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Rock Guitar Lessons: Adding Major 3rd and Major 6th

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One, two, three, four.
All right, so we've been working
a lot with the pentatonic scale, and also
the blues scale and
really the only difference between those
two scales is one note.
The blues scale has the blue note added
So there are other notes you can add on to
pentatonic to add some more flavor, and
I want to show you a couple options.
The first one I'm gonna show you is the
major 6th and
we kind of touched on it when we were
doing that bending in the last example.
Because we went to our normal minor
seventh interval,
that happens in the pentatonic, in the
pentatonic scale anyway.
But if we want to bend up to it,
we end up getting that major 6th note.
One, two, three, four, five, six.
That's a major 6th.
And I like this note, it's a good sounding
note, so
I came up with a phrase that we can use
the major six and get that flavor.
We're gonna start on the blue note.
We kind of did this phrase before, so
you should have the technique of this one
down already.
That little slide a hammer-on and just
picking the first note and
the last two notes with down, and then up,
All right.
This time I'm starting right on the down
A one, two, three, four.
That's the beginning.
Right on the down beat.
All right, we got that much,
now after that, I'm gonna go.
And hit, go for this kinda,
makes a cool sound when I go from the
minor third.
And hit that major sixth right after it
because that's actually in itself a try to
an interval which is very dissonant.
Really catches the ear and makes you go
whoa, what happened there, but
those both sound nice over A,
especially when I resolve to some really
strong notes in the key of
A afterwards, which are the root,
what could be stronger than A in the key
of A, and then the minor
third maybe even a hair, a little bend up
on it, yeah and then the root again, so.
The other elements in this, of course are
the rhythm.
Kind of a cool syncopated accent there.
And the other thing is
your first finger has to do a pretty big
jump right here,
it's a skip of string to go from the high
E string down to that third string.
And again I'm not, I encourage you not to
bar it but to actually do separate motion.
So you have control.
Over each of those notes.
To make that happen,
your left hand is coming out from under
the neck and changing positions.
watch what part of my hand is doing to
make that happen.
It's you know a pretty
big move with the hand there to make that
it's not just like the finger moving on
its own with the hand staying still,
the whole hand is moving to make it easy
for that finger to shift.
And right there, very last note.
Then I put in a little riff in there with
some chicka chickas.
And those have some nice,
nice syncopated things too, and that's why
the first two are upstrokes.
All right,
I think you have all the parts now.
Let's put it together, again starting on
the down beat on the blue note.
So it's a bold place to start, but
almost immediately resolves to a nice
perfect fifth.
One, two, three, four, five.
That's how you know it's a fifth, all
right, one, two, three, four.
Now I'm gonna play this a little cleaner.
I'm gonna tune down my volume because I
want to make
those chickas a little tighter,
I'm having a little hard time with muting
them so let me tune it down.
One, two, three, four.
Okay, I guess it's my job to turn it up,
and see if I can mute it some how,
with all my muting techniques.
Let's see how it goes.
I'm going to really concentrate on getting
a nice clean tight, precise mute.
Let's see how it goes.
Three, four.
Yeah, so to make that happen,
I actually started to aim at the higher
strings [SOUND]
they're a little less chaotic [SOUND] than
the low ones.
So that was my solution there and I hope
this helps get you into the sound and
the feel of playing that major 6th
the context of the pentatonic and the
blues scale and now there's one more.
I want to also add the major third and
we've been messing around with this
We've been doing the, that kind of move
with our rhythm.
we've been bending it a lot, we've been
doing like a quarter-bend and
bends here like just a little bit of a
So we're almost, do a full measure third,
I really wanna show you an idea with it,
and the idea is that when you come and
play the major third, I always wanna play
the minor third first, like.
And I don't wanna go the other way, I
don't wanna go like that
sounds kinda odd somehow to go,
but I love it going up, that sounds
Somehow when you do both those thirds it
seems to sound better us ending then,
and going, to going down I also like the
up steps,
I mostly likely to go, so that high note
then I play the two thirds, going up, and
then a low note.
So, no matter when you play those two
thirds, I always want to go up for
that little section.
All right, so
for an example of that, let's play this
I want to go.
So, first I'm going up and then,
even when I go down, I still go up with
the thirds, if that makes any sense,
the whole riff is generally going in a
down direction but
it takes a little stop in the middle for
the thirds to go up.
Quick reversal of direction because
those thirds sound better when they go up,
if I went the other way that
sort of makes my eyebrows go crazy, so I
like going up, that's better.
Let's do the same thing down an octave but
you're going to get a lot of use out of
those sounds out of doing the minor third
and the major third and the major six you
know, we're really starting to
get more sophisticated with our blues
playing now and our rock playing.
This works in a lot of rock stuff whenever
you have,
these are the good notes.
This is really what makes the pentatonic
scale come alive and
become more interesting and more soulful.
So try adding these notes to your
improvisation, and
try the specific licks that I showed you.
A one, two, three, four.
love to hear you play that one and I'd
love to hear you play.
all gonna help out your pentatonic ability
to make
it more stylish adding a major third after
the minor
third adding a major six and of course our
blue note.
So we're still going to have some good
notes and
of course rhythms to work with and that's
what I wanna hear, all right?
One, two, three, four.