We're get into some serious stuff this time using Legato. All right, we're taking the Legato skills that we learned last time and we're applying them to scale shapes and I've included a practice track along with this that's going to help you practice to a triplet speed into different phases.
Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful.
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Hey, welcome back to another lesson. This one is going to be pretty intense.
We're get into some serious stuff this time using Legato. All right, we're taking the Legato skills that we learned last time and we're applying them to scale shapes and I've included a practice track along with this that's going to help you practice to a triplet speed into different phases. So you'll be doing like a slow triplet and a fast triplet and this should push you to some pretty extremes. If you're not if you're not familiar with three notes per string shapes, and if you really haven't worked your Legato, but I've set this up so you can basically Is this for months just by using different modes and using different scales and different keys because these concepts are widely applicable. They're not narrow Concepts. It's not like it's for one little thing here. This this can apply to any key that you're in any song that you're writing and we're going to start off by using it with the major scale. So essentially take a look.
I'm going to use my a major scale. All right, and I'm a setting it up three notes per string so I can utilize all the legatos tricks that we talked about in the last lesson. So this is what it looks like. This is the three notes per string shape. Its 5 7 9 5 7 9 6 7 9 6 7 9 7 9 10 7 9 10 and you see I only pick the first note out of every single one of those strings. All right. So the first note here I picked the rest that is hammered on pick Hammer Hammer Hammer Hammer hit.
Alright, so now what we can start doing is we can start ascending through the major scale by counting triplets 1 triplet 2 triplet 3 triplet 4 triplet 5 triplets six triplet if you want to count a 6 1 2 3 4 5 five six and their six full triplets in a row there. So with this would sound like if I was actually in something in a key, I want you to take a listen. I'm going to I'm going to play the Jam track and I'm going to just go up and down with slow triplets and then I'm going to go up and down with 16th note triplets, and I'm not really going to close it off. I'm just going to go all the way up the scale and then I'll go all the way down the scale just do in the reverse by doing pull-offs like this one triplet two triplet three triplet four triplet and I'm going to do this in a major. Now. I want you to notice the Jam track is only playing two notes. It's only playing an a And all right. And in that is going to give us the freedom to basically play any scale we want on top of this that has an inner knee and that's that's like almost every scale has an A in any so we're starting in a major. But later on I'll be showing you this in a minor a lydian pretty much everything but a locrian would sound good in this but take a listen right now as I as I just go up and down using triplets over just this simple Jam track and listen how nice and Progressive it's going to sound 1 triplet 2 triplet 3 triplet 4 and down twice as fast.
All right, pretty cool. But there's something missing.
And what's missing is the fact that when I'm done with that run my last note was to Triplett and I didn't really give you a downbeat to pick on and so there was no like point. It was just like it was like a it was like a guitar run that just went away and then never really ended anywhere. It didn't have like a resolution.
So what we want to do is we want to start adding in an extra note to our Legato runs. We're going to pick through these Legato runs and then we're going to pick an extra note at the end something like this. Watch. What if I did 1 triplet 2 triplet 3 triplet 4 triplet 1 triplet. Two triplet three.
Alright that three beat right there. That's an important beat. All right, so by doubling down on that three beat I make the lick a little bit more rhythmically coherent take a listen.
That sounds better than just leaving it at that note unresolved.
All right. There's no beat 30 even sync it up to there's another reason here that I picked this note in particular is because we are in the key of A something and today I picked, you know, I'm starting with major right now, but I want to be picking since I've decided to use in a major.
I want to be picking notes that are in the a major chord.
Okay to end on so notes like this a C sharp a C sharp g a c sharp. So those notes are all the notes of the a major arpeggio.
Okay, and you see They're laid out here in this shape in a three notes per string shape these they're not in a convenient spot. It's actually really uncomfortable playing an a major arpeggio when you stick to this shape, but we kind of have to because these Legato runs rely on a staying in our shape. So the idea here is is I'm going to play any Legato run. I want I'm gonna do any hammer-on and pull-off sequence I want but I'm going to try and end here or here or here or here or here or here. Alright, any of those notes are legitimate notes for me to end on to still maintain the sound of a major. So for example, if Let's add this one to the third string 1 2 3 4 1 I could end on that note I could also end on this note by double picking one for Pick and I could end on that the next chord tone the next note of the arpeggio would be here on that note so I could jump I can go one two, three, four jump like that.
All right, I could I could come down a note to this note this a all right? Of 1 triplet 2 triplet 3 triplet 4 triplet 1 right there. All right.
Now I'm going to do that same concept now to the same jams and I'll do it in the reverse again. Remember everything do it backwards to so doing pull-offs 1 triplet 2 triplet 3 triplet 4 and ending on that note as opposed to doing something like Write that note doesn't kind of resolved. It's not part of the a major chord. So I'm going to try and do that now to the same Jam track. Alright going up and down with Legato. But when I end I'm going to end on a Beat by picking a single note and then I'm also going to make sure that that note is one of my chord tones. One of my approved notes of the a major chord. All right, so let's take a listen to that.
Alright, so you see those moves like that sounds pretty nice.
And it's starting to sound. I don't know pretty Progressive. I mean we're gotten I've let those long gaps in between so it's not like total shred territory because we're giving our selfies long breaks in between but you can hear it starting to sound pretty cool and like like a solo that you know would impress people at least and it's right on time and it's right in the key. So basically you can see what we're doing here is instead of just, you know, shredding around now, we're actually applying these and shapes and I really here's where it gets crazy because this track is just a so we can do this in any key we want. Let's completely switch Pages now, let's go to a Enter instead. All right. So if I did my a minor scale three notes per string. It looks like this five seven eight five seven eight five seven nine five seven nine and then it's 6 8 and 10 and 7 8 and 10.
So since the Jam track is like neutral, it's Hollow. It doesn't have a major or minor feel we can make it minor just by playing the minor scale on top of it. All right, and instantly I'm just going to press play and just go up and down the minor scale and listen to How it changes and that's the idea with a track with No cord. There's no cord being played here. So we are implying an A minor chord on top of this track merely just by playing the a minor scale that's going to make your brain think a I'm in the key of A minor. I kind of feel an A minor chord. And then also what I'll do is I'll try and highlight the notes of the a minor scale that are the notes of the chord as well. So this note hey see a CPA and see those are the notes. I'm going to try and stop on those the notes. I'm going to try and prove my point on the ones I want to hang out on because they're going to reinforce this idea that my Center chord is a minor even though there is no a minor in this Jam. All right, so let's take a listen this going up.
So you can see they're definitely made a few mistakes, you know making this up on the Fly.
I'm much better at writing a solo than I am at improvising a solo but these are the concepts that I go to when I begin writing a solo is okay, you know, can I play triplets at that speed? All right. What patterns do I know at triplets at that speed? Okay. Do I want to keep going and then from there on I have to practice it till I get it just right but you can at least see how I would be thinking about developing a solo in the same kind of style and you know, just playing around with different places to stop on playing around with, you know, different, you know picking patterns.
Legato patterns instead of just going up and down what if you did string skipping, so I'll stay in a minor for example, but what if I started here and then skip the string and then came down here and then skipping.
Get some pretty tricky patterns that way that I wouldn't be able to do on the Fly and that's something I don't really have up. My you know, I haven't mastered that already because it's really not something I practice but you spent a few days practicing it and then all of a sudden that's a trick that you have available to you at any single point in time, you know something like this. I really like this one. You just go up to two strings and then you kind of reset starting on that string and then you kind of reset on that string go up to string reset.
All right, you get some really nice runs like that.
And I'm the same thing in reverse and of course ending maybe on a chord tone or something like that right on a beat. Okay. So now that we've done minor I want to show you basically connecting. These ideas would be the next step in really amping up your guitar playing. So right now we're just staying in one shape, right? We're shredding in one shape. We're going up and down that one shape and we're but really what happens when you're playing live and when you're writing soul is you want to have access to more than one spot on your fretboard. So I want to go back to major right now and what I want to try Doing is connecting our Legato idea to its neighbor shape Dorian. All right, so take a look. We're back in major.
All right, and this is a major but a major is the exact same set of notes as the be Dorian scale. And here's what the be Dorian scale looks like. All right, and you can see I've set this up to be three notes per string as well. So that way I can do the same tricks.
We've been talking about this entire lesson. All right. So what I'm gonna try to do now is I'm going to try go up the major scale and I'm going to come down the Dorian scale like this.
And then I can slide back to a if I so desire.
So now you can see this is starting to get you know, pretty cool. We're starting to connect and kind of move across our fretboard and the goal here would be kind of do this with every shape. You can move that and connect it to the next shape as well and keep in mind you don't have to necessarily do entire shapes. You can connect just a little bits of shapes. One of my favorite things to do is just take the top two strings of a shape like this these two strings right here and then just transport your fingers into the next shape and do the same Legato pattern. So now I'm in the Rain shape I can go up again to the phrygian shape now. I'm in the lydian shape.
Alright and then mixolydian you can see how that comes together is a nice little lead run.
All right. This is all what starts happening when you start connecting these three notes per string shapes. You have these ideas that it doesn't matter what shape you're in you can use the same idea because you've already practiced them in some Incarnation. All right. So now the last thing I want to talk about the last magic here that really gets awesome with three notes per string shapes and scale runs. Like this is harmonization how easy it is to harmonize one of these lines once you've written it. So let's say I wrote this pattern. Okay, I'm gonna try to whip something together. We're going to do 1 triplet 2 triplet 3 triplet 4 triplet and We'll come back down 1 triplet 2 triplet 3 triplet 4 triplet 1. Alright, that's pretty simple. So we're going up for Strings and we're going to back up a string in the ring to go for Strings. And then we're just going to end on a note so 1 2 3 4 1 2 3 4 and all right. Now, let's say I've got that shredded out to this backing track and let me play it for you. Just once over the backing track so you can hear what that's going to sound like and then I'll harmonize with it and I'll show you how simple it is to harmonize my something like this with xero practice as long as you know your shapes. It's going to sound killer.
So one two, three four, sorry, let's try that again. I gotta go for Strings out, too.
2 3 again now what I would do to harmonize with that is surprisingly simple. Alright, if you know your three notes per string shapes all seven of your modes. What you can do is you can just go up not to the next shape but to the shape after that, for example, I'm in a major.
The next shape is be Dorian. Let's skip that one and let's go to C sharp phrygian. All right, and that shape looks like this now even though I've never really played this lick before with these different Frets. All I have to do is the same idea.
Okay, really? Because I know that everything I'm doing is three no tire. So to harmonize in thirds, this is the cheapest quickest dirtiest way to come up with a Harmony. It's not always going to be a great Harmony. It's not going to be a perfect harmony, but it'll always work in some fashion. So all I'm doing is playing every single Note 3 notes higher within the scale and I can do that just by playing C sharp fridging. So once again, I'm just going to go down four strings back up a string go down for Strings and then end on a note like this one, too.
Three four one two, three, four, one two, three four, and if I put that together.
And if I play that over the Jam track take a listen. It's going to sound kind of weird on its own but then at the end, I'll split it so you can hear both of them at the same time and you'll hear it's an absolute perfect harmony.
All right pretty neat right. So basically you can see you get like instant harmonies just by playing anything you learned in one shape and just transporting it up three shapes in a three notes per string shade. All right, so there's just so many options here when you're composing if you wanted to write, you know, 17 measures of Legato moves in one shape, you could all of a sudden harmonized with it like that just by transporting your fingers over the other shade. So that's why it's so important to practice those It's per string shapes and you're going to get a lot of mileage out of them.
They're really I don't I think I have like a little Link in the description to the three notes per string shape. So please check that out. And definitely please check out the description to get the Jam track that I was Platt practicing along with and you know experiment with the different modes as well.
I just did a few here but really there's anything you can do and I didn't talk about things that aren't modes of the major scale stuff like harmonic minor stuff like melodic minor. So feel free to go into that Adventure as well. Right? So this should keep you really busy, especially if you're not familiar with the Three notes per string shapes, and I'm betting you could probably practice this for months. I mean, I'm still pregnant. I learn this kind of stuff, you know years and years ago, and I'm still coming up with new shapes new patterns new ways to practice this and, you know new connections between them. So, hopefully it kind of, you know gives you something to work on and of course. If you have any questions or comments, please leave a message below and I'll see what I can do to help you out. Alright. Thank you so much for watching and I will see you next time.