10th Hopping Wires: Root, flat 3, 5, 2, and in 4s

10:1  Except for the 4^th and 5^th strings this pattern of intervals is true at any place on the guitar.

10:2

The root is always played with the index finger in this exercise.

The 2^nd note, a flat 3 interval, is always played with the pinky finger in this exercise.  Flat 3 is three half steps up from the root on the same string.  A half step is 1 fret.

The 3^rd note is a 5 interval in comparison to the root note, and it is reached by skipping to the next highest string, but two frets higher than the root note.  It is to be played with the ring finger.

The 4^th note of the repeatable pattern is a 2 interval.  It is played with the ring finger on the same string as the root, but a whole step up from the root.

10:3  Thus, it is such that a pattern is formed.  This pattern if played at the 12^th fret on string 1 and 2, the two fattest strings, is: (12^th fret, index, 1^st string), (15^th fret, pinky, 1^st string), (14^th fret, ring, 2^nd string), and (14^th fret, ring, 1^st string)

10:4  The aim is through repeating exercises like this one many times, speed, fluidity and outright finesse will be developed.

10:5  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; or if you use the 1^st and 2^nd string, the 2^nd and 3^rd string, 3^rd and 4^th string, or the 5^th and 6^th string, the pattern remains the same.  The index finger will play the lowest note with respect to tonality, and that will be the root note.  The root note is the same as the key that you are in.

Note:  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.  Thus, a lesson may be of a different scalar mode, but that will be disregarded in favor of Ionian labeling, such that though the Ionian major scale has no minor 3^rd, or “no flat 3,” if there a flat 3 in the lesson, this flat 3 will be labeled as such where major 3 is just simply a 3 interval.  For example in the key of G, the note B is the major third.  In G, if a B flat is used, then B flat is flat 3.

2nd Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (5, 1, 3), (5, 1, 3), (5, 1, 3)

2:1  Triads are three note chords, where each of the three notes in each three note chord is a different interval of a 7 note major scale, specifically the Ionian mode.

2:2  A 1, 4, 5 chord progression is probably most common chord progression.

2:3  Because it is a 1, 4, 5 chord progression, it is a pattern of 3 chords in progression, where 1, 4, and 5 represent the root notes of the chords.  The 1 of “1, 4, 5,” represents a chord.  The 4 of “1, 4, 5,” represents a cord.  And, the 5 of “1, 4, 5,” represents a chord.  These chords do not necessarily need to be played in order.

2:4  1, 4, 5 chord progressions take their name, 1, 4, 5, by the root notes of the scale they occupy.

2:5  Every chord in a 1, 4, 5 chord progression is a major chord.  Major means that it sounds happy, as opposed to minor which sounds sad, taking its root notes as the 3 major notes of the Ionian scale, the 1^st note, 4^th note and the 5^th note.

2:6  Every note of the 1 chord, the 4 chord, and the 5 chord is contained within the respective Ionian scale pattern of the key that the progression is played in.

2:7  In the key of C, the Ionian mode has no sharps or flats.  The root of the Ionian mode in the key of C is C.  Its notes follow the pattern C (major) D, (minor) E (minor), F (major), G (minor), A (minor), B (diminished), repeating C, which is an octave.

2:7  There are seven notes to the Ionian scale, which should sound very familiar if played in order.  Additionally the Ionian sound can be played in any key, and that is true for any mode.  The notes are of Ionian Mode in the key of C are Doe (which when Doe is used as a root note in any key the result sound is Ionian), Ray (which when Ray is used as a root note in any key the result sound is Dorian), Me (which when Me is used as a root note it any key the result sound is Phrygian), Fa (which when Fa is used as a root note in any key the result sound is Lydian), Sew (which when Sew is used as a root note in any key the result sound is Mixolydian), La (which when La is used as a root note in any key, the result sound is Aeolian), Tea (which when Tea is used as a root sound in any key the result sound is Locrian).  However, for this exercise, because it consists of 1, 4, and 5, chords, the only sounds that will be used are, Ionian, Lydian, and Mixolydian, respectively, but not the Dorian, Phrygian, Aeolian, and Locrain modes.

2:8  In any key the Ionian scale follows the pattern Root, whole step, whole step, half step, whole step, whole step, whole step, half step, where a whole step is 2 notes (2 frets) higher than a previous note, and a half step is 1 note (1 fret) higher than a previous note.

2:9  With respect to the Ionian major scale, the intervals for these exercises will always be stacked as (5, 1, 3).  Consequently, the 1 chord, the 4 chord, and the 5 chord all have 5, 1, and 3 notes of different Ionian keys, where the 1 is a root note of the beginning of the respective Ionian scale.  Although, the 4 chord has the 4^th interval of the song key as its root, that root is considered as the 1 note of a different Ionian mode for the purpose of labeling its identity, as in comparison to the 1 and 5 chords though it sounds Lydian.  And, although the 5 chord has the 5^th interval of the song key as its root, that root is considered as the 1 note of a different Ionian mode for the purpose of labeling its identity, as in comparison to the 1 and 4 chords it sounds Mixolydian.

2:10  Each root is “1” of the three different chords, each consisting of 5, 1, and 3 intervals, where 5 is on the fattest of the 3 highest strings, 1 is on the next fattest of the 3 high strings, and 3 is played on the highest string.

2:11  The root note is called 1, the root note of the Ionian scale.  The 2^nd major root note of the major scale is the 4^th note of the Ionian mode.  The 3^rd major root note of the major scale is the 5^th note of the Ionian mode.

2:12  The 1 chord of the C major (Ionian) scale is “Doe.”  The 4 chord of the C major scale (Ionian) has its root as “Fa” chord of the major scale because it is the 4^th note of the pattern “Do Ray Me Fa.”  The 5 chord of the C major scale (Ionian) is Sew because it is the 5^th note in the pattern, “Do Ray Me Fa Sew.”

2:13  The labeling of the intervals of the three chords of the 1, 4, 5 chord progression is made with respect to as if the root note as if each of these 3 chords was created by a separate Ionian scale pattern.

2:14  The strings are labeled as such: the 6^th string is the highest pitched string, or the thinnest string, the 5^th string is the next highest pitched string, and the 4^th string is the lowest pitched string of the three highest pitched strings, whose pitches are measured in standard E tuning and played at the same fret.

2:15  For this exercise the chords will all be fretted with the index finger on the 4^th string, the ring finger on the 5^th string, and the middle finger on the 6^th string.

2:15  The key of C#:

The 1 chord consists of the notes, G#, C#, and F.

The G# is the 5, the root note, of the chord.  The C# is the 1 of the chord.  The F is the 3 of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked, the G# is on the 4^th string at the 1^st fret.  The C# is on 5^th string at the 2^nd fret, and the F is on the 6^th string at the 1^st fret.

Get familiar with it.

The 4 chord is a F# and it consists of the notes, C#, F#, and A#.

The C# is the 5 note of the chord.  The F# is the 1, also called the root note, of the chord.  The A# is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked the C# is on the 4^th string at the 6^th fret.  The F# is on the 5^th string at the 7^th fret, and the A# is on the 6^th string at the 6^th fret.

Get familiar with it.

The 5 chord is a G# chord.  It consists of the notes, D#, G#, C.

The D# is the 5 note of the chord.  The G# is the 1, also called the root note, of the chord.  The C is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked the D# is on the 4^th string at the 8^th fret.  The G# is on the 5^th string at the 9^th fret, and the C is on the 6^th string at the 8^th fret.

Get familiar with it.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5; for instance play 5, 1, 4 or 4, 1, 5.

2:16  The key of D:

The 1 chord consists of the notes A, D, and F#.

The A is the 5 note of the chord.  The D is the 1, also called the root note, of the chord.  The F# is the 3 of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked, the A is on the 4^th string at the 2^nd fret.  The D is on 5^th string at the 3^th fret, and the F# is on the 6^th string at the 2^nd fret.

The 4 chord is a G and it consists of the notes, D, G, and B.

The D is the 5 note of the chord.  The G is the 1, also called the root note, of the chord.  The B is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked, the D is on the 4^th string at the 7^th fret.  The G is on the 5^th string at the 8^th fret, and the B is on the 6^th string at the 7^th fret.

The 5 chord is an A chord and it consists of the notes E, A, C#.

The E is the 5 note of the chord.  The A is the 1, also called the root note, of the chord.  The C# is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked the E is on the 4^th string at the 9^th fret.  The A is on the 5^th string at the 10^th fret, and the C# is on the 6^th string at the 9^th fret.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5.

2:17  The key of D#:

The 1 chord consists of the notes A#, D#, and G.

The A# is the 5 note of the chord.  The D# is the 1, also called the root note, of the chord.  The G is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked, the A# is on the 4^th string at the 3^rd fret.  The D# is on 5^th string at the 4^th fret, and the G is on the 6^th string at the 3^rd fret.

The 4 chord is a G# and it consists of the notes, D#, G#, and C.

The D# is the 5 note of the chord.  The G# is the 1, also called the root note, of the chord.  The C is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked, the D# is on the 4^th string at the 8^th fret.  The G# is on the 5^th string at the 9^th fret, and the C is on the 6^th string at the 8^th fret.

The 5 chord is an A# chord and it consists of the notes, F, A#, and D.

The F is the 5 note of the chord.  The A# is the 1, also called the root note, of the chord.  The D is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked the F is on the 4^th string at the 10^th fret.  The A# is on the 5^th string at the 11^th fret, and the D is on the 6^th string at the 10^th fret.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5.

2:18  The key of E:

The 1 chord consists of the notes B, E, and G#.

The B is the 5 note of the chord.  The E is the 1, also called the root note, of the chord.  The G# is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked, the B is on the 4^th string at the 4^th fret.  The E is on 5^th string at the 5^th fret, and the G# is on the 6^th string at the 4^th fret.

The 4 chord is an A and it consists of the notes, E, A, and C#.

The E is the 5 note of the chord.  The A is the 1, also called the root note, of the chord.  The C# is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked, the E is on the 4^th string at the 9^th fret.  The A is on the 5^th string at the 10^th, and the C# is on the 6^th string at the 9^th fret.

The 5 chord is a B chord and it consists of the notes, F#, B, D#.

The F# is the 5 note of the chord.  The C is the 1, also called the root note, of the chord.  The D# is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked the F# is on the 4^th string at the 11^th fret.  The B is on the 5^th string at the 12^th fret, and the D# is on the 6^th string at the 11^th fret.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5.

2:19  The key of F:

The 1 chord consists of the notes C, F, and A.

The C is the 5 note of the chord.  The F is the 1, also called the root note, of the chord.  The A is the 3 note of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked, the C is on the 4^th string at the 5^th fret.  The F# is on 5^th string at the 6^th fret, and the A is on the 6^th string at the 5^th fret.

The 4 chord is an A# and it consists of the notes, F, A#, and D.

The F is the the 5 note of the chord.  The A# is the 1, also called the root note, of the chord.  The D is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked, the F is on the 4^th string at the 10^th fret.  The A# is on the 5^th string at the 11^th fret, and the D is on the 6^th string at the 10^th fret.

The 5 chord is an C chord and it consists of the notes, G, C, E.

The G is the 5 note of the chord.  The C is the 1, also called the root note, of the chord.  The E is the 3 note of the chord.  This is why it is a chord with 5, 1, 3 voicing.

Because of the way this chord is stacked the G is on the 4^th string at the 12^th fret.  The C is on the 5^th string at the 13^th fret, and the E is on the 6^th string at the 12^th fret.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5

53rd Guitar Snake River Rapids Exercises: Pinky, Index, Ring, Pinky in 4s

Note: If experiencing pain, stop playing

53:1 String 6, at 12^th fret, play the following pattern using all down strokes:
15^th fret pinky finger,

12^th fret index finger,

14^th fret with your ring finger, and

15^th fret pinky finger.

53:2 String 6, at 11^th fret, play the following pattern using all down strokes: 

14^th fret pinky finger,

11^th fret index finger,

13^th fret ring finger, and

14^th fret pinky finger.

53:3 String 6 at 10^th fret, play the following pattern using all down strokes:

13^th fret pinky finger,

10^th fret index finger,

12^th fret ring finger, and

13^th fret pinky finger.

53:4 String 6, at the 9^th fret, play the following pattern using all down strokes:

12^th fret pinky finger,

9^th fret index finger,

11^th fret ring finger, and

12^th fret pinky finger.

53:5 Work this pattern down to the 1^st fret.  Then, work it back up, a half step higher each time.

53:6 Repeat exercises such that each string is used.  For example, first do this exercise on string one, and then after working up and down the fret board, try string 2.

53:7 Repeat exercises using alternating strokes (up and down), or down strokes.

53:8 Repeat without palm muting w/down strokes.

53:9 Repeat with palm muting and down strokes.

53:10 Repeat w/alternating strokes, and w/palm muting.

53:11 Patterns may be played at higher frets than the ones listed.

53:12 Play this pattern start at frets above 12, working your way to the smaller frets.

53:13 Work your way back to the 12^th fret using the same pattern.  Possibly consider moving the pattern down the fret in larger steps, such as whole steps.

53:14

String 6, at the 12^th fret, play the pattern using all alternating strokes: 15^th fret pinky, 12^th fret index finger, 14^th fret pinky finger, and 15^th fret pinky finger.

String 5, at the 12^th fret, play the pattern using all alternating strokes: 15^th fret pinky, 12^th fret index finger, 14^th fret pinky finger, and 15^th fret pinky finger.

String 4, at the 12^th fret, play the pattern using all alternating strokes: 15^th fret pinky, 12^th fret index finger, 14^th fret pinky finger, and 15^th fret pinky finger.

String 3, at the 12^th fret, play the pattern using all alternating strokes: 15^th fret pinky, 12^th fret index finger, 14^th fret pinky finger, and 15^th fret pinky finger.

String 2, at the 12^th fret, play the pattern using all alternating strokes: 15^th fret pinky, 12^th fret index finger, 14^th fret pinky finger, and 15^th fret pinky finger.

String 1, at the 12^th fret, play the pattern using all alternating strokes: 15^th fret pinky, 12^th fret index finger, 14^th fret pinky finger, and 15^th fret pinky finger.

String 2, at the 12^th fret, play the pattern using all alternating strokes: 15^th fret pinky, 12^th fret index finger, 14^th fret pinky finger, and 15^th fret pinky finger.

String 3, at the 12^th fret, play the pattern using all alternating strokes: 15^th fret pinky, 12^th fret index finger, 14^th fret pinky finger, and 15^th fret pinky finger.

String 4, at the 12^th fret, play the pattern using all alternating strokes: 15^th fret pinky, 12^th fret index finger, 14^th fret pinky finger, and 15^th fret pinky finger.

String 5, at the 12^th fret, play the pattern using all alternating strokes: 15^th fret pinky, 12^th fret index finger, 14^th fret pinky finger, and 15^th fret pinky finger.

String 6, at the 12^th fret, play the pattern using all alternating strokes: 15^th fret pinky, 12^th fret index finger, 14^th fret pinky finger, and 15^th fret pinky finger.

53:15 Move 5:14 pattern down the guitar neck in half steps.

53:26 Move 5:14 pattern up the guitar neck in half steps.

1:1:2:8 Blues Pentatonic Drill: 2 Fattest Strings. Mode 2, Position 1. Root, 6, 3, 2.

If at any time you are experiencing pain during the exercise, please stop playing.

1:1:2:8:1

With your pinky finger play an E note on the 12^th fret of the 1^st string (the thickest string) with a down stroke.  This place on the fret board is usually designated near a double dot marking.  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 the 6^th interval with respect to the root.  It is at the 9^th fret on the 1^st string.  Play it with the index finger using an upstroke.  It is a C# note.

Play the 3^rd note on the 2^nd string with the ring finger at the 11^th fret, muting the other strings.  This note is played with a down stroke and is a G# note.

The 4^th note in the sequence is a 2^nd interval.  This note is a F#.  It is to be played on the 2^nd string.  It is played with an upstroke at the 9^th fret.  It is fretted 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 complete.

Repeat this pattern until you get up to speed.

It is a good idea to play with either all down strokes or alternate picking.

1:1:2:8:2

Play the same pattern a half step lower.  Moving this pattern up and down the fret board causes key changes.

1^st string 11^th fret using the pinky finger (root).  Down stroke

1^st string 8^th fret using the index finger (6^th interval).  Up stroke

2^nd string 10^th fret using the ring finger (3^rd interval).  Down stroke

2^nd string 8^th fret using the index finger (2^nd interval).  Up stroke

This is the key of E flat.

1:1:2:8:3

Next, play the same pattern a half step lower, the key of D.  This sequence will follow the pattern:

1^st string 10^th fret using the pinky finger (root).  Down stroke

1^st string 7^th fret using the index finger (6^th interval).  Up Stroke

2^nd string 9^th fret using the ring finger (3^rd interval). Down Stroke

2^nd string 7^th fret using the index finger (2^nd interval).  Up Stroke

1:1:2:8:4  Repeat the described pattern moving up and down the fret board either changing keys or holding the pattern in the same place, developing speed and fluidity.

1:1:2:8:5  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.

1:1:2:8:6  After having worked your way above the 12^th fret, now work your way back.

1:1:2:8:7  Repeat the pattern, using all down strokes.

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

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

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

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

1:1:2:8

Note1: The fattest string is the 1^st string.  Thus, the 2^nd string is the next fattest string.  The skinniest string would be the 6^th string, and so on.

Note2: 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.

Note3: 1:1 in the title, “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.  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.

1:1a Position 1 in the key of E minor is as follows.

1^st string; 12^th and 15^th fret, or 1^st string: open and 3^rd fret.

2^nd string; 12^th and 14^th fret, or 2^nd string: open and 2^nd fret.

3^rd string; 12^th and 14^th fret, or 3^rd string; open and 2^nd fret.

4^th string; 12^th and 14^th fret, or 4^th string; open and 2^nd fret.

5^th string; 12^th and 15^th fret, or 5^th string; open and 3^rd fret.

6^th string; 12^th and 15^th fret, or 6^th string; open and 3^rd fret.

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 and 5^th fret.

4^th string; 2^nd and 4^th fret.

5^th string; 3^rd and 5^th fret.

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.

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 and 12^th fret.

Note4: 1:1:2 The 2 of 1:1:2 refers to the mode of the pentatonic scale that is used.

Note5: 1:1:2:X The 4^th in the sequence, X, 1:1:2:X refers to the specific lesson title.

Note6: A pentatonic scale is a 5 note scale.  Usually, for the blues pentatonic scale, scalar positions of the blues pentatonic scale have 2 notes per string.

Note7:  I call the first mode of the blues pentatonic scale, “minor.”  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.

The first 5 notes 1:1:1:X are:

Root (string 1),

Flat 3 (string 1),

4 (string 2),

5 (string 2),

Flat 7 (string 3)

The next five notes in this scale are:

Root ([octave] -string 3),

Flat 3 (string 4),

4 (string 4),

5 (string 5),

Flat 7 (string 5),

However, the first 5 notes of 1:1:2:X are:

Flat 6 (string 1)

Root (string 1)

2^nd (string 2)

3^rd (string 2)

Note8: Intervals are written with respect to a 7 note Ionian major scale, not a 5 note scale.