You don’t have to start with exercise one. Start with this exercise if you like!
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.
49:1 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 from 40 to 63 will be on strengthening speed and finger motility.
49:2 The exercises in this blog will involve the index finger, the ring finger, and the pinky finger. Unlike earlier exercises, it will go below the 5th fret.
49:3 On string 6, at the 12th fret, play the following pattern using all down strokes: 14th fret w/ring finger, 14th fret with your ring finger, 12th fret with your index finger, and 15th fret with your pinky finger.
49:4 On string 6, at the 11th fret, play the following pattern using all down strokes: 13th fret w/ring finger, 13th fret with your index finger, 11th fret with your index finger, and 14th fret with your pinky finger.
49:5 On string 6, at the 10th fret, play the following pattern using all down strokes: 12 fret w/ ring finger, 12th fret with your index finger, 10th fret with your index finger, and 13th fret with your pinky finger.
49:6 On string 6, at the 9th fret, play the following pattern using all down strokes: 9th fret w/ring finger, 9th fret with your index finger, 9th fret with your index finger, and 12th fret again with your pinky finger.
49:7 Work this pattern down to the 1st fret. Then, work it back up, a half step higher each time.
49:8 Repeat exercises 49:3 and so on; on the string 5.
49:9 Repeat exercises 49:3 and so on; on the string 4.
49:10 Repeat exercises 49:3 and so on; on the string 3.
49:11 Repeat exercises 49:3 and so on; on the string 2.
49:12 Repeat exercises 49:3 and so on: on the string 1.
49:13 Repeat exercises using alternating strokes (up and down) instead of just down strokes.
49:14 Repeat without palm muting w/down strokes.
49:15 Repeat w/palm muting and w/down strokes.
49:16 Repeat w/alternating strokes, w/palm muting.
49:17 If it feels comfortable, this pattern can be played at higher frets than the ones listed.
49:18 Follow the pattern in 49:3 - 49:34 as far up the frets is as still easy or playable on your guitar.
49:19 Then, feel free to work your way back to the 12th fret using the same pattern. Possibly consider moving the pattern down the fret in whole steps. For example, start at the pattern at the 19th fret, then the 17th fret, then the 15th fret, then the 13th, then the 11th fret.
Sunday, July 14, 2013
***** When Gravity Fails by Neil Zaza – Like Many Musicians, Zaza Is a Nobody That Deserves More
If Zaza was born a little earlier, so that he fit in right in the time when music was getting to be put on higher quality formats, back in the early kingship Joe Satriani, or even the kingship of Jeff Beck, and also Eric Clapton ruled, Zaza would have been a somebody. However, as Zaza pursues his career there is practically an infinite wall of good progressive music on record, such that there is no demand for someone like Neil Zaza, and that is a real shame because he is a tremendous musician.
I will admit there are a few that are better than Zaza, and that there could be some improvement of this album. However, I’m on Zaza’s side. I want to see him succeed. I won’t say that he is as good as Joe Satriani, but Joe Satriani is only as good as his background music, and I will say this; Satriani often plays to terrible background music. Zaza on the other hand solos to well crafted songs, where his part is central, but it fits in with the music and it doesn’t sound like there is someone who wants to be God who makes sure that no musician in the band challenges his power.
Zaza is at his best when he is playing thoughtfully, trying to craft excellent songs, and this album is chock full of them. I highly recommend this album!
I will admit there are a few that are better than Zaza, and that there could be some improvement of this album. However, I’m on Zaza’s side. I want to see him succeed. I won’t say that he is as good as Joe Satriani, but Joe Satriani is only as good as his background music, and I will say this; Satriani often plays to terrible background music. Zaza on the other hand solos to well crafted songs, where his part is central, but it fits in with the music and it doesn’t sound like there is someone who wants to be God who makes sure that no musician in the band challenges his power.
Zaza is at his best when he is playing thoughtfully, trying to craft excellent songs, and this album is chock full of them. I highly recommend this album!
7th Hopping Wires: Root, flat 2, flat 5, 2, and in 4s
Note1: 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.
Note2: 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
6:1 Except for the 4th and 5th strings this pattern of intervals is true at any place on the guitar.
6:2 The root is always played with the index finger in this exercise. The 2nd note, which is the flat 2nd in comparison to the root note, is always played with the middle finger in this exercise. The flat 2nd is a half step up from the root which means it should be played in the same string, at the next higher up adjacent fret, and that pattern is true at any place on the fret board. The 3rd note is a flat 5th in comparison to the root note, and it is reached by skipping to the next highest string, and is always played with the middle finger on the next highest string in most instances. The 4th note of the repeatable pattern is a 2nd played with the ring finger, but this time rather than a half step, a whole step is used, which means for instance that if the root note is on the 5th fret, a whole step up would be the same string, but at the 7th fret on the same string as the root note. In order to calculate a whole step up, just add 2 frets to the root not and you will be there. For instance, if the root note is at the 6th fret, 6+2=8, such that the 2nd interval is at the 8th fret.
6:2 Try alternating picking, where down strokes are followed by upstrokes, and also practice using all down strokes. which is described by up and down movements as opposed to a style that would use all down strokes. The aim is through repeating this exercise hundreds or thousands of times, speed, fluidity and outright finesse will be developed.
6:3 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; or if you use the 1st and 2nd string, the 2nd and 3rd string, or the 5th and 6th string etc., on the string used for doubles for this exercise, the pattern remains the same. The index finger will play the lowest note with respect to tonality, and that will be the root note.
6:4 So, for now, as the note says, forget the 4th and 5th strings for this lesson series because their tonality doesn’t follow the same interval pattern because in standard tuning these strings are tuned to different intervals than the other strings.
Note6: 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: 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
6:1 Except for the 4th and 5th strings this pattern of intervals is true at any place on the guitar.
6:2 The root is always played with the index finger in this exercise. The 2nd note, which is the flat 2nd in comparison to the root note, is always played with the middle finger in this exercise. The flat 2nd is a half step up from the root which means it should be played in the same string, at the next higher up adjacent fret, and that pattern is true at any place on the fret board. The 3rd note is a flat 5th in comparison to the root note, and it is reached by skipping to the next highest string, and is always played with the middle finger on the next highest string in most instances. The 4th note of the repeatable pattern is a 2nd played with the ring finger, but this time rather than a half step, a whole step is used, which means for instance that if the root note is on the 5th fret, a whole step up would be the same string, but at the 7th fret on the same string as the root note. In order to calculate a whole step up, just add 2 frets to the root not and you will be there. For instance, if the root note is at the 6th fret, 6+2=8, such that the 2nd interval is at the 8th fret.
6:2 Try alternating picking, where down strokes are followed by upstrokes, and also practice using all down strokes. which is described by up and down movements as opposed to a style that would use all down strokes. The aim is through repeating this exercise hundreds or thousands of times, speed, fluidity and outright finesse will be developed.
6:3 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; or if you use the 1st and 2nd string, the 2nd and 3rd string, or the 5th and 6th string etc., on the string used for doubles for this exercise, the pattern remains the same. The index finger will play the lowest note with respect to tonality, and that will be the root note.
6:4 So, for now, as the note says, forget the 4th and 5th strings for this lesson series because their tonality doesn’t follow the same interval pattern because in standard tuning these strings are tuned to different intervals than the other strings.
Note6: 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.
25th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1 Alternate. Root, 5, 4, root.
A. Introduction to the Lesson1st 1st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes
a. 1st Killing the 1st Position Blues Pentatonic Scales in 4s on the 1st and 2nd Strings
1. 1st 27 Lessons for Mode 1 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1
* 25th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1 Alternate. Root, 5, 4, root.
Note1: Please note, that I call the fattest string, the 1st string. Thus, the second fattest string would be the 2nd string, and the skinniest string would be the 6th 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 2nd 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 1st and 2nd 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. 1st string; 12th fret and 15th fret. 2nd string; 12th and 14th fret. 3rd string; 12th and 14th fret. 4th string; 12th and 14th fret. 5th string; 12th and 15th fret. And the 2nd string follows the same pattern as the 1st string.
1:1b Position 2 in the key of E minor is as follows. 1st string; 3rd and 5th fret. 2nd string; 2nd and 5th fret. 3rd string; 2nd fret and 5th fret. 4th string; 2nd and 4th fret. 5th string; 3rd and 5th fret. And the 6th string 3rd and 5th fret.
1:1c Position 3 in the key of E minor is as follows. 1st string; 5th and 7th fret. 2nd string; 5th and 7th fret. 3rd string; 5th and 7th fret. 4th string; 4th and 7th fret. 5th string; 5th and 8th fret. 6th string 5th and 7th fret.
1:1d Position 4 in the key of E minor is as follows. 1st string; 7th and 10th fret. 2nd string; 7th and 10th fret. 3rd string; 7th and 9th fret. 4th string; 7th and 9th fret. 5th string; 8th and 10th fret. And on the 6th string 7th and 10th fret.
1:1e Position 5 in the key of E minor is as follows. 1st string; 10th and 12th fret. 2nd string; 10th and 12th fret. 3rd string; 9th and 12th fret. 4th string; 9th and 12th fret. 5th string; 10th and 12th fret. 6th string 10th fret and 12th 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 4th 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 4th note, and the 5th note of the 7 note major scale in a pattern, rather than the 4th and 5th of the pentatonic scale, etcetera. That way a 5th is always going to be a 5th, even it is the 4th mode of the pentatonic scale, where a 5th would be the 5th 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 1st string, 2 possible notes on the 2nd string, 2 possible notes on the 3rd string, 2 possible notes on the 4th string, 2 possible notes on the 5th string and 2 possible notes on the 6th string for any given position. The notes for these exercises will all be played on the 1st and 2nd 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 8th 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 8th note is called an octave, while the same note when only using a minor pentatonic scale could be thought of as a hexave, the 6th 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
1:1:1:25:1 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 1st string, the root will be the first note is the 1st string, and the 4th is a whole step up from flat three, and is at the same fret as the root note, but on the 2nd string. Like the 4th, the 5th is also played on the 2nd 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.
1:1:1:25:2 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. This is the easiest, and most commonly recognized time signature.
1:1:1:25:3 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.
1:1:1:25:4
A. With your middle finger play the 12th note, meaning the 12th fret, of the 1st string (the thickest 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.
B. The next note to be played is a play is a 5th from the E. It is also an B note, and played with an upstroke. It is at the 14th fret but on the 2nd 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.
C. Play the 3rd note on the 2nd string with the middle finger at the 12th fret, such that the transition actually causes the other strings to be muted. This note is played with an down stroke and is an A note.
D. In this case the 4th note is the root note in the key of E minor, an E. The root is the 4th note of the sequence. It is to be played on the 1st string. It is played with an upstroke at the 12th fret with the middle 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.
1:1:1:25:5 Next repeat this pattern, always using a down stroke on the 1st sting, and alternate picking. Play the pattern four times. If you want use all down strokes for each note that is played. It is a good idea to be able to play with either all down strokes of alternate picking.
1:1:1:25:6 Next, play the same pattern a half step lower. These steps of moving this pattern up and down the fret board cause key changes.
A. It will follow the pattern, 1st string 11th fret using the middle finger (root),
B. 2nd string 13th fret using the pinky finger (5th),
C. 2nd string 11th fret using the middle finger (4th),
D. and finish with the 4th note on the 1st string at the 11th fret using the middle finger (root).
E. This is the key of E flat.
F. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:25:6 picking with all down strokes.
1:1:1:25:7 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,
A. 1st string 10th fret using the middle finger (root),
B. 2nd string 12th fret using the pinky finger (5th),
C. 2nd string 10th fret using the middle finger (4th),
D. and finish with the 4th note on the 1st string at the 10th fret using the middle (root).
E. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:25:7 picking with all down strokes.
1:1:1:25:8 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.
1:1:1:25:9 Repeat 1:1:1:25:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.
1:1:1:25:10 If possible on your guitar, you may wish to continue this pattern above the 12th fret. On some guitars, it may be possible to go up to the 24th fret, if your guitar has one, with this pattern.
1:1:1:25:11 After having worked your way above the 12th fret, now work your way back.
a. 1st Killing the 1st Position Blues Pentatonic Scales in 4s on the 1st and 2nd Strings
1. 1st 27 Lessons for Mode 1 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1
* 25th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1 Alternate. Root, 5, 4, root.
Note1: Please note, that I call the fattest string, the 1st string. Thus, the second fattest string would be the 2nd string, and the skinniest string would be the 6th 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 2nd 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 1st and 2nd 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. 1st string; 12th fret and 15th fret. 2nd string; 12th and 14th fret. 3rd string; 12th and 14th fret. 4th string; 12th and 14th fret. 5th string; 12th and 15th fret. And the 2nd string follows the same pattern as the 1st string.
1:1b Position 2 in the key of E minor is as follows. 1st string; 3rd and 5th fret. 2nd string; 2nd and 5th fret. 3rd string; 2nd fret and 5th fret. 4th string; 2nd and 4th fret. 5th string; 3rd and 5th fret. And the 6th string 3rd and 5th fret.
1:1c Position 3 in the key of E minor is as follows. 1st string; 5th and 7th fret. 2nd string; 5th and 7th fret. 3rd string; 5th and 7th fret. 4th string; 4th and 7th fret. 5th string; 5th and 8th fret. 6th string 5th and 7th fret.
1:1d Position 4 in the key of E minor is as follows. 1st string; 7th and 10th fret. 2nd string; 7th and 10th fret. 3rd string; 7th and 9th fret. 4th string; 7th and 9th fret. 5th string; 8th and 10th fret. And on the 6th string 7th and 10th fret.
1:1e Position 5 in the key of E minor is as follows. 1st string; 10th and 12th fret. 2nd string; 10th and 12th fret. 3rd string; 9th and 12th fret. 4th string; 9th and 12th fret. 5th string; 10th and 12th fret. 6th string 10th fret and 12th 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 4th 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 4th note, and the 5th note of the 7 note major scale in a pattern, rather than the 4th and 5th of the pentatonic scale, etcetera. That way a 5th is always going to be a 5th, even it is the 4th mode of the pentatonic scale, where a 5th would be the 5th 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 1st string, 2 possible notes on the 2nd string, 2 possible notes on the 3rd string, 2 possible notes on the 4th string, 2 possible notes on the 5th string and 2 possible notes on the 6th string for any given position. The notes for these exercises will all be played on the 1st and 2nd 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 8th 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 8th note is called an octave, while the same note when only using a minor pentatonic scale could be thought of as a hexave, the 6th 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
1:1:1:25:1 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 1st string, the root will be the first note is the 1st string, and the 4th is a whole step up from flat three, and is at the same fret as the root note, but on the 2nd string. Like the 4th, the 5th is also played on the 2nd 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.
1:1:1:25:2 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. This is the easiest, and most commonly recognized time signature.
1:1:1:25:3 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.
1:1:1:25:4
A. With your middle finger play the 12th note, meaning the 12th fret, of the 1st string (the thickest 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.
B. The next note to be played is a play is a 5th from the E. It is also an B note, and played with an upstroke. It is at the 14th fret but on the 2nd 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.
C. Play the 3rd note on the 2nd string with the middle finger at the 12th fret, such that the transition actually causes the other strings to be muted. This note is played with an down stroke and is an A note.
D. In this case the 4th note is the root note in the key of E minor, an E. The root is the 4th note of the sequence. It is to be played on the 1st string. It is played with an upstroke at the 12th fret with the middle 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.
1:1:1:25:5 Next repeat this pattern, always using a down stroke on the 1st sting, and alternate picking. Play the pattern four times. If you want use all down strokes for each note that is played. It is a good idea to be able to play with either all down strokes of alternate picking.
1:1:1:25:6 Next, play the same pattern a half step lower. These steps of moving this pattern up and down the fret board cause key changes.
A. It will follow the pattern, 1st string 11th fret using the middle finger (root),
B. 2nd string 13th fret using the pinky finger (5th),
C. 2nd string 11th fret using the middle finger (4th),
D. and finish with the 4th note on the 1st string at the 11th fret using the middle finger (root).
E. This is the key of E flat.
F. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:25:6 picking with all down strokes.
1:1:1:25:7 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,
A. 1st string 10th fret using the middle finger (root),
B. 2nd string 12th fret using the pinky finger (5th),
C. 2nd string 10th fret using the middle finger (4th),
D. and finish with the 4th note on the 1st string at the 10th fret using the middle (root).
E. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:25:7 picking with all down strokes.
1:1:1:25:8 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.
1:1:1:25:9 Repeat 1:1:1:25:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.
1:1:1:25:10 If possible on your guitar, you may wish to continue this pattern above the 12th fret. On some guitars, it may be possible to go up to the 24th fret, if your guitar has one, with this pattern.
1:1:1:25:11 After having worked your way above the 12th fret, now work your way back.
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