comfortable enough to do them with you. So, there we go. The three Gs there. Okay.

37:35 [music] This is the thing that I said before. The G shape and the E shape share this E string as the sort of, if you will, starting point. I always think of the G shape as going towards the head note and the E shape as moving up because if we look, there's the G shape. [music] But, this same point here, there's my E-shaped octave. Look. There's the shape. [music] There's the E shape. There's the G shape. Now, you can probably hear [music] there's a subtle difference between them here. The G is beautiful [music] because it's using open strings. Open chords those open strings are the feature. That's why, you know, if you want that sound and you hear that sound in a song

38:21 and you want it, [music] that one there, then you can see that this is an E shape. And the E shape is more uh tight. It's a more sort of uh uh um immediate sound. Um Listen to how quick I can stop it as well. [music] The muting happens in this hand. So, it affects the technical. [music] Yeah? It's just the strings are going to ring cuz there's open ones in there. And that would mean [music] having to mute with this hand further down the neck. I'm muting down near the bridge here. It's just [music] off camera. All right. [music]

39:06 Okay. Does this make sense? So, look at that. We've got G G G G [music] G. Okay? Those are all the same notes, but what we're doing is we're just following that those those octave patterns. Um Right. Let's look at the last one. The last one is this D chord. And this is easy because we've got a root note in that open string there, and then we've got this one here. Now, if you remember the G shape, the G shape went up three and over two. And what we're doing is is we're encountering that same problem with the kink in the tuning here because we're crossing over from the G string to the B string. So, this note has to compensate and come up. So, we've gone up three over two. So, we get the same

39:51 thing going on. So, this is up three frets over two strings. And that But, that means it's all on its own. But, they do connect. And let me get into I'm going to get into that with you. So, this is why it's useful. Okay. So, let me just switch to this D chord here. So, the D shape [music] There's the D shape that we all know and love. But, if I get rid of the um fifth and the third, [music] there is the octave. D shape octave because I'm starting on the D string. Yeah? Now, if I move this up, [music] and now I might have to pull my camera down here. It might make everything go

40:36 horribly wrong. We hope not. Right? Now, listen. And I think I think there's something in this, right? Now, I don't know whether it's uh this is the reason where it came from or whatever but the the um main motif for Sweet Child o' Mine, the first notes it I'm going to play it a half step lower in the correct tuning here. The first two notes. Yeah? Now, you know that. Watch the first two notes. It's a D shaped octave. [music] There's a fill-in in note. And then it moves to a G shaped octave. G shaped octave.

41:23 Extra note. And then we get the G shaped octave. Hey, how about that? [music] So, really Slash is using these caged octaves. Might not even realize it. You never know. He might He might not even have known, but he just knew that that was something that happens. And And actually, you know, if I take something like um let's say let's look at this. And I've done this. There's a There's a lesson in the book um which is called minor pentatonic autopsy, where we just pull the whole box one of the minor pentatonic to bits. If we look at it here in A, [music] yeah? We can see that this

42:10 note here, we can repeat it here. It's on the E string. So, if it's on the E string, it's either going to be an E shape or a G shape. If it was a G shape, it would be going that way. But, because this box pattern goes up this way, it's going to be an E shape. Look, so up two over [music] two. That's how we find our octave. Yeah? Octave in E strings. A little bit out there. [music] Right? Okay. Now, what we can do is we can do the same thing. [music] So, this pattern here, guys, this this pentatonic scale. We take this note here, the second note of that box pattern. That's a G shaped octave. Now, I know

42:55 that's my minor third. And here's the power of of the caged octaves. And this is part of the cage system. If I know that's my minor third, I know I if I bend that, [music] I can bend it as if I'm trying to get to the major third, but not quite. And when I do that, it makes it sound quite sad and mourning, you know, for a blues. [music] So, if I know that that does it there, then it does it everywhere else. [music]

43:47 Some places better than others. Right? Look. Oh, what am I on here? Right. It was this note. [music] That's my That's my um Right? I've just moved it onto my E shaped octave. [music] And that ties in with the next box pattern. So, the the thing is every much every rock song is based on caged J- uh if that ACDC is just like [music]

44:35 And then maybe a G. [music] Yeah? You can You can kind of you know, abbreviate it all down to that. It is pretty much, yeah? So, the thing is the the the thing about knowing these these caged octaves, it's not that it just shows you root notes for chords. It shows you if you know that you think to yourself, "There's my root note. There's my flat third." Then I know the flat third is the is going to be there. Then I know my major third's going to be there. Minor third, major third. Flat third and flat third and minor third are exactly the same thing. Synonym. Two things Two names, same deal. This is the fourth. Going up that scale pattern again.

45:21 [music] There's the fourth. It's on the A string. So, I've got a choice to places to find it. C shape goes back that way. A shape comes up this way. I can find it there, which is good because if I'm playing my pentatonic down here, I've got an extra note that I can just jump into. Got it there. Now, there it is again. There's my caged octave. Up two over two. Yeah? [music] So that's there like that. That's the A shape. Let's move up to the next one. Right? In this pattern. [music]

46:06 Well, I'll use my C shape to find it on the B string there. [music] But, now that I'm doing that now, I'm not thinking so much. I'm thinking a bit of caged, but I'm also thinking Well, I know these intervals, these scale degrees. Yeah? And so, I know that's my fifth. And it's going to be there as well. And if I want to think to myself, "All right. Okay. I want the color of the sixth." So, I'll go fifth. Sixth is going to be there. [music] Yeah? I want There's the fifth. I want a flat five.

46:51 It's there. [music] Yeah? Which is cool. [music] Flat seven. Minor seven. Same difference, yeah? So, that there is on the D string. Now, if we remember from our shapes, the D shape didn't share with any of the others. So, it's a bit of a lone wolf in that respect. So, look. I just have to play it across there. [music] And then root note. Back to the root note again. [music] And I'm back to my E shape. So, I've got E shape octave. G shaped octave. [music] A shaped octave. C shaped octave.

47:37 D shaped octave. And they all lives within that. So, um the thing to get from this is you start to be able to apply the caged octaves then to your um scales, to your chords, to your arpeggios. Yeah? And the blues comes to life. Yes, it does. Yes, it absolutely does. Now, the next thing that I want to show you with this, yeah? Let me just get change this sheet of paper. Where's my sheet of paper gone? I had another sheet of paper that I was going to use. Oh, what's What is it? Is it this one? Right. I've buried it under here. Right. So,

48:23 the thing I wanted to show you is okay, that's a good way to see it. But, what we can also do is we can say, "Okay. Let's look at this from the perspective of just one note and where it lives." And when we're thinking about the one note, the one note is where we start. It's where we start. It could be the root note. It could be the tonic of a key. So, it could be the root note of a chord scale or arpeggio. It could be a scale degree within a scale within a within any scale you can think of. It could be a an interval in a chord. It could be anything. So, we need to be able to find that and be able to adapt it to be able to visualize this stuff.

49:09 Okay? So, look Look at this here. Yeah, well, the flat fifth it it it the flat fifth is it it's it's a fifth that's one fret lower. You know what I mean? It's been flattened. It's It's it Yeah, diminished territory. Diminished responsibility. Right. Let me just take this now. What I'm going to do is I'm going to show you this. I'll play it first. This is a C shaped C, remember? [music] This is an A shaped C. Here's a G shaped C. [music] E shaped C. D shape C. Back to the C shape C cuz I'm in the dusty end of the neck and past the 12th fret. This is the territory that we have to learn. This above here is just a repeat. Good way to think about it, dots. 3 5 7 9. Think of this as 3 5 7 9.

49:55 Yeah? Add 12 to those as well and then you get the the true number. But look, 3 5 7 9. This is why any any lick you that you play here is same playing this at the fifth. Right? Follow the dots. Do do We'll go up here. It's the same lick. I just played it in a different voice. This is the whole point of caged as well, guys, is is it allows you to access all the voices on the guitar because the guitar is like a choir. Yeah? You've got bass, tenor, alto, and soprano voices that you can tap into. And this is means that you can take licks and you can recycle them in different areas of the neck. Okay?

50:41 Hopefully this makes sense. How are we doing on time? We're We've just hit an hour. Woo! Right. Okay. So, what I did there is I played that same note. But what I need to do is I put the guitar down and I'll just quickly I'll go through these here. Let me go through this here. I might have to do another session on this, actually. You know? Um let's have a look. Let's switch here. Switcheroo. From jambaroo. Let's look do this, Tony. Right, let me just So, I've got to straighten this paper out. I'm a pretending I'm a news reader. Right, let's look at this. This is any note. So, you nominate the note. Now, because the way we think about it, the C could be a root note of a chord. You know, it might be the flat third of an A minor

51:27 chord. It might be a any It might be the tonal center for a key um a key center. Yeah? It might be the the tonic. The tone for that key. So, what we need to be able to do is tally this up. Remember those shapes that we had before? Here, these ones. This diagonal, this level line, this triangle, this kind of hook shape here, hockey stick, and then this triangle here. We've got two different triangles there. So, that you could think of that as big triangle, little triangle. I'm not going to get into triangle shapes, guys, because that ends up being a right um prob- It ends up being problematic because people pull me up about me me shape knowledge. You know?

52:12 Me mathematical shape knowledge thing. Let me just see. Can I fit this all in here? Yeah, I can, actually. Look at that. So, what I'm going to do, right, is I'm going to transfer this now over onto here. So, we've got C to C. That's our C shape top tier. And I just want to show you how these all link up up the neck. C shaped octave. There you go. There's your C shaped octave. Because that is the case, we get C. Okay? We get the C there. Going up the next one, we can actually reliably say that we know because it's the caged system, it's going to go C A G E D as we go up the neck. Right? Okay? This is just going up the neck. Look, so up two over two cuz that's what the A shape did. Look, now I'll just plot that out for you so we

52:57 get there to there. Hopefully that makes sense. You can see how that links up there. Next shape we're on to is a G shape. Well, we get the G shape. Look, we go up three over two to get that one. Then what we do is we mirror that over on the thick E string there. So, we go C to C there. Look at that. It's beautiful. So, they've got that one there. We've got that one there. But the way I come at that is up three over two. I probably wouldn't even visualize that. But worth noting is that this pattern comes up again and again, as well. The next shape is going to be the E shape. This is the same note. This is how they all connect up the neck there, guys. Up two over two.

53:43 Yeah? It's exactly the same as this. This is where it's coming from. Yeah? And then what we do is we're going to come up to the D shape next. You can see we're at the 12th fret, which means everything starts again. Look, Eddie ate dynamite, goodbye Eddie. Eddie ate dynamite, goodbye Eddie. So, now what we do is we just join that up there. And we just connect that up. So, this goes up three over two. That's the D shaped octave. And if you if you kind of get your head around that, look, that there and that there is essentially the same thing. This is the range that you you have to know. That from there to there. And we just take that and repeat it up in the dusty end of the neck. Just repeat it up in the dusty end of

54:28 the neck there, guys. So, you could essentially play a C shaped chord, an A shaped chord, a G shaped chord, an E shaped chord, and a D shaped chord, which I'm just about to show you. I will show you. Some of these chords are a little bit harder than others. And if you're a beginner, you might struggle with them. But that's okay because you're a beginner and everybody has to start somewhere. So, let's do this here. Let me just show you this here. Coming up here. So, this is a C shaped C shaped C. [music] Okay? Right? There's the root note. I know that because of that root note, where it is there. [music] There.

55:14 That's an A shaped C. Look how I could play it like that. I don't like playing it like that. But this is part of [music] the thing. Yeah? We've got that shape there. There's the A shape. You need to learn these cuz [music] what we do is we strip it down we go, "Oh, that's the fifth root third five R three." Yeah? It's It's a second inversion triad. [music] Yeah? [music] These note These shapes, that is from an E shape. Yeah? [music]

56:01 That's the C shape. Look. Can you see the C shape? Yeah? So, look, carry on with what I was going to do before. There's the C shape. [music] There's the A shape. But this part here, the A shape, if we play a Bob Dylan G, [music] yeah, we've got three fingers on. We've got the E the A and the other E string all holding notes down, but the D, the G, and the B strings don't have any on. And if you played those notes, you'd see that they were on those strings there. So, it's really it's an A shape hiding inside [music] the G chord there. All right, so what? So, we've got this. There's the C shape. A shape. [music] I'm going to hold down the A shape with my index finger and I'm

56:47 going to make a Dylan G shape here. It's bloody awkward awkward. And there is a G shaped [music] C major. That's the same chord. Listen. C. I've got this [music] bright note on the bottom here because this is higher up the neck. Right? But I could play that like that. I like to use it as an inversion. [music] This is an A. [music] Look at that there. All right? Or you can play the A shape and play the root note here. Yeah, but you have to make sure your intonation's right. This does need a little bit of a setup. So, we've got C shape, A shape, G shape.

57:36 What shape is next? C A G. We just remember the acronym. Yeah? C A G. Okay? And because the G and the E shapes have the same have the same root note on the E string, that's becomes where we play the E shape. So, that's a C using [music] an E shape. Some people get confused that the shape is the chord. That's a C That's a C shaped C. But equally, that's [music] an A shaped C. So, you can have any chord that uses one of these five master shapes. [music] And generally, every chord can be in these master shapes. Some are a little bit trickier than others. And this is how Guitar George knew all these chords.

58:21 [music] So, we've got this here. Look, I'm just going to use my caged octave idea here. Look at this. Up two over two to find my root note to play my D shape. Can you see my D shape there? Look, there's the D shape. I'm switching my fingers around a bit there. It's Yeah, it does work with the D as well. Look, so look, there we go. There. Now look, and and that's something um Greg Robert said there was look, there's a D chord. If we think about it, C A G E D. We've got to the end of the acronym, D. It goes back to C again. So, C A. Yeah, and actually, if I just switch over back to this. And hopefully, I'll use a different color because it will become blatantly obvious when I do this. How these join into each other. Look at

59:07 that D shape. Yeah? Now, if I take the C shape and I'll show you where this pops in. That's the D shape. You see how they connect with each other? It's just a great big Venn diagram, essentially. Yeah? This intersects and this is what I call them. I call them intersects where one chord overlaps onto the other. So, that's a D shape blending into a C-shape. There's the full C-shape, but you can see that and that [music] is the same thing. Yeah, so the shape is part of that thing. And just to demonstrate that, so look, there's the D-shape. There. So, I know that's my root note. Yeah? 5 R 3

59:53 [music] Play the C-shape's octave. Hang on, let me switch my fingers around. There you go. Look, can you see that? Cuz that's a C-shape [music] Cuz that's a C-shaped D. I know that the next note, that note's my important note, that's my root note, cuz it's on the E string. I'm going [music] to play the D there using an A-shape. Here's going to be the G-shape. Here's the E-shape. [music] Um And then here, well, we're back to the beginning again, aren't we, really, because this is the same as [music] this. Intersecting shapes, I'd say, Telefunken. The intervals, they're the the same intervals. It's all just one big sort of pattern, really, if you want to think about it in that way. And then And then it becomes really simple once you have

1:00:40 this idea um with these. The chords that we like to play um the chords that we like to play more more often than not, if we're moving up the neck, are going to be E and [music] A shapes. And when we play those, we play them as majors, minors, [music] majors, minors. And this is important if you want to use something like the L7 grid. We'll do that there. [music] These These [singing] are three E shapes. Yeah? [music] Doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo

1:01:26 doo doo doo doo doo doo doo doo doo Yeah? Um so Yeah? And all I'm doing is I'm manipulating my 5 R 3s because I know I know I've got 5 [singing] R 3, okay? 5 R 3 [music] 5 R 3 Oh, the next one's minor. 5 R 3 Flatten it. It's going to be that. [music] I'm just playing the 5 R 3s there. And we Yeah, I could play it power chords. That's the L7, but I'm thinking to myself, that's an E shape.

1:02:11 [music] I'm definitely thinking that's an E shape. I'm definitely thinking that's an E shape because, look, like I said right at the beginning, [music] remember? There's the where it comes from. [music] Yeah, this one. Hopefully [music] that makes sense there guys. I think I think we've probably we've probably hit the limit of where we can uh go with this today because I don't want to fry your brain. I really don't want to fry your brain. Hopefully you've gained some insights today from this. So, like I do Like I

1:02:58 said before Christmas, I said what I wanted to do is I wanted to have like a teaching component to what I do um in the live streams, but also also an idea of like, you know, doing doing a few Q&As and, you know, there might be some little nuggets. If you want to relate them to this, then it's probably going to be a little bit easier, but it allows Do you know what? Me tea's gone cold. Mm. Oh. Not cold enough. I'll stick with water. And it is water. Yeah, so, okay. So, for those of you who've tuned in, then that's great, but let's have some uh let's have some

1:03:43 questions if you have any questions. Let's do a Q&A. Nancy said she's got the book um out of the mailbox. Yes, thank you, Nancy. Thank you for buying that. Um The cage system, do you know something? I think Let me just speak on that, you know. Let me just speak on it because I've got a video coming up that I think I think mindset's really, really important how you you tackle the guitar. Uh [snorts] and uh And right now, I'm very aware that there's a lot of people There's a lot of people got guitars for Christmas. And Hang on, let me just focus in here. There we go. That's better. There's a lot of people that got guitars for Christmas. Um And we're getting to the end of January

1:04:29 where it hasn't even been picked up because it's a source of frustration. And there's quite a few people on here and and it it makes sense for me to say uh say this, yeah. Focus on playing things that you can recognize, even if it's using one finger. Yeah, if it's the theme from Seven Nation Army, if it's Smoke on the Water, if it's you know, just playing two chords. If it it it just keep it simple. Don't try and jump into the theory side of things too early cuz what we want to do, really, is we want to focus on uh the joy of learning the guitar. You want the association of picking it up as being a

1:05:15 pleasurable thing. It cuz because if it becomes this thing where you you feel guilty about picking it up, yeah, then that's bad. That's really bad because the motivation that you're going to need to pick the [laughter] You're going to Telefunken just just just got me there. Yeah, you got me. Thanks. Um so um [laughter] [gasps] Um so, what I'm saying is is the motivation comes from the progress that you make. The progress that you make. There's some questions coming in now. This is good. So, yeah, that's what I'm saying is is you need to fall in love with your guitar. Yes.

1:06:02 Don't worry about anything too too too theoretical and and nothing, you know. Learn the names of the strings. Learn how to read a bit of tab. Understand chord diagrams. And then tackle some one, two, three chord songs. Some some riffs. Maybe you understand a bit of tab. Get control of your hands. That This is the problem. Controlling these things. Yeah? Because they've been on the ends of your arms all your life and you think, "Oh, yeah, they'll do as they're told." But then, you know, you you sit down to learn to play guitar and you go, "Obviously, that was completely a lie." Yeah? We don't want that. Yeah? We want you to be able to have control of these, but you need to this you need to develop the the motor control first. Yeah, you need to

1:06:47 get that develop that motor control first with this with your hands. So, really, you do that by playing things you love and that will keep you going and you will not quit. Because if you quit, then you've given up on your dream. And that is um awful. No, it's Huddersfield, Paul. Huddersfield in Yorkshire. Yeah, so, okay. There were some questions there. Anton um Jeff said, "Many great players have the same accent you have. Should I be imitating your accent if I really want to be successful?" No, not at all. No, I love my accent. I love being a Yorkshireman. Um I'm very proud of of where I'm from. It's some lovely countryside and

1:07:33 everything else like that and there's a lot of history. Um but yeah, you know, you don't There's no need to adopt the accent um at all. Um Ricky, thumb over or behind the neck in the main. Right, okay. The rule of thumb The rule of thumb is that there is no there is no hard and fast rule. Now, the standard grip is that the thumb would be in this sort of position here. It would be pointing up 12:00 and it would would not be it wouldn't be uh obscuring the neck at all. It wouldn't it wouldn't be popping up over the top at all on a classical guitar, but the thing is with a classical guitar, they have a wider neck. There's a wider more more footprint for your fingers to go on. So, essentially, that grip, you can't help but use that. If you've got an electric

1:08:19 guitar, the neck on an electric guitar and a neck on a classical guitar are completely chalk and cheese. So, the thing is it it the thumb behind the neck is good. Here's what's not good, yeah? And this is if you're holding your chords or you you know, you're holding a chord like this, thumb's up. Yeah? If it goes like this or it goes under. This drives me crazy when I see rock and pop stars being trying to be cool and everything when they play chords like this with the thumb down there. That's a no-no. Because what you're doing is is you're crippling yourself because you haven't got an opposing force. It's all about pivots and fulcrums. Yeah? So, we've got that there. Now, when I play a D, I can play it over there if I want to grab that note there. Let me just focus in on that hand there. So, I could do that. Yeah? Now, this is a fairly thin

1:09:06 neck. Some players like to get the thumb over and grab extra notes on the E string. Cuz the cool thing is, like I said in this lesson, is this is an E string and this is an E string. So, if you've got a note on this E string, you can mirror it. Chuck it over on there. Look. This gives you inversions. [music] I get a low note instead of just using an open D. See, that's more jolly. [music] That sounds a bit more serious. Yeah? So, the thing is that's the rule that's my rule of thumb. But, the thing is it's generally down to the shape of your hands. Yeah? Your hands are the defining factor. If you have long, slim, elegant thumbs and you can get them over the top

1:09:51 just like uh Larry Carlton, Jeff Beck, and Robin Ford, and Jimi Hendrix, and all those guys. They've all got big hands. They've all got big hands. If you've got big hands, then that can be Actually, I've known people with big hands who found it really hard to get chords cuz that's tight. Yeah? It's like, "Oh, I can't get my fingers all in there." So, the the the the it can give in one way, but it can also take away in another way, you know? So, it really rule of thumb is it My my perspective is yes, thumb up at 12:00, never at 9:00. That's what I call shoveling cuz it's how you hold a shovel when you're shoveling snow off your your drive or something. Yeah? But, up 12:00, 11:00,

1:10:36 10:00, it's okay. As long as it's kind of there, and you can feel that it's having an effect and offering an opposing force to the fingers that are going down on the fretboard there. Yeah? Hopefully, that answers your question. Uh uh Annik asks, "Which football club do I support?" Oh, you're going to hate me. Everyone's going to leave now. Everyone's going to leave. Guess which club. If If I say that everybody's going to hate me, yeah, um then you're going to you're going to think Man City. I like Man City. They play beautiful football, man. What can I say? Yeah, I'm a Man City fan. Uh even if they go down, I'll be a Man Man City fan. Um so, um Dem Ravens Are we getting bids on them, please? The thing is I I uh the L7 grade and the 77 grade um those

1:11:23 um uh those uh I was looking at putting them all all in in a book and a course and everything else like that. Um but, do you know what? Once I've got that stuff ready, then I'll just I'll just share it with you anyhow. You know, because the thing is it's like it's all well me putting these videos out on YouTube, but it but YouTube isn't the perfect platform for me to share things in a step-by-step manner where I go, "Okay, do this, do this, do this." You know? Um and building you know a foundation, and then the next layer the next layer and the next layer. Um so, I will be That's the plan for 20 for 2024 is I'll be building some courses out. Excuse me.

1:12:08 Yeah, uh I've already named one. I've I've got something that I'm building called Fretboard Magic, and I will be doing I probably think I'm going to do a like a 5-day live um class thing. I'm not I've not really thought it all fully out yet. Um but, yeah. So, so it will be there, and there'll be PDFs, and there'll be handouts, and there'll be there'll be all all the the the the stuff that you need for that. But, Fretboard Magic so that you can really get a good grip of understanding where everything is on the fretboard. And like I say, you know, I'm not I'm not gate gatekeeping uh this stuff. Um I'm not a gatekeeper for that. Um what I'll do probably do is is I will upload stuff on on YouTube, but I do I do get a lot of comments from people

1:12:55 saying uh "Which order do I start to learn these these lessons, Ricky?" And it's just like, you know, the the way my brain works is that everything is connected. So, you know, I I do a lesson there and I go, "Hang on, that connects to that one." So, how do I put that in a playlist? Hang on, it means I've got to put it in that playlist. I've got to put it in that playlist, that playlist, that and it's out of order. So, everything's out of order on the YouTube channel. You know, they're they're not in the correct sequence. So, so yeah, that's that's the that's the idea with that, and there will be, you know, some other stuff. I just want to make some resources really useful. Um Is it possible to try to assign a number to your videos that shows what order they should be viewed in?

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