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Rock Guitar Lessons: A Minor Pentatonic 3

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All right, I'm excited about this one.
This is a much longer phrase that we can
play really fast.
And again I want to explain it to you in
terms of how many notes
there are per string.
And this one is two, two, two, two.
And then one, and it sounds like this.
Now why
did I choose this particular combination?
The reason is if you listen to where it
starts and where it ends.
It starts on a strong beat and
it ends on a strong beat.
If I took away some notes or I added some
notes suddenly like, for
example if I added in one more.
It sort
of ends in the middle of a, in the middle
of a beat or in the middle of a phrase.
So I wanted to choose something that
rhythmically makes sense to me.
So that's why I chose, chose this long
And in a way this lick is almost easier
than the short ones even though it's long.
The easiest thing about it is you get to
do a lot of downstrokes in a row and
then after quick transition you get to do,
do a lot of upstrokes in a row.
So you get into this groove going down,
down, down, down,
down and you don't have to change.
So let's take a look at it.
When I do,
those notes in A minor pentatonic,
it all is driven by downstrokes followed
by pull-offs.
So down pull-off.
Down pull-off.
Down pull-off.
Down pull-off.
So you get into this groove and
then ending with a down.
let's try just that first half of the
I think this is going to be really easy
for you.
All right, we'll do it slow still.
One, two, three, four.
All right.
Making sure the pull-offs are strong.
That sounds kind of nice, and loud.
All right, so we got those nice and even,
got those dynamic control.
We're ready for the next thing, which is
I'm going to do a single note.
Which is our transition and this is gonna
[SOUND] this is the trickiest part of the
whole thing.
Where suddenly we have to go from doing
all these downstrokes to an upstroke,
and that happens, [SOUND] right there.
And this is something we've done a lot of,
it's so similar to,
[SOUND] but I'm just doing it, [SOUND]
see, it's, same fingers.
Same shape.
We've done this so many times, so this is
gonna be easy,
it's gonna insert something we already
know at this transition of the lick.
All right, so let's take a look at it.
I'm gonna play it and I'm gonna stop, but
I'm gonna keep the stops in time.
One, two, three, four.
There it is.
Just make sure that last one is an up.
as soon as you make it to that up, you're
in up stroke world.
You get to do up strokes all the way.
All the way up the ascending part of
that scale.
But the curious thing is that these up
actually it's not curious if it falls
right into place.
These up strokes are all on a syncopated
So it goes like.
You know.
So let me play in context so
it'll make more sense.
I'm gonna do it slowly.
All right.
So, I hope you could hear how those up
strokes were falling between the beats.
But, then again the way that I want to
explain this
is it should feel just like when you
If you went, [SOUND] it just falls into
that rhythmic grid that I keep talking
Where you have that, [NOISE] that strum
going and you're just exiting the downs.
Down, down, down, down, down, up, up, up,
up, down, down, down, down, down, up.
Up, up, up, down, down, down, down, down,
up, up, up, up, down.
Downstrokes on the downbeats, upstrokes on
the upbeats.
So, let's try that again, within the
One, two, three, four.
All right.
Now again, the, we have a transition on
the top where we end with that,
And then the beginning of the next
loop flick,
is gonna be a down.
So we have two pick notes in a row there,
which is up, down.
So, let's concentrate on that transition.
And the way I wanna do that is we'll play
the whole lick once,
we'll do the transition, and we'll stop.
So we'll go one, two, three, four.
Nice long space, enjoy it.
All right,
you successfully did the transition.
That's the, the, the best part.
can exaggerate the motions to make sure
you really have them.
Where you go down, down, down, down, down,
up, up,
up, up, down.
One more time.
All right, this is a lot of speed
potential once you get that.
Once you have that, those strokes.
The pull-offs or the hammer-ons.
Those are simple in the world of
hammer-ons and pulls-offs.
So I think we can start to speed this up.
One, two, three, four.
Now, why not pick everything?
I could.
if I really want to play this fast, I want
to have a smoother sound.
And I can still hit it hard.
some aggression there, but it's not as.
You know,
it's just to me it's much smoother and
much more relaxed, and
it just makes me feel better to play it
that way.
And maybe best of all, it's easier.
This is just something you can play and
make it indestructible.
You can play this with your eyes closed.
You know,
you can play it with your strap down low.
You know, it's really becomes easy,
because it's just that nice balance
between some picked notes and
between your left hand handling some of
the notes.
So none of them gets fatigued.
It doesn't, nothing you have to muscle
It's it's more about efficiency and just
those techniques just in the right spot so
they balance with each other.
That's some serious sixteenth notes.
I'm gonna try it up an octave just so it
sounds more guitar solo-y.
Let's go here for a second, so we'll go
This is a glorious, standing on top of a
volcano kind of lick.
You go, one, two, three, four.
Yeah, that's really ripping.
So that's a great technique.
I want you to get that down.
Again, it should feel like strumming, and
it's just using all techniques that we've
done before.
One, two, three, four.