Let's look at the next extension of pentatonic, combing the second position from the previous lesson with a third position. It's a little easier to stretch out in this area of the fretboard since the frets are closer together as well. Examples 1 and 2 show the two positions as they are normally played and Example 3 is the three note per string combination of the two positions. Example 4 is a descending four note sequence using both positions. Use alternate picking on this one. It's much easier to perform a pattern like this using a three note per string scale on guitar than the standard two note per string scale. The fourths can make the fingers trip over themselves sometimes, stretching out to a higher position alleviates some of the awkwardness. Example 5 is the same pattern in ascending form. Example 6 is a legato three note per string scale with some string skipping. Real easy to fly through this one, but not so easy to keep everything rhythmically smooth. USE A METRONOME! Example 7 combines all three positions of Pentatonic covered so far by using left hand tapping for the upper position. Again. timing is key. Start with the metronome slow and gradually work up the tempo.
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Breaking out of the box one position at a time. Example 1 is the old pentatonic scale position we all know and love, example 2 is it's next door neighbour. When we put them both together we get example 3, a three note per string pentatonic pattern. It's interesting the way certain notes repeat themselves. A little unpredictability. Next are a few licks to use this extended scale with various forms of right hand picking. Example 4 uses a descending pentatonic with sweep picking. Performed quickly is sounds very much like an Eric Johnson lick, just a lot easier to execute. Example 5 is the same idea only ascending. Example 6 is a seven note sequence that sounds great over 7/4 or a 4/4 time signature. When played in 4 the accents end up in strange places throwing the ear off a little bit. This one can be alternate picked or economy picked, whatever seems easier. Try this with the metronome and count to four while playing the pattern. Example 7 is the same odd note sequence in an ascending pattern. Example 8 and 9 (on the PDF) use hybrid picking and a more angular, intervallic approach. This one sounds pretty modern as far as pentatonics go, almost like an Allan Holdsworth lick. Both ascending and descending versions of this pattern use the right hand forward and reverse roll patterns covered in Crosstraining for Guitarists Part 2 http://jeremyrouse.weebly.com/1/post/2012/09/crosstraining-for-guitarists-part-2-banjo-rolls.html
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