How To Play ALL Over the Neck With ONE Easy Pattern!

I don't know how you can take just one scale pattern and play it over every single musical key well I'll show you and the scale pattern that we're going to use is what's called the G pentatonic pattern it goes like this [Music] now right now you might be thinking hey dude you just called that the G pentatonic pattern but you played it in the key of a what gives well the reason it's called the G pentatonic pattern is because it's referring to just that the pattern not the actual key so if we look at a G chord right like an open G chord this is just like the form of it and I'm playing it like this with my fingers configured this way just to kind of show you that when you outline the pentatonic pattern right it falls in line perfectly with the open G chord form so that's when we refer to the pattern itself the actual finger pattern not the musical key right but the actual finger pattern is based on that open G chord form right so that's why it's called the G pentatonic pattern but not to be confused with you play that pattern and let's say the key of a like this right so I just played the G pentatonic pattern but I played it in the key of a the actual musical key where the pitch lies right that's in the key of a so that just clears that so you don't get confused as to why I'm referring something as a G pentatonic pattern but then playing it in a key that's not G now you also might be thinking okay well I mean I've played that scale pattern a million times I know how to play that how am I supposed to take that and use it in every single key that's exactly what I'm about to show you so when it comes to patterns right when we think about scale patterns to kind of take the musical context out of it for just a second we're thinking purely in the physical realm here okay when it comes to a finger pattern that's what our fingers and our muscle memory and Allsop adhere to right when we when we take our fingers to the strings on our guitar and we play out that scale it we're following a pattern right so we really want to think of it just in terms of a pattern the musical stuff will come later okay so you want to think of it as a pattern so okay we got it's a pattern what does that mean what it means is it's a movable pattern okay the guitar is set up in a way where the fretboard is essentially like a bunch of different roads and you can think of scales as like routes right like ways to map your way around the front but the cool thing about the pentatonic pattern is that you can easily adapt it to any key just by using one string as a reference point and you want to think of the pattern moving across the fretboard like a conveyor belt meaning like I can play the pattern and a for example right I can you know make the conveyor belt go backwards and then go down play it in G all of a sudden then I can make the conveyor belt go all the way up here and I'm playing it in D now all of a sudden so it's the exact same pattern but adapted to different musical keys and like I said we're just using one string as a reference point which I will explain in just a second so the string we're going to be using is the low E string okay or the sixth string or the fattest string however you identify the top string here is going to be the string that we use and that's all we're gonna need we don't need any of the other strings reason being is when we play the pentatonic pattern typically we like to start it you know from start to finish the first note is on the low E string so all we really need is the first note of the pentatonic pattern to dictate what musical key that we're playing in okay so all we're going to need to know is how to name the notes on the fretboard on just one string the low E string so I'm going to show you how to do that the first thing we're gonna start with is the open E right the lowest note on the low E string we know that that note is e because that string is literally called the low E string so we know that this is a low E alright so we know that's e so we think about the musical off of it right it starts from a and goes to G right abcdefg and then you get all the sharps and flats in between which we will get into in a second so we start an e so if we move an order of the alphabet okay we have E and then what comes after E in the alphabet F right and then what comes after F G so we're gonna start with the three notes e F G and here they are open e first fret is f third fret G so remember that e f g e f g alright just play that over and over again until you commit it to memory right we know that this is e this is F and this is G and once we've hit G we've reached the end of the musical alphabet there are it starts over right there's no hijk LMNOP notes right so what we end we got to start over at a so the next notes the next three notes are going to be ABC and they start here starting on the fifth fret of the low E string that's a then the seventh fret and that's B and then the eighth fret is C so you'll notice that we're skipping frets and I'll explain why this is kind of where the sharps and flats come into play but we're gonna start with just these main notes here okay we got EF G and then ABC so play ABC over and over again commit that to memory - ABC ABC ABC and next in line we have the note D which comes after C in the alphabet right so D is found on the tenth fret of the low E string and that's it so we have e f g a b c d okay that's all we need for now now when you go beyond that okay when you reach the twelfth fret you know on your guitar on the fret board when you see two fret markers most guitars have this you'll see two fret markers on the side as opposed to the one that you'll see in odd numbers right the one even number on a guitar is typically the twelfth fret right so that's marked anyway so you have the two fret markers here that marks the twelfth fret now the reason that's mark is because that's when a new octave begins so we've started with low E right then we worked our way up E or sorry F G a B C D what comes after D in the alphabet E correct right so e starts on the twelfth fret here now this is the same note as this exact same note just in two different octaves right so if you're kind of catching on you'll notice that the pattern starts over D F G a B C right and then I kind of run out of frets so I can't reach D but that's okay because we've already covered the entire musical alphabet and then some just reaching leading up to the twelfth fret here on the low E string okay so we have G a B C D and then e again okay so we're gonna start there with the main notes and now we're going to talk about the sharps and flats sharps and flats are very simple just think of them this way a sharp is when a note is higher by what's called a halftone and a flat is when it's lower by a halftone okay so on the guitar you can think of it like in the distance of frets okay let's start with F for example right remember when we played the F G we skipped the second fret here so whatever could that fret note be right starting with F if we're here in F and then we're moving up that becomes F sharp okay so we it's moving up in pitch right so we have E F F sharp but check this out we also have G right here okay and if we're moving let's say going down right in pitch we're starting on G and we're moving down this is an F sharp its G flat so G G flat F so it all depends on the context whether you're moving up or moving down in pitch and that determines because F sharp and G flat are the exact same note how you name them is based on the context of going up or down right and pitch so now let's move on so we have E F F sharp G so we're just gonna be moving up in this case right so what would come after G G sharp right that we have G sharp right there on the fourth fret of the low E string so we have e F f-sharp G g-sharp alright the next comes here we have ABC right so we've skipped this fret here the sixth fret of the low E string so let's find out what that is this is a this has got to be you guessed it a sharp right so we have e f-sharp G g-sharp hey-hey sharp then we have B and then what comes next we have a B C so C comes immediately after B so there's no there's no sharp or flat in between B and C here right but there is between C and D here's C and here's D so this would be C sharp C C sharp D okay we're almost done remember how we get to that we get to e on the twelfth fret so we have two frets left okay and we know this is e so in between D and E if we're moving up what would this middle note be that would be D sharp d sharp E and there it is now if we were to move down starting from the high e here so we do e and then this wouldn't be D sharp it would be e flat and then D then moving down D flat and then moving down C then B then B flat a a flat G G flat F E okay and like I said that covers the entire musical alphabet including all the sharps and flats so remember sharps and flats can be the same exact note but how you name them is dependent on whether you've the context of going up and pitch but also just know that if let's say you're starting a key right for example the key of B flat is very popular key in blues music right no one really calls it a sharp I've never been to a blues jam or any kind of situation where I played a song and B flat and people said let's play it in a sharp they always say B flat so some people have preferences on what they default to right but just know that just because someone says this isn't a key of B flat it also means it's in the key of a sharp they're the same note it's just how it's named okay so when the note has if a if a sharp and flat note are the same note just know that they're the same note that's the important thing that you know and then how they're named is you could say up for debate just depend you know if you're starting off with a key you know you're not really talking about context of moving up or down right but if you are moving along the fretboard it is important to think of it that way just kind of helps you understand them a little bit better okay so now that we know how to name all of the notes on the low e-string right up to the 12th fret here we can take the pentatonic pattern and literally apply it over every single one of these notes all we have to do is start it on a particular note so let's say we wanted to start it in F we know that's F right so now let's play the scale so I just played that exact same finger pattern right the g pentatonic pattern we got to remember that when we're thinking of patterns it's about the finger movement right how the fingers adhere to the pattern on the fretboard so we sort of compartmentalized the physical aspect of write the finger pattern aspect and then we combined it with the mind part at the mental part of knowing which note on the low E string we started in and that's how we can instantly find out what key we're playing in it so let's just pick a random I've been saying b-flat right so let's let's just find the G pentatonic pattern in the key of B flat so if we were to find B flat remember how we have ABC that kind of helps because when you separate them from BF g a b c d and then you're thinking about sharps and flats you can start by picking a group of notes that's closest right so we just said B flat so I know B is part of the ABC you know 3 note pattern here so I'm gonna start with B right and then move down one fret now I'm in B flat so I'm gonna use my first finger to play that note because that's how I play the G pentatonic pattern but we're starting it in the key of B flat so now I'm gonna play through the pattern but it's gonna be in the key of E flat [Music] okay let's pick another one let's pick another note let's do c-sharp okay so I know where C is a b c right so if we want to sharpen that note all we have to do is just move it up one fret right because remember there's a free fret in between c and d so moving up to it that's C sharp so adhering to the pentatonic pattern right starting on the C sharp note and I've just played C sharp minor pentatonic okay so now we know how to take the G pentatonic pattern right and move it to any musical key just based on the notes on the low E string now that's awesome right but if we're trying to make music right if you're trying to play a solo or jam over a jam track or even just jam with your buddies right someone's gonna pick a musical key and you got to play that scale but you can't just play the scale right because that's not really music that's more of an exercise so I'm gonna teach you a few licks that fit perfectly in the pentatonic pattern and you can take those exact same licks and move them over any key that you want I'm actually gonna demonstrate how you can play these exact same licks and different keys over different styles of backing tracks it's gonna be awesome so let's start by teaching you these licks first looks relatively simple it's kind of a walk up the scale but it's done in a tasty way so it doesn't seem like you're walking up the scale it actually feels like you're making music but it's really subtle which is cool so I'm gonna be using the G pentatonic pattern in the key of A for reference ok so we're gonna be here okay so we're gonna learn the licks in that key and then I'll show you how to move them to the different keys ok so the first lick is pretty cool because it's really simple in the sense that it's kind of like walking up the scale but it's done with purpose it's done with you doesn't sound like an exercise it actually sounds like a lick and it goes like this [Music] so as you can see I essentially walked up the scale but I did it with style I added a couple little nuances in there to make it not seem like an exercise so this way is if you're if you're used to playing this scale and you're really good at playing the scale up and down but not how to like use it to you know make music this is a great sort of jumping-off point for you so we start with obviously the fifth fret on the low E string the starting note which is a right then with our pinkie we're gonna reach over to the eighth fret of the low E string and we're gonna do it's called a blues Bend it's a very very slight Bend it's very slight it's slight enough to where it almost doesn't go to a specific pitch right but don't worry so much about the feel of it just just think more of just like it's it's like an almost Bend and it's very very slight and it's very brief so you're going to write okay so we're going five blues Bend on eight and then five seven on the a string and then we're doing five on the D string and then we're going to do a hammer on to the seventh fret on the d-string now hammer on is if we play the fifth fret on the D string and we let that sustain we're going to use the the note that's sustaining and then with our finger we're going to literally hammer it on to the seventh fret on that same string so the first part is like this there's a little bit like think of the timing on it right it's so the timing and those little subtleties right there make it seem more like a musical line as opposed to just playing the scale like I said but that's the first half the second half essentially climbs up the scale another octave in sort of the same style so where we start on the seventh fret on the D string and then we're gonna do a blues Bend again but on the fifth fret of the g string right so remember it's a slight almost Bend right it's just it's inches from being a bend but it's just very slight right and it's very quick so we go and then seventh fret on the g string and then fifth fret on the B string then eighth fret on the B string and then we land on the fifth fret of the high E string and sustain that note and if you can't give it a little vibrato so the whole lick is like this lick number two gets right into it it goes like this so what I was doing was this repeating pattern okay we're starting from the eighth fret on the high E string and we're doing what's called a pull off so we picked the the note on the eighth string sorry on the eighth fret and we let that sustain and then we slightly pull with that same finger that we used to fret that note it's a slight pull you don't want to be too aggressive with it and then we just let that note continue sustaining as it moves on to a new note so from the eighth fret here to the fifth fret that's a pull off alright so what we're doing is we do one pull off and then we play the fifth fret on the B string so the best way to do that is to do is called barring so with your first finger bar it across the B and the high e strings okay and just keep it there right pretend like you just glued your finger to the fret board and it's stuck there right and the only thing that's really moving is your pinky so you're doing the pull off and then you're picking the note on the B string right and then you don't have to actually move your first finger at all all right and we repeat this pattern like four times right and then approaching the fifth time we do this so we do so what I'm doing is I reach over with my third finger to the eighth fret on the B string okay and I do a slight Bend I'm attempting to do a whole step Bend but it happens so fast that it's okay if you don't necessarily nail that pitch right it happens so fast so think of it this way you just want to bend and you want the sound of your Bend to actually register right so not quite like a bluesman probably you wanna you want to reach so you're bending up from the pitch of this note here to this note so as best you can because you got to do it quickly so all right so we bend it up and then with our first finger we're gonna catch the first the fifth fret on the high E string here oh right ok so once we do that so it's like we're bending to that note which is also this note same note just on different strings right so we're bending to it and then landing on it in a more secure place we don't have to bend up to it right it just creates this cool sound all right so I mean there's so many great rock and roll records where you've heard of look like that right so right then once we're here on the fifth fret of the high E string our third finger is going to reach over to the seventh fret of the g string and then we play the fifth fret so it's like alright might even be easier to just do a pull off so you're you remember we talked about the same thing right as that but we're doing it with these two fingers on the g string all right and then finally we're almost out of the woods with this lick we're gonna do it's kind of like this is kind of look has a lot of attitude [Music] all right so we're doing is on the seventh fret of the g string where we're bending the cool thing is with this Bend is it's not exactly clear whether we're bending from here to here or from here to here because both notes technically work they just kind of like I said they had this attitude about right so I want you to bend look at it this way bend somewhere in between from this node to this node this note to this all right all right don't go too much like you don't do that you don't want to do like a blues band where you almost can't hear all right you want to go get a little bit of umph all right and then we pull off to the fifth fret of the g string all right and then we do another pull off from 7:00 to 5:00 so that's very vocal kind of line all right now we're finally going to land on the seventh fret of the D string and hit that twice [Music] so olives lick number two I'll play it slow goes like this and then with that last note on the seventh fret D string there just give it some nice vibrato I like to shake the guitar a little bit let's look at our do more of the work lick number three is a fun one this one uses what are called double stops double stops are when you essentially played two notes at once right and in the case of like rock and blues double stops in the pentatonic scale are typically found between the G and the B strings so the lip goes like this you so those double stops were these notes right so it starts with on the fifth fret we're barring again right from this g string to the B string then we're playing seventh fret on the D string so and then with our with our same finger here the third finger after we played seventh fret on the D string we're going to play seventh right on the G and the B string so we're gonna bar it so I like to kind of roll my finger over like okay so that just makes it easier to instead of going like you know I have to make it more instantaneous so I got to go alright so we're going five seven seven right then we go back to five and we're going to give that a slight blues Bend so we're gonna while bar in both notes it helps to kind of release your hand here and then just like kind of really pull with your thumb and your first finger almost like you're moving like that like a slight sort of scooped sort of motion like a scooping motion and remember it's a very slight Bend so it's alright then we're gonna play seven five on the D string kind of reminds me of a certain Peter Frampton song alright and then the final part of the lick we go from five to seven we hammer on on the a string then we play the fifth fret on the D string then we reach over with our pinkies that we're gonna play the eighth fret on the low E string we're to give it a slight blues bent just like an lick number one so and then and it right there on the fifth fret of the low E string so we have [Music] and finally lick number four goes like this so this one kind of does the sort of Chuck Berry thing right in the very beginning and keep in mind everything that we've been playing so far and for the rest of this leg these are all perfectly contained within the G pentatonic pattern right so it's gonna be really fun when we move these two different musical keys so you can think of it this way I'm teaching you four licks but you can multiply that by how many musical Keys there are and that's actually how many licks you have it's really cool so anyway I digress let me let me resume teaching you this lick so we have we're starting on seventh fret of the g string and we're bending up to here right to the ninth fret and pitch right right then we're going to be barring on the fifth fret with our first finger on the B and the high E string and we're repeating that multiple times so I think it goes four times one two three four all right so we just repeat that four times as I said and now we're gonna do a couple cool triplet runs and they're a little fast we'll make some triplets we have it's the first triplet one two three all right and the second triplet is one two three so one two three one two three so there's two triplet runs there so they go like that starting on the eighth fret of the b-string we do a pull off from eighth fret to fifth fret then we land on seventh fret of the g string it's our first triplet and our second triplet goes like this so we do a hammer on from the set from the fifth fret to the seventh fret on the g string right and then we land on the fifth fret of the B string with our first finger that's our second triplet so we have one two three one two three and they happen kind of fast in the context of this lick but when you think of them like to triplets it kind of makes a little bit easier one two three one two three and then we finally landed on the seventh fret of the d-string so to recap that lick it goes like this [Music] all right now that we got some sweet licks under our fingers let's talk about how we're gonna adapt these in different keys okay not only different keys what I'm gonna do is I'm gonna demonstrate how you can use these four licks and over I'm going to use three different backing tracks they're gonna be three different musical keys but they're also gonna be three different musical genres too just to show you how versatile this scale shape really truly is when it comes to western music man you could play the pentatonic pattern or virtually anything even some Eastern music because the pentatonic pattern believe it or not started in the Far East but anyway that's that's a whole other story but I will say this what's also really cool is that the licks themselves right we played them at a certain you know in a certain key we play them at a certain sort of tempo and stuff each of these backing tracks is gonna have different speeds different feels different vibes all together so what I'm gonna be doing is playing the same licks but I'll be adapting the timing and like just little things like I'm still playing the Nick the licks excuse me the licks note for note but I'm adapting little things just to make them blend in with the track you know much better but what that does that shows you what those same licks you make those little changes and all of a sudden they're like brand-new licks you're playing over a different backing track so it's really cool so I'm gonna start with a rock backing track in the key of a check it out [Music] [Music] so right there I was just playing those licks right over that track we learned the licks in a the backing track was an A and it was a rock backing track they're very Rocky licks it just worked really really well it was almost too easy but as a first example I think that works pretty great so I was using licks using the pentatonic pattern they sounded great I didn't have to change really too much I just had to make sure my timing was right you know that works great now for the next track we're gonna be doing a blues shuffle in the key of C so a rock track with a hard steady beat and a blue shuffle track have different feels so I'm gonna need to adapt these licks a little bit differently so it may not be quite as easy to play those licks over that track but I'm gonna show you all you have to do is make little changes to the timing and the feel and the licks will work perfectly so let's check that out [Music] [Music] [Applause] [Music] so right there the feel was a little bit different so I had to make adjustments accordingly kind of change up the timing here and there and even when to start the licks I was kind of messing around on either starting them on the downbeat or the upbeat you know honestly you can put these licks anywhere you want I put it to you to experiment and find out what actually sounds good if you play it in a different place than I played it it sounds good to you by all means use that that's how you make it your own you know so there's an example I use the same licks you know I did it in order sort of at first and then I was just kind of changing up the order just based on how I felt but a lot of these licks are very reusable and when you use them in different orders it kind of kind of breathes new life into them makes them feel a little bit feel new right not repetitive so that's the cool thing about it so that's how they sound over a shuffle track in C but what if they were to be played over a hard rock track in the key of E hmm I think we should try that I'm gonna be moving the pentatonic pattern to the high e right so starting on the twelfth fret the very last note that we've reached here right at least before the pattern starts all over again so technically you know all these notes because they're exact same as here right so the pentatonic pattern in the key of E would go like this okay and that's just again to show you where I found where to play the licks right so in the beginning I played them in a write I knew they were there because we learned them in a so is easy you didn't have to move now and see I had to remember ABC right so there's C then I had to start the pattern there alright so now we're going to be checking out the key of E and then we're going to be using this pattern here now technically we could use the low E octave but that uses open strings we want to keep these licks you know these licks require the use of you know our whole picking here or our playing hand right so it's better to just use them up here and besides when people play an e especially in a hard rock track it's typically in a higher register so let's check that out [Music] [Music] that was fun that really made these licks sound even meaner right all I did was change the backing track right change the key played the same licks changed the timing a little bit there were times where it sounded better at like a slower speed like especially those those fast pull off licks but then there are times where I play it at double speed and sounds just as cool you know I was trying to play them in all kinds of different ways just to show you and different orders just to show you that those licks can work you know so we played them over three different backing tracks in three different keys with three different styles rock blues and heavy metal and it all sounded awesome so just as a quick recap over how I was able to play those licks in the different keys all I did was start with the pattern right the physical pattern okay we already know that and we know that the licks are inside of that alright we just learned that so what I did next was I would find the note that I'm looking for right if we want to find a remember e f g a there we go ABC a there we go started there found the pattern and then found the licks within it right and then when I was finding C ABC right there C found the pattern there right and then found the licks within it and then did that change up the timing all issah and then an e right had to find east so we have a b c d e boom there we go found that played the same pattern same g pentatonic pattern right then played it the key of e played the licks because they're all inside that same pattern and that was all i did and then just while i was listening to the track just changing up the licks and the timing and the feel so this is an opportunity for you to take these concepts and these ideas and when you're practicing them over the backing track tracks which by the way the links for each of the backing tracks will be in the description box to this video so that you can practice them yourself you can try doing different like little subtleties adding your own spin on it you know like I said if you do it in a different way and it sounds good to you that's awesome that's what I want you to do right that's how that's how the creative process begins and you're actually making something musical instead of just kind of parroting like what I'm doing and with all this you can take just one scale pattern and play it in any music keye that anyone throws at you even different musical genres and you learn some badass licks to go along with it but now oh now I get to show you away you can take it a step further a free guitar cheat sheet that takes what you just learned and will skyrocket it to the next level imagine being able to quickly and confidently solo just like the pros over any musical key you can think of that's exactly what this cheat sheet is gonna show you so make sure you click right here so you can claim your free copy right now and next don't forget to snap the subscribe button and hit the middle notification icon so you can stay up to date on all the new lessons we got coming at you and now I want to thank you so much for hanging out with me today I hope you've enjoyed this lesson as much as I've enjoyed bringing it to you I'm Eddie with guitar master method and I look forward to seeing you in the next video

Channel: Guitar Mastery Method

Views: 651,828

Rating: 4.8639336 out of 5

Keywords: play all over the neck, play over the neck, how to play all over the neck, play all over the neck guitar, play all over the neck lesson, play all over the neck guitar lesson, play all over the neck guitar tutorial, play all over the neck on guitar, how to play guitar all over the neck, how to play all over the neck with one easy pattern, playing all over the neck, playing guitar all over the neck, play all over the guitar neck, how to play all over the neck guitar

Id: 8qMZlrron3Y

Length: 37min 25sec (2245 seconds)

Published: Wed Apr 22 2020