How To FIND THE MELODY Inside a Major Pentatonic Scale. Guitar Lesson

all right welcome back to another episode of stitch method today we're going to be talking about becoming the ceo of your major pentatonic what do i mean by that well um i'm going to use the analogy of you know when you graduate from college you know like i did and you get out into the working world you think you can you know climb to the top of the corporate ladder but really you know it takes a lot of experience and know how to get there and a lot of us you know we learn the major pentatonic pattern and go okay we know it but for some reason when we play it still doesn't have the authority that we hear a lot of our favorite guitar players have and so we got to put the time in you got to graduate from the pentatonic college and then get working in an entry-level kind of position here and really understanding how it works and why it makes a melody and once you do that then you can start really you know uh climbing the corporate pentatonic ladder terrible analogy and really starting to make music based on your knowledge and feel of how this thing works so with that being said make sure you share and subscribe because this is going to be a great lesson i think and let's get down to it all right so for some reason i have this obsession with playing b major pentatonix i just do so i have a b major backing track and uh we're gonna play a b major pentatonic in the uh form one also known as a g shape and um if you want to know about that you can watch this video right here but let me show it to you okay it's me four seven four six four six four six four seven four seven this is a b major pentatonic some people if you're just getting into this might be like isn't that g sharp minor pentatonic well yes but also the major root note is here okay so the b's are seventh fret of the e string fourth fret of the g string and seventh fret of the high e this is the major pentatonic okay you can look at these things two ways major and minor all right so now it's so important to see a couple things here uh number one you wanna know its intervals you wanna know what makes this thing tick so we're going to start at the root note here major pentatonics all major pentatonics consists of a one i'm sorry a one you should plug that a little bit louder a two a three five and a six that's it one two three five six one one two three five six one there's my girl right so there it is you wanna know it one two three five six and it repeats one two three five six back to one and this guy here is a six all right so there should have been a graphic up on that screen so what's important about that well you really wanna know the core tones inside of this pentatonic why i cannot stress this enough to you um i really can't the chord tones are the melody makers or they are the moments that make your pentatonic you know really bring it home to music it's it's these these the notes that make the crowd like love your soloing so you want to know where they are there are several ways to know where they are number one is just know them okay and what are they they're the ones threes and fives i should have mentioned that the ones threes and fives make up the major chord inside this pentatonic they are located here one three five one three five one now some of you might know the relationship between the major pentatonic and a caged chord shape you can see the g shape here and the thicker half here and if you can see that chord shape inside of it then you can see your chord tones as well or you can just know them as intervals i see the chord in there i also see the intervals why are these important well these are your train stations these are where people get on and and the train stops and people get off and they and it you want to work your train tracks towards your stations and so the first thing we're going to talk about is home remember entry-level job here but the more you get into this and the more you study this the better you're going to be guaranteed so home all right home is here here's a one here's a one here's a one very simple all right so i'm going to take a little brief solo over this nice easy breezy backing track and all i'm going to do right now is concentrate on pulling a dorothy from the wizard of oz and you know there's no place like home right here we go [Music] me all right so there i was just consciously excuse me i was just consciously kind of like moving around the pentatonic bringing it home to the one and if if you think that sounding good that's all you need then go practice that take a b major backing track or a loop or come practice with me on patreon where you can get all this stuff into your bones plenty of practice sessions and backing tracks there too blah blah blah all right so that's that's home right and so what's the next one you wanna look at the next one of course in my humble opinion is the major third uh the major third or even minor third of a quarter arpeggio the third is a very very important note it's what gives the pentatonic its flavor or the quartz flavor and i'll show you where there's one here one three all right or one three okay it's either here or here and uh now we're going to concentrate on either starting or stopping on them this is what we're talking about the experience now you want to hear what does my major third have to offer and so let me play and then i'll start i'll stop on them and then we'll assess what it sounds like here we go okay [Music] all right to me the major third in the major pentatonic sounds freaking awesome all right that's what that's the uh that's what i think of it sounds right it sounds good it sounds so good and you want to remember you want to use whatever analogy uh you know whatever word comes to your mind for a major third you want to remember that flavor that adjective so that when you want it you can pull it out so right now i feel sorry i feel like i have like a rogue hair there right now you could um just solo with ones and threes what do i mean by that okay well you know use the whole pentatonic but focus starting and stopping and starting and stopping on ones or threes and and you got to do this stuff you got to put your time in there is there are strong convincing melodies to be had the more you really start to shake hands with this pentatonic so here is another jam really quickly of me just playing and really concentrating on the ones and threes [Music] all right it just feels really good to be playing on the ones and threes now you probably saw me doing some other things there we're going to discuss that really quickly and actually right now we're going to get to our next interval okay the next interval yeah this hair is it's really there i'm not freaking out uh is the two let's go to the two now i know that we have we have a one three and five we have a chord tone but i want to get to the two first um we have the root note home we have the major third which just sounds freaking awesome right and so now we're gonna look at that two the two really is there there are two main jobs of the two number one you can start off on a two and then get to a one it's it's not a chord tone it wants to move it it sounds beautiful don't get me wrong it's just it's not a core tone chord tones are the pillars and they stay put in the ground and the the non-chord tones are the bridges between them and so when you're standing on them for for too long it's going to start to get wobbly and so even though the two is a part of is is a beautiful part of the major pentatonic you want to say to yourself okay when i'm on it two it wants to move okay it either wants to go to a one or what is the most popular move in a major pentatonic is taking your two and bending it up here's your two here's your one sorry here's your two and bending it up to a three this is the most popular thing that you see in major pentatonics and so i have a i have a one here i have a two here i have a one here i have a two here this two i can't really bend i mean you can so you're going to see it uh either like hammer on to the three and then you know hammer on to the one stuff like that you're going to use it as you know a central rivet to get to the three or get to the one or just generally move uh in general and so to recap before i do it you can start on twos you don't want to end on twos if you start on a two it wants to move again this is you know uh you're now been promoted from your entry level job into the next level and a little bit of a pay raise and we're getting into the twos now and uh remember uh non-chord tones you can always start on but they want to move so let's see what it sounds like when i throw a lot of twos in and i make them move to some place [Music] [Applause] [Music] all right so it's like whoa the two can have some tension yeah it has some really beautiful tension it's in between the one and the three it's a very nice note to shake hands with all right but you got to make sure you don't want to end on it it doesn't you know it doesn't play with it's not that doesn't play well it just wants to move all right so we talked about the one we talked about the two we've talked about the three all right let's talk about my favorite note you know it's coming the five all right i have a video called the power of the five in case you know you've never seen stitch method have no idea what i'm talking about great video discussing how the five it cuts the octave right in half it has a tremendous amount of potential energy but it's also quite stable it's it's a really cool note so where are the five so i have a one three i have a five here i have a one three five so let's talk about the five the five is a core tone you can totally start and stop on it so let's just start right there it's a pretty versatile note and so again i'm you know hope it's okay i'm keeping the guitar tone clean i figured i did enough distortion videos in the past so here we go all right and so what i'm going to do here is i'm going to practice starting on the five one three five here and stopping on the fives here and when you listen it you should hear a kind of like ooh that sounds good and maybe it wants to move i don't know it's just a great note here we go [Music] [Music] that [Music] here it actually it like it works quite well there's this it's like it's like i don't know um it's like survivor spy it's like the white spine black spy like you're like which one are you right now and and it's really a cool note to listen to right and that's an old comic just in case you didn't get that reference and so um the idea is uh the five is really versatile you can land on it you can start on it now let's take a look at the other side of it you can sit and and bend it you can kind of bend the five into the six and you can also create movement with it so there's movement to be had and so if i hit the five you know it's gonna one go to a one you can bend the five to the sixth and then when you come back down it's going to want to go to the one and sorry there's the one there so in terms of stability which already talked about starting and stopping which is great it also can be like a rubber band you can play it just as it is and get to one you can bend or slide up to a six [Music] that was right there that was the flub i was saying to myself you know hey this might be the very first stitch method video where i don't screw up and i screwed up all right so here we go so the five can be played then leads to one it can be bent to a six it's gonna come back to a five and then down to one all right here we go [Music] big [Music] all right and so you can hear it's stable and it also likes to move all right and so the last interval we're going to talk about is the six now i want to talk about this i saved it for last it's not because it's the last one in the order the sixth the most deceiving note of a major pentatonic no it is not a chord tone well some people might be like well if you're playing a sixth chord of this all right it's not a triad all right it's not a stable stable chord tone in terms of the most elemental chord tones and so the sixth doesn't like to be sat on in some instances um it's rare it is rare that we go home to a six now this is what you're going to be challenged to answer what you're up against when you're looking at this pentatonic as a major which we are you know the sixes are going to be let's see one two three five six right here and one two three five six we have a problem is because if you play a minor pentatonic which is the same shape okay like this what you think of the root note is is here and here and here these are the sixes in the major pentatonic but they are the ones in a minor pentatonic now i don't want to make it so hard we don't understand this but we are conditioned to come home to this note in a minor pentatonic setting and that ruins the pentatonic the major pentatonic for us a lot there's a lot of times i'll play for you right now where you're playing a major pentatonic and uh your your mind just wants to go home to this note which is the minor root note it's not the major note and it kind of spoils the mood right so you can understand this is a major pentatonic that's a sixth sixth like to move all right and so an acceptable uh six performance or use of the six is of course i i talk about this on my patreon channel i don't know if i mention this on youtube but i treat the six as a turnbuckle all right i might have mentioned this before i don't know i've shot so many videos but uh if you're into wrestling think about when one wrestler throws the other wrestler into the turnbuckle boom they hit it they snap forward and the guy just closed lines them and knocks them out this is kind of the same thing your your root note here is home and the sixth here is the turnbuckle that takes you back to the one so let's just look at that turnbuckle move and you can watch it watch from when i go here back to one there was three times there was down below boom it's a great turnbuckle note it just is the end all right so so if you have a line that you're creating that goes like use the turnbuckle all right it adds so much flavor and so it also sounds quite acceptable when you go from a one to a [Music] all six the idea is when you go from a one to a six you're really creating this like conversation of tension release you start with the release really you start with the release to tension and it knows it wants to go back to the release and so the sixth is not a landing note now i know i'm gonna get the comment but this guitar player lands on the sixth here now i have to say this yes there are plenty of guitar players that will land on a six but you also have to pay attention to the chord progression that's going on this is just one chord vamp so that you the entry-level major pentatonic worker can climb your way up to ceo and when you climb your way up to ceo you're going to know so much about this pentatonic that when you play chords and different changing chords you're going to see those other chord tones in here this is just a start this is how you get your pentatonic to make music so i'm going to take one last solo here using all of these ideas ones are home twos like to go to ones are bent up to the major third the major third is just a great note never underestimate the power major third the five you can hold on to it or you can create movement the six is not a root okay and you don't want to end there you can play it just don't end there so here we go let's just take a quick little solo [Music] um [Music] [Music] all right there it was all right hopefully you enjoyed this again come practice this stuff with me in different pentatonic shapes get it underneath your fingertips so you can at least jam with one chord right now which is all you need remember we just hired you okay and learn this and learn how it works the more you learn how it works the more you learn how to feel it the more it becomes natural in your playing i'll stop talking thank you for being here and i'll talk very very soon take care bye you

Channel: StichMethod Guitar

Views: 190,589

Keywords: Zeppelin, technique, free, stichtube, Pentatonic, chart, greatful, mayer, Hendrix, pro, mastering, solo, fret, clapton, chord, chops, guitar, teach, Jimi, king, 1-4-5, basic, fretboard, root, method, easy, help, weekly, never, Pentatonic Scale, sheet, john, guide, pdf, Jimi Hendrix, practice, soloing, stitchmethod, fundamental, tabs, stichmethod, dead, Eric Clapton, iMovie, anastasio, Scale, music, lead, teacher, blues, pentatonic, learning, lost, tone, stitch, scale, bb, learn, neverlost, trey, core, home, stich, professional, tricks, licks

Id: e7e1eDhDnaA

Length: 20min 22sec (1222 seconds)

Published: Tue Mar 16 2021