[MUSIC]
So recognize that scale,
probably because everybody uses
it and we're not going to play a pentatonic scale that way either.
Here's my method for looking at pentatonic scales.
Again, note that that's not a cool pattern and we're actually going to explore it later.
But I want to expand upon the lanes
idea with some familiar sounds of the pentatonic scale.
I'm going to take shape 1 MUSIC].
So the formula for major pentatonic is to play notes 1, 2,
3, skip the fourth,
five and six, skip the seventh.
When we play six of them [MUSIC] we already skip the 7th.
It's not there. The seventh [MUSIC],
key seven would be right there.
So the seventh is already gone.
So then the next thing I'm going to do is skip the fourth.
So we're going to take shape 1 [MUSIC] and skip the fourth note.
[MUSIC] That's G major pentatonic,
which is the same note as [MUSIC].
We're going to play them in octaves like this [MUSIC].
So shape 1 on each lane without its fourth note.
You can see that the possibilities for melodic ideas
changes like with this scale [MUSIC].
Those licks you've heard them all [MUSIC].
If you play them [MUSIC].
So that's a little different.
It's not exactly the same and I couldn't play those licks using this pattern.
That's another reason for learning new ways to divvy up the notes
on the fretboard in new shapes because it allows you to play new melodic content.
So again, we got
[MUSIC]
That's G major pentatonic across the fretboard.
It's not going to end there though.
We're going to explore some new tonalities with
pentatonic that are based on the pentatonic idea.
As we move through the scale,
we're going to go to shape 2 and we're going to leave out
that fourth note and of course the seventh note
of shape 2 as well because we don't play that one either.
So here's all six notes [MUSIC] and then here is shape 2 with no fourth note [MUSIC].
I think that's a fantastic tonality.
Let me play a couple of the chords in the key of G,
and you'll get the idea of the blending of the sound.
Here's the fourth chord of the key of G [MUSIC], the C [MUSIC].
That's a great little tonality that I created with the second shape
and it was played against the [MUSIC] fourth chord of the key.
Here is using the fifth chord
of the key [MUSIC].
You can hear the sound that it creates is
different for each chord that would be in the key.
I can play the E minor part of the key,
the sixth chord of the key [MUSIC].
There's the [MUSIC] and again the other two lanes moving up.
That's [MUSIC] shape 2 [MUSIC] with no fourth note.
As I've been playing here,
don't be afraid to abandon that perfect fingering that we've been working on
[MUSIC] by replacing it with a slide [MUSIC].
So you get some really cool lines that way by
[MUSIC] and I can tell if I experience that phrase,
I would never be able to play any other way.
But using the octave [MUSIC],
that lane splitting idea,
lane and moving in your octaves.
That just wouldn't work anywhere else.
Let's move up. Shape 3 without the fourth note.
Here's all six notes of shape 3 [MUSIC],
and then we take out that fourth pitch [MUSIC] and we get this major sound to it.
But if I were to really have your ear believe
that the third chord was our beginning point [MUSIC],
I can trick your ear into thinking that first note is the sound
of that shape [MUSIC].
It all depends on what chord you play
the shape over and again the four chord works with this
[MUSIC]
or the five [MUSIC].
So you get a different sound with those [MUSIC] five notes over each chord of the key.
That's the exploration part of this.
The part that you're going to work for your artistic creative side
is to take the shapes and listen to them over every single one of these chords.
The next shape is shape 4 [MUSIC],
and we take out the fourth note there [MUSIC].
Something interesting happens with that one and that the shape,
the notes that we have that are remaining after we remove that fourth pitch,
are identical to shape 1 [MUSIC].
Since this was a G major pentatonic,
[MUSIC] that's C major pentatonic.
The idea here is that given no other notes in the key and you just play those five,
you actually would not know if you were in the key of C major or G major.
But given the rest of the notes,
so let's say you blend them together,
let's say we did a line where we blend shape 1 with no fourth [MUSIC],
and then blend that with [MUSIC] the shape 4 with note 4,
then you would know that this was the shape 4 [MUSIC] and the missing
note was [MUSIC] that one [MUSIC].
But the other takeaways that you can play a C major pentatonic over
the key of G and that works for all major keys.
After the fourth degree,
you can play the major pentatonic,
all five notes will sit in the key.
But they'll sound a little bit different than
they did when they were off the root of the key,
especially when you play them over all the chords.
So the same thing happens with shape 5 without the fourth degree [MUSIC].
That one also would be a major pentatonic from the fifth note.
So basically off the first shape,
the fourth shape, and the fifth shape,
those three spots where we have major chords,
you can play major pentatonic,
but you don't have to line them up.
So here's what D major pentatonic would sound like over again like the C chord,
the four chord
[MUSIC].
So you can see that it doesn't sound anything like it did
that when we used [MUSIC] the one chord and played [MUSIC],
it's very tethered and very home,
and very [MUSIC] grounded.
That major sound of the key,
this is very [MUSIC] you play the four chord [MUSIC] and then [MUSIC].
Your ear doesn't quite register that those are the pentatonic notes,
they just feels like notes [MUSIC] in the key of G over your four chord.
It's a nice little grouping of notes.
So it gives you this nice potion pole in the key.
Let us go to the next shape, shape number 6.
[MUSIC] When we play shape number 6,
we take out the fourth note
[MUSIC] and you get
the sound of that scale [MUSIC].
It sounds very much like the root where we're starting there [MUSIC].
But it could sound cool over any of the other chords such as the four.
[MUSIC]
So there again is shape number 6 without its fourth note [MUSIC].
You can abandon the perfect fingering with [MUSIC] slides [MUSIC] or use 1,
2, 3, especially when it gets really high up on the guitar.
Then let's move shape 7 down.
So the shape 7 will go here [MUSIC] but I don't want
to play it high right now I'm going to work on it in the low register.
So here's our F sharp [MUSIC],
seventh degree of the key [MUSIC] and
no fourth note [MUSIC].
So you get that sound of [MUSIC],
sounds like the last notes the route [MUSIC].
Like that note right there is the root [MUSIC].
Again, so seventh degree of the major scale,
take out the fourth note.
Try that over all the chords in the key,
you can play it again over.
We haven't tried a two chord yet,
so here's a two [MUSIC].
So here's our G [MUSIC], the next chord,
that's the one with the two
[MUSIC].
That's what that shape number 7 without the four sounds like the two chord,
but test that out over all the chords in the key.