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Hi, how are you doing? Justin here.
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In today's lesson we are going to be
talking about a thing called
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Legato Patterns.
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What these are little ways of using
hammer-ons and flick-offs
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to give you really nice, fairly easy
to make fast, repeatable figures.
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All of the ones we are going to be
looking at to start off with
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have got eight notes in them.
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It's two beats, with each beat divided
into four notes - 16 notes.
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We are going to look at
one pattern to start off with
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and then we are going
to apply that pattern
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and use it both horizontally,
to move up and down the neck,
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and vertically, to move across patterns.
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It's really important that you understand
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that this one little idea here
works in both directions.
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It works through any pattern,
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any pentatonic shape.
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Sometimes they are a bit harder
than others to use.
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Some patterns work good on one shape,
not so well on another.
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It's up to you to explore that a bit.
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I'm not going to show you
every way of playing the patterns.
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If I give you a bit of a demo
of one of them.
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One of the patterns
we are going to look at,
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is pattern 2 on my tab sheet,
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if you go to the website
and download that.
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The actual pattern is this -
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But slowed down a little bit is -
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That's the pattern, just eight notes.
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It's important to realise that
that pattern can be used to go
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up the neck or across the neck.
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If we start here,
move the same pattern again...
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It's the same shape, if you like,
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of pick, flick-off,
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pick, pick,
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hammer-on,
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pick, pick,
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flick-off.
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That's the pattern.
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Same pattern as here.
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But we could move that one
over the string.
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And we've got a pretty cool lick.
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We could also use that same shape,
same pattern to move up the neck
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by moving it from say...
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In this example I'm going to use
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box 2, box 3, box 4, box 5
of the pentatonic.
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So you end up with -
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I've just taken that little pattern
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and moved it up through each
of the minor pentatonic shapes.
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Let's get a close up and check out
that particular pattern,
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make sure you are doing it right
and then I'll explain
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how to move it round
between the different boxes.
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Let's have a look at that
little pattern now, nice and slow.
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This is pattern 2 on my tab sheet.
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So literally pick,
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flick, kick,
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pick, hammer-on,
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pick, pick,
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flick-off.
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You really have to practice that
really slowly for a while first.
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But slowly and smoothly so you can
repeat it over again.
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You don't want to go -
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That would be really bad.
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Doesn't matter the speed,
it can be -
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Doesn't really matter.
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It's just about
getting it right and smooth.
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Eventually, of course...
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It's important to realise here
that this is part of...
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..that minor pentatonic.
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But the pattern is what
you want to be learning.
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The pick,
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flick, pick,
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pick, hammer-on,
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pick, pick,
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flick-off.
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If we just take it down, for example,
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it's quite easy to move it now
into box 1.
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Minor pentatonic.
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I chose that one because it's simple
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and the fingers are not stretched out.
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But here, the same pattern just works.
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Pick, flick,
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pick, pick,
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hammer-on, pick,
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pick, flick-off.
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That works really, really well.
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There would be no harm in
moving from one to the next.
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You can muck around with it.
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If you are familiar with box 3
minor pentatonic...
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..you could apply it here.
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This one is 13, 10,
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12, 10,
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13,10
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13,10.
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The next one moved up here will be
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15, 13
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14, 13
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15, 12,
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15,13.
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A little bit harder because
the first finger needs to shift back
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but again it's just...
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..from that minor pentatonic shape.
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Again moves up into box 5.
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And of course, the same pattern...
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If you are going to do that last bend
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it needs to be tone and a half -
it's a tough one.
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But hopefully you get the idea.
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The next thing you want to do
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is take that one pattern
I have shown you
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and apply it all over the fingerboard.
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Learn it really slowly,
let it become instinctive.
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Get it comfortable under your fingers,
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then try moving it horizontally
up and down the fingerboard,
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changing between the different boxes
and get that under your fingers.
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Maybe try and use it vertically
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and stay within the one box shape
or the one position
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and explore how you can use it there.
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Then try and mix it up a little bit
and move maybe
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one position over, toward the ground
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and then one position up and then over
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and then up or whatever.
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Your creativity is the limit here.
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You should be experimenting
as much as you can.
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Next stop, we've got a whole bunch
of different legato patterns.
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You don't have to just use
that one I've shown you.
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There are probably an infinite number.
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I've got six together
that I think work real well.
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You can download the tab from the website,
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which you will probably find
pretty helpful to check that out.
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I am going to do a close-up now
of each pattern.
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This is pattern 1.
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Here is pattern 3.
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Pattern 4.
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Pattern 5.
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And lastly, pattern 6,
which is in groups of 6.
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This one, of course.
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One, two, three, four, five, six.
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One, two, three, four, five, six.
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Now you have got loads
and loads of patterns
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to be getting on with.
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Remember, you don't have to stick
to using the one pattern.
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You can mix them up,
use a bit of one pattern,
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a bit of the next one
and a bit of the next one.
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Finding which patterns work well
within what boxes
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of the pentatonic scale
is probably a good idea.
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As I mentioned earlier,
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you can also apply this to scales
that are not pentatonic.
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You can muck around
with bits of the major scale.
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It's really the pattern
that you try to get to grips with.
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You being the creative force now
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to find loads and loads
of different ways of using it.
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There are infinite possibilities here.
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Hope you have a bit of fun with that
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and exploring this concept.
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It should keep you busy for some time.
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It's something I still play about with
because I find it really interesting
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to find and make up new patterns
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and see what other ways I can apply them.
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Hope you have a bit of fun with that
and I'll see you for another lesson
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sometime real soon.
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Take care of yourselves, bye-bye.