Blues Soloing Secrets - Unlocking The Pentatonic Scale - Guitar Lesson

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Blues Soloing Secrets - Unlocking The Pentatonic Scale - Guitar Lesson Brett Papa papastache102 papastachepop papastache

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Closed Caption:

yeah
I
yeah welcome welcome welcome to pops -
water - so we're gonna do some more
pentatonic stuff back by popular demand
and click that link down below there is
a video not on youtube that will tell
you how to break down and start to think
how to play over a 145 right the most
popular blues progression ever and it's
going to help you how to play over the
cords a little bit better but this
lesson
I get tons of requests for this kind of
stuff so we're gonna is gonna be like a
multi-part series we're going to try to
unlock the failed mysteries of the
pentatonic scale and how to get
different tones and flavors and all
sorts of gizmos and doodads out of the
same old box but we're just going to
fill in the notes and super sugar crisp
it
alright so let's zoom in for a closer
look and break down some rips all right
so this could be your first endeavor
with me
and in that case i want to break down
the box that we're going to use
I know all of you are familiar with the
foremost a year or familiar with the
pentatonic scale i like using a minor
because it's right in the middle and I
think of even usually when I'm playing
major pentatonic I almost still think
out of a minor pentatonic box
you know that's a lot of us out there
were
kind of shown how to play minor
pentatonic blues riffs first so we're
just going to hyper impose the major
over the top of that now there's
something to be said for learning how to
play strict major pentatonic riffs and i
highly recommend you do that you know
you can learn how to play the Hendrick
style rhythm stuff which is really what
open the door for me you know when
you're here
that kind of stuff
hmm
hmm
all that stuff is really what unlocked
major pentatonic for me so learning how
to play rhythm sometimes will be the
most beneficial thing for your lead
playing but that's not what we're going
to do today and if you want to see more
of that you know let me know down below
but anyway so a minor pentatonic right
we're familiar with the note mmm
make sure you learn you know all five
positions of the pentatonic they're the
same notes but as you move up and down
the fretboard they have to be positioned
differently right so the notes will fit
but if we're taking box 1 i'm going to
use all of these notes i'm going to use
five
seven page on e and i'm going to use
five six seven on a my 67 on d 5 6 7 &
it
it's often referred to as the Blues note
on the g string and then i'm going to
578 578 now within this lies the secret
to the pentatonic awesome this universe
and what we can do is rather than
worrying about ok this notice from the
major this notice from the minor all
that kind of stuff we can do two things
we're in a minor box
ok
but within that minor box
it's awesome
rain a year Morgan
right off the bat mmm Matt know right
there is going to sound major
so if we want to have that sound we can
always hit that note that sound great
a lot of times blues your guys go
do that sort of thing they're just
hammering on the minor food for the note
that makes important minor
- the note that makes the moon mmm
ok so we're going to utilize that kind
of stuff now
also
we're doing a major chord right there
you know oftentimes you'll hear people
you add this note that we
salmon
seven you know your stuff hmm
so I want to utilize all those notes
within that one box to really play
around with it and it really works great
if you're playing against a rhythm
that's kind of like five chords which
the courts are neither major minor is
just a route the fifth something like
what I was playing the intro
yeah
I
write something like that and that lends
itself to that sounds kind of minor but
those major notes of work so what we're
going to do is we're going to start by
bending like typically like right you're
bending up to the a note right that's
why that bend always sound so good
against the a chord
as you been up to eh no right there
right so it's our our total center but
what I like to do then is pull off to
the 7th fret
and then bend it up a half step so we
got
yeah
and then i'll go into the minor third
right so we kind of
hold off
and I come back to that note again
and then ah my minor third
so right there what we've done is we've
pulled in and out of major and minor
pentatonic with just you know one string
basically
if you want to add a little pizzazz a
little BAM right at the end for an
exclamation point
you can hit this note and then pull it
into that major third right then ah
right
so that's one of the things you can do
now another thing that people will do a
lot as they've been this time
sometimes what I like to do instead of
bending this note right here
hmm
all bent up the fifth fret right it
sounds a little bit different something
I totally pinched off van Halen and he
does it all the time and it sounds
wicked
so you should do it too right van Halen
does it you should do it
right so then we'll go back to that
major third and pull it into that major
sound so we've gone right that's what
you could normally do
that's that stacking I always do huh and
then I'm going to bend up the fifth fret
hmm then I'm going to come back to my
legs turkey center
stacking notes up and down and they go
oh
not hammering on from 5-6 on the g ah
yeah
and that's going to get us into that
major chord again right where am I
the back today where we can take it
wherever we want to go back to minor
right walked out
so what I did there ah
and then I don't slide it like this
yeah
right so it's like an immediate slide
from seven to five
walking down hmm
see
see I did that I to get a good pitch
alright so anyways quick that
right which would pull us back into that
minor sound so right now we're going in
and a major and minor this is the secret
this is what you know ninety percent of
the people out there always will be here
in in really great players whether it's
clapped in angus young Van Halen all the
wicked you know
shred guys like van Halen morning
martini george lynch all these guys are
constantly going in and out of major and
minor and most of those guys are really
playing hybridized pentatonic scales
right
a majority of what they do is based in
pentatonic that's why I really stress
pentatonic because it's really musical
now there's satriani by all these guys
in bay that use real modal scales right
but they still to satriani especially
really lies relies heavily on pentatonic
scale so master that and your whole
world will open up and then when you
learn those modes you can infuse as
little other notes and it really will
just take your playing - you know
stratosphere right
Oh or telesphere Elias fear but
man the bad jokes are flying all right
so here we go
alright so i know i'm going to run out
of space here so I'm going to pause and
then come right back
alright so we're back so also we always
hear people or maybe you don't but I do
you know whether it's ZZ top or bringing
that stuff
this is what you might hear an example
of all right just descending straight
down and that is awesome it's one of my
favorite risk to play you know
and what you're doing is you're just
walking down the pentatonic scale but
you're filling in some passing tones
right so we're going 75 75 and then
we're going to seven six five and
down ok
now
I did this for years right
all those notes some out but I never
really thought about starting 675 right
so you got
right so I'm
and it starts to add this cool your d
sending but you're you know kind of
ascending and descending at the same
time it really creates this really cool
vibe so what i would do is i would go D
string
6
you
I
the chief I've and then I do that
stacking so we got
ah
yeah
I
hmm
then I'm gonna be sending down so i'm
going to 75 on the d
and then I wouldn't so we got it
so we got there
knocking again I
I
and then I'm gonna do that ascending
riff
yeah
it's already speed
yeah
right and you start to get all that
those sort of rift now I'm gonna break
down some of those riffs later on too
but it's all just a continuing theme
right of pulling in those major notes
into what i would consider the minor
boxes to really get all these cool like
countrified you no could be kind of
jimmy page like rock riffs right where
you can sound really heavy really hard
rock but at the same time you throw in a
little something that kind of tickle the
ears cilia
no just a little tickle tickle tickle so
people are like wow do what was that
right and you can kind of go faster
right because you're playing all the
notes right in a row rather than trying
to you know master a skill that's
impossible like playing like a chunks
I had this many ranges have a hardest
time playing just two notes on one
string so it's way easier for me to
throw a chromatic notes
sound quicker
yeah
right so if you want to see more of this
again let me know down below get
specific and i'll try to break it down
i'm not a huge theory guys so I'm gonna
tell you straight up front
theoretical explanations will be half
just totally making something up
just you know sound like I know what I'm
talking about but i'll do my best i'll
ask my friends who are three masters and
make and maybe break down but if you
want to see this kind of continuation of
a theme
keep coming please let me know I could
do this till i die because it's my
favorite thing in the whole world so let
me know if you want more of that and i
will do it