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Originally Posted by: mbgold78
1. You were playing C to its octave C. Then you moved to the lower fifth G, to its octave. Switching back and forth between playing them simultaneously seemed harmonious, but Im not sure that was the takeaway?
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I'm referring to lesson 3.

https://www.guitartricks.com/lesson.php?input=13699&s_id=835

I make two points here.

1. The root & the 5th of a scale can be used to alternate between as bass notes in one chord. It gives the music a lot of "activity" or "motion". That's because it is the furthest interval distance you can get from the octaves. So, even though I use the G lower & not in between, you still get that distinctive sound.

C root -> G 5th -> C octave

You can do alternating bass with any note from the scale. But the reason the 5th is so often used is because it provides the biggest & most "forward motion" sound.

2. I pair the leading tone (the major 7th scale degree) with the 5th degree because it's the foundation of tonal music.

C --> B (7th) --> C
C --> G (5th) --> C

So we get two "voices" or simultaneous melodic threads. And this is the basis of tonal music harmony. The entire point of harmony is two things that sound good together. Music is organized sound that happens over the course of time. So when we "look under the hood" to study the engine, to study the technical details of how music actually works in real time, we find that melodies are constructed from a series of scale notes that get built into harmonic progressions called chords.

There is a reason for structure of the scales, chords & harmonic progressions of music theory. And I am outlining the basics of it in this tutorial. All of this assumes you already know that a G chord to a C chord is a V->I chord progression in C major. And that G7 -> C is another possible tonal resolution.

This is pretty steep music theory. :) And if you just a beginner then you should just worry about practicing your guitar & making some music you like. But sometimes people ask "But why?!" So, I wanted to give GT students the answer to that question.

But it does get a little complex. :)

Originally Posted by: mbgold78
2. Then you matched C to its higher octave C and went to the 3rd note from the octave to E. But, when I counted 1 2 3 from the octave C using the scale shape, I did not hit E but a D#, was I not supposed to use the C scale shape from the higher octave c?
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If you count 3 scale degrees up from C you will get E if you use the major scale formula of 2 whole steps from root to major 3rd.

If you count 3 scale degrees up from C you will get E-flat (same things as D#) if you use the minor scale formula of 1 and a half steps from root to minor 3rd.

So it sounds like you just counted a minor 3rd instead of a major 3rd.
[QUOTE=mbgold78]
3. Once you had C,C,E not exactly sure how you were strumming, it sounded like you were only hitting string 5 3 and 2, not sure of your strum technique? When I strum down on all strings it doesn't sound right.

I am using hybrid picking. I pluck the A string with my pick. I pluck the G & B strings with my middle & ring fingers. That helps to avoid the D string all together.
[QUOTE=mbgold78]
4. When you were completing the cadence(i think I'm using the term correctly) by moving to the G position, why did you move from 1 to 7 on the 2 string and E to F on the second? I was assuming G to G and 3 from there?

I was showing the other option of a G7 chord as a V chord.

Both of these are tonal resolutions called a full cadence.

G (V) --> C (I)
G7 (V7) --> C (I)

The G7 is just a more complex version of a V chord.

I use these examples because this simple chord progression is the backbone of Functional Harmony.

Lessons 5 & 6 are more what I wanted you to look at concerning applying the major scale pattern across the guitar. Hope this helps! Have fun!