**** Don’t Blame Me by Miles Davis and Charlie Parker: Nevermind the Musicians, This Jam Is Dated

It is too bad that the recording production on this one just doesn’t cut the mustard, and that is the sole reason why I subtracted a star.  True, I probably wouldn’t say that if it was an aged guitar album, such as something Django Reinhardt released.  I love Django Reinhardt and own a good share of his better music, which I have counted as precious as modern jazz albums.  The same is true of some other early pioneers in jazz guitar.

As recording technology has increased, this album has increasingly been becoming a historical album and not a sensational album.  True, Miles Davis and Charlie Parker were some of the greatest musicians that ever were, and these are some of the greatest swinging songs ever written.  They are standards in the Real Book 1, which I had back in my younger days as a guitarist when I played jazz.  Really, not only are these standards, but these songs are staples, the bread and butter of jazz.  So, I encourage you to skip out on buying this album, and go to the local wine bar where you will get a chance to listen to these songs live and hopefully revitalized as they were meant to be listened to. 

** Determination by God Forbid: It’s hard to tell where they went wrong on this one

This album was released during my stay at Gordon College.  It’s a long story why I was there, so I’ll skip it.  I saw Determination in a mall in northern MA, near Gordon.  I couldn’t believe it!  A band whom I had known when they were nobodies had made their way into a shopping mall.  I can’t say it is a sellout album either.  It is just that it is a mediocre album that really adds nothing to the genre that has not been done before, and it seems that the song craftsmanship had fallen short of my expectations I had since listening to Reject the Sickness.

**** Reject the Sickness by God Forbid - Years Ago What Came to Mind Is: Loads of Promise

I count myself as blessed to have been with God Forbid since the beginning.  I remember going to a show in NJ when hardly anybody was there.  I showed because I thought their demo Matt played for me had promise.  Reject the Sickness is a follow up 1^st real album that slams as hard as any band out there, especially those that walk the metalcore genre.

I remember talking with Dallas at a party near Rutgers University in Jersey and he was like, “We want to play hardcore shows because people are more into the music.”  He described how playing metal shows was like going to assembly of people that stood still with a scowl on their face and were boring.  To a certain extent I agree with that.  For example, starting a pit or any movement at all at Dimmu Borgir’s first USA show was futile. 

One can’t neglect the heaviness of Reject the Sickness.  This album is far heavier than Slayer’s Reign in Blood.  Certainly, Dallas wasn’t meaning to disrespect metal bands like Slayer, that much is clear!  Around that time I had recently seen Slayer live in Jersey, and believe me the crowd had no shortage of movement, and that is not what he was speaking out against.  Thus, it is such, following in the way of their forefathers like Slayer, God Forbid instead of being a follower became heavier than their predecessor.  Slayer did the same thing with Venom, and Venom did the same thing with Black Sabbath and/or Deep Purple.  And, it is no doubt to me that every band has its influences.

2nd Hopping Wires 1, 2, 5, 2, and in 4s

Note1:  I learned how to play a guitar strung for a righty as a left hand person.  Thus, some of these exercises are extremely difficult, while doing other things on my guitar come much more naturally.  This is what landed me in a good jazz band while I was still in High School.  However, to be a real player, I had to become completely ambidextrous.  That is, as a lefty, I had to make my right hand to be the dominant hand.  However, these exercises are every bit as relative to any player, ambidextrous, righty or lefty.  I do believe one of the greatest aspects of guitar as a musical instrument is that it enables a player to challenge himself or herself, especially their weaker hand.  Some of these exercises may come easy for you, but I can almost guarantee that they all won’t.

Note2:  When making the lesson name, the numbering system used reflects each note of the system with respect to the major scale, where “1,” is the root note of the Ionian Major scale, and all Ionian notes are considered to be major, instead of flat or sharp.

Note3:  These notes can be played on strings 1 and 2, 2 and 3, 3 and 4,  and 5 and 6, where 1 is the fattest string and 6 is the thinnest string.  Notice that the 4^th and 5^th string are not included, and that is due to the effect of standard tuning, such that the nature of the intervals would change.

Note4: The pick can be gripped in several different ways.  Personally, these days I usually grip it between my thumb and index finger.  However, for more power, consider practicing  by holding the pick also with the middle, and/or the ring finger.  This is especially important with acoustic guitars where the power with which one strikes the guitar is usually very important.

Note5:  These exercises are meant to do with great amounts of repetition.  Each time you play them, count the 4 notes, and stress the first of the 4 every time.  Repetition is the key to success.  I have probably done each of these exercises millions of times.

The Lesson Itself

2:1  The root is always played with the index finger in this exercise.  The 2^nd is always played with the ring finger in this exercise.  The 5^th is always played with the ring finger.  Thus, in this exercise while one moves across the strings, the guitar player alternated between 2 two fingers, his or her index finger and his or her ring finger.

2:2  While one can move them all around the neck, there is very little difference in the style used, except when using different strings, as where on the string it is played is practically null and void.  However, that which is null and void here, is very important in other exercises where one might consider modal or pentatonic playing.

2:3  When one picks the notes; in this exercise alternating picking is used, which is described by up and down movements as opposed to a style that would use all down strokes.  The reason for this is that this style of picking is often used for the purpose of developing speed, as well as fluidity when switching from string to string.  And, besides, I suggest doing all down strokes plenty in other exercises.

2:4  So, to start, tune your guitar to standard tuning, and pick a place on the fret board.

2:5  Whether you are positioned at the 12^th fret, the 7^th fret, the 5^th fret, or the 1^st fret, or any other fret for that matter, on the string that are used in doubles for this exercise, the pattern remains the same.  The index finger will play the lowest note.  The ring finger plays a whole step up from the index finger, which is 2 frets.  For example, if you are positioned at the 5^th fret, you would play the 5^th fret with your index on the 5^th string, and then the 2^nd note with your ring finger at the 7^th fret, or if you are positioned at the 12^th fret, the 2^nd note becomes the 14^th fret in the pattern.

2:6  Next, comes the all important string skip.  With your picking hand, skip from the 7^th fret, which you just played, to the 7^th fret, one string higher (the 6^th string).  For example, if you started on the 3^rd fattest string, the 3^rd string, play root, then one whole step up, and then, on the 4^th fattest string play the 5^th which is the 3^rd note of the sequence.

2:7  Lastly, skip back to the 2^nd interval, which is the 2^nd note that was played on a lower string used for this exercise.  Use alternating picking throughout the exercise.

18th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1. Root, flat 3, 4, root

Introduction to the Lesson

A.     1^st 1^st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes

a.      1st Killing the 1^st Position Blues Pentatonic Scales in 4s on the 1^st and 2^nd Strings

1.      1^st 27 Lessons for Mode 1 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1

·         18^th  Blues Pentatonic Drill:  2 Fattest Strings. Mode 1, Position 1.  Root, flat 3, 4, root

Note1:  Please note, that I call the fattest string, the 1^st string.  Thus, the second fattest string would be the 2^nd string, and the skinniest string would be the 6^th string, and so on.

Note2: If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately!  Please!  It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note3: 1: Refers to the section of pentatonic drills.  In this case, 1 means that the drill is for 1 and 2 strings.  For example, the second section uses 3 strings.

Note4: 1:1  The 2^nd 1 of 1:1 refers to the position of the blues pentatonic scale that is used.  As a pentatonic scale has 5 notes, there are 5 positions.  These positions are all part of a scale.  One can switch between positions and not play any wrong notes.  1:1a-1:1e in its entirety can be raised/lowered as much as 11 half steps to result in modes with root notes in different keys.  Also, note that the pattern changes between the 1^st and 2^nd strings because the intervals between open strings when using standard tuning are not always the same.

1:1a  Position 1 in the key of E minor is as follows.  1^st string; 12^th fret and 15^th fret.  2^nd string; 12^th and 14^th fret.  3^rd string; 12^th and 14^th fret.  4^th string; 12^th and 14^th fret.  5^th string; 12^th and 15^th fret.  And the 2^nd string follows the same pattern as the 1^st string.

1:1b  Position 2 in the key of E minor is as follows.  1^st string; 3^rd and 5^th fret.  2^nd string; 2^nd and 5^th fret.  3^rd string; 2^nd fret and 5^th fret. 4^th string; 2^nd and 4^th fret. 5^th string; 3^rd and 5^th fret. And the 6^th string 3^rd and 5^th fret.

1:1c  Position 3 in the key of E minor is as follows.  1^st string; 5^th and 7^th fret.  2^nd string; 5^th and 7^th fret.  3^rd string; 5^th and 7^th fret. 4^th string; 4^th and 7^th fret.  5^th string; 5^th and 8^th fret.  6^th string 5^th and 7^th fret.

1:1d  Position 4 in the key of E minor is as follows.  1^st string; 7^th and 10^th fret.  2^nd string; 7^th and 10^th fret.  3^rd string; 7^th and 9^th fret.  4^th string; 7^th and 9^th fret. 5^th string; 8^th and 10^th fret. And on the 6^th string 7^th and 10^th fret.

1:1e  Position 5 in the key of E minor is as follows.  1^st string; 10^th and 12^th fret.  2^nd string; 10^th and 12^th fret.  3^rd string; 9^th and 12^th fret.  4^th string; 9^th and 12^th fret. 5^th string; 10^th and 12^th fret. 6^th string 10^th fret and 12^th fret.

Note5: 1:1:1  The third 1 of 1:1:1 refers to the mode of the pentatonic scale that is used.  There are 5 modes.  Though there is at least one major mode and one minor mode, to my knowledge, these modes don’t commonly go by names such as Lydian, or Ionian.

Note6: 1:1:1:7  The 4^th in the sequence: 1:1:1:7 is a 7 and refers to the specific lesson title.  That is that this lesson is a drill that uses the Root note, the 4^th note, and the 5^th note of the 7 note major scale in a pattern, rather than the 4^th and 5^th of the pentatonic scale, etcetera.  That way a 5^th is always going to be a 5^th, even it is the 4^th mode of the pentatonic scale, where a 5^th would be the 5^th note of a major scale with 7 notes.

Note7: A pentatonic scale is a 5 note scale.  Usually, for the blues pentatonic scale, scalar positions have 2 notes per string.  That is there are, 2 possible notes on the 1^st string, 2 possible notes on the 2^nd string, 2 possible notes on the 3^rd string, 2 possible notes on the 4^th string, 2 possible notes on the 5^th string and 2 possible notes on the 6^th string for any given position.  The notes for these exercises will all be played on the 1^st and 2^nd strings, which are the 2 fattest strings.  If your guitar is a standard 6 string with standard 6 string tuning then sometimes the 1st string is called the low E string, and the 2nd string is called the A string.

Note8:  I will call the first mode of the blues pentatonic scale to be a minor scale.   5 notes of this pentatonic pattern follow the formula; root, flat 3, 4, 5, and flat 7, where the next note is an octave where the scale repeats itself.  Perhaps, it would be better to call it a hexave, but since intervals are told usually with respect to a 7 note major scale, the 8^th note of the Ionian mode, which is another name for a classical major scale is an octave.  An octave is the same note as the root note, only an octave higher.  In addition, one is often able to solo interchangeably between say the Dorian mode, and a minor Pentatonic scale, where according to the Dorian mode, such that the 8^th note is called an octave, while the same note when only using a minor pentatonic scale could be thought of as a hexave, the 6^th note.  For example, in A Dorian, the octave is the note A, while in A minor pentatonic the hexave is also an A note.  The reason for this paradox is that there are a different number of notes for the scales in question.  That is for A Dorian it takes 7+1 notes to get to the octave, and for A minor pentatonic, which is a similar scale it take only 5+1 notes to get to the same interval, such that it makes sense to determine intervals as relative to the Ionian mode, of which the intervals are 1 (the root), 2, 3, 4, 5, 6, 7, and the 1, which is also 8, which is also the octave.  The reason for this is that the Ionian mode is to be thought of as having no sharp intervals or flat intervals, even though these scales can be written with sharp notes or flat notes, depending on the key in classical notation.  Here, I have placed before the reader a key to some of the paradox I have written where note and interval may be considered as synonyms, or they might take on a different definition.  Noting this paradox is key for musicians, because notes can be intervals and intervals can be notes, yet if the word interval is used, it will always be with respect to the notes of the Ionian mode, commonly called the major scale, and it is such that for example the notes of the C major scale pattern can be moved up a half step, etc, and the result of moving the scale up a half step can be a Ionian mode in the key of C# major, which has sharps and/or flats on a G clef, etc, though it’s intervals with respect to the Ionian mode are neither flat nor sharp.

The Lesson Itself

1:1:1:18:1   The root note will be the lowest note for this exercise.  The root note does not have to be the first note, nor the lowest note, but for this lesson it will be.  Laying out the pattern root, flat 3, 4, 5, on a fret board that has standard tuning will always follow the following pattern:  On the 1^st string, the root will be the first note, and the second note of the pentatonic scale ascends 3 half step on the same string, which is the 1^st string, and the 4^th is a whole step up from flat three, and is at the same fret as the root note, but on the 2^nd string.  Like the 4^th, the 5^th is also played on the 2^nd string.  This 4 note pattern represents a cross section of the blues pentatonic scale, where each drill will contain between 2 to 4 of this pattern of notes.

1:1:1:18:2  The time signature will be 4/4 time.  That means that it is to be counted in 4s.  Where the 1st note of the 4 note sequence is played slightly louder than or stressed compared the rest.

1:1:1:18:3  Time to play.  Make sure your guitar is in tune, and has standard tuning.  In another blog, I describe how this is to be accomplished through the usual methods.

1:1:1:18:4  With your middle finger play the 12^th note of the 1^st string with a down stroke.  This place on the fret board is usually designated with a double dot marking.  This should be an E note.  Use your right hand to mute all the strings except for the string that is being played.  The next note to be played is a play is a flat 3^rd  from the E.  It is also an G note, and played with an upstroke.  It is at the 15^th fret but on the 1^st string.  It is to be carefully played with the pinky finger such that pain does not occur.  If you feel unable to do this don’t force your hand to play it because that is how injuries occur.  Play the 3^rd note on the 2^nd string with the index finger, such that the transition actually causes the 1^st string to be muted.  This note is played with an down stroke and is an A note.  In this case the 4^th note is the root note in the key of E minor.  The root is the 4^th note of the sequence.  It is to be played on the 1^st string.  It is played with an upstroke at the 12^th fret with the pinky finger.  Again, it is good to try to mute all the strings, except for the one that you are playing.  Thus, it is such that with this exercise, a pattern is created, with ones fingers, index, middle, ring, and pinky.

1:1:1:18:5  Next repeat this pattern, always using a down stroke on the 1^st sting when playing the root note.  Play the pattern four times.  Later, sometimes I will indicate that you should use down strokes for each note that is played.

1:1:1:18:6  Next, play the same pattern a half step lower.  These steps of moving this pattern up and down the fret board cause key changes.  It will follow the pattern, 1^st string 11^th fret using the index finger, 1^st string 14^th fret using the pinky finger, 2^nd string 13^th  fret using the ring finger, and finish with the 4^th note on the 1^st string at the 11^th fret using the index finger.  This is the key of E flat.  Play this four times, counting 4s.  Then, repeat the pattern of 1:1:1:18:6 picking with all down strokes.

1:1:1:18:7 Next, play the same pattern a half step lower, the key of D.  That is, these steps of moving this pattern up and down the fret board cause key changes.  This sequence will follow the pattern, 1^st string 10^th fret using the middle finger, 1^st string 13^th fret using the pinky finger, 2^nd string 12^th  fret using the ring finger, and finish with the 4^th note on the 1^st string at the 10^th fret using the pinky.  Play this four times, counting 4s.  Then, repeat the pattern of 1:1:1:18:7 picking with all down strokes.

1:1:1:18:8  Repeat the above described pattern moving up and down the fret board, changing keys every time the pattern is moved.  This pattern is well establish in pentatonic lessons 1-10.

1:1:1:18:9 Repeat 1:1:1:18:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.

1:1:1:18:10  If possible on your guitar, you may wish to continue this pattern above the 12^th fret.  On some guitars, it may be possible to go up to the 24^th fret, if your guitar has one, with this pattern.

1:1:1:18:11  After having worked your way above the 12^th fret, now work your way back.

66th Guitar Snake River Rapids Exercises: Index, Middle, Pinky, Ring, Index in 5s

Note:  If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately!  Please!  It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note2:  Palm muting refers to muting the actual string that you are playing, and all the other strings.

Note3:  Without palm muting refers to not muting the string your are playing, while you are playing it, but then muting it after each note, while muting all the other strings.

Note4:  Down strokes refers to playing a string only with a downward motion of the pick.  Thus, the pick starts high hits the string and bounces off, and instead of picking the note with an upstroke of the pick on the rebound, return to a position with the pick above the string before making another down stroke.  This is a style of play Metallica commonly uses.  Generally, a down stroke sounds heavier than an upward stroke, such that using all downward strokes makes for a heavier sound.

Note5:  Alternating strokes refers to picking with upward strokes and downward strokes.  The purpose of alternating strokes is usually to gain speed while picking.

Note6:  Counting 5s may sound irregular or unusual to the person playing them, and this is only because so few songs actually use 5s, but nonetheless, a good guitar player should know how to play and count 5s.

65:1  The first set of exercises I gave was primarily so that one doesn’t injure their fretting hand by stretch too much.  Next, I increased the “jiggas,” giving a picking hand work out.  The lesson-blogs between 40 to 63  are on strengthening speed and finger motility.  The 5s rapids series deals with the odd time signature 5/5 time, which is usually counted 2 then 3, or 3 then 2, but if you are able I encourage you not to split your counting though I realize that may not be possible.

65:2  The exercises in this blog will involve the index finger, the middle finger, the ring finger and the pinky finger.

65:3  On string 6, at the 12^th fret, play the following pattern using all down strokes: 12^th fret w/index finger, 13^th fret with your ring finger, 13^th fret with your middle finger, 15^th fret with your pinky finger, and 12^th fret w/index finger.  There are 5 notes in this pattern, and I encourage students to try to count all five of them, not splitting 5 into smaller time signatures.

65:4  On string 6, at the 11^th fret, play the following pattern using all down strokes: 11^th fret w/index finger, 12^th fret with your middle finger, 14^th fret with your pinky finger, 13^th fret with your ring finger, and 11^th fret w/index finger.

65:5  On string 6, at the 10^th fret, play the following pattern using all down strokes: 10^th fret w/index finger, 11^th fret with your middle finger, 13^th fret with your pinky finger, 12^th fret with your ring finger, and 10^th fret w/index finger.

65:6  On string 6, at the 9^th fret, play the following pattern using all down strokes: 9^th fret w/index finger, 10^th fret with your middle finger, 12^th fret with your pinky finger, 11^th fret again with your ring finger, and 9^th fret w/index finger.

65:7  On string 6, at the 8^th fret, play the following pattern using all down strokes: 8^th fret w/index finger, 9^th fret with your middle finger, 11^th fret with your pinky finger, 10^th fret again with your ring finger, and 8^th fret w/index finger.

65:8  On string 6, at the 7^th fret, play the following pattern using all down strokes: 7^th fret w/index finger, 8^th fret with your middle finger, 10^th fret with your pinky finger, 9^th fret with your ring finger, and 7^th fret w/index finger, and 7^th fret w/index finger.

65:9  On string 6, at the 6^th fret, play the following pattern using all down strokes: 6^th fret w/index finger, 7^th fret with your middle finger, 9^th fret with your pinky finger, 8^th fret with your ring finger, and 6^th fret w/index finger.

65:10  On string 6, at the 5^th fret, play the following pattern using all down strokes: 5^th fret w/index finger, 6^th fret with your middle finger, 8^th fret with your pinky finger, 7^th fret with your ring finger, and 5^th fret w/index finger.

65:11  On string 6, at the 4^th fret, play the following pattern using all down strokes: 4^th fret w/index finger, 5^th fret with your middle finger, 7^th fret with your pinky finger, 6^th fret with your ring finger, and 4^th fret w/index finger.

65:12  On string 6, at the 3^rd fret, play the following pattern using all down strokes: 3^rd fret w/index finger, 4^th fret with your middle finger, 6^th fret with your pinky finger, 5^th fret with your ring finger, and 3^rd fret w/index finger.

65:13  On string 6, at the 2^nd fret, play the following pattern using all down strokes: 2^nd fret w/index finger, 3^rd fret with your middle finger, 5^th fret with your pinky finger, 4^th fret with your ring finger, 2^nd fret w/index finger.

65:14  On string 6, at the 1^st fret, play the following pattern using all down strokes: 1^st fret w/index finger, 2^nd fret with your middle finger, 4^th fret with your pinky finger, 3^rd fret with your ring finger, and 1^st fret w/index finger.

65:15  On string 6, at the 2^nd fret, play the following pattern using all down strokes: 2^nd fret w/index finger, 3^rd fret with your middle finger, 5^th fret with your pinky finger, 4^th fret  with your ring finger, and 2^nd fret w/index finger.

65:16  On string 6, at the 3^rd fret, play the following pattern using all down strokes: 3^rd fret w/index finger, 4^th fret with your middle finger, 6^th fret with your pinky finger, 5^th fret with your ring finger, and 3^rd fret w/index finger.

65:17  On string 6, at the 4^th fret, play the following pattern using all down strokes: 4^th fret w/index finger, 5^th fret with your middle finger, 7^th fret with your pinky finger, 6^th fret with your ring finger, and 4^th fret w/index finger.

65:18  On string 6, at the 5^th fret, play the following pattern using all down strokes: 5^th fret w/index finger, 6^th fret with your middle finger, 8^th fret with your pinky finger, 7^th fret with your ring finger, and 5^th fret w/index finger.

65:19  On string 6, at the 6^th fret, play the following pattern using all down strokes: 5^th fret w/index finger, 7^th fret with your middle finger, 9^th fret with your pinky finger, 8^th fret with your ring finger, and 6^th fret w/index finger.

65:21  On string 6, at the 7^th fret, play the following pattern using all down strokes: 7^th fret w/index finger, 8^th fret with your middle finger, 10^th fret with your pinky finger, 9^th fret with your ring finger, and 7^th fret w/index finger.

65:21  On string 6, at the 8^th fret, play the following pattern using all down strokes: 8^th fret w/index finger, 9^th fret with your middle finger, 11^th fret with your pinky finger, 10^th fret with your ring finger, and 8^th fret w/index finger.

65:22  On string 6, at the 9^th fret, play the following pattern using all down strokes: 9^th fret w/index finger, 10^th fret with your middle finger, 12^th fret with your pinky finger, 11^th fret with your ring finger, and 9^th fret w/index finger.

65:23  On string 6, at the 10^th fret, play the following pattern using all down strokes: 10^th fret w/index finger, 11^th fret with your middle finger, 13^th fret with your pinky finger, 12^th fret with your ring finger, and 10^th fret w/index finger.

65:24  On string 6, at the 11^th fret, play the following pattern using all down strokes: 11^th fret w/index finger, 12^th fret with your middle finger, 14^th fret with your pinky finger, 13^th fret with your ring finger, and 11^th fret w/index finger.

65:25  On string 6, at the 12^th fret, play the following pattern using all down strokes: 10^th fret w/index finger, 13^th fret with your middle finger, 15^th fret with your pinky finger, 14^th fret with your ring finger, and 12^th fret w/index finger.

65:27  Repeat exercises 65:3 – 65:25 on the string 5.

65:27  Repeat exercises 65:3 – 65:25 on the string 4.

65:28  Repeat exercises 65:3 – 65:25 on the string 3.

65:29  Repeat exercises 65:3 – 65:25 on the string 2.

65:30  Repeat exercises 65:3 – 65:25 on the string 1.

65:31  Repeat exercises 65:3 – 65:30 using alternating strokes (up and down) instead of just down strokes.

65:32 Repeat 65:3 – 65:30 without palm muting w/down strokes.

65:33 Repeat 65:3 – 65:30 w/palm muting and w/down strokes.

65:34 Repeat 65:3 – 65:30 w/alternating strokes, w/palm muting.

65:35  If it feels comfortable, this pattern can be played at higher frets than the ones listed.  For example, on string 6, at the 13^th fret, play the following: 13^th fret w/index finger, 14^th fret with your middle finger, 16^th fret w/your pinky finger, 15^th fret w/ring finger, and 13^th fret w/ index finger.

65:36  Follow the pattern in 65:3 - 65:33 as far up the frets is as still easy or playable on your guitar. 

65:37  Then, feel free to work your way back to the 12^th fret using the same pattern.  Possibly consider moving the pattern down the fret in whole steps.  For example, start at the pattern at the 19^th fret, then the 17^th fret, then the 15^th fret, then the 13^th, then the 11^th fret.

1:1:2:3 3rd Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 6, root, 6.

1:1:2:3 3^rd Blues Pentatonic Drill:  2 Fattest Strings.  Mode 2, Position 1.  Root, 6, root, 6.

Introduction to the Lesson

A.     1^st 1^st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes

a.      1st Killing the 1^st Position Blues Pentatonic Scales in 4s on the 1^st and 2^nd Strings

2.       2^nd 20 Lessons for Mode 2 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1

·         3^rd Blues Pentatonic Drill:  2 Fattest Strings.  Mode 2, Position 1.  Root, 6, root, 6.

Note1:  Please note, that I call the fattest string, the 1^st string.  Thus, the second fattest string would be the 2^nd string, and the skinniest string would be the 6^th string, and so on.

Note2: If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately!  Please!  It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note3: 1: Refers to the section of pentatonic drills.  In this case, 1 means that the drill is for strings 1 and 2.  For example, the second section uses 3 strings.

Note4: 1:1  The 2^nd 1 of 1:1 refers to the position of the blues pentatonic scale that is used.  As a pentatonic scale has 5 notes, there are 5 positions.  These positions are all part of a scale.  One can switch between positions and not play any wrong notes.  1:1a-1:1e in its entirety can be raised/lowered as much as 11 half steps to result in modes with root notes in different keys.  Also, note that the pattern changes between the 1^st and 2^nd strings because the intervals between open strings when using standard tuning are not always the same.

1:1a  Position 1 in the key of E minor is as follows.  1^st string; 12^th fret and 15^th fret.  2^nd string; 12^th and 14^th fret.  3^rd string; 12^th and 14^th fret.  4^th string; 12^th and 14^th fret.  5^th string; 12^th and 15^th fret.  And the 2^nd string follows the same pattern as the 1^st string.

1:1b  Position 2 in the key of E minor is as follows.  1^st string; 3^rd and 5^th fret.  2^nd string; 2^nd and 5^th fret.  3^rd string; 2^nd fret and 5^th fret. 4^th string; 2^nd and 4^th fret. 5^th string; 3^rd and 5^th fret. And the 6^th string 3^rd and 5^th fret.

1:1c  Position 3 in the key of E minor is as follows.  1^st string; 5^th and 7^th fret.  2^nd string; 5^th and 7^th fret.  3^rd string; 5^th and 7^th fret. 4^th string; 4^th and 7^th fret.  5^th string; 5^th and 8^th fret.  6^th string 5^th and 7^th fret.

1:1d  Position 4 in the key of E minor is as follows.  1^st string; 7^th and 10^th fret.  2^nd string; 7^th and 10^th fret.  3^rd string; 7^th and 9^th fret.  4^th string; 7^th and 9^th fret. 5^th string; 8^th and 10^th fret. And on the 6^th string 7^th and 10^th fret.

1:1e  Position 5 in the key of E minor is as follows.  1^st string; 10^th and 12^th fret.  2^nd string; 10^th and 12^th fret.  3^rd string; 9^th and 12^th fret.  4^th string; 9^th and 12^th fret. 5^th string; 10^th and 12^th fret. 6^th string 10^th fret and 12^th fret.

Note5: 1:1:2  The third 1 of 1:1:2 refers to the mode of the pentatonic scale that is used.  There are 5 modes.  Though there is at least one major mode and one minor mode, to my knowledge, these modes don’t commonly go by names such as Lydian, or Ionian, yet usually the exercises of 1:1:2 are considered to outline the Lydian scale, which is mode 4 of the major scale.

Note6: 1:1:2:7  The 4^th in the sequence: 1:1:2:7 is a 7 and refers to the specific lesson title.  That is that this lesson is a drill that uses the Root note, the 4^th note, and the 5^th note of the 7 note major scale in a pattern, rather than the 4^th and 5^th of the pentatonic scale, etcetera.  That way a 5^th is always going to be a 5^th, even it is the 4^th mode of the pentatonic scale, where a 5^th would be the 5^th note of a major scale with 7 notes.

Note7: A pentatonic scale is a 5 note scale.  Usually, for the blues pentatonic scale, scalar positions have 2 notes per string.  That is there are, 2 possible notes on the 1^st string, 2 possible notes on the 2^nd string, 2 possible notes on the 3^rd string, 2 possible notes on the 4^th string, 2 possible notes on the 5^th string and 2 possible notes on the 6^th string for any given position.  The notes for these exercises will all be played on the 1^st and 2^nd strings, which are the 2 fattest strings.  If your guitar is a standard 6 string with standard 6 string tuning then sometimes the 1st string is called the low E string, and the 2nd string is called the A string.

Note8:  I will call the first mode of the blues pentatonic scale to be a minor scale.  However, this is section 2, and section 2 outlines a major scale, usually considered to be Lydian, or mode 4 of the major scale.

The Lesson Itself

1:1:2:3:1   The 2^nd note will be a major note for this exercise, such that the these exercises are in major keys.  Major notes generally sound happy.  Often times the 3^rd, which is not played in this exercise is thought to be the most important note when determining the mode.  However, in this exercise the root and the 6^th are used, and since the 6^th is played a 3 frets back from the root note, this interval is considered to be a minor 3^rd, but the way it will be played will be such that it is a major 6^th.  The 3^rd interval is not used in this exercise though the key is minor.

1:1:2:3:2  The time signature will be 4/4 time.  That means that it is to be counted in 4s.  Where the 1st note of the 4 note sequence is played slightly louder than or stressed compared the rest.

1:1:2:3:3  Time to play.  Make sure your guitar is in tune, and has standard tuning.  In another blog, I describe how this is to be accomplished through the usual methods.

1:1:2:3:4  With your pinky play the 15^th note of the 1^st string with a down stroke.  This should be a G note.  It is usually easiest to locate with respect to the 12^th fret, which often has two dots on the fret board, or it usually has a distinctive design from the other designs that may be on the fret board.  Use your right hand to mute all the strings except for the strings that are being played.  The next note to be played is a 6^th from the G, meaning that it is a E note, and played with an upstroke.  Thus, while the pentatonic scale only has 5 notes, it is such that the as I am describing the pentatonic scale via the 7 note Ionian (major) scale, it is such that there are more than 5 possible intervals.  Thus, the 6^th is at the 12^th fret but on the 1^st string in the key of G major.   Thus, it is proved that a scale need not have all major notes to be major overall.  Likewise, a minor scale need not have all minor notes.  It is to be carefully played with the index finger, such that pain does not occur.  If you feel unable to do this don’t force your hand to play it because that is how injuries occur.  Play the 3^rd note, the root note, G, on the 1^st string with the pinky finger, keeping unused strings muted.  This note is played with an down stroke, specifically a G note.  In this case the 4^th note is an E note in the key of G major.  The 6^th , meaning the interval described by note differential according to the most common 7 note major scale is the 4^th note of the sequence.  It is to be played on the 1^st string.  It is played with an upstroke at the 12^th fret with the index finger.  Again, it is good to try to mute all the strings, except for the one that you are playing.  Thus, it is such that with this exercise, a pattern is created, with ones fingers.

1:1:2:3:5  Next repeat this pattern, always using a down stroke on the 1^st sting when playing the root note.  Play the pattern four times.

1:1:2:3:6  Next, play the same pattern a half step lower.  These steps of moving this pattern up and down the fret board cause key changes.  It will follow the pattern, 1^st string 14^th fret using the pinky finger, 1^st string 11^th fret using the index finger, 1^st string 14^th fret using the pinky finger, and finish with the 4^th note on the 1^st string at the 11^th fret using the index finger.  This is the key of E flat major.  Play this four times, counting 4s.  Then, repeat the pattern of 1:1:2:3:6 picking with all down strokes.

1:1:2:3:7 Next, play the same pattern a half step lower, the key of F major.  That is, these steps of moving this pattern up and down the fret board cause key changes.  This sequence will follow the pattern, 1^st string 13^th fret using the pinky finger, 1^st string 10^th fret using the index finger, 1^st string 13^th  fret using the pinky finger, and finish with the 4^th note on the 1^st string at the 12^th fret using the index finger.  Play this four times, counting 4s.  Then, repeat the pattern of 1:1:2:3:7 picking with all down strokes.

1:1:2:3:8  Repeat the above described pattern moving up and down the fret board, 1, 2, or 3 frets at a time, changing keys every time the pattern is moved, such that the amount of places this pattern is played is maximized.  If possible on your guitar, you may wish to continue this pattern above the 12^th fret.  On some guitars, it may be possible to go up to the 24^th fret, if your guitar has one, with this pattern.  It is such that I suggest, after working your way above the 12^th fret as high as is comfortably possible, that it is good to work your way back.

1:1:2:3:9 Repeat 1:1:2:3:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.

2013 100 CD Changer – Are These The End Times

I review quite a bit of music, and mostly that is because I love music so much.  I have a 100 compact disk changer that mixes my music, and about once every 6 months, I give an update as to what is in it.  When I was about to post the June/July mix, it turned out that I got hospitalized in the psych ward for a month, so the time before this time I skipped the post because I had no computer access, much less internet access in the hospital, or even access to my own home where the cd changer is located.  This time I noticed that some of my favorites made it out of the disc changer without a review, and I honestly don’t know how that happened, but they will be back in when I can fit them in a slot.
1. Kings of Damnation Era by Black Label Society
2. Soul Sirkus
3. Without a Net First Set by the Grateful Dead
4. What If and Dregs of Earth by the Dixie Dregs
5. Mind’s Eye by Vinnie Moore
6. Grace for Drowning Vol. 2 like dust I have cleared from my eye by Steve Wilson
7. Stand Up and High Tension Wires by Steve Morse
8. Free Fall and Unsung Heroes by the Dixie Dregs
9. Time Odyssey by Vinnie Moore
10. Veritas by the Alex Skolnick trio
11. Night of the Living Dregs and California Screamin’ by the Dixie Dregs
12. My Favorite Things by John Coltrane
13. Self titled by Niacin
14. Islands and Larks Tongues by King Crimson
15. …And Justice for All by Metallica
16. Emergent by Gordian Knot
17. Greatest Hits: Back to the Beginning by Megadeth
18. Splendido Hotel by Al Di Meola
19. Back in the World of Adventures by The Flower Kings
20. Spontaneous Combustion by the Liquid Trio Experiment
21. The Kindness of Strangers by Spock’s Beard
22. Scenario by Al Di Meola
23. Mix w/ Allan Holdsworth, Mahavishnu Orchestra, Charlie Byrd, On the Virg, Al Di Meola, Scofield w/Medeski Martin Wood, Steely Dan, Benny Goodman
24. Question and Answer by Pat Metheny, Dave Holland, and Roy Haynes
25. I Care Because You Do by Aphex Twin
26. Machine Head by Deep Purple
27. Light Years by Chick Corea’s Elektric Band
28. Misplaced Childhood by Marillion
29. Bridge Across Forever by Transatlantic
30. Individual Thought Patterns by Death
31. Mix/ Tony MacAlpine and Led Zeppelin
32.  Aenima by Tool
33. Fire Garden by Steve Vai
34. Surfing With the Alien by Joe Satriani
35. Listen by Jordan Rudess
36. Start Today by the Gorilla Biscuits
37. The Essential Frank Sinatra (The Columbia Years)
38. The Very Best of Emerson, Lake, and Palmer
39. Doin’ something by Soulive
40. Bird’s Best Bop on Verve by Charlie Parker
41. Up All Night by John Scofield
42. Greatest by Bee Gees
43. Man Child and Dedication by Herbie Hancock
44.  Secret Story by Pat Metheny
45. Retrospective 1940-7 by Django Reinhardt
46. Grace For Drowning Vol. 1 deform to form a star by Steven Wilson
47. Deliverance by Opeth
48. Thunder from Down Under by Frank Gambale
49. Full House by Wes Montgomery
50. III by ChickenFoot
51. Mix/ Compact Jazz by George Benson and Idle Moments by Grant Green
52. Amazing Journey disc 1
53. This Godless Endeavor by Nevermore
54. The Very Beast of Dio by Dio
55. Kind of Blue by Miles Davis
56. Dear Old Stockholm by John Coltrane
57. The Artista Years Disc 2 by the Grateful Dead
58. True by Too Human
59. The Vibe by Roy Hargrove
60. A Picture of Nectar by Phish
61. Self titled and Mother’s Milk by the Red Hot Chili Peppers
62. Greatest disk 2 by the Bee Gees
63. The Blue Note Years: The Best of Kenny Burrell
64. Transgression by Fear Factory
65. Lovecraft by Cradle of Filth
66. Super Hits by Ted Nugent
67. Project by Jordan Rudess and Rod Morgenstein
68. Industry Standard and Full Circle by the Dixie Dregs
69. Coast to Coast and High Tension Wires by the Dixie Dregs
70. A Show of Hands by Victor Wooten
71. Friday Night in San Francisco by Al Di Meola, John McLaughlin, and Paco de Lucia
72. Like Minds by Chick Corea, Gary Burton, Pat Metheny, Roy Haynes, and Dave Holland
73. School Days by Stanley Clarke
74. Youthanasia by Megadeth
75. Coda by Led Zeppelin
76. Vulgar Display of Power by Pantera
77. The best of Earl Klugh
78. A Dramatic Turn of Events by Dream Theater
79. Virtuoso 2 by Joe Pass
80. Live from Oz by Planet X
81. Fusion by Wes Montgomery
82. Shadows Fall
83. What Did He Say by Victor Wooten
84. Live by Bill Frisell
85. Midnight Blue by Kenny Burrell
86. Retrospective 3 1947-53 by Django Reinhardt
87. Retrospective 1 1934-40 by Django Reinhardt
88. OK Computer by Radiohead
89. Gretchen Goes to Nebraska by King’s X
90. Greatest Hits by Stevie Ray Vaughn and Double Trouble
91. Born this Way by Lady Gaga
92. Twilight in Olympus by Symphony X
93. Sex and Religion by Steve Vai
94. Notes on a Dream by Jordan Rudess
95. Pick Hits Live by John Scofield
96. Surrealistic Madness by Candiria
97. Character and Enter Suicide Angels by Dark Tranquility
98. Destroy Erase Improve by Meshuggah
99. When Gravity Fails by Neil Zaza
100. First Meditations by John Coltrane

1st Hopping Wires 1, 2, 4, 2 and in 4s

Note1:  I learned how to play a guitar strung for a righty as a left hand person.  Thus, some of these exercises are extremely difficult, while doing other things on my guitar come much more naturally.  This is what landed me in a good jazz band while I was still in High School.  However, to be a real player, I had to become completely ambidextrous.  That is, as a lefty, I had to make my right hand to be the dominant hand.  However, these exercises are every bit as relative to any player, ambidextrous, righty or lefty.  I do believe one of the greatest aspects of guitar as a musical instrument is that it enables a player to challenge himself or herself, especially their weaker hand.  Some of these exercises may come easy for you, but I can almost guarantee that they all won’t.
Note2:  When making the lesson name, the numbering system used reflects each note of the system with respect to the major scale, where “1,” is the root note of the Ionian Major scale, and all Ionian notes are considered to be major, instead of flat or sharp.
Note3:  These notes can be played on strings 1 and 2, 2 and 3, 3 and 4,  and 5 and 6, where 1 is the fattest string and 6 is the thinnest string.  Notice that the 4th and 5th string are not included, and that is due to the effect of standard tuning, such that the nature of the intervals would change.
Note4: The pick can be gripped in several different ways.  Personally, these days I usually grip it between my thumb and index finger.  However, for more power, consider practicing  by holding the pick also with the middle, and/or the ring finger.  This is especially important with acoustic guitars where the power with which one strikes the guitar is usually very important.
Note5:  These exercises are meant to do with great amounts of repetition.  Each time you play them, count the 4 notes, and stress the first of the 4 every time.  Repetition is the key to success.  I have probably done each of these exercises millions of times.

The Lesson Itself
1:1  The root is always played with the index finger in this exercise.  The 2nd is always played with the ring finger in this exercise.  The 4th is always played with the index finger.  Thus, in this exercise while one moves across the strings, the guitar player alternated between 2 two fingers, his or her index finger and his or her ring finger.
1:2  While one can move them all around the neck, there is very little difference in the style used, except when using different strings, as where on the string it is played is practically null and void.  However, that which is null and void here, is very important in other exercises where one might consider modal or pentatonic playing.
1:3  When one picks the notes; in this exercise alternating picking is used, which is described by up and down movements as opposed to a style that would use all down strokes.  The reason for this is that this style of picking is often used for the purpose of developing speed, as well as fluidity when switching from string to string.  And, besides, I suggest doing all down strokes plenty in other exercises.
1:4  So, to start, tune your guitar to standard tuning, and pick a place on the fret board.
1:5  Whether you are positioned at the 12th fret, the 7th fret, the 5th fret, or the 1st fret, or any other fret for that matter, on the string that are used in doubles for this exercise, the pattern remains the same.  The index finger will play the lowest note.  The ring finger plays a whole step up from the index finger, which is 2 frets.  For example, if you are positioned at the 5th fret on the 6th string, you would play the 5th fret with your index, and then the 2nd note with your ring finger at the 7th fret, or if you are positioned at the 12th fret, the 2nd note becomes the 14th fret in the pattern.
1:6  Next, comes the all important string skip.  With your picking hand, skip from the 7th fret, which you just played, to the 5th fret, one string higher.  For example, if you started on the 3rd fattest string, play root, then one whole step up, and then, on the 4th fattest string play the 4th which is the 3rd note of the sequence.
1:7  Lastly, skip back to the 2nd interval, which is the 2nd note that was played on a lower string used for this exercise.  Use alternating picking throughout the exercise. 

1st Hopping Wires in 4s

1st 1, 2, 4, 2, and in 4s
2nd 1, 2, 5, 2, and in 4s
3rd 1, 2, flat 5, 2, and in 4s
4th 1, 2, flat 6, 2, and in 4s
5th 1, flat 2, 4, 2, and in 4s
6th 1, flat 2, 5, 2, and in 4s
7th 1, flat 2, flat 5, 2, and in 4s
8th 1, flat 2, flat 6, 2, and in 4s
9th 1, flat 3, 4, 2, and in 4s
10th 1, flat 3, 5, 2, and in 4s
11th 1, flat 3, flat 5, 2, and in 4s
12th 1, flat 3, flat 6, 2, and in 4s
13th 1, 2, 4, flat 2, and in 4s
14th 1, 2, 5, 2, flat 2 and in 4s
15th 1, 2, flat 5, flat 2, and in 4s
16th 1, 2, flat 6, flat 2, and in 4s
17th 1, flat 2, 4, flat 2, and in 4s
18th 1, flat 2, 5, flat 2, and in 4s
19th 1, flat 2, flat 5, flat 2, and in 4s
20th 1, flat 2, flat 6, flat 2, and in 4s
21st 1, flat 3, 4, flat 2, and in 4s
22nd 1, flat 3, 5, flat 2, and in 4s
23rd 1, flat 3, flat 5, flat 2, and in 4s
24th 1, flat 3, flat 6, flat 2, and in 4s
25th 1, 2, 4, flat 3, and in 4s
26th 1, 2, 5, 2, flat 3, and in 4s
27th 1, 2, flat 5, flat 3, and in 4s
28th 1, 2, flat 6, flat 3, and in 4s
29th 1, flat 2, 4, flat 3, and in 4s
30th 1, flat 2, 5, flat 3, and in 4s
31st 1, flat 2, flat 5, flat 3, and in 4s
32nd 1, flat 2, flat 6, flat 3, and in 4s
33rd 1, flat 3, 4, flat 3, and in 4s
34th 1, flat 3, 5, flat 3, and in 4s
35th 1, flat 3, flat 5, flat 3, and in 4s
36th 1, flat 3, flat 6, flat 3, and in 4s

17th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1 Alternate. Root, 4, root, 4.

 

Introduction to the Lesson

A.     1^st 1^st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes

a.      1st Killing the 1^st Position Blues Pentatonic Scales in 4s on the 1^st and 2^nd Strings

1.      1^st 27 Lessons for Mode 1 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1

·         17^th Blues Pentatonic Drill:  2 Fattest Strings.  Mode 1, Position 1 Alternate.  Root, 4, root, 4.

Note1:  Please note, that I call the fattest string, the 1^st string.  Thus, the second fattest string would be the 2^nd string, and the skinniest string would be the 6^th string, and so on.

Note2: If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately!  Please!  It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note3: 1: Refers to the section of pentatonic drills.  In this case, 1 means that the drill is for 1 and 2 strings.  For example, the second section uses 3 strings.

Note4: 1:1  The 2^nd 1 of 1:1 refers to the position of the blues pentatonic scale that is used.  As a pentatonic scale has 5 notes, there are 5 positions.  These positions are all part of a scale.  One can switch between positions and not play any wrong notes.  1:1a-1:1e in its entirety can be raised/lowered as much as 11 half steps to result in modes with root notes in different keys.  Also, note that the pattern changes between the 1^st and 2^nd strings because the intervals between open strings when using standard tuning are not always the same.

1:1a  Position 1 in the key of E minor is as follows.  1^st string; 12^th fret and 15^th fret.  2^nd string; 12^th and 14^th fret.  3^rd string; 12^th and 14^th fret.  4^th string; 12^th and 14^th fret.  5^th string; 12^th and 15^th fret.  And the 2^nd string follows the same pattern as the 1^st string.

1:1b  Position 2 in the key of E minor is as follows.  1^st string; 3^rd and 5^th fret.  2^nd string; 2^nd and 5^th fret.  3^rd string; 2^nd fret and 5^th fret. 4^th string; 2^nd and 4^th fret. 5^th string; 3^rd and 5^th fret. And the 6^th string 3^rd and 5^th fret.

1:1c  Position 3 in the key of E minor is as follows.  1^st string; 5^th and 7^th fret.  2^nd string; 5^th and 7^th fret.  3^rd string; 5^th and 7^th fret. 4^th string; 4^th and 7^th fret.  5^th string; 5^th and 8^th fret.  6^th string 5^th and 7^th fret.

1:1d  Position 4 in the key of E minor is as follows.  1^st string; 7^th and 10^th fret.  2^nd string; 7^th and 10^th fret.  3^rd string; 7^th and 9^th fret.  4^th string; 7^th and 9^th fret. 5^th string; 8^th and 10^th fret. And on the 6^th string 7^th and 10^th fret.

1:1e  Position 5 in the key of E minor is as follows.  1^st string; 10^th and 12^th fret.  2^nd string; 10^th and 12^th fret.  3^rd string; 9^th and 12^th fret.  4^th string; 9^th and 12^th fret. 5^th string; 10^th and 12^th fret. 6^th string 10^th fret and 12^th fret.

Note5: 1:1:1  The third 1 of 1:1:1 refers to the mode of the pentatonic scale that is used.  There are 5 modes.  Though there is at least one major mode and one minor mode, to my knowledge, these modes don’t commonly go by names such as Lydian, or Ionian.

Note6: 1:1:1:7  The 4^th in the sequence: 1:1:1:7 is a 7 and refers to the specific lesson title.  That is that this lesson is a drill that uses the Root note, the 4^th note, and the 5^th note of the 7 note major scale in a pattern, rather than the 4^th and 5^th of the pentatonic scale, etcetera.  That way a 5^th is always going to be a 5^th, even it is the 4^th mode of the pentatonic scale, where a 5^th would be the 5^th note of a major scale with 7 notes.

Note7: A pentatonic scale is a 5 note scale.  Usually, for the blues pentatonic scale, scalar positions have 2 notes per string.  That is there are, 2 possible notes on the 1^st string, 2 possible notes on the 2^nd string, 2 possible notes on the 3^rd string, 2 possible notes on the 4^th string, 2 possible notes on the 5^th string and 2 possible notes on the 6^th string for any given position.  The notes for these exercises will all be played on the 1^st and 2^nd strings, which are the 2 fattest strings.  If your guitar is a standard 6 string with standard 6 string tuning then sometimes the 1st string is called the low E string, and the 2nd string is called the A string.

Note8:  I will call the first mode of the blues pentatonic scale to be a minor scale.   5 notes of this pentatonic pattern follow the formula; root, flat 3, 4, 5, and flat 7, where the next note is an octave where the scale repeats itself.  Perhaps, it would be better to call it a hexave, but since intervals are told usually with respect to a 7 note major scale, the 8^th note of the Ionian mode, which is another name for a classical major scale is an octave.  An octave is the same note as the root note, only an octave higher.  In addition, one is often able to solo interchangeably between say the Dorian mode, and a minor Pentatonic scale, where according to the Dorian mode, such that the 8^th note is called an octave, while the same note when only using a minor pentatonic scale could be thought of as a hexave, the 6^th note.  For example, in A Dorian, the octave is the note A, while in A minor pentatonic the hexave is also an A note.  The reason for this paradox is that there are a different number of notes for the scales in question.  That is for A Dorian it takes 7+1 notes to get to the octave, and for A minor pentatonic, which is a similar scale it take only 5+1 notes to get to the same interval, such that it makes sense to determine intervals as relative to the Ionian mode, of which the intervals are 1 (the root), 2, 3, 4, 5, 6, 7, and the 1, which is also 8, which is also the octave.  The reason for this is that the Ionian mode is to be thought of as having no sharp intervals or flat intervals, even though these scales can be written with sharp notes or flat notes, depending on the key in classical notation.  Here, I have placed before the reader a key to some of the paradox I have written where note and interval may be considered as synonyms, or they might take on a different definition.  Noting this paradox is key for musicians, because notes can be intervals and intervals can be notes, yet if the word interval is used, it will always be with respect to the notes of the Ionian mode, commonly called the major scale, and it is such that for example the notes of the C major scale pattern can be moved up a half step, etc, and the result of moving the scale up a half step can be a Ionian mode in the key of C# major, which has sharps and/or flats on a G clef, etc, though it’s intervals with respect to the Ionian mode are neither flat nor sharp.

The Lesson Itself

1:1:1:17:1   The root note will be the lowest note for this exercise.  The root note does not have to be the first note, nor the lowest note, but for this lesson it will be.  Laying out the pattern root, flat 3, 4, 5, on a fret board that has standard tuning will always follow the following pattern:  On the 1^st string, the root will be the first note, and the second note of the pentatonic scale ascends 3 half step on the same string, which is the 1^st string, and the 4^th is a whole step up from flat three, and is at the same fret as the root note, but on the 2^nd string.  Like the 4^th, the 5^th is also played on the 2^nd string.  This 4 note pattern represents a cross section of the blues pentatonic scale, where each drill will contain between 2 to 4 of this pattern of notes.

1:1:1:17:2  The time signature will be 4/4 time.  That means that it is to be counted in 4s.  Where the 1st note of the 4 note sequence is played slightly louder than or stressed compared the rest.

1:1:1:17:3  Time to play.  Make sure your guitar is in tune, and has standard tuning.  In another blog, I describe how this is to be accomplished through the usual methods.

1:1:1:17:4  With your middle finger play the 12^th note of the 1^st string with a down stroke.  This place on the fret board is usually designated with a double dot marking.  This should be an E note.  Use your right hand to mute all the strings except for the string that is being played.  The next note to be played is a play is a 4^th  from the E.  It is also an A note, and played with an upstroke.  It is at the 12^th fret but on the 2^nd string.  It is to be carefully played with the pinky finger such that pain does not occur.  If you feel unable to do this don’t force your hand to play it because that is how injuries occur.  Play the 3^rd note on the 1^st string with the pinky finger, such that the transition actually causes the 1^st string to be muted.  This note is played with an down stroke and is again called the root note, an E.  In this case the 4^th note is an A note in the key of E minor.  The 4^th is the 4^th note of the sequence.  It is to be played on the 2^nd string.  It is played with an upstroke at the 14^th fret with the pinky finger.  Again, it is good to try to mute all the strings, except for the one that you are playing.  Thus, it is such that with this exercise, a pattern is created, with ones fingers, index, middle, ring, and pinky.

1:1:1:17:5  Next repeat this pattern, always using a down stroke on the 1^st sting when playing the root note.  Play the pattern four times.  Later, sometimes I will indicate that you should use down strokes for each note that is played.

1:1:1:17:6  Next, play the same pattern a half step lower.  These steps of moving this pattern up and down the fret board cause key changes.  It will follow the pattern, 1^st string 11^th fret using the middle finger, 2^nd string 11^th fret using the pinky finger, 1^st string 11^th  fret using the middle finger, and finish with the 4^th note on the 2^nd string at the 11^th fret using the pinky finger.  This is the key of E flat.  Play this four times, counting 4s.  Then, repeat the pattern of 1:1:1:17:6 picking with all down strokes.

1:1:1:17:7 Next, play the same pattern a half step lower, the key of D.  That is, these steps of moving this pattern up and down the fret board cause key changes.  This sequence will follow the pattern, 1^st string 10^th fret using the middle finger, 2^nd string 10^th fret using the pinky finger, 1^st string 10^th  fret using the middle finger, and finish with the 4^th note on the 2^nd string at the 10^th fret using the pinky.  Play this four times, counting 4s.  Then, repeat the pattern of 1:1:1:17:7 picking with all down strokes.

1:1:1:17:8  Repeat the above described pattern moving up and down the fret board, changing keys every time the pattern is moved.  This pattern is well establish in pentatonic lessons 1-10.

1:1:1:17:9 Repeat 1:1:1:17:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.

1:1:1:17:10  If possible on your guitar, you may wish to continue this pattern above the 12^th fret.  On some guitars, it may be possible to go up to the 24^th fret, if your guitar has one, with this pattern.

1:1:1:17:11  After having worked your way above the 12^th fret, now work your way back.

1:1:2:2 Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 2, Root 2.

Introduction to the Lesson

A.     1^st 1^st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes

a.      1st Killing the 1^st Position Blues Pentatonic Scales in 4s on the 1^st and 2^nd Strings

2.       2^nd 20 Lessons for Mode 2 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1

·         2^nd Blues Pentatonic Drill:  2 Fattest Strings.  Mode 2, Position 1.  Root, 2, Root 2.

Note1:  Please note, that I call the fattest string, the 1^st string.  Thus, the second fattest string would be the 2^nd string, and the skinniest string would be the 6^th string, and so on.

Note2: If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately!  Please!  It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note3: 1: Refers to the section of pentatonic drills.  In this case, 1 means that the drill is for strings 1 and 2.  For example, the second section uses 3 strings.

Note4: 1:1  The 2^nd 1 of 1:1 refers to the position of the blues pentatonic scale that is used.  As a pentatonic scale has 5 notes, there are 5 positions.  These positions are all part of a scale.  One can switch between positions and not play any wrong notes.  1:1a-1:1e in its entirety can be raised/lowered as much as 11 half steps to result in modes with root notes in different keys.  Also, note that the pattern changes between the 1^st and 2^nd strings because the intervals between open strings when using standard tuning are not always the same.

1:1a  Position 1 in the key of E minor is as follows.  1^st string; 12^th fret and 15^th fret.  2^nd string; 12^th and 14^th fret.  3^rd string; 12^th and 14^th fret.  4^th string; 12^th and 14^th fret.  5^th string; 12^th and 15^th fret.  And the 2^nd string follows the same pattern as the 1^st string.

1:1b  Position 2 in the key of E minor is as follows.  1^st string; 3^rd and 5^th fret.  2^nd string; 2^nd and 5^th fret.  3^rd string; 2^nd fret and 5^th fret. 4^th string; 2^nd and 4^th fret. 5^th string; 3^rd and 5^th fret. And the 6^th string 3^rd and 5^th fret.

1:1c  Position 3 in the key of E minor is as follows.  1^st string; 5^th and 7^th fret.  2^nd string; 5^th and 7^th fret.  3^rd string; 5^th and 7^th fret. 4^th string; 4^th and 7^th fret.  5^th string; 5^th and 8^th fret.  6^th string 5^th and 7^th fret.

1:1d  Position 4 in the key of E minor is as follows.  1^st string; 7^th and 10^th fret.  2^nd string; 7^th and 10^th fret.  3^rd string; 7^th and 9^th fret.  4^th string; 7^th and 9^th fret. 5^th string; 8^th and 10^th fret. And on the 6^th string 7^th and 10^th fret.

1:1e  Position 5 in the key of E minor is as follows.  1^st string; 10^th and 12^th fret.  2^nd string; 10^th and 12^th fret.  3^rd string; 9^th and 12^th fret.  4^th string; 9^th and 12^th fret. 5^th string; 10^th and 12^th fret. 6^th string 10^th fret and 12^th fret.

Note5: 1:1:2  The third 1 of 1:1:2 refers to the mode of the pentatonic scale that is used.  There are 5 modes.  Though there is at least one major mode and one minor mode, to my knowledge, these modes don’t commonly go by names such as Lydian, or Ionian, yet usually the exercises of 1:1:2 are considered to outline the Lydian scale, which is mode 4 of the major scale.

Note6: 1:1:2:7  The 4^th in the sequence: 1:1:2:7 is a 7 and refers to the specific lesson title.  That is that this lesson is a drill that uses the Root note, the 4^th note, and the 5^th note of the 7 note major scale in a pattern, rather than the 4^th and 5^th of the pentatonic scale, etcetera.  That way a 5^th is always going to be a 5^th, even it is the 4^th mode of the pentatonic scale, where a 5^th would be the 5^th note of a major scale with 7 notes.

Note7: A pentatonic scale is a 5 note scale.  Usually, for the blues pentatonic scale, scalar positions have 2 notes per string.  That is there are, 2 possible notes on the 1^st string, 2 possible notes on the 2^nd string, 2 possible notes on the 3^rd string, 2 possible notes on the 4^th string, 2 possible notes on the 5^th string and 2 possible notes on the 6^th string for any given position.  The notes for these exercises will all be played on the 1^st and 2^nd strings, which are the 2 fattest strings.  If your guitar is a standard 6 string with standard 6 string tuning then sometimes the 1st string is called the low E string, and the 2nd string is called the A string.

Note8:  I will call the first mode of the blues pentatonic scale to be a minor scale.  However, this is section 2, and section 2 outlines a major scale, usually considered to be Lydian, or mode 4 of the major scale.

The Lesson Itself

1:1:2:2:1   The 2^nd note will be a major note for this exercise, such that the these exercises are in major keys.  Major notes generally sound happy.  Often times the 3^rd, which is not played in this exercise is thought to be the most important note.  However, in this exercise the root and the 2^nd are used, and since the 2^nd is played a whole step from the root note, it is considered major.  The 3^rd interval is not used in this exercise though the key is major.

1:1:2:2:2  The time signature will be 4/4 time.  That means that it is to be counted in 4s.  Where the 1st note of the 4 note sequence is played slightly louder than or stressed compared the rest.

1:1:2:2:3  Time to play.  Make sure your guitar is in tune, and has standard tuning.  In another blog, I describe how this is to be accomplished through the usual methods.

1:1:2:2:4  With your pinky play the 15^th note of the 1^st string with a down stroke.  This should be a G note.  It is usually easiest to locate with respect to the 12^th fret, which often has two dots on the fret board, or it usually has a distinctive design from the other designs that may be on the fret board.  Use your right hand to mute all the strings except for the strings that are being played.  The next note to be played is a play is a major 2^nd from the G, meaning that it is a A note, and played with an upstroke.  It is at the 12^th fret but on the 2^nd string.  It is to be carefully played with either the index finger, such that pain does not occur.  If you feel unable to do this don’t force your hand to play it because that is how injuries occur.  Play the 3^rd note on the 1^st string with the pinky finger, such that the transition actually causes the 2^nd string to be muted.  This note is played with an down stroke, specifically a G note.  In this case the 4^th note is an A note in the key of G major.  The major 2^nd is the 4^th note of the sequence.  It is to be played on the 2^nd string.  It is played with an upstroke at the 12^th fret with the index finger.  Again, it is good to try to mute all the strings, except for the one that you are playing.  Thus, it is such that with this exercise, a pattern is created, with ones fingers.

1:1:2:2:5  Next repeat this pattern, always using a down stroke on the 1^st sting when playing the root note.  Play the pattern four times.

1:1:2:2:6  Next, play the same pattern a half step lower.  These steps of moving this pattern up and down the fret board cause key changes.  It will follow the pattern, 1^st string 14^th fret using the pinky finger, 2^nd string 11^th fret using the index finger, 1^st string 14^th fret using the pinky finger, and finish with the 4^th note on the 2^nd string at the 11^th fret using the index finger.  This is the key of E flat major.  Play this four times, counting 4s.  Then, repeat the pattern of 1:1:2:2:6 picking with all down strokes.

1:1:2:2:7 Next, play the same pattern a half step lower, the key of F major.  That is, these steps of moving this pattern up and down the fret board cause key changes.  This sequence will follow the pattern, 1^st string 13^th fret using the pinky finger, 2^nd string 10^th fret using the index finger, 1^st string 13^th  fret using the pinky finger, and finish with the 4^th note on the 2^nd string at the 12^th fret using the index finger.  Play this four times, counting 4s.  Then, repeat the pattern of 1:1:2:2:7 picking with all down strokes.

1:1:2:2:8  Repeat the above described pattern moving up and down the fret board, 1, 2, or 3 frets at a time, changing keys every time the pattern is moved, such that the amount of places this pattern is played is maximized.  If possible on your guitar, you may wish to continue this pattern above the 12^th fret.  On some guitars, it may be possible to go up to the 24^th fret, if your guitar has one, with this pattern.  It is such that I suggest, after working your way above the 12^th fret as high as is comfortably possible, that it is good to work your way back.

1:1:2:2:9 Repeat 1:1:2:2:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.