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Rock Guitar Lessons: Pentatonic Solo 7

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[MUSIC]
One, two, three, four.
[MUSIC]
All right, we're doing some serious
burning on the guitar at this point, and
it's all things we know already.
We're beginning with this familiar lick.
[MUSIC]
We've done this a lot in the last
examples.
Make sure you practice it a lot.
[MUSIC]
We've done that, and
all we do is put it on each starting
point.
[MUSIC]
Of the first finger.
Of this pentatonic scale that we know.
So we do this first one that we know, the
second one which we've played also,
then we're gonna continue down, and
continue down to the last shape.
Using our pinky.
[MUSIC]
And then we end on that last note so.
[MUSIC]
That's pretty cool, isn't it?
We get all lot of 16th notes here and it's
all using a pattern that we practice and
that's becoming a habit becomes
indestructible.
[MUSIC]
Now the most difficult thing
about this because you already know the
technique it's already part
of your playing is the transitions and so
let's practice each one of those.
We already practiced the first one, we
know this one.
[MUSIC]
We've done that one a lot in the last
example so let's do the second transition
which would be starting here.
[MUSIC]
With that lick and
then the next note following it.
[MUSIC]
Now this is going to be real,
really similar.
So I don't think it's going to take you
much practice to get it.
[MUSIC]
You're going to get that one, try it.
One, two, three, four.
[MUSIC]
A little bit slower.
[MUSIC]
And you can review all the pick strokes in
the last one, but again, it starts with
the up, the down,
the pull-off, [SOUND] and the downstroke
after that.
[SOUND] And then one, [SOUND] upstroke,
cause these all start with the upstroke.
[SOUND] And the next one,
[SOUND] again the pentatonic scale is
telling you.
Where your fingers should go.
You know, the, in this case we have a
really nice shape because these are all
sort of square pattern.
This is a, they call it a box shape
sometimes cuz it almost looks like a box,
the shape of it.
[MUSIC]
And the last one.
[MUSIC]
And that one I'm just going down to
the lowest root note,
[MUSIC]
of the scale.
So let's put this together real slowly.
I'm gonna go one, two, three, four.
[MUSIC]
You can hear the pattern there.
It's, it's descending fours, you know.
One, two, three, four, one, two, three,
four, one, two, three,
four, one, two, three, four.
It's just four notes in the scale going
down.
One, two, three, four.
[MUSIC]
If
we want to put holes in between, just to
give yourself a little rest, and
time to repair for the next lick, you can
do that too, you could go like.
[MUSIC]
That
might be one way that you practice for
this and get ready, but
I think you're ready to put them together,
because we did that in the last lesson.
Three, four.
[MUSIC]
All right.
And by now you've practiced this so much
that we can begin to speed it up, because
it feels like habit is just, intuition for
your hands, that's what practicing does.
So, three, four.
[MUSIC]
Now, all those accents are with upstrokes.
Up, up, up, up, up.
So, watch my hand while I do that.
[MUSIC]
Yeah, a lot of upstrokes on the down beat.
[SOUND] That whole shuffle session is
paying off now.
[SOUND] Alright, now I wanted to put a a
rhythm
in between this, and these 16th notes.
The thing with 16th notes, they're
exciting cuz they're fast.
You know, you can go.
[MUSIC]
And you'll be able to do that.
That, that tempo is not, not outta your
reach because eh, practice this.
It's just the same four note sequence over
and
over again in a pretty easy scale shape,
so you're gonna get this.
But after you play that, what happens is
the ears of your audience
start to become used or used to 16th
notes.
They're like, yeah, yeah.
I've heard that.
Cuz after it goes it's like, okay, I want
something else.
So I tried to make the rhythm as different
as possible.
From the solo and the way I did that was I
made it, of course, slower,
because it's chords and I put syncopations
in, so I went.
[MUSIC]
So
those accents, un, un, un, are in between
the beats.
[SOUND] I guess the second one is
syncopated,
the others too are the down beats.
[MUSIC]
And
then I did a nice chunky thing that I
could be dynamic with, get quiet.
[MUSIC]
Bring the volume up and down,
that really, is a nice contrast from the
16th notes that just hit you in the face.
So here we go [LAUGH],
let's listen to contrast musically between
those two parts.
One, two, three, four.
[MUSIC]
Okay now these are just big power chords.
We've got a power chord in F.
[SOUND] I've been chucking away on that
with a lot of muting with this hand.
[SOUND] And sliding up.
[SOUND]
And just for fun.
[MUSIC]
I'm putting in a slide just sort of
a sound effect.
The notes don't matter.
Just the slide down.
That's a great sound.
[MUSIC]
And that get's me in,
[MUSIC]
to the beginning of the next solo.
All right so let's try this whole thing
real slow, with the foot going.
[NOISE]
One,
two, three, four.
[MUSIC]
Those big holes in the rhythm are so
dramatic.
You know, when you go.
[MUSIC]
That just makes the audience go,
oh, my God.
What's happening?
So that's such a good technique
compositionally and.
I, I want to plant that idea in you, that
if you're gonna play a bunch of fast stuff
make sure to contrast it with some rhythm
parts or some things that have
holes in them and that'll keep the
audience's ear on alert so
much more interested in what you're
playing.
All right, let's try this up to volume.
Have some, have a good time with it.
One, two, three, four.
[MUSIC]
[MUSIC]
[MUSIC]
One, two, three, four.
[MUSIC]
[MUSIC]
[MUSIC]