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Free online guitar lessons for beginners, intermediate, and advanced players. Located in Crystal Lake, Jake Lizzio provides free jam tracks and video lessons for guitar players, as well as music theory videos and other music education content.
Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful. Be sure to check out The Ultimate Modal Poster!So hopefully you've been practicing your scales but one of the problems that you run into when you practice your scales just up and down is that when it comes time for a solo you end up just playing up and down the scale which works but isn't really that interesting.
So one of the great little techniques you here you can practice is to practice scale patterns instead of just up and down the scale.
This is good for plenty of reasons. Mainly you're going to have more things to do when you're soloing instead of just going up and down you'll have interesting ways of going up and down that scale but also scale patterns will really challenge. Your left hand and your right hand coordination and it's about as good at practice as you can do for your just raw technique alternate picking and economy picking through strange scale patterns, very very very good exercise. So what I want to do is talk about some very simple scale patterns with our pentatonic minor shape that we can start throwing into our solos and that will also help us improve our technique at the same time.
So when you're doing scale patterns, there's two things to think about. What is my actual scale pattern and also what rhythm of my using to play that part? And so my playing as eighth notes is am I playing it is triplets sixteenth notes Etc.
So this first pattern I'm going to show you we're going to try and think of it as a triplet phrase because it's set up to only to really be groupings of three notes at a time. So here's what I'm doing. Imagine. If all of your notes on a pentatonic scale were just lined up like this but we're going to do is we're going to take the highest note we can play and we're going to just descend through three notes. So one two three, then we'll back up one note and we'll go down one two, three, and then we'll back up 1 2 3 Back 2. Three back two three and what that looks like on our guitar here. I'll be in a pentatonic minor and I'm in a pentatonic minor because the Jam track I'll be playing along with is in a minor and you can see the link in the description to get that Jam track. So I'm starting at the highest note of a pentatonic minor which is my eighth fret here and then I'm going to descend through three notes.
One, two, three. Now I come back up one note one, two, three and then back up one note one, two, three back to back.
And that is a three note phrase 1 2 3 1 2 3 1 2 3. So I'm going to pretend like these are triplets and I'm going to count 1 triplet 2 triplet 3 triplet 4 triplet 1 triplet 2.
I want to have a three beat their so what I'm going to do is I'm going to add this note right here. That's just an extra a right there and that way when I'm practicing this I have a down beat that I can kind of sink up to I know that if I hit that note right on the three beat that I know. I was somewhat close to being in time.
It's kind of hard to time the last note of a triplet. So I like to add that little note here the end of the entire pattern. So the whole thing again right now, I'm not going to walk you through the technique on this essentially learn the pattern and practice very very slowly until you can pick up the speed. There's plenty of videos out there on Alternate picking technique and I don't want to get too far into this these videos are kind of aim for people that already know how to play the guitar but are struggling to play good solo.
And you know taking all of your Technique and actually applying it. So if you're looking for how to play that fast, there's other videos out there that can help you out with that.
So now that we have a triplet phrase. What I want to do is just try applying it but really quick we should be practicing at the other way to any time you learn one of these patterns make sure you're practicing it in both directions. So if I started at the bottom, I'll come up three notes and then I'll descend one note and then I'll come back up three notes and then I'll come back up to three backup three back and so on and so on it'll look like this.
I'm going to add one extra note just so it gets me back on a downbeat. So I have something to sink up to so I'm going to press play on the minor but Blues Jam track and I'm going to try doing the pattern all the way up. I'll do the pattern all the way down and then I'll do a few things where I just do bits and pieces of the pattern. I might start on the 5th string and do the pattern just halfway up maybe start on the 2nd string and do the pattern halfway down and maybe even do really little tiny. Pieces of the pattern like what if I just singled out the middle part here that's part of the pattern and it might sound really good in the middle of a solo repeat that over and over.
So these patterns aren't always meant to be played constantly up and down. Sometimes you can just isolate little parts of it and get some really good stuff out of it. So let's hear what that sounds like.
One triplet two triplet three triplet four back up and now I'll just do little bits and pieces of it.
So the triplets are a little much I wouldn't always keep doing triplets over that but since this is a triplet pattern that's kind of what we're stuck with right now is just practicing it up and down with triplets.
However, this can be really complicated. But I do want you to also try and practice this exact same pattern phrased as 16th notes.
It is going to be quite a workout but you have to really kind of flip your brain around and count the that entire pattern while you're counting 16th notes at the same time. So your fingers will play the pattern but your mouth will count sixteenth notes. It'll sound like this one and two and three.
So if you can train yourself to really feel what a three note phrase feels like when you're playing them as 16th notes 1 E and A 2 E and A 3 e then you have access to this exact same pattern phrase the sixteenth notes and listen to what that sounds like one E and A two e and a three e and a four e on the way back up one two. Three so that's pretty weird, right there are doing a three note phrase a sixteenth notes, but if you practice it slow and kind of hear it in your head a bunch of times, you'll start getting the feel for it. You can start using in the middle of your leads.
I want to do another triplet pattern here with you that you can also use as a sixteenth note. This one I think is much easier and essentially instead of thinking of notes. I'm just thinking of strings. All I'm going to do is I'm going to descend through three and three strings of my scale. Then I'll just back up a string and I'll descend through three strings and then back up a string and then down three strings. So it'll be like this. Here's my highest note and I'm going to come down three strings and then I'm going to come back to my second string and go down three strings back to my third string back up a string.
And then once again, I'll just end it with an extra note right there. So I'm right on a beat okay with that extra a there. So here's what it sounds like and once again will This is triplets first 1 triplet 2 triplet 3 triplet 4 triplet 1 triplet 2 triplet 3 triplet 4 and then later on we'll try to 16th notes 1 E and A 2 E and A 3 E and A 4 E and A.
So let's take a listen to that one triplet two triplet three triplet four back up to three trip.
before Now playing the sixteenth notes one-e-and-a two-e-and-a three-e-and-a for backup.
All right, pretty cool stuff. So both those patterns we did were revolving around threes. Right triplets are groupings of three. I want to give you a longer pattern. I consider this like an eighth note pattern and essentially I will have describing and I'll just show you the tab here.
It is repeating those. So once you do all eight notes you essentially repeat the same pattern on the next two strings and on the next two strings and here's what it looks like. We're going to have one and two and and then we repeat that same idea starting on the second string 1 E and A 2 e and then again starting on the third string one.
And then once again, I'm going to add that extra a in there because it gets me on a beat. So let's hear what that entire pattern sounds like.
I'm doing some Legato in there with all these patterns. I recommend you doing both ways practice it with strict alternate picking but also practice it with the hammer ons and pull offs as well because they're two completely different fields.
And sometimes it might be easier or harder to actually play a with or without hammer on so really recommended to make sure you're balancing your practice with and without Hammer ons on these today. I'll just I guess I'll do with picking just to make a keep it consistent here and on the way up we can do pretty much the same pattern.
All right, since it's already set up for eighth notes. It's going to be very easy to apply it as sixteenth notes as long as you have the speed developed.
So here's what we'll do. I'm going to play that pattern. All right, I'll be doing that 16th note pattern and then I'm going to start just throwing all the other patterns we've talked about here today for this last solo to be kind of like a conglomeration of all those things and occasionally. I might not do anything pattern-based. I'm gonna try to just really just drown this with patterned stuff too. So you can hear how efficient it can be but with all things I think it's all about balance. All right, it's not about just doing patterns. You want a lot of stuff in between there. But for this solo just to demonstrate I'll show you all those patterns crammed together, two three.
All right, cool. So a lot of different ideas. They're all right, we can do all those different patterns mix and match them take them whenever we please and as long as we practice them ahead of time, I definitely recommend use your metronome. Alright, practice all this stuff without a Jam track first, just so when you're in a jam track, you've already got those rhythmic Cycles Cycles practice when you're only focusing on the beat, you're not focusing on the core. You're not focusing on anything else. Other than when My note get played.
So in my opinion it's about as good a practices you can do as a lead guitar player. Learn some patterns.
It strikes it stretches out and exercises your alternate picking and it gives you all this stuff that at any point in time as a lead player. You can just call that stuff up you can say, oh, I want to go into triplets. Now. I want to go into sixteenth notes now and you already have this stuff like pre-designated just to play those rhythmic Cycles instead of having to think that fast instead of thinking it sixteenth note speed which can be really really difficult and I completely struggle with I don't really You have to think that fast because my fingers are doing the thinking for me. They've already practiced these patterns millions of times.
So hopefully this gives you some ideas on how to start practicing your lead sequences.
And one thing I want to mention. If you have any specific questions, please let me know.
I won't run out of lesson ideas anytime soon, but I certainly want to make sure that I'm catering to anything that you feel is confusing or difficult. So, please drop me a line.
Send me an email or contact me on Twitter or Facebook or something. Just so you know if you have any questions I can Maybe make a lesson and a video specifically about what you are having problems with. All right. Thank you so much for watching and see you next time.