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← Legato Patterns with Pentatonics (Guitar Lesson SC-025) How to play

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Zeige Revision 2 erzeugt am 09/17/2017 von Tanya Monarshuk.

  1. Hi, how are you doing? Justin here.
  2. In today's lesson we are going to be
    talking about a thing called
  3. Legato Patterns.
  4. What these are little ways of using
    hammer-ons and flick-offs
  5. to give you really nice, fairly easy
    to make fast, repeatable figures.
  6. All of the ones we are going to be
    looking at to start off with
  7. have got eight notes in them.
  8. It's two beats, with each beat divided
    into four notes - 16 notes.
  9. We are going to look at
    one pattern to start off with
  10. and then we are going
    to apply that pattern
  11. and use it both horizontally,
    to move up and down the neck,
  12. and vertically, to move across patterns.
  13. It's really important that you understand
  14. that this one little idea here
    works in both directions.
  15. It works through any pattern,
  16. any pentatonic shape.
  17. Sometimes they are a bit harder
    than others to use.
  18. Some patterns work good on one shape,
    not so well on another.
  19. It's up to you to explore that a bit.
  20. I'm not going to show you
    every way of playing the patterns.
  21. If I give you a bit of a demo
    of one of them.
  22. One of the patterns
    we are going to look at,
  23. is pattern 2 on my tab sheet,
  24. if you go to the website
    and download that.
  25. The actual pattern is this -
  26. But slowed down a little bit is -
  27. That's the pattern, just eight notes.
  28. It's important to realise that
    that pattern can be used to go
  29. up the neck or across the neck.
  30. If we start here,
    move the same pattern again...
  31. It's the same shape, if you like,
  32. of pick, flick-off,
  33. pick, pick,
  34. hammer-on,
  35. pick, pick,
  36. flick-off.
  37. That's the pattern.
  38. Same pattern as here.
  39. But we could move that one
    over the string.
  40. And we've got a pretty cool lick.
  41. We could also use that same shape,
    same pattern to move up the neck
  42. by moving it from say...
  43. In this example I'm going to use
  44. box 2, box 3, box 4, box 5
    of the pentatonic.
  45. So you end up with -
  46. I've just taken that little pattern
  47. and moved it up through each
    of the minor pentatonic shapes.
  48. Let's get a close up and check out
    that particular pattern,
  49. make sure you are doing it right
    and then I'll explain
  50. how to move it round
    between the different boxes.
  51. Let's have a look at that
    little pattern now, nice and slow.
  52. This is pattern 2 on my tab sheet.
  53. So literally pick,
  54. flick, kick,
  55. pick, hammer-on,
  56. pick, pick,
  57. flick-off.
  58. You really have to practice that
    really slowly for a while first.
  59. But slowly and smoothly so you can
    repeat it over again.
  60. You don't want to go -
  61. That would be really bad.
  62. Doesn't matter the speed,
    it can be -
  63. Doesn't really matter.
  64. It's just about
    getting it right and smooth.
  65. Eventually, of course...
  66. It's important to realise here
    that this is part of...
  67. ..that minor pentatonic.
  68. But the pattern is what
    you want to be learning.
  69. The pick,
  70. flick, pick,
  71. pick, hammer-on,
  72. pick, pick,
  73. flick-off.
  74. If we just take it down, for example,
  75. it's quite easy to move it now
    into box 1.
  76. Minor pentatonic.
  77. I chose that one because it's simple
  78. and the fingers are not stretched out.
  79. But here, the same pattern just works.
  80. Pick, flick,
  81. pick, pick,
  82. hammer-on, pick,
  83. pick, flick-off.
  84. That works really, really well.
  85. There would be no harm in
    moving from one to the next.
  86. You can muck around with it.
  87. If you are familiar with box 3
    minor pentatonic...
  88. ..you could apply it here.
  89. This one is 13, 10,
  90. 12, 10,
  91. 13,10
  92. 13,10.
  93. The next one moved up here will be
  94. 15, 13
  95. 14, 13
  96. 15, 12,
  97. 15,13.
  98. A little bit harder because
    the first finger needs to shift back
  99. but again it's just...
  100. ..from that minor pentatonic shape.
  101. Again moves up into box 5.
  102. And of course, the same pattern...
  103. If you are going to do that last bend
  104. it needs to be tone and a half -
    it's a tough one.
  105. But hopefully you get the idea.
  106. The next thing you want to do
  107. is take that one pattern
    I have shown you
  108. and apply it all over the fingerboard.
  109. Learn it really slowly,
    let it become instinctive.
  110. Get it comfortable under your fingers,
  111. then try moving it horizontally
    up and down the fingerboard,
  112. changing between the different boxes
    and get that under your fingers.
  113. Maybe try and use it vertically
  114. and stay within the one box shape
    or the one position
  115. and explore how you can use it there.
  116. Then try and mix it up a little bit
    and move maybe
  117. one position over, toward the ground
  118. and then one position up and then over
  119. and then up or whatever.
  120. Your creativity is the limit here.
  121. You should be experimenting
    as much as you can.
  122. Next stop, we've got a whole bunch
    of different legato patterns.
  123. You don't have to just use
    that one I've shown you.
  124. There are probably an infinite number.
  125. I've got six together
    that I think work real well.
  126. You can download the tab from the website,
  127. which you will probably find
    pretty helpful to check that out.
  128. I am going to do a close-up now
    of each pattern.
  129. This is pattern 1.
  130. Here is pattern 3.
  131. Pattern 4.
  132. Pattern 5.
  133. And lastly, pattern 6,
    which is in groups of 6.
  134. This one, of course.
  135. One, two, three, four, five, six.
  136. One, two, three, four, five, six.
  137. Now you have got loads
    and loads of patterns
  138. to be getting on with.
  139. Remember, you don't have to stick
    to using the one pattern.
  140. You can mix them up,
    use a bit of one pattern,
  141. a bit of the next one
    and a bit of the next one.
  142. Finding which patterns work well
    within what boxes
  143. of the pentatonic scale
    is probably a good idea.
  144. As I mentioned earlier,
  145. you can also apply this to scales
    that are not pentatonic.
  146. You can muck around
    with bits of the major scale.
  147. It's really the pattern
    that you try to get to grips with.
  148. You being the creative force now
  149. to find loads and loads
    of different ways of using it.
  150. There are infinite possibilities here.
  151. Hope you have a bit of fun with that
  152. and exploring this concept.
  153. It should keep you busy for some time.
  154. It's something I still play about with
    because I find it really interesting
  155. to find and make up new patterns
  156. and see what other ways I can apply them.
  157. Hope you have a bit of fun with that
    and I'll see you for another lesson
  158. sometime real soon.
  159. Take care of yourselves, bye-bye.