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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.