Two quick bits of news. I'm now a moderator over at /r/guitarlessons, the part of reddit dedicated to learning guitar. I've also decided to set up a Bandcamp account for future solo electronic releases.

This is a quick note on two superimposition strategies that are quite common in jazz, and that enable you to use your triad and seventh arpeggios to create more sophisticated sounds without having to memorize anything new.

So it's a week since my last post on the subject and two since I started working on this scale with some seriousness. The patterns and sounds are becoming quite familiar now and my main job this week was to find modal applications over different chord qualities. This is an important step in integrating a new sound into your real-world playing rather than just noodling over drones or vamps.

The scale I'm focusing on first is the Superaugmented natural 3. I'd got the CAGED shapes down, meaning I could find the notes of the scale relative to the underlying augmented arpeggio. This week's task was to join these up and be able to play the scale freely all over the fingerboard in any key.

I've spent a little of my practice time over the last two weeks looking at the Ionian b2 scale and some of its modes. I thought it might be useful to post something here about the approach I've taken so far and how I aim to continue the learning process this week.

Six months and more than 6,000 downloads later, I've just released a new edition of Scale and Arpeggio Resources. As well as fixing a few errata I've been collecting since the first one came out I've also added a substantial number of octatonic scales. The link is the same as the previous edition; grab your copy today!

I've been experimenting with hypermodes for a while now and thought I'd share both the theory and a practical application here.

Just now I'm slightly obsessed with the amount we can learn from sportspeople about practice and this article struck me as interesting. Replace "competition" with "gig" and you're most of the way there.

A very common question from students is how we can tell which chords as "in key with" a particular scale. This came up today on /r/guitarlessons so I thought it might be worth a quick post.

Fill your boots -- my 400-page Slonimsky book for guitarists is now available as a free download. The scale book has had over 4000 downloads in just a few months, but I suspect this one will be a little more narrow in its appeal...