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Bluegrass Guitar Lessons: Minor Pentatonic Scales - 3rd Position Closed

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[MUSIC]
We're
going to jump into some minor pentatonic
scale forms.
We discussed major scales, major
pentatonic scales, closed and opened.
We going to continue kind of progressing
and deeper in a little bit of you know,
just knowledge about the guitar
fingerboard with the minor pentatonic and
we haven't talked a whole lot about just
the concept of a minor versus major.
The basic theory back in our when we
talked about in our
chord blocks are you know a chord is one.
The, the root, the one of the, of the key
that you're in.
[MUSIC]
And the third, and the fifth, and
if you if you flatten the third, if a flat
third creates a minor sound.
So we're all familiar in E, you know it's.
[MUSIC]
The, the E, the E minor chord and the A,
you know, those are popular chord forms
that a lot of us learn early on.
So and we're going, what we're, so what
we're doing here in this section is,
is playing minor theory to, to minor
pentatonic scales.
And so in looking into the G-minor
pentatonic immediately it's
the same kind of concept applies.
You know, what we're doing with our left
hand here.
The theory of our technique is still gonna
work here.
And the theory of the music that happens
it goes like this.
What we're gonna have is the the root.
[MUSIC]
We're moved up to third position at
this point.
We're gonna grab some notes.
But we're still working out of four frets
here.
Our index finger's gonna be on the third
fret G.
[MUSIC]
And
because it's minor the next note will be a
flatted third.
[MUSIC]
And then the the next
following that in a minor pentatonic scale
is the fourth degree.
[MUSIC]
Into the fifth.
And then a flatted seventh.
If you're working on a major scale.
This is how a major scale ends,
the seventh degree we're gonna flat that
one fret to get this basic kind of sound.
[MUSIC]
And movin' on up.
[MUSIC]
So, one more time from low to high.
[MUSIC]
That's a very bluesy,
minory sounding thing which
is gonna be important as we get into some,
you know some of those dark,
more lonesome songs in bluegrass.
[MUSIC]
And
also if you notice, I mentioned when we
were
showing major pentatonic scales that the
A-major pentatonic.
[MUSIC]
Was an important thing to learn.
If you'll notice it's the same exact form
and there's some, some,
some really neat theory behind that.
Why it's, why it's that way.
And we'll get into that a little bit
later, but
just that's one of the reasons I, I stress
that early on.
[MUSIC]
And
how important that, that, that that, scale
form was to the guitar.
And so you can play major pentatonics and
minor pentatonics out of the scale form,
and a little later we're gonna get into,
you know,
actually how to use that in a song, and
and, and an application.
But for now, again, we're just, we're
learning these chord shapes.
We're continuing to build build this sense
of where these scales are and
we'll keep moving on.
We got three more to go.
[MUSIC]
[MUSIC]
Moving along,
moving along with minor pentatonic with
important shapes and important keys for,
for bluegrass and flatpicking.
The next one is C, C-minor pentatonic.
And, so we're gonna find our C.
Again, we're working at a third position
now.
[MUSIC]
So, our index finger's on the C,
third fret, fifth string.
[MUSIC]
And, I'll, I'll work all the way up and
then all the way down on sixth string, but
starting here.
I'll start here for this time and show you
the form.
[MUSIC]
There's the basic octave.
[MUSIC]
We're moving on up.
There's our flatted third.
Our fourth.
Our fifth degree and then the B-flat way
up there is the flat seven.
[MUSIC]
Okay.
We're gonna go below now to the B-flat
down there.
[MUSIC]
Minor pentatonics are kind of,
just are you know neat sort of musical
sounds just in and of themselves.
It kind of sounds like a.
It sounds like a, a sad, mournful kind of
thing as you, as you run that scale down.
[MUSIC]
If you've been around bluegrass for
a while you've probably heard those same
notes used in, in in hundreds of melodies.
And so here's, all the way now, starting,
we'll start on this low G to give the full
six string compliment of notes here.
All the way up, four strings, or four
frets,
four fingers, six strings, here we go.
[MUSIC]
All right.
There's C-minor pentatonic.
[MUSIC]
[MUSIC]
We're
gonna move straight into D-minor
pentatonic now.
And for this position we're gonna start
with our the D note's gonna be the,
with our pinky, fifth fret on the on the A
string, fifth string.
And so we'll start from there and I'll
work our way again with our, trying to get
all, all the notes within this our six
strings with four fingers, four frets.
[MUSIC]
Now,
we, we mentioned on some of the the
earlier major scales about shifting and
we're gonna do a little bit of that here,
where we.
[MUSIC]
Establish a new position with a simple,
simple kind of lean in with the pink with
the index finger from the pinkie.
[MUSIC]
To get into this position now.
[MUSIC]
Starting from the top here.
[MUSIC]
And
basically the same the same kind of thing.
Just shifting the pinkie back down to this
position, to the C note.
[MUSIC]
There's our D again,
the flat seven, the fifth, and the fourth.
[MUSIC]
Starting from
the low G all the way up, there's our D,
flat third.
[MUSIC]
Our shift.
[MUSIC]
So there's there's D-minor pentatonic
scale.
Look at that shift a little closely, more
closely.
[MUSIC]
It's basically two notes,
followed by two more notes after the
shift.
It's two notes.
[MUSIC]
Shift.
If you want to practice it, that's one
little thing to isolate,
just as a little exercise.
And the main, again the main
idea here is to plan for it to think about
what's going on.
As you, as you keep your notes full and
somewhat, somewhat rhythmic you know we're
basically just learning the positions at
this point, but as you practice them.
Especially with these shifts if you think
the,
the pulse at which these kinds of things
are happening.
[MUSIC]
You know, your left hand you know,
we've always talked about a rhythmic right
hand a picking hand.
And and we've discussed more, you know,
with embellishments with the left hand but
as far as just movement now we're, we're
moving up and down the fingerboard and
we're going to get into.
And to how to think about the rhythmic
left hand now or threading hand.
So and this you know, a little key
building block of,
of that kind of concept.
[MUSIC]
As you practice a scale like this.
[MUSIC]
There it is again.
[MUSIC]
There's D-minor pentatonic.
We've got one more.
[MUSIC]
[MUSIC]
The last
minor pentatonic scale form we're gonna
look at is base out of A and
just as important as all these other ones
for, for building left hand technique and
awareness of, of your hands of the
fingerboard.
So we're gonna find our A fifth fret.
Sixth string.
So, here's the form starting with the A.
[MUSIC]
There's the basic octave.
[MUSIC]
Moving on up.
[MUSIC]
Moving down.
[MUSIC]
There's our A.
And once again the minor pentatonic has a,
has a you know you can hear a lot
of music in that, in that, just in the
sound of that scale.
[MUSIC]
If
you wanted to you could even go to the low
E.
[MUSIC]
You're gonna hear that a lot.
[MUSIC]
Now
it's your turn to submit a video, and
I'll, I'll give feedback.
We're talkin' specifically about the
closed major pentatonic and
closed minor pentatonic scale forms that I
just showed you.
And what I'm going to be looking for is
you know,
developing great left hand technique.
I want you to show me that you have access
to all these, all these notes.
And listening, and list, looking for solid
technique and listening for solid notes.
I'm using mainly rest stroke on all these,
all these every time I hit the string.
[MUSIC]
You know,
back to our basic idea of, of how to sort
of set up for a rest stroke.
You know, come from above the string, you
know.
And, and the goal is to make these,
you don't have to practice with a
metronome necessarily.
I can maybe encourage you know some of the
feedback maybe, you know.
Well, you've got the form, now practice
it.
And what we can get into that depending on
it.
But mainly what I'm looking for is that
you,
that you look comfortable with the scale
form.
And that, that from note to note I, I,
I feel and hear the, you know, the maximum
tone quality.
And those, those, those are what these
scale forms will really do for your, for
your technique and your approach to
playing this kind, this kind of music.
[MUSIC]