See how Six String Stevie breaks down real guitar‑theory questions with clarity, structure, and musical insight. These examples show the kind of long‑form, practice‑ready explanations Stevie sends straight to your inbox.
Stevie isn’t a chatbot. He’s a patient, structured guitar tutor who answers the way a good teacher would — with diagrams, fretboard logic, and step‑by‑step reasoning.
Example 1 — “How do I know which scale to use over a ii–V–I?”
The Question
“I understand the chords in a ii–V–I, but I never know which scale to play over each one. How do jazz players decide?”
Stevie’s Answer (excerpt)
Great question! In jazz, the ii–V–I progression is a staple, and choosing scales to play over each chord can really enhance your improvisation.
Typically, here’s a straightforward approach:
- ii Chord (minor chord): Use the Dorian mode or the natural minor scale. For example, in the key of C major, for the Dm7 (D–F–A–C), you might play the D Dorian scale (D–E–F–G–A–B–C).
- V Chord (dominant chord): The Mixolydian mode works well here, as it contains the major third and a flat seventh. Continuing with our C major example, for G7 (G–B–D–F), you can use the G Mixolydian scale (G–A–B–C–D–E–F)…
Example 2 — “What’s the difference between Mixolydian and the blues scale?”
The Question
“I hear people say Mixolydian is the ‘correct’ scale for dominant chords, but the blues scale sounds better to me. What’s the difference?”
Stevie’s Answer (excerpt)
Nice one — let’s break it down.
The Mixolydian scale is indeed a great choice for dominant chords, as it contains the root, major third, and flat seventh. For example, if you’re playing a G7 chord, the G Mixolydian scale would be G-A-B-C-D-E-F, giving you that classic dominant sound.
On the other hand, the blues scale adds a bit more grit and tension. The G blues scale would be G-Bb-C-C#-D-F. This scale includes the flat third and flat fifth…
Example 3 — “How do I practice chord‑tone targeting?”
The Question
“Everyone says to target chord tones, but I don’t know how to practice it. What’s the actual exercise?”
Stevie’s Answer (excerpt)
Love this topic! Targeting chord tones is a fantastic way to enhance your playing and improv skills. Here’s a practical exercise to get you started:
- Choose a Chord Progression: Start with a simple one, like C – G – Am – F.
- Identify the Chord Tones: For each chord, pick out the notes. In C major, that would be C – E – G. For G major, you’d have G – B – D, and so on.
- Create a Scale: Use the corresponding scale for your chords. For example, you can use the C Major scale (C – D – E – F – G – A – B) over the entire progression…
Example 4 — “Why does the Lydian mode sound so bright?”
The Question
“People say Lydian is the ‘brightest’ mode. What makes it sound that way?”
Stevie’s Answer (excerpt)
Great question! The Lydian mode is often described as the “brightest” mode because of its distinctive interval structure. It’s the fourth mode of the major scale, derived from the major scale starting on the fourth degree.
For example, if we take the C major scale (C-D-E-F-G-A-B), the Lydian mode would start on F, giving us F-G-A-B-C-D-E. What sets Lydian apart is the raised fourth scale degree (B in this case) compared to the natural fourth (which would be Bb in F major). This sharp fourth creates a sense of tension and brightness that feels uplifting and expansive…
Example 5 — “How do I build a practice routine that actually improves my playing?”
The Question
“I practice scales and chords, but I don’t feel like I’m getting better. What should a real practice routine look like?”
Stevie’s Answer (excerpt)
It sounds like you’re putting in great effort, and that’s a huge part of improving! A well-rounded practice routine should include a few key elements to help you progress.
- Warm-Up: Start with finger exercises to loosen up. Try doing chromatic scales or simple finger patterns for about 5-10 minutes.
- Scales: Continue practicing your scales, but add variety! Use different techniques like alternate picking, legato, or even playing them in different rhythms. Spend 10-15 minutes focusing on one or two scales.
- Chords: Work on chord changes, not just strumming. Practice transitioning between chords smoothly and maybe even add some embellishments like hammer-ons or pull-offs…
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