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Electric Country Guitar Lessons: Introducing Major and Minor 3rds with Pentatonics

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This page contains a transcription of a video lesson from Country Guitar with Guthrie Trapp. This is only a preview of what you get when you take Electric Country Guitar Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

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[MUSIC]
Okay, in this lesson,
we're gonna talk about kind of connecting
the pentatonics using
those two different sounds
we had with the blues sound and
the major sound.
And we're gonna incorporate some
major thirds and minor thirds,
and how that affects our sound.
And also I'm gonna start introducing how
we're gonna use that to play over chord
changes too,
cuz that's a huge part of this.
So I'll play a riff for you and
you don't have to play this yet,
don't worry about that.
I just wanna give you an example
of what this is gonna sound like.
So I'm gonna start in G.
I'm gonna start on a blues pentatonic.
And I'm gonna weave in the major sound and
then back into the blues.
So we're gonna start on G.
[SOUND] And
I'm gonna play G blues pentatonic.
And that's gonna be starting
on G, this whole step box
pattern which is,
[MUSIC]
and that's a whole step
[MUSIC].
Switch to the B string
[MUSIC]
and then right there, you shift to
the seventh fret, so we're going,
[MUSIC].
And that's where the box pattern shifts
down, because the way the guitar's tuned
when you're on the B string and you shift
to the G string, you break out of the box
pattern for a second, then it picks
right back up on these other strings.
So it's tenth fret, [SOUND] eighth fret,
[SOUND] sixth fret, [SOUND] eighth fret,
[SOUND] sixth fret,
[SOUND] seventh fret, fifth fret,
third fret, fifth fret,
D string, third fret,
fifth fret, third fret,
first fret, third fret.
So,
[MUSIC]
and that's your
pentatonic shape
going linear.
We did them going vertical,
now we're doing horizontal.
So that's how you do this.
It's a whole step.
[MUSIC]
And I started on F that time, so that is
a full whole step, climbing up to G,
[MUSIC].
Slide with your ring finger,
[MUSIC]
that puts you in the different position to
be able to put your first
finger right there.
So your three fingers
right there are perfect,
cuz it's covering three frets without
even having to move your hands.
So you got those right there, so
it's perfect little fit when you slide up,
[MUSIC].
So,
[MUSIC]
that's this box pattern that I've been
talking about.
[MUSIC]
So it's right
here,
[MUSIC].
So you don't have to play that,
I'm just showing you,
that's the box pattern,
[MUSIC].
So that whole thing again,
[MUSIC]
slide,
[MUSIC]
slide,
[MUSIC]
slide up.
So that's your blues
pentatonic in G,
[MUSIC].
And then once you learn that pattern,
even if you start on G here, the F.
Let's see, let's pick a better example.
So, if you start here,
[MUSIC]
right out of that chord,
[MUSIC].
It's the same pattern, everywhere you go.
So, if you start on F up to G,
[MUSIC]
it's a whole step,
[MUSIC]
whole step, slide, whole step,
whole step,
[MUSIC]
slide again,
[MUSIC]
right to your high G.
So,
[MUSIC]
that's connecting
those.
And once you learn that and
you start seeing how that shape works,
it's very useful.
So you can start this anywhere.
You can start on
this F,
[MUSIC].
It's just connecting these shapes.
So you can start here on this,
[MUSIC]
and this is used for
little riffs,
[MUSIC].
You've heard that sound forever.
So, that's a little bit more of
a linear approach to these pentatonics.
Now, what I wanna do now is what I said,
I wanna connect these two sounds.
So, when you start on your flat seven,
which is F,
[MUSIC]
that starts the blues pattern.
Well, if I do the same pattern,
and I start on B,
[MUSIC].
So I'm sliding from G up to B,
[MUSIC]
and I'm thinking about this chord shape.
So I'm going,
[MUSIC]
so,
[MUSIC]
it's the same pattern, we're just starting
on the major thirds
instead of a flat seventh.
So,
[MUSIC]
so that's G,
and the same
thing here,
[MUSIC].
So that is a good exercise
to look at how those
pentatonics are,
[MUSIC]
connected,
[MUSIC].
And it's the same
as going,
[MUSIC].
So that's just like we do with the scale,
we're doing the same thing
where we're connecting it.
[MUSIC]
[MUSIC]
So now, I wanna connect
the blue scale with one of the blues
pentatonic style with the major.
So that's gonna sound like this.
[MUSIC]
So what I did there was I played
[COUGH] a little bit in the blues
sound, and then I slid up and
went into the major sound.
So that sounds like this,
I'll do it one more time.
[MUSIC]
And
now what I did there was I
got into it a little sooner.
I went here.
[MUSIC]
So as soon
as I do that.
[MUSIC]
That's the blue sound.
[MUSIC]
Cuz I'm
[MUSIC]
I'm hitting that B flat.
[MUSIC]
which gives it that bluesier sound.
So
[MUSIC]
So that's weaving those two in.
And how you do that is
when you're right here,
[MUSIC]
You're hand is in position [SOUND] to hit
that F cuz of this box pattern.
[MUSIC]
So when I get right here,
[MUSIC]
I'm sliding [SOUND] up another whole step.
[SOUND] And I'm getting
into this pattern
[MUSIC]
Which I just showed you.
So, again,
I'll do a couple more examples of this and
we'll work more on this as we go along.
But I just wanted to
introduce this concept.
So it's using the minor third,
which is B flat,
the flat seven which is F, and
then the major third, which is B.
[SOUND] So these are gonna
define our two different sounds.
The major third, which if you're
in the key G it's B [SOUND].
So with that being said,
that's what defines your major sound.
[SOUND] If I change that,
if I flat that, it goes minor.
So that gives us [SOUND]
a little bluesier sound.
So when you focus on the B flat and
the F with this pentatonic shape,
[MUSIC]
That's gonna give you the bluesier sound.
So when you focus on the B, [SOUND]
that's gonna give you more of a major,
defining the major sound.
So when you blend these together.
[MUSIC]
You're going right to that position and
changing the sound.
So a lot of people get stuck playing
in just the blues sound, and
they don't know how to weave these in and
out.
So it's a really good thing to know.
So I'll give you a couple
more little examples.
[MUSIC]
So I went
[MUSIC]
Blues then I went major.
[MUSIC]
And then I went blues.
[MUSIC]
I slide all the way up.
[MUSIC]
To that position.
[MUSIC]
To get into the blues pentatonic shapes.
So I went
[MUSIC]
And if you wanna go here
[MUSIC]
you can slide back up into the major.
[MUSIC]
And
I am thinking of those chord positions,
too, while I am doing this.
So that is one way to do that.
Then we'll get more involved on that.
That's G and this works in all keys.
And we'll get more into that when we get
into the advanced stuff of playing over
chord changes and stuff like that, too.
So, there's a little bit of
an intro on that concept.
And we're gonna move on.
[MUSIC]