By: Levi Clay
In this installment I’ll present the five shapes required for the most extreme uses of the pentatonic scale. The lesson will provide you with the techniques you need to create long, flowing pentatonic lines in a fluid, legato fashion.
I’ll start with a warning; the techniques used to perform the lines in this lesson can be extremely hard on the fretting hand. Please do not push yourself too hard at first. Practice the ideas slowly with a metronome. At the first sign of cramping up, stop and shake it off.
To execute these ideas properly, you’ll need to build up strength in the left hand, and have solid control of multiple finger-tapping with the right hand. All while executing effective muting technique. It sounds like a lot, but it can be done with slow, steady work. Take your time and master each step before moving on to the next.
The first exercise will entail playing through the five positions of the scale. The most important thing here is to be aware of the CAGED position that each shape fits over. By doing so, you can visualise the shapes from a given root, as you would when playing regular two-note per string pentatonic ideas.
Note that in each diagram I have indicated tapped notes with a ‘+’ sign. Also, note that the second tapped note on the G string is optional, as it is the same note as the first string. If we choose, we can use it for rolling lines and changing direction.
Position One (Click to open in a new window)
Position Two (Click to open in a new window)
Position Three (Click to open in a new window)
Position Four (Click to open in a new window)
Position Five (Click to open in a new window)
Now we can move on to tapping with the second and fourth fingers. Here is a simple exercise similar to that presented in my first tapping column that we can practice in order to build this technique.
When higher up the neck it’s possible to achieve a tapped minor third with fingers two and three. But, when we get around the fifth fret, the only option is the second and fourth fingers. So it’s best to look at it now before reaching that part of the neck.
Exercise One (Click to open in a new window)
Here’s an example of how I might practice these shapes using sixteenth notes. Try doing this same pattern for each of the five shapes. Take it slow, especially when there tapping with the pinky finger.
Exercise Two (Click to open in a new window)
Here are two licks that I would play using these techniques. They are written with a steady rhythm for ease of reading and practice. But, in reality I would play these with rhythmic pushes and pulls to emphasise certain notes, creating more interest in the line.
Lick One (Click to open in new window)
The second lick is played over a real quick funk groove and opens with some implied minor-major 7 sounds. Lick 2 is played fast then slow, then fast again.
Lick Two (Click to open in new window)
Good luck and keep your eyes peeled for more columns.
Links
Levi Clay Homepage
Tapping Lesson One
Tapping Lesson Two
Tapping Lesson Three
