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guitarcontrolonlineguitarcourses · 3 years

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Diatonic Exercise To Quickly Rule The Neck

Check out this Diatonic Exercise To Quickly Rule The Neck from Guitar Control instructor Darrin Goodman. Be sure to get the tabs to go along with this killer-free lesson.

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Introduction

How’s it going? This is Darrin with GuitarControl.com bringing you this video lesson and today I want to show you a cool exercise for chaining the positions of the major scale together and it’s just a good all-around picking exercise and an exercise for your fretting hand for shifting back and forth between the positions. So be sure to click on the link in the description for the tabs and let’s get close up and take a look at this.

Diatonic Scales

All right, so the first thing here let’s just go over these two scale patterns just in case you don’t know them. So these patterns that I’m using are three notes per string. I like using the three note per string scales because it just makes it easier for alternate picking and for hooking the patterns together and this is completely movable. So we’re doing this in the key of G major, but you can move this around to whatever key you want.

Ionian

So I’m starting here on the third fret of the low E because that’s G. So we’re starting on G and we’ve got three, five, seven and then on the A string three, five, seven, the D string we have four, five, seven, the G string, four, five, seven, the B string, five, seven, eight and the high E, five, seven and eight; so that’s our G major scale, G Ionian.

Dorian

So how these hook together is there’s three notes per string and notes two and three are notes one and two of the next position. So the next position is going to start on the fifth fret, this is our Dorian shape. So now we’ve got five, seven, eight and then on the A string we have five, seven, nine, D string five, seven, nine, G string five, seven, nine, B string seven, eight, ten, and high E seven, eight and ten.

The Exercise

All right, so for this little sequence what we’re going to do is we’re going to play the first six notes of Ionian and now we’re going to shift up to the next position. So right now we just left off we’re on the third, fifth, and seventh fret. So we’re going to move up to the next position which will put us at the fifth, seventh and ninth fret, and then we’re gonna descend the Dorian shape, so nine, seven, five, and then to the low E, eight, seven and five. So that’s basically the entire sequence and then all we do is just move on to the next string. We’re starting on the A string and we’ll do the same sequence based on the A and the D strings. So now for the A string, we start on the third fret, three, five, seven and then to the D string, four, five, and seven. Now again these two notes here at the fifth and the seventh are notes one and two of the next position, so now we’re just going to shift up nine, seven, five, and then on the eight on the D string and then to the A string, nine, seven and five. Now we’ll just start the sequence over again on the D string, four, five, seven, and then to the G string, four, five and seven. Now I shift up nine, seven and five on the G string and nine, seven and five on the D string. Now we start the sequence over again on our G string, so again we’ve got four, five, and seven and now when we go to the B string we have to shift up a half step and it’s five, seven, and eight.

Now we shift up to our next position, so again notes two and three here are notes one and two. So starting on the B string, ten, eight, and seven, and then we have to shift down a half step when we go to the third string, nine, seven, and five. Now we start the sequence over again on the second string, the B string, so we five, seven, and eight and then to the high E, five, seven, and eight. Now we shift up ten, eight, seven and go to the B string, ten, eight, seven and then end there on eight. Now the reason I end there on eight is that it’s our G, so it just makes it resolve.

Changing Keys

All right, so again like I said, this is movable. If you wanted to do this say in the key of A major, then we would start here on the fifth fret, so on and so forth like that, it’s movable, you can move it around to wherever it is that you would like it to be, whatever key you would like to play in. Now the entire thing is done with alternate picking, so I’m down, up, down, up, down, up, down, up, down, up, down, up and then we go starting on the fifth string it starts with a downstroke, so no two downs in a row no two ups in a row. All right, so like I said it’s pretty simple to play. If you don’t already know those scales you’re going to have to get them down first, so that adds a little bit of a challenge to it, but basically what I want you to get out of this is just the exercise and the way that it hooks together. So I did a lesson a while back that went over all seven of the modes and the patterns and stuff, so if you refer back to that you can not only learn the two scales that we used, here but the other five that go along with it and then you can do a larger arrangement of this exercise. So you could start off with G Ionian and then A Dorian and then shift up to B Phrygian and then up from there to Lydian and so on.

I’ll put a link for that lesson right here so you can go check that out and learn the other patterns and then you could expand on this whole idea.

Conclusion

All right, so that is all I’ve got for you today. I hope that you enjoyed that you got something out of it. If you like the lesson be sure to give it a thumbs up. Subscribe to the channel and hit that notification bell so you don’t miss any of the content that we put up throughout the week. That is all I’ve got for you today.

Thanks for watching and have a great day.

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chadsorlie · 6 years

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guitarcontrolonlineguitarcourses · 3 years

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Easy Horizontal Run From Overlapping Scales

Get a new perspective on your scales with this Easy Horizontal Run From Overlapping Scales lesson from Guitar Control instructor Darrin Goodman. Be sure to click the link for the free included tabs to go along with this Easy Horizontal Run From Overlapping Scales lesson.

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Introduction

Hey everybody how’s it going? This is Darrin with GuitarControl.com bringing you this video lesson. Today I want to show you an Easy Horizontal Run From Overlapping Scales or the modal shapes, whatever you want to call them. This just can kind of help you to break out of the rut sometimes you get from just staying in one position so you just can kind of see the way that the scale patterns overlap each other across the fretboard. You can just use what we’re going to do here is like a run, but you can also use it as a way to take licks that you already know and then play them in each position as you move up across the fretboard. Anyway be sure to click on the link in description for the tabs and let’s get close up and take a look at this Easy Horizontal Run From Overlapping Scales.

Horizontal Run From Overlapping Scales

All right so we’re doing this Easy Horizontal Run From Overlapping Scales in the key of G major but we’re not starting on G, we’re actually going to be starting on B, so we’re going to be starting on the third position of the G major scale. So the third position is the Phrygian shape. So if you don’t already know these scale patterns, you can learn what we’re going to do here without knowing them, but it is extremely beneficial to know them. I did a lesson quite a while ago where I went over all of the shapes of all seven shapes, so I’ll just leave a link for that video right here so you can you can check that out. So we’re starting off this Easy Horizontal Run From Overlapping Scales here, we’re in the Phrygian shape, the third position; and another thing too is that this is a movable shape, so once you get this down you can move it around to whatever key that you want. So we’re starting off here, we’re on the seventh fret of the low E string, which is B. So we’ve got; seven, eight and ten on the E string and then seven, nine and ten on the A… string or the A string. So that’s like the first six notes of the third position or Phrygian. I’m just going to call them by their modal names just because it’s just going to make it easier to kind of understand. So now we’re going to shift up into the next position which would be the Lydian shape and we’re going to play the fifth and the fourth strings. So if you don’t already know the shapes overlap each other, so these two notes right here on the ninth and tenth fret of the A string are notes one and two of the next of the next position. So now starting on the A string we’re going to go to 9 10 12 and then to the D string 9 10 12. Now we’re going to go into the next position, so again these two notes right here are notes one and two of the next position. So now the next position is Mixolydian. So we’re going to go 10 12 14 on the D string and then 11 12 14 on the G string. All right so now I’m going to shift up into the next position again, so this will be the Aeolian or the natural minor; so again these two notes right here, notes two and three on the G string of Mixolydian are notes one and two of Aeolian. So now we’re going to shift up and we’re going to play 12 14 and 16 on the G string and then we’re going to go to the B string 13 15 17…

And then for our final position we’re going to go to Locrian. So these two notes are notes one and two so we’re going to shift up on the B string, we’re going to do 15 17 19 and then to our high E 15 17 19… All right, so what we’ve been able to do is we’re still playing in key, but instead of being stuck you in that one position, this is just a way to connect them together so you can move more horizontally across your fretboard. I’m just alternate picking this and if you got this up to a fast speed it would be like a cool run. You also want to practice this both ascending and descending. Now after you know the other patterns you can do the same Easy Horizontal Run From Overlapping Scales, you don’t have to start here, you could start with the first position which is Ionian and then you would go Ionian through Mixolydian or whatever you want; like I said they’re movable, you can just move them around. So this particular thing even though it’s in the key of G major and we’re starting on B, to make it truly modal then you’d have to know your chord progression and center around that B minor chord, but we’re not going to get into all of that stuff right now. So after you get this down then you can take other lick sequences that you already know or ones that we’ve gone over before and you can kind of apply it to this. So I’m not going to go over a whole bunch of these but just to give you an example. If we took one we did before… now what I’m doing there is I’m going one two three four three two one two three four five six, referring to the notes, because in this position there’s six notes so you just do that as you move through the positions and then you can do the same thing with descending. There are lots of different things that you could do within this Easy Horizontal Run From Overlapping Scales. So the first thing you want to know, if you haven’t already learned the modes, like I said you could check out that other lesson and learn those, it’ll make this a lot easier, especially if you want to hook other ones together, but in the meantime you know that you can just do this sequence and even if it’s a song you’re playing that’s in the key of G major or E minor you could still play this because all the notes in Easy Horizontal Run From Overlapping Scales are going to be in that key, it’s just all kind of centering around B.

Conclusion

All right, so I hope you enjoyed Easy Horizontal Run From Overlapping Scales and you got something out of it. If you liked the lesson be sure to give me a thumbs up. Leave a comment down below if there’s something that you’d like to see covered in a future lesson by myself or one of the other instructors at GuitarControl.com. If you have not already done so, please subscribe to the channel and hit that notification bell so you don’t miss any of the content that we upload throughout the week. So that’s all I’ve got for you today. Thanks for watching Easy Horizontal Run From Overlapping Scales and have a great day.

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guitarcontrolonlineguitarcourses · 3 years

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How To Solo With The Major Pentatonic Scale

Guitar Control presents instructor Darrin Goodman demonstrating how to solo with the major pentatonic scale over a 12 bar 1-4-5 blues chord progression. Be sure to click the link for the tabs to go along with this lesson.

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Introduction

Hey everybody how’s it going? This is Darrin with GuitarControl.com bringing you this video lesson. Today I want to go over how to use the pentatonic major scale. So the other day I did a backing track, a blues backing track, that utilizes using the major pentatonic and I got a lot of questions about it. So what we’re going to do here is we’re going to go over what the difference is between major pentatonic and minor pentatonic and how to use it and apply it to what we’re playing here. So be sure to click on the link in the description for the tabs and let’s get close up and take a look what we got going on here.

Matching Chords With Scales

All right so this backing track is in E and it’s just a one four five, your typical you know blues; so four bars are the one chord, two bars of the four chord, two bars of the one chord, one bar the five chord, one bar the four chord and then two bars of the one or the turnaround and then it would just start over again. If this was just like a typical shuffle thing that you could use the pentatonic minor and it’s going to sound really good, but for this particular thing, because of the chord voicings that I’m using, the one chord is E9, the four chord is A7 and the five chord is B7. So when we play the pentatonic minor scale it starts on an E, you know we’re playing over our one chord, but here’s the problem up here and our second note out of the minor pentatonic scale right there, that’s actually our minor third, it’s what makes this minor, but when we play this E9 or if it was just like an E7, it has a G sharp and it has the major third. So what we’re going to do is we’re going to basically change so we’re using the major third instead of the minor third. So this is the simplest way to do this. In this case you know it’s E. So we know our root note here is E, but before you do the pentatonic minor scale right here you know; 12 15 12 14 12 14 12 14 12 15 12 15. So what we’re going to do to really simplify this is we’re just going to play that same scale shape, but we’re going to move it down a step and a half, so that means your first finger is going to move down one two three frets so that’s gonna put us at the ninth fret. So all of your first finger will play everything at nine and then you’ll use your third or fourth fingers just to complete the rest of it. So in a nutshell what it is that we’re playing C sharp minor pentatonic scale, which actually is making it E major pentatonic. So technically this note here on the ninth fret of the low E is in the scale, but it’s not the root note. So the root note is actually here, but just to simplify things you can just think of it like that, this just gives it a much sweeter sound over these kind of chords because we’re outlining the notes that are within the chord itself. So when we play over the one chord which is E9, we’re going to use the C minor pentatonic. Now you don’t have to just exclusively use that scale. I did another lesson a while back where I showed some alternative ways to play the pentatonic scale and how to hook them together in this whole formula thing that makes it so you can play over these changes. Anyway you can use those other two patterns so I’ll just leave a link for that here so you can check that out and use those other patterns. So if you do that you use those other patterns just remember to start all of them a step and a half lower than you would normally.

Choosing Scale Location

Okay so we’re playing over the one chord we can play this E major pentatonic and then when it goes to the four chord, which is A, so now if we went up here to the 17th fret you know we played the A minor pentatonic, but again we want to use the major, so we’re going to move it down a step and a half so we’re going from 17 down to 14 which is one two three frets down, so now we can play the scale here over the top of that chord and it’s going to sound good and then just simply shift back down to your E pentatonic major because it goes back to the one chord. So then when it goes to the five chord, which is B, again we could go all the way up here, but now we’re just kind of getting cramped and just to kind of make it so we’re not just stuck in this one area I’m gonna move down. So if I move down, here’s B on the seventh fret, so I move down a step and a half so one two three frets and that makes me start here on the fourth fret, which is G sharp and is part of the scale, but here’s our root note… and then it’s after that it’s going to shift back to the one chord again. So this is where the turnaround is, so at this point you can just move back up and start playing in E pentatonic major again. Now technically you could play E pentatonic major the entire time over the top of this, it will sound good, but it just really sounds good when you follow the chord changes.

The Clapton Method

So another alternative thing that you can do here is a thing that I call the Clapton method. So when it’s the one chord I play pentatonic major and then when it goes to the four chord instead of me shifting up to play A pentatonic major, I’m just going to shift up and I’m going to play E pentatonic minor… and then when it goes back down to the one chord again then I’ll shift back to pentatonic major and then when it goes to the five and the four I play pentatonic minor and then when it goes to the turnaround I go back to pentatonic major. So you’re just going between pentatonic major and pentatonic minor, anyhow these are just a couple of ideas of how things you can do with this. Anyway if you use that pentatonic major and you work with it over this backing track it just sounds really good. Now you could play over the top of it and just use pentatonic minor, but it’s just not going to sound as good and when you play that minor third while the major third is being played there you know those notes are going to clash against each other ringing out at the same time. So let’s check out what that Clapton method sounds like…

Conclusion

All right so I hope you enjoyed that and you got something out of it. I hope that clarifies this subject a little bit for you. If you’re still having questions and not quite understanding leave me a comment down below and I’ll try to answer that question. If there’s something you would like to see covered in a future lesson leave a comment about that as well and if you have not already done so please subscribe to the channel and click that notification bell so that we don’t miss out any of the content that we upload throughout the week. Anyway that is all I have got for you today. Thanks for watching and have a great day.

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