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Fiddle Lessons: Pentatonic Scale

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Let's get into these pentatonic scales.
Pentatonic scales are very handy for
just thinking about what key your in and
moving around very fast and
working out keys and things like that just
stuff to play, over certain keys.
It kind of is a way of simplifying
the vocabulary for whatever key that
you're playing in.
And it helps generate good licks and
things like that.
So, let's look at that.
Five tones, penta meaning pentagon,
pentagram five of anything.
So, basically what we're doing is looking
at the octave and
saying we're gonna pick five notes, out of
this octave that are the most mellifluous
obvious notes to play in the key and we're
gonna call that our pentatonic scale.
And so, out of any key that we're talking
we're gonna pretty much pick the same
We're gonna pick, for instance in the key
of D,
it's gonna sound like
So how many notes is that?
One, two, three, four, five.
And of course that, is the octave, so
we don't even count that because it's the
same note.
So we got five notes.
One, two, three, four, five
So that sounds like a lot of fiddle tunes
right there.
Now, why those particular notes?
Because those are kind of the notes, that
really, sort of, define the key.
Those are really.
We got the thre, one, the three, the five.
And those are the notes that really spell
out, strong what key you're in and
then we're gonna add two notes that don't
get in the way.
We're gonna add the, the one, the two.
Right, so that's sounds good.
That sounds like a little bit of a scale.
And then we're gonna also add the six.
One, one two three four five six.
So we got the one, the two, the three,
the six, the five and the one again.
So, and if we.
Now what notes are we leaving out?
Just, we're leaving out the four
And that note
Does not fit.
So it wants to point to another chord.
It wants to point outward into another
harmonic area.
So we're gonna leave that out.
And, also
That note,
the major seven that also sounds like it's
pointing to another chord.
We're going somewhere else
So we're just leaving these notes out.
These are very
All right,
just try playing the D pentatonic.
Okay, let's try it in G.
let's take it up an octave from there.
Also starting same note names, same number
relationships, different fingering.
Let's play that.
Come back down.
How about kind of a crazy key like F?
Let's try it in F.
So we know it's one, two, three, five,
There's a one.
We found our F on the D string
One, two, three, five, C,
up to the next octave.
One more time.
Back down.
It would be really great to,
when you practice this, starting with an
open string.
And then starting on the first finger.
All right,
so you could see that relationship, that
physical shape.
Start with the second finger.
And start with the third finger.
you wanna be obsessive and thorough, start
with the fourth finger.
is actually the same as if you started
with an open string.
you're using your fourth finger, in place
of the open string.
Which is going to be a huge thing later on
it's gonna be really important to get that
pinky working.
Because when you're up here,
in the upper reaches you're not gonna have
those open strings.
You're gonna need that pinky.
So that would be great.
Now, I skipped a couple of half steps in
there, didn't I?
I, I went.
And then I went.
I could have gone.
That would have been cool.
You could do that.
You could spend time, playing all those in
betweens, too.
And really get yourself comfortable,
you'll notice that there's a lot of
similar fingering going on within those
half step things.
So, that would be the coolest if you
started with an open string.
and then move that whole thing up a half
Same exact fingering.
You could keep going.
But if you went to the second
finger then your exercising and getting
used to the relationships.
Starting with your second finger, and
that's also a very good thing.
And that is kind of an awkward one.
Definitely might wanna spend a little bit
more time on that because it feels worse.
[LAUGH] what we usually do is,
we spend less time on the stuff that feels
worse, because it feels worse.
And, and, of course.
In music we have to learn to do the
opposite of that so
that we can get stronger and stuff.
And it feels worse because, then it stops
feeling worse and it feels better and then
everything feels good and then we we win,
every one wins including the listener.
So, what I want you to do is just get
comfortable with the pentatonic,
in one octave, starting with every finger.
So again.
You can hear those relationships.
They're all the same, even though we're
moving up and down the keys.
It's that one, two, major third, five, six