How to Guitar Solo like a ROCKSTAR!! - Beginner to Advanced

1. Introduction: When I was learning how to play the guitar, I always felt that my guitar teachers always over-complicate it, the process of actually playing guitar solos. That's why in this course, I wanted to share with you my unique approach that I take to playing guitar solos and improvising freely on my guitar. In this class, I will show you the very basics of a guitar solo using the five positions of the pentatonic. Once you hit gain competence in his guitar system, I will then take you on some more advanced scales which are called Guitar modes in ALS breakdown, how easy it is to remember these modes to freely use them whenever you are jamming with other musicians, because it's nowhere near as complicated as people make them out to be. Furthermore, I will share with you some guitar techniques that will give you a guitar solos more emotion and feel. If you're looking at taking the steps to becoming a leader, It's Horace, or you just wanted to understand how to improvise with your friends and fellow musicians, then join me here for this class. 2. Finding Root Notes and Octaves: Let's kick things off and talk about how to find root notes on the electric guitar. Now this is an essential skill to have in order to explore the guitar fretboard in the correct manner. Now basically an understanding where all of the root notes are on the electric guitar and also knowing how to find them is totally going to unlock the fretboard. Now the reason why this is so important is because it's going to give us a variety of different positions on the guitar too. Actually fret the first note of our scales from. And then it means when we're playing in different keys, jamming with musicians, writing music, we can go right, this tracks in the key of B. Boom, we can play all my scales in B, or this one's in C, or we can play it here on the guitar. It's essential if you want to be a professional musician who can recall these scales instantly. At first, this may seem a little bit intimidating because you look at the guitar and you think How enough am I going to remember literally every single note on the fretboard? Well, luckily there are some tips and tricks that we can actually apply to the guitar that it almost kind of hack the guitar. So we can cheat in a way to remember where all of these root nodes in any given key. Let me explain what I mean. It's only guitar, obviously we have the six strings in standard junior, you got E, a, D, G, B, and then we have e. Now, because of the way these have been tuned, it means there's a little bit of sort of symmetry between all of the strings. So let's say for example, let's take the b. So we're gonna find all of the notes that are the root notes for b. So we want to find every single beat that's on the guitar. Now at first you would go right, well obviously we have a b here. This is a B on the seventh fret of the E. And then from there you would kind of be like, right? A, a sharp B on the dishing ego, D, D-sharp, F-sharp, and then you'd be there forever trying to figure them all out. But there's certain things that we can do on the guitar to almost apply a formula to just find them straight away. This is actually the distance on the frets. So for example, we have our B on the E string over here. Now, if we go back onto the a string, we have our B over here, which is on the second fret. Now if we count the distance between the frets here, so we go 34567, That's a total of five frets, 12345, between being and be on the E string, that is five frets. So now we've learned the distance between the beast. So let's go to the next, be on the guitar. So inside of the B on the E string, we have this thing called an octave, which is basically a B, but an octave up, so it's the higher version of the beat. So we've got a lobby, and then we've got the octave B, which is 12 semitones higher. So instantly right there we have a little bit of a cheat to find the octave of the B. That is just simply by playing our beam power chord, which is a bead of the bead and then B again. So there we go, we have an octave, so we found our next be on the guitar. So if we go back five frets on the B on the D string, which is on the ninth fret, we go 12345 and knowledge drop down to the G string. We have a B. Once again, we've applied that formula of five frets. So we've got B here, the E string on the seventh fret. We've got to be here on the second fret of the a string. We've got a B on our octave, on the G string. Now we've got a B on the fourth fret of the G string. So now we've got to find the final two Bs on the B string and the HJ. Well, obviously we already have a b just by playing the open B string. But we could just play the octave which is on the 12th, fret. It the higher pay. But that was a pretty simple one with the theory of mind of five frets. Let's go from the 12th threat over here. So we'll go 12345 down to the seventh fret. And then let's drop down a string. And we're back on the E string and we found the final be in this region of the guitar. And then you can apply this to beyond the 12th fret. Because beyond the 12th fret is just a mirror image of all of these threats here, just an octave higher. So we have b. Then a B. Just like we've got. Then a b. We can now transpose the shapes to literally any key because they're going to be identical. The steps between those octave and root nodes are going to be identical. So for example, let's transpose this up to a, a. For example, let's go to a. We have our a over here, our first root node a. Then we have five frets behind 12345, which would be an open strings. You've got our open a. Then we have our octave inside of our chord shape. Now we go back five frets, 12345, dropdown, a string, got out of the a. Now I want to actually explain something to help you remember in Octave shapes. So if you aren't quite enjoying utilizing that super simple octave shape that we have inside the power cord. We can actually transpose this an octave up. So we have our octave a here, then we have our second octave a here. You can see we have an interview of a shape in here. So instead of playing this type of shape, because of the way the strings are tuned, we have to move this note an octave higher, fret higher, just a semitone higher. And that gives us an octave, just like this, gives us an octave. So we're basically just moving this fret here to here, but obviously down here. So it matches the tuning on the strings. Now we have two octave shapes we can transpose around the guitar and apply to our guitar soloing. So obviously I've now explained how you can find root notes. And then from these root notes, you can start to construct major and minor scales, which we'll talk about in the next few lessons. But what I want to share with you now is actually the octave shapes, and this is going to be our first guitar technique. So I've shown you how you can buy octaves like this inside of an octave shape. Well, we can actually use this as a solo texture inside of our guitar solos. So let's say, for example, you just heading into a section. You'll guitar solo and you want to play something pretty melodic. Well, normally people might just go, just play a single string, single note melodic line. Well, we can actually apply the octaves we would just learning about and do an octave melodic line. And it's going to sound super thick, almost like a twin guitar part, but just playing symmetrical octaves. So check this out. You can see how I didn't that extra octave. His side added a much nicer texture than just going got that. Then we can add some nice fancy sort of picking to this. So all I'm doing there is I'm just simply playing through the scale in an octave shape to add that really, really lovely texture to my guitar soloing sounds a lot cooler than just going. 3. Major Scale Construction: When it comes to constructing a major scale, we need to apply a little bit of music theory to the actual scale in order to create correctly. Now for a major scale, the formula we want to follow is a tone, tone, semitone, tone, tone, tone, semitone. Now what I mean by these tones and semitones is basically the distance between each fret that we're basically going to play on the guitar. Now, I believe in America, they refer to the tones and semitones as whole-steps and half-steps. So if at any point I'm referring to something as a tone, I mean a whole step. And if at any point I referred something is a semitone, I mean a half-step. Not to be honest, I actually quite like the American way of doing the music theory with the whole step in half-step sort of terminology. It's actually quite self-explanatory in what you're actually doing. So I'll mix it up throughout the course. So you know what I'm talking about? It's great. A major scale. We're going to go for the tone, tone, semitone, tone, tone, tone, semitone. Let's kick things off and let's just do this in G, for example. So we're gonna play here a G major scale. So we're going to fret the third red, and we're going to play a tone. Tone would be two semitones. So two semitones equals a tones, that would be two frets. So for example, we're gonna go one semitone, semitone, which will be a whole tone. Now we have third fret on the E string for our g and then an a, which is the fifth fret on the B string. So that's the first step in our major scale. Now we're going to play another full tone step. So we're going to do a whole tone steps. So we're gonna go all the way up to the beak. So another two threads. That's how you would play with three notes on a string. Now if you're struggling to stretch for the three string scale shape, just simply drop it down with knowledge we took from the last lesson of octaves down to this b over here. So instead of playing the beat, just play it here so you have a much smaller shape to play around with. Now the next part of the major scale is a semitone. This is only a single fret jumps, so we're going to go from the B, the C. And then from the semitone, we're gonna do a, another tone all the way up to the D. Then again, we have two more tones to play. So we're gonna go up to the EEG. We can play that down here. Another tone, the F-sharp. Finally, to conclude the major scale, we just do a semitone back to the root node, which is our g. This is what we have so far. We've got our routes. We've gotten a semitone, and then we got tone, tone, and then finally a semitone. So that is how you construct a basic major scale. And this will be the first scale you could apply to your guitar soloing. Now when next lesson we are going to take a look at how to construct a minor scale. 4. Minor Scale Construction: For a minor scale this time we're gonna go tone, semi-tone, tone, tone, semitone, tone, tone. So this is slightly different to obviously the major scale. And I'm going to show you how you can apply this on the guitar right now. Now this time we're going to construct our minor scale in E. So last time we did G-Major. Now this time I want to do E minor. Now the reason why I'm going to do the minor in e is because that is the relative minor to G major. So the notes in each scale are identical. It just your fretting it from the E as opposed to the G. So this basically means if you are playing a track in IVIG major or a minor, you could use both G major and minor because it's the relative minor to the G. So they worked together perfectly because they're basically essentially the exact same notes you just starting from a different route node. So with that in mind, I'll just demonstrate that. So for example, if we just take a look here, we've got our E minor, then we have our G-major. You can see the sound very, very similar. Just were written it from a different place. And you can see how and how the two scales seamlessly joined into one another. To construct the minor scale, where obviously you're going to kick things off on the E. Now I'm gonna do an octave, or you could do this with the open strings. But for simplicity, I'm gonna show you how to fret it octave up on the 12th fret. We're gonna kick things off on the roots. We are gonna go a full tone that's gonna take us over to the F sharp. And then from the F-sharp, we're gonna do our first semitone, which is going to be to the g. Now from the G, we're going to drop down to the a string and we're gonna play a whole tone. So obviously from the G to the a, That's a whole tone. So we'll French it down here so you don't have to go too crazy on the fretboard. So from the egg, we're gonna do, I know the whole tone to a. And then finally we're gonna play the semitone to the c. So, so far we've got this, we've got roots. And then a semi tone. Now the final part of the lake is going to be a tone once again, from the semitone, we're gonna go, we'll go tone. And then that will conclude the scale. So far we've got this, It's tone, semitone, semitone, which is the final roots. Now that I've gave you a brief introduction to both the major and minor scale and also how to fret these using the root note knowledge that we took a look in the first lesson. We're now going to head on into the pentatonics and we're going to explore the five positions of the pentatonics and how they work with one another. And then we're going to fill in the gaps and take a look at some modes. 5. Introduction to Pentatonics: So when I want to take a look at the pentatonics on the electric guitar. Now the pentatonics are basically the foundation to build a guitar solo from it. It's a great place to start. Now we'll look further on later on in the course how we can expand the pentatonics into more modal scales. But we'll first start off with the five pentatonic positions. Now if you are already familiar with the pentatonics, I still do advise watching this module because I'm actually going to show you quite a creative way to combine all of these shapes together and then explore the fretboard in quite a unique style. On the electric guitar, we have five pentatonic positions. Now, pentatonics are made up of five notes. So we've got 12345, and then we have the octave. So this is the a and then the aim. Right? Now we can play the pentatonic in five different areas on the guitar, so we can play position one. And then we have position to let me have position three. We have positioned for and fun to be hard position five. Then we're back to position one, but an octave higher. You can already see how these pentatonic positions allow us to traverse the fret board and getting to basically construct a guitar solo. Now, I use the pentatonic is pretty much like 80% of the time when I'm soloing, I just posted you think they sound really good. And right from the off, being a beginner guitar soloing as soon as you know these shapes, you can start to jam with fellow musicians because the super clever thing about a pentatonic shape is it's m. You just move it around the fret board. For example, right now we played the pentatonics in a. But if the song we were playing in was B minor, we just simply take all the exact same shapes and just slide them up two frets. And then we start on the B&O. And now we have a B minor pentatonic scale. So the awesome thing about the pentatonics is how you can just take the scale shape and move it to whatever the scale of that track is in, when I got taught this, when I was jamming with some musicians and I wasn't a 100% sure when I was a beginner, how to join in when they showed me these shapes totally revolutionized my guitar playing, revolutionized. That would've been a better word. 6. Position 1: We're now going to take an individual look at each scale position for the pentatonic. So let's first kick things off with position one. Position one is probably the most used Pentatonic position that most people play with. Because usually when it guitarist lens, that first position, they get stuck in that box and all they do is they just solo in one position and then never explore out of this region of the guitar. And that's when you see a lot of this sort of pubs and clubs. Guitarists have that super boxy playing style to the soloing. Now what I hope to do in this course is help you break out of that box and start actually utilizing the entire fretboard and the neck of the guitar to create some really exciting guitar solos. But in order to create those exciting guitar solo is it all starts with the boxy positions where we all begin as a guitarist, but we want to break out of that as quickly as possible. Now, the first position of the pentatonic is usually the minor position. So this is a minor pentatonic shape. Now what we're going to play here is we are going to play and I'm going to show you this in a, because it's a nice simple scale to start with. We are going to play the fifth fret on the E string, which is an a. No. We're then going to play the eighth fret on the E string, which is a. C, will then go into play, The denote, which is the fifth fret on the a string. Then we're going to play two frets up from that, which is the e note on fret seven. And then we're gonna play a G on the D, which is fret on the D string. Then we're finally going to play another on the D string on fret seven, which is our octave. So we go Give there. So that is the five notes of the pentatonic sonic. Now to then go further, because you see when I demonstrate this, I will across all of the strings. So, so far we've got this. Now we're gonna say play the second half of the pentatonic, which is now on the G string. We're going to play a fifth fret. Then we're gonna play the seventh fret. On the B string. We're going to play the fifth fret, which is an e. Then we're gonna play the eighth fret, and then we're gonna play the exact same shape on the E string, so fifth and then the eighth. Now we have completed our sort of Pentatonic position one, and we're now starting to go into the position to what we have now is we have that is the starting block for your pentatonic. So you can now begin to actually join in with any track now because you have all of the notes of the pentatonic. So if you play a backing track and a minor, you can actually just explore this first position. Now once you've got really comfortable with this first position in a minor, now, I don't recommend you move on to the second position and then begin combining the two. In the next lesson, we're going to take a look at the second position. 7. Position 2: For the second position of the pentatonic, we are going to start on the CNO. We're in a minor right now and we are going to start on the sea. So this is going to be a major position of the pentatonic. So previously we started on the a, which was for the a minor. And now we are going to be playing In the C is our root note for starting this position. Now if you know anything about music theory, a minor is the relative minor to C major, and they work perfectly together because it's the relative minor to the major super basic music theory. And if you know, you'll understand why that works. So now we are going to kick things off on the C note over here. We're going to play the seat, which is for a. And then we're going to play on fret on the E string. We're then gonna go down to the a string and we are going to play an E 11 fret. Then we're gonna go to the temp fret. Then we're going to repeat that exact same shape but on the next string. So we're gonna go to the seventh fret, then we're gonna get to the 10th fret. So far, we have got this, which is the first half of the pentatonic, can already hear tonally how that sounds much lighter because it is major. Now if we then play position one just for reference, you'll hear the difference between the minor and the major in these two pentatonic positions, check this out. You can just hear with the second position it has a little bit more of an uplift towards the end, it sounds a little bit more hopeful. And this becomes really useful when you start to construct guitar solos. Because one, if you want a more of a motive and more of a negative, sad feeling, guitar solo, kick things off in the minor position. But then if you want something a bit more uplifting, maybe kick things off. In the major position. You can just see how it has a little bit more humph to it. For the second half of the second position of the major pentatonic, we are going to play this shape. So continuing on from the octave of the sea on the D string, we are going to play on the seventh fret of the G string to the ninth fret on the G string. So just nice and simple. Then we're going to go down to the B string, kick things off on the eighth fret. Then we're going to go to the 10th fret. Then we're just going to repeat that position on the E string. You can see it's the same motion. Now we have the entire shape so we can play through it all. So we have this. So now we have the two shapes in the pentatonic. Now, I recommend kicking off a backing track in a minor and actually start playing around with them. You can even even do one in C major and play more of a major field to your guitar soloing and try combining the two together. Now when it comes to actually playing the two together, it's super fun. You can slide between the a minor position. You can slide up to the second position. Just stop. Just stop sliding between the two positions, which is really fun. Now we will take a look at combining all of these once we've learned all of the positions in more detail. But that was just a bit of an example of how you can almost play three no pinch string style scales now because you have two positions. 8. Position 3: Let's now take a look at the third position of the pentatonic, not quite like this one. And it's probably one of the easiest ones to play because it's quite repetitive in the intervals on the strings that are actually playing. So if we take a look at the third position, so obviously we've played our minor one. Let me start at the second position on the C. Now we're gonna play the third position on the D. What we're going to play is we're gonna play the 10th fret on the E string. And then we're gonna go to the 12th fret on the a string. So we've got It's super easy shape there. And then we're just going to basically translate this shape to the other strings. So we're gonna take the exact same fret distance on the ushering. So we're gonna go 1012. Then we're gonna go on the D string 12. So far we've got this hobby and emotion in our left hand, which is simply dropping down the strings. Now for the second half of the shape, we are actually going to play a ninth fret. We go 912, and then we're going to play 1013. Then finally we're gonna go back to the shape we began with. And not just simple, can see the 12th. So far we have this as the entire shape. 9. Position 4: We're now gonna take a look at the fourth position of the pentatonic. Now for me personally, I think this is the most difficult one to memorize because it's very, very similar to position three, but he's got some quite slight deviations to the actual shape. Let's take a look at it. This is what we're going to play. We're going to play on the 12th fret is where we're going to kick things off. So we're gonna go 12 to 15. Then we're gonna repeat that exact same shape, but on the a string. So we're gonna go 1215. So, so far we've got this would then go into play the shape we did last time, which was just a nice simple to fret maneuver. So we're gonna go on the 12 to 14. Then we're gonna repeat this on the G string, 12 to 14. And then we are going to do the 13th fret to the 15th fret. Then finally, we'll do the 12th fret to the 15th fret. Today's is the shape in its entirety sounds a little bit like this. 10. Position 5: Now we're going to take a look at the fifth position of the pentatonics. Now I think this is actually the easiest one to play out of order them because it's a very repetitive shapes. It's quite easy to remember. So what we're gonna do is we've got to kick things off on the 15th fret and we're gonna play a shape a little bit like this. Now you can see there that shape is very repetitive, were basically duplicating the exact same fret distance on each string. And then we're expanding duplicated, not then going back to what we began. So it's very, very easy to remember because it's quite symmetrical in the way you actually play it. So the notes we're playing here is the 15th fret, the 17th. Then we're playing the exact same shape again, blame 15 to 17. Then this time we're gonna play 14 to 17. Then we're going to do 14 to 17 again. Then we're going to go back to how we began. We're gonna go 15 to 17. Then this is how it sounds. That is the fifth and final position of the pentatonics. And then what you can do is once you get up to that final fifth position, you can actually go into the first position once again, but an octave up. And then this gives you a full spectrum on how you can actually explore the entirety of the guitar. So now that we've finished the fifth position, we can then begin back with the first position. The position, first position. Pretty cool. And you can now see how they're all starting to combine together. Now in the next lesson, I'm actually going to show you how you can explore this fret board layout with the positions of the pentatonics and how you can start to construct some really cool guitar solos. 11. Combining Pentatonics: We now are going to take a look at how we can combine the pentatonic scale positions. So in the last few lessons, we've taken a look at each scale position individually. And I've explained all of the notes and how they connect to one another. But now I'm gonna show you how we can combine this while we're actually playing. And we can seamlessly transition between scale positions. And this guy sounds so cool, and he's going to elevate your guitar playing from that dead basic playing in a box style sound that a lot of guitarists gets stuck in. So what we're going to do is let's actually take a look at the first position up here, and then also the fifth position down here. So if you remember back to when we were learning the positions, I showed you the fifth position all the way up here, but she's gonna take it an octave down, play the exact same shape, and translate it to a different region on the guitar. Now, what people usually do is when they're playing the pentatonics is they always start in position 180% of the time. This sounds perfectly fine. And I myself usually start in position one, but in certain situations, it's actually more beneficial to start in a different region of the pentatonic positions and then gradually fade in and go into another position and explore the guitar neck. So I'll explain how we can actually do this. A dead obvious way to do a guitar solo with the pentatonics is to stop right here on the first position and you'd go, and you'd start doing a guitar solo. But it sounds very obvious without being rude, you know, every guitar player has done it and everyone has heard it. So what we're gonna do is instead to spice things up. We're gonna start in position one, but we're actually going to play back into position five. And this is going to show you how you can combine the pentatonic positions quite creatively. If you remember back to position five, we have a shape like this. And then right next to it is often the position one. What we're gonna do is we are going to start on the note on position one, or actually gonna play back into position five. So like this. So far, this is a little bit of a different way, hopefully that you haven't paid your pentatonics before. So we're gonna go back like this. And then I'm gonna show you how from position five. And we're going to transfer into position once it back into position one. And then we can do the exact same motion and now slide into position two. And then do the exact same thing. Just play through position to backwards sliding position three. You could even go into petition for if you wanted. Now obviously that sounds very basic, slow, but when you play at first, it sounds quite cool. So it would sound something like this. Very, very slick lake. Now another way we can combine our pentatonics is to do a little bit of like sort of fast playing with some hammer ons and some pull-ups. Let's start in position one. We're gonna start on the B string, the fifth fret to the eighth fret. And then we're going to also play the seventh fret over here on the G string. And the part we're gonna play is just dead simple. It's gonna be just like that. So we're gonna go five and then we're gonna go Eight. Let me get to pull off. And then we're going to that seventh fret on the G string. So it sounds like this. Fall as sounds very basic. But once again, when we speed this up with a bit of gusto without playing, it sounds like we're super spreaders. Check this out. It sounds pretty cool. Now what we can do is we can take this exact same pattern. And once again, we can slide through the pentatonic positions, and this allows us to fly up the fretboard so we can translate this exact same pattern. Position to just eight to ten. Pull off. And then on ninth fret on the G string. Then once again, we can also do this in position three, and then also in position four. Then finally position five. And then back to position one. Then this is how it would sound if we were to combine it all. There are some examples of some creative ways to actually start combining the pentatonic positions together. Now I highly recommend you start getting really creative. They're really cool thing about the pentatonics is because it's all the exact same notes. It's just five notes. You can't really go too wrong with whatever direction you end up going in. Because essentially you are restricted to five notes, but although you are restricted to a very small region of notes to play on the guitar, you can still get a lot very creative possibilities. And sometimes it almost forces you to be more creative with the way you vocalize your leaks on the guitar because you are so restricted by the options you have. Now another really cool way to obviously go between the pentatonic positions is with some bends and also some slides. Now we're gonna take a look at these types of techniques in the more advanced guitar techniques module. But for now, I'll just sort of give you a bit of a teaser of how this can sound. So if you take a look on the guitar, obviously we have our first position here. Then we have our second position note over here. Already you could go about doing a three note pitch string types or a shred scale with the pentatonic exclusion. But what I'm actually gonna do is I'm going to show you how you can use a bend to bend up into the second position. So on the guitar, obviously we have a variety of ways to do a band who can do half-step or we can do a full step. What we're doing here is the half-step was just obviously a semitone, which was one fret. And then the full step was to frets, which was a full tone, which was the note that he's found in our second position. So I can actually bend up into that note in the second position instead of going. If I could go already is dying to make these pentatonic sound a lot more emotive than just playing the boxy notes. It's another way to think about transitioning between the positions. So for example, we could go now or in the second position, very creative and definitely worth a play around with. 12. Vibrato: I now want to take a look at expressive guitar techniques. We're going to explore a few techniques that you can use on the guitar to help create more emotive guitar solos. It's really helps you tell an expressive story while you shred it up during your guitar solos. That the first one I want to explore is vibrato. No, vibrato is a very common technique on the electric guitar, but there's a variety of different ways that you can actually apply vibrato to your strings and get different results, which a lot of people overlook. Vibrato is basically where you play a note and you give the string a little bit of a shake. And this just helps you sort of extend the sustain of the note you're playing, but also just give it a bit of feel. Now, a lot of people use for brought to quite aggressively. So it'll sound a little bit like this. I'm not, He's fine for certain applications. Now what I want to show you in this lesson is how we can manipulate the vibrato on the strings, four different fields. So we can speed up and slow down the vibrato to get a different intent with what we're trying to express on the guitar strings. This is gonna sound really cool once you begin to explore this, the way I like to do my vibrato is I actually quite like a really slow and controlled vibrato. This really shows how equipped you are as a guitarist if you can really tame, control this action on the guitar. Because a lot of beginners just allowed super crazy like this and it can sound fine. But it doesn't sound educated is the word, I would probably say best fits it. The way to do a vibrato, you just simply play a note and you just give it a real smooth wobble with the string. You take your finger mounted on the string, and then just with your arm you sorted just almost shake the guitar to manipulate the string. Now, depending on where you place your thumb on the neck, can also change the result of your vibrato. So if you place your thumb on the top In, this gives you more of a hold of the actual vibrato. Some people like to actually remove the thumb entirely to get a less controlled result. If they're going that sort of crazy feel if they're doing something with a lot of gusto, the player really fast and they just want that way, That's super crazy vibrato. They'll opt for this results so they're not restricted by the thumb on the neck. Now majority of the time I quite like to go for the high thumb action and really dig in to the vibrato. And I feel this gives you a really strong vibrato that you can really snack on the string when you're shaking. Now, I like to actually put a lot of physical energy into controlling my vibrato. So I don't just go, we'd like a week finger and just hope for the best with my vibrato, I actually like to physically take the neck of the guitar and almost dominate the guitar in order to get the intended result out of the string. Now what I want you to practice with this technique is to actually play a note and just control during the vibrato as slow as possible. The intended results is absolutely exceptional. So what we can do here is we can simply just play a note and just play the string up and down. You can even let the guitar rock on your knee if that helps you sort of maneuver the string. Now once you get comfortable with doing a slow for Bravo, I want you to practice the control aspect. So I want you to take it from a nice slow for broad OS slow as you can possibly go to really get that control there with the string. And then I want you to practice picking it up a little bit and then going for them super crazy vibratos because there are a variety of different situations to apply. Each vibrato and it suits the intended purpose because sometimes you need that super crazy vibrato to accentuate a point in your guitar solo. And then other times you need that more taken back, more sort of mature sounding vibrato that is very, very slow. So what you should try and do is something like this. So just start off slow and then speed it up. And then try again on another string. 13. String Bending: We're now gonna take a look at string bending, the electric guitar. So in the last lesson we took a look at the vibrato. And then now when I take these to the next level, and we'll take a look at string bending and then also combining that with a little bit of vibrato. So you can really play that bed. Obviously on the guitar, we can play around with notes picked like this, and it sounds fine, but certain situations, it just sounds very Samy because you're picking everything. But instead of going, we can actually go back. We can bend up to the note that we would have otherwise picked. So there are different types of bending distance on the guitar. So we have a semitone bend and then we also have a full tone bed with semitone is just a single fret. So you can see that just that little bit of a step, then we have a full tone, which is a basically a full step. You can see basically, we can't bend up to the next note in the scale depending on whether that requires a four-step or a half-step. Now, with the string bending, we can actually combine two notes at the exact same time to get some really cool results. So right now I'm just bending the strings. So not just a single string bend, but we can actually take this to the next level and do a double stop bend. So what we can do is we can see, you can see that I play two notes, so I played the eight on the B string here. Then they also bent up to the E on the G string. So I beat this Ben and then combine that with a fretted eat. Very cool result. And it gives the guitar solo a lot more texture in specific situations. Now, if you want to practice your string bending and it's your first time sort of going about doing string bending. I read you advise just getting that accuracy there before you start with any of these double string bands. So the way you get your accuracy is just simply by playing the note you want to bend to. So for example, this one here. And then just taking it to friends behind and try to get that full step bend. So now you can here I've hit that and then you can check. Yeah, that's bang on. If not now, then you can check. So just go through particular notes on the fretboard. This one here will bend it up to note so you can check it. Dry again. Check it, then try bit faster. And then check it so that's the way you get your accuracy. Then once you're confident with doing half-steps and whole-steps bends, you can then progress onto those double stop bends where you combine two notes in the exact same time. Now if you want to get super expressive with your guitar bends, you definitely want to combine it with a bit of vibrato. So at the end of the string bend, you can really play on the string just like we were with the vibrato technique before. You can bend up and then give that string a little bit of a shake on the tail off to create a little bit more expression. 14. Double Stops: In the last lesson, we took a look at how to do string bend in. And in particular, I showed you a technique on how to do a double stop String Band. And that was where we took two notes. So we took the e note on the B string here. And then we took the denote and bent this up to create this really cool texture to our string bed. I now actually want to show you the technique of double stops in general, this is a really cool way to add a bit of harmony to your guitar solos. On the guitar, obviously in the guitar solos we can do single string notes. You can just use single notes at any given time now a solo, but if you want to give it a bit more of a harmonic approach, almost like there's a twin guitar part going on similar to some classic rock bands like Tin Lizzie for example, or I made. And now they have the really cool sort of how many lakes where you can kind of emulate that as a solo guitarist on your own by using double stops. Now there's loads of different ways to do double stops on the guitar with a variety of different intervals between the two notes that you actually play. Now we did simple way to do a double stop it just by taking a toString approach just next to each other. So for example, we can play, we can place in double stops just like that. So I played all the way from this position to the neck to all the way to an octave up, playing through double stops. And this is cooling our guitar solos because you can add a bit of, you can see how combine that with a little bit of permuting. It sounds really, really cool. Now, the other way we can do double stops, and I'll break down these double stops in just a moment, is actually with a larger interval between the notes we're playing. In that demonstration I just gave you. I was just playing a note here on the D string and also a note on the G string. So the interval, the interval between those notes wasn't in particularly very large, were based on his playing the string below. But what we can actually do is we can play other strings and combine those to create different types of double stops. Now when I loved doing is this one, so I love to take a note on the D string. So the exact same note would take an a. And then I like to combine this with a note on the B string. You can already tell that interval is a lot larger than just playing the string below. Now the reason why I like doing this larger interval is because you can do these really cool sort of walking streamlines. And you can see how cool that actually begins to sound. Now the way to construct double stops is basically you combine two notes inside of the scale. So if we recall our pentatonic positions on the guitar, we looked at the pentatonic positions earlier on. Now these pentatonic positions also can be almost upgraded into a mode. Now we'll talk about filling in the gaps independent tonic positions later on in the course to actually create a mode. But basically in essence, we can take the pentatonic base shape. And then we can start to fill in the gaps in-between the notes to create the correct mode that would be there in the scale position. So for example, now we have, we have a full minor scale mode. Now with the double stops, it's all down to visualizing the fretboard. So you all you gotta do is you just have to look at the fretboard and pitcher where the notes were B. So for example, we have our pentatonic completely picture the shape of the pentatonic on the fretboard, and then you just picture the gaps in-between them. So for example, we have this note here and we can combine that with our a to create a minor sounding double stop. Combine these two pentatonic style notes here and then combined some more sounds. Now the really cool thing about these double stops, he's, once you become very familiar with the scale shapes, you can actually just start to apply them to pretty much any part of the scale. So, so far we've played through the double stops on the actual middle two strings, then we played one with a larger interval. Then we could even do a very similar double stop on the two thin strings on the bottom of the guitar. So for example, that is a introduction to how you can start to utilize double stoped inside of your performances. Now, if you actually want to dive into this subject further, I'd highly recommend just searching online different fret diagrams for the infinite possibilities of the combinations of double stops. Now you can just dive into this subject even further, but I hope this gives you a great introduction on how you can actually start to utilize this in quite a unique way. And you'll guitar soloing. 15. Arpeggios: So right now, I want to take a look at pages now arpeggios at basically going to allow you to traverse the fretboard and go-between the strings in really unique ways. Now, arpeggio is basically certain chord tones from a scale or a specific chord. You play in a variety of different orders in order to just get a more rounded sound out of your guitar solos. Now I'm going to show you the super basic premise of an arpeggio, both a minor and major arpeggio shape that I use very frequently. But there's a variety of ways to construct these arpeggios. And as you become more familiar with the technique, as you become more advanced with it, definitely dive in further with it. But I'm just gonna give you a dead basic introduction to both the minor and major arpeggios on the guitar, I'm gonna show you the minor arpeggio first. Now you can play these in a variety of different locations on the actual guitar because it's just made up of the exact same notes. So as you discover the fretboard morning, you learn where all the notes are. You can start to join them up depending on which region of the frets your own. But I'm just going to show you a shape that's quite universal across the fretboard. So we're gonna take a look at just a standard, a minor arpeggio. And we're going to play it from the second string, which is the a string. It's going to sound a little bit like this. You can see from watching the play that and also listening to it. It's quite a unique and distinctive sound. Now the way you can apply apart arpeggio is on a per course basis. For example, if we had an a minor playing in the background, we could apply the a minor, an arpeggio and it's gonna give you a really cool sound. And then, for example, if the next chord, whereas a B minor or something, you could then apply a B minor arpeggio. And then you could basically just jump between each code. If it goes to a major, you can then apply a major arpeggio to give you a really cool sound. I'm going to put down an a minor chord and I'll demonstrate the arpeggio over this code. For example purposes. You can see how by utilizing the arpeggio, we can outline the chord tones of the specific code we are playing over the top off. Now I'm now going to share with you the detailed notes that were actually playing. So while I'm playing here is the 12th fret of the a string. And then I'm playing C on the D string, which is the 10th fret. Then I'm playing the fifth of our a, which is just an E on the G string, which is the ninth fret. So that is what we have so far. And then we're going to play an a on the B string, which is the 10th fret. And then we're going to play on the E string, which is just going to be a C, which is the a fret, and then an E, which is the 12th fret. So this is the pattern. Back. Then we can transpose this, for example, to a B minus. So we could move this up to a b and then play a B minor. And we can even play an E minor, take the exact same shape, move it down to the E. Then C minor. You can see how this shape is just universal depending on what scale we actually want to play with. Now I want to share with you the major version of this arpeggio. So you have both of them in your guitar vocabulary and you can start applying them in a variety of different situations. If we take a look at the exact same position, but this time we're going to play the major, so we just played the minor. But this time we're going to play a major. As you can hear that as a distinct difference between the minor and major, but only a few different notes were actually playing. So if we analyze this in depth, this is the minor. And then this is the major. All we're doing there is we're just, we're no longer playing the flat three, we're just playing a standard three. And then we're just continuing this shape. We're going fret on the a string, 11th, fret on the D string, playing the E, again on the G. Then we're playing our apes and again temp fret on the B string. And then this time we're gonna play a ninth fret on the E string and then our IV on the 12th fret. That's a basic introduction to arpeggios. And now you can do is, you can take this to the next level and you can start adding other chord tones into it. So for example, if you're playing over a major seven chord, you could add in a major seven to the arpeggio. Or if you're playing over like a ninth code is something you could add in a ninth or a second or whatever you want to add in to the arpeggio depends on how advanced you want to dive into this theory. Now me personally, I usually just rock those as my standard arpeggios and I usually use a major seven arpeggio now and again, I quite like the sound of those ones, but these are just really streamlining, streamlining your knowledge of the guitar. You can basically just pull out these tricks now and again, as quickly and as fast as possible so you can apply them in your performances. 16. Legato: So when I want to explore the legato technique on the guitar, now, a majority of guitarists don't utilize this technique. Now basically, we spent a lot of time picking our guitar notes. But sometimes if you want to play something fast and you haven't really refined, you're picking technique. Sometimes legato can help you achieve and sort of emulate that faster playing your guitar solo. So what I mean by legato is it basically means we pick a note with our right hand and then I will our fretting hand. That does all that. It works. It just means income, wealth and pull-ups movie luckily got oleic and then we could go. We just use our momentum in this picking hand to slide between the frets. Now a really cool way to utilize this is with a little bit of alternate picking and then using this just to speed up the plane so you're not going crazy with your right hand. Check this out. Way I use legato quite a lot, is when I'm transferring between the strings, when I'm switching between the strings. So if I'm playing something really fast, I'm picking quite intensively with my ordinate picking. Sometimes if I'm going really quick, I'll go on to distortion on. I want the transferring between the e to the b to the G string to be super smooth and adult won't be friction of my fledgling cause any unnecessary mechanical noise on the actual strings. So what I do is I utilize the legato to almost play one-handed while my picking hand transfers to the next string to really clean up my playing. This isn't the only way you could use legato. You can use it in a variety of different ways, but this is the most common way. I usually find myself utilizing it. A way I like to utilize this as I might start in my sort of minor Aeolian position, and I'll be picking away like a pentatonic scholarly. Then I'll then transfer over with the pentatonic slide, the G string here. And then I want to play through the scale super quick. Then I'll play legato lake that will sound like this. You can see that instead of going kicking everything and it's sounding super robotic, I basically did a pig pull off and then did some hammer on and pull off to create a really cool legato linked like this. Then at the end I combined it with the right-hand picking sulfur. Again. What I'm doing there is basically I'm just doing hammer on and pull off. So I'm going on the fifth fret of the G string, hammering on to the seventh fret of the G string. And then, uh, basically striping the string and then pulling off and then just sliding down and pull off. So I'm going we are going to hammer on to the seventh. Pull off back to the, slide down to the full hammer onto the fifth. The fourth pull off, and then slide to the second fret onto the full pull up to the second. And then we hammer on to the a fret on the D string. And then we can go back to old nitpicking. This just allows us to play really quick without having to go crazy and sounded super mechanical or robotic with our right-hand technique. 17. Alternate Picking: Now if you're wanting to speed up your guitar playing, you're going to want to take a look at your picking technique because this is essential in order to create really, really fast guitar licks. It's all about the economy in the right hand. Now we'll load the beginning guitar is, they don't realize how important the motion is with the picking hand. So what they end up doing is they down pick everything. This is fine in certain situations. But you limit to how much speed you can do because you can only go so fast, going down all the time. And also it's quite fatiguing on your hand because you got a lot of wasted motion because you're going down and back, up, down, down, down to try and strike the strings really quickly. Now what you can do is with alternate picking is you go up, down, up, down, up, down. So then that way you utilize the amount of energy in your hand in both directions to then increase the amount of notes you are striking at any given time. For example, if we take a look at my guitar here, if I were to just do download picking, you can see I soon hit a brick wall with how fast I can actually go. Whereas if I ultimate picks, I go down, up, down, up, down. You'll see there'll be a huge difference. Instantly. You can see how rapid fire my guitar picking became. Now the way you go about doing alternate picking is all in the right-hand technique in how you hold the pleasure. Now, I'm going to first talk about the actual plectrum holding because this is the essential foundation to actually nail this alternate picking technique. Now, a lot of guitarists take their platform and they hold it out really thick like this. So there's a lot of actual the topic on show. Now the problem with doing this style of like sort of long intruding atopic holding is basically, you produce a lot of friction between the string and the pig because, you know, there's a huge, huge sticky out plastic thing trying to strike the string really fast. There's loads of friction between the strike and the string. Now what I prefer to do is I like to change my holding of the pig. A little tiny bit fraction of the peak is actually on showing this actually minimizes the amount of plastic that is on contact with the string, which then means there's gonna be less friction when it's striking. Because you know that trying to strike a string, you can see the actual bend in the platform as opposed to a little touchy thing that's just sort of striking a Moving on. Now, another essential thing to do and holding your pick is you don't want to strike the strings straight on with the pig. For example, you do know, once a hold the pick parallel to the guitar string and just strike up and down. Because again, if we try this at home, you can feel the friction. The guitar pick, you can actually physically feel the friction in the plastic. Now, what you want to do is you want to make sure you've got a super fine tip. And then you want to angle the pledge and you just want to make it parallel and then turn it on a slight angle. And then you have minimized and mitigating the amount of friction between the plectrum and the string. And this means you can go crazy fast without having too much strain and having to exert too much energy. Whereas if we try this with a super flat platform and a lot of uprooting plastic on the plant chain. You can see like I have to sort of control the peak way more than the pigs flying out, as opposed to just colliding against the string. Bad technique can see my hand just looks like it's struggling and I'm hammering the string. Refined technique described in strength and we get much better results. Now to actually practice your picking technique, I advise just a nice sort of C major, a minor kind of practice routine. So what I did was when I was reading, refining this and picking technique, I just played this sort of classical guitar parts, so it sounded a little bit like this. All I was playing there was just playing a fifth fret on the G string, to the fourth fret on the G string, and then back to the fifth fret. And then slide up to the seventh fret. Then play the ninth fret. Seventh. The fourth is what we've got so far. Nim from here, we're gonna go back to the fifth fret on the G string. But this time we're gonna play it with our pinky. Then we're gonna play the fifth fret of the D string. Then finally we're going to play the second fret of the E string, the fifth fret of the D string. And then repeat the pattern. So this is the pattern in total we've got. Then what you wanna do is you want to take this pattern and just check on a metronome and practice in a variety of different speeds. Now maybe kick things off at about 90 BPM and then incrementally increase this by 510 BPM, whichever you feel most comfortable with, until you can absolutely nail this. Now I'm going to give you an example of this in action. So right now I'm going to start on 90 BPM. We're just going to play this pattern. Then if we increase this to 100 and we'll try it again. I'm now going to increase this link to 130 bpm just to show you how fast you can actually start to play this. And then you can just incrementally increase it, increase it until you start to get really comfortable with the picking technique. 18. Sweep Picking Arpeggios: I want to take a look at another advanced technique with the platform, and this is called sweet picking. So if you remember back when I showed you the introduction to arpeggios, when we took a look at a major and minor arpeggio, I'm going to show you a really cool way to actually explore and play these arpeggios. So a traditional way to play your arpeggios, It's just just your standard picking, which sounds fine, and you get great results. But as you develop more control with your Fletcher and your picking hand, we can start to do sweep picking in this sounds insane, especially huge pace like a lot of strategies use it and it's an amazing technique. Now what we're going to do is basically instead of picking an ultimate picking each individual note, we're basically going to scrape the platform along the string in just one downward motion. This is just basically going to allow us to play all of the notes at once in a crazy way faster than we would get by any sorted right hand picking, economical picking type techniques. So check this out. Now the way we achieve this is simply by refining, like we did in the last lesson are picking techniques. So we make sure that the actual platform is very minimal surface area and that it's on a slight angle. And then we just simply slide down the strings almost like scraped along the string. And it gives you this type effect. So basically we're just playing the almost diagonally with the platform down the strings, just 123. Hold down the strings. It sounds good about this problem. It basically we just pick the notes at the exact same time. So we play our notes while we slide down the strings with our right hand. And the need for the exact same on the up of the sweep, we just keep the same angle. And so we use a majority of sort of sweeping with a bit of sort of hammer often pull on this type of legato technique. So for example here, pulling up sweep so we can play more notes, so then we don't have to hold the pick anything, we can just do it a full sweep. So just to clarify, basically, make sure you've got that slight angle, low surface area on the plectrum, and then just practice playing between. If you don't want to really put too much force into the sweep, we don't want to be like because then you start to go into more of a scrape region with your peak, you can see sounds much more aggressive. You want that smooth sound to your sweep. That type of thing. What we're going to do is we're going to practice just, just basically dropping between each string with his minimum effort as possible. Just keep it super light with the Fletcher. And so you just want to go fret the arpeggio, for example, they say minor arpeggio and just practice not plectrum slide. So basically you strike the string, that it dropped. Then you feel attached if the next string, and then, and then it drops. It's all about feeling that tension between the string and the mushroom and knowing when the right amount of angle and false will release the string and slide onto the next one. So now if you want to really tidy up your sweeps, I advise utilizing palm mute as well. So there's no point doing a sweep with your wrist all the way out here and going because it's just not going to sound very cool. You want to mount you palm on the bridge and everything and get that sort of palm mute sound to the sweep. Now the palm mute is going to one controller, sort of resonance of the strings assorted overlap of the notes when you're sweeping between the strings. So it's going to mitigate any noise from the guitar strings that you don't want. And it's also going to always help emulate a faster sound because when you do pump, everything sounds fast. That anyways, just because of the way the strings resonates. So really cool way to utilize the sweeping technique. 19. Pinch Harmonics: I now want to show you a technique which expands the harmonics on a guitar, and this is called a pinched harmonic, and so on the electric guitar, we have our standard harmonics, which is where we just take our finger and we hover it slightly above the string. Let me strike the string. We get these solid church bell effects, sort of harmonics on the electric guitar. Now there's only a specific areas on the strings where we can achieve this easily. These are basically the 12th fret. Then around the sort of seventh, fifth fret region. Then we can do in other areas on the guitar. But you can see they're not quite as resonant as in these key areas on the instrument. Now with the guitar plectrum, we can strike the string or like a sideways diagonal angle. And then also let the skin on our thumb slightly resonate on the string to produce a pinched harmonic. So basically we're striking the string and then we are almost causing the harmonic to be produced by our thumb catching the string. So just like we hover our finger on the fret board to produce a standard harmonic. We're doing it in reverse process, which striking the string. And then our thumb is producing the harmonic on the guitar. So the best way to go about doing a pinched harmonic is very similar to the techniques we've explored with alternate picking and all those factors. It all comes down to how well a plectrum technique is. Once again, we're gonna make sure the tip of the mushroom is a low surface area, nice, minimal pet lecture tip. And then we're going to angle the Fletcher him ever so slightly and strike downwards on the string. So our thumb just slightly catches the string to cause that resonance. We don't want the thumb to mute the string. We just want it to be like a hair line catch of the strings. So it just, so it causes the harmonic. Check this out. I'm just going to fret on the seventh fret here on the G string. And normally without having that thumb overhanging, we just strike down on the string. It like this. But if we make sure that tip is minimal, to make sure we have a really small tip on the guitar. And then we make sure the thumb on this sort of angle catches. You can see we have a pinched her money. Now depending on which string you attempt this arm, you're going to have varying results. Now you can't do on every single string, but I believe the G string is the hardest one to do it on that. I just demonstrated that. Now if we try it on a thicker string, you can see I'm getting them all over the neck now on the thinnest strings. Getting them all over the guitar. Now, if you have loads of overdrive, delay, distortion on the AMP, you can get really squealing pick attacks. And I'm going to demonstrate this now. So I'm going to head on over to elite tone. Now that I've got my lead tone selected on my amp, I'm going to drop down to the treble pickup as well. So the pickups is slightly harder and this is going to increase the resonance of the pinched harmonics and check this out. You can see it sounds really cool and I don't have APs guitarist loved a good old pinched harmonic. Now if you check a load of delay on and we can get this absolutely wailing sound out of it gets all. It's a very cool way to actually end a guitar solo. After you've done some crazy playing, you can then just write it out with some vibrato on a good pinched harmonic. Now to practice the pinched harmonic, I would just basically suggest, just like with the picking techniques before, you just need to practice that sort of practice it in one region. Not depend on what type of guitar you have. The area in which you need to strike on this part of the string will be different because depending on how high your string action is or the tension of your strings, you need to find a position on the guitar string where you activate your pinch time money and it has the most resonance now for me, majority of the time, this is kind of in this region of the guitar here. I get great results, but if I moved forward a bit, you can see I can still get them, but they sound a little bit more brittle. Whereas if I move all the way back to the bridge, you can see I'm still getting them, but I'm really struggling to get them here. I have the most leeway in the least friction on the string for me to get the most sustained out of the pinched harmonic. It's just all about understanding the relation between the friction of the Fletcher him in the string when you are playing around with the super-advanced guitar techniques. 20. Hammer On's and Pull Off's: I now want to talk about a very essential technique on the guitar to really master and that is Hummer ofs and pull offs. Now when the intro video there, you saw me play the guitar, 100 would GO is pretty cool. I was demonstrating the versatility of the technique of hammer on and pull ofs. Now another time on the electric guitar, we pick a majority of our notes. Now in the previous module, we took a look at legato playing the guitar. And these basically allowed us to sort of pick some of the notes and then use the strength of our fretting fingers to actually play the neck on the guitar. Now what we're going to do is we are going to explore the hammer ofs and pull off technique a little bit further. So you can see the variety of ways we can actually apply this technique. Now on the intro there, I was just simply playing in a variety of hammer ons and offs. Now, the premise and the way a hammer on and pull off works is you basically you hammer onto the note and then you pull off. No. So basically all you do there is you kind of play the string with this finger because you pull down and you release it. So instead of picking the note and then open note, you hammer onto the note and then you pull down as if you've picked it, so it has that velocity in the string for it to resonate and then you release it just like you would watch him pulling down on the string. Down on the string. That is a hammer on and pull off its simplest form. Now the way we can utilize this is we can hammer onto a fret and then hammer onto another fret and then release that and then produce a lot of momentum between balancing between those two notes. And then you can legato across the fret board and do things one handedly. And it looks super impressive, but it also sounds very unique. Now, a very, very standard technique for a hammer on and pull off is just simply between two friends slightly. You can see they're all I'm doing is I'm pulling onto this note here. And then I'm just doing a habit and a pull off, hammer on and pull off. Between these two notes. And his sounds like I'm a guitar, god. Now, what we're going to do is I'm going to show you how you can do this with open strings like I did in the intro. To take this to the next level. Only open string department, Angus Young uses this in the track thunderstruck. So basically you take a sort of scale or a key of a track that allows you to use the open strings. So we need to make sure that the open string we do our hammer ofs and pull offs with is inside of the key that we're playing. So for example, if we went to attempt this on the E string, we need to make sure that the scale we are using has an natural e inside of the scale. So for example, a minor would work perfectly fine because there's no sharps or flats, but also an E is prominent inside of the scale. So for example, if we play our eolian backwards, can see I've just given me know right now. We can now be confident that we can do our hammer off some *******'s with the open string and it's gonna sound, okay, so what we're going to do is we are going to play through the scale positions in a single string format. So, so far we've taken a look at all the box shapes, for example. But all of these notes that we just played on the guitar, also in single string format. So you can play, play all the exact same notes on a single string format as opposed to spreading it across multiple strings to keep it in one region. And that's what we're gonna do with the hammer often pull off. What we're going to do is we are going to hammer on and then pull off some around. And then pull off, come along, and then pull off, and indeed backwards Come around, pull off, hammer on and pull off. This basically means we are creating a lot of momentum. We'd just one hand on a single string and then we can just play through the entire scale. So the next mission position, and then so on and so forth. Now, if you want to perfect your hammer on and pull off techniques, just practice what I just showed you right there. Just get that open string. Practice hammering on and then pulling down to release the string, hammering on, pulled down a little bit in the Middle East, a string of a wrong, pulled down and release the string and then try the next finger and the next finger. And then just practice getting enough momentum finger and then you can speed it up to a plane Standard. Know if you've got two into that super flashy liquid I should have showed in the start of this lesson. You can use hammer on and pull offs in a more simpler format. And that's just simply by combining it with your picking techniques. So for example, you can play a note and then I'm on to the next Yvonne and then play a note and then come on to the next one and then pull off to get that sort of kind of language in your playing. So we play with the pig, play, come around, pull off, play, pull off. You can already see how that, again, sounds less mechanical to taking everything. Sounds a lot more natural and has a lot more flow to the articulation of the notes. 21. Mode 1 - Ionian Major Mode: I now want to advance onto modal scales. Now, Motor Scales are really going to help you add specific characteristics to your guitar solo. So instead of being stuck to the dead basic five-note pentatonic, this way, we can add a real different sensibility to our guitar solos because they're going to be adding sharps and flats in various different accidentals into the scale shapes we're going to play. Now, what I'm going to do is I'm going to show you each individual modal position on the sea route notes. So that way you have a clear distinction of how they all sound compared to one another in the C position. And I'll show you the corresponding code as well that matches that mode, which is obviously the perfect court to play that mode OVN. Now once we've gone through all of the positions, are then show you a super handy trick on how you can apply each of these positions to fill in the gaps of the pentatonic. And this helps you memorize all of them and then also actually action and apply all of them during your guitar solos because you actually know where they are on the neck at any moment in time. So it's a little bit of a cheat and a hack if you want a bit of a shortcut to memorize and actually start using them. So the first one that I want to show you is the C major scale, which is an Ionian mode. So this is 100% major. You'd have heard it a million times. And the fact that in C, you'll have also heard it in pretty much every nursery rhyme. Now, what the Ionian mode has is it has no accidentals at all. There's no sharps and no flats. So every single note is just 1234567. There's no flat three, flat two or whatever. It's very neutral. Now I'm gonna play this on the seat position here. Now the corresponding code for the Ionian mode is a C Major seven is a very beautiful code here that there we have the C major seven. Now, variety of wasting go about playing this. We can play it down here in a barcode sensor. You'd have your normal major position. So you'd have C major shape. And then in order to make it a C major seven, it just dropped down. Please note here, guaranteed the fourth fret on the G string, and that gives you your major seven. The shape of the eye on your mode is like this. We've got C, which is our number one. We've got two. Then we have 345. Then when I was sick, we've got our major seven. Then we have our c. So that is all of the notes in the scale. Now the characteristic note of this scale is the major seven. So you can hear the seven here. That's what the scale is all about. That is what gives it its flavor almost in the modes. Now what I'm going to do now is I'm going to show you the extended version of this scale. And then I am going to put down a C major seven chord on my loop pedal and then I'll play the scale of the top so you can get a bit of a sense of how it sounds over its corresponding code. The entirety of a C major scale, if you're playing it from top to bottom on all of the strings, we're gonna go through the exact same as what I just showed you. So C 234567 and our octave c. And then we're gonna play, as I just showed you earlier, we have the first half of our shape which goes at least we've got C, D, then finally C. So that's the first half of the octave. And then from this point we're gonna go from the c to the d on the G string. Then we're gonna go. Then finally you go see. And you can see we can play that scale ascending and descending through the strings. It sounds really cool. I'm now gonna put down the C Major seven or my loop station, and I'll show you how this scale sounds. 22. Mode 2 - Dorian Minor Mode: I now want to show you the Dorian mode. So this is the second mode in the modal scales. This is a minor modes. It's gonna give you a much more of a subdued kind of sound. Now the Dorian mode is very beautiful. It's probably one of the most sort of used modes and sort of rock types soloing, Gary Moore uses it a lot. And Santana, I believe, uses it quite a bit as well though they're very, very huge guitarist really like playing in Dorian. Now the way that Dorian is slightly different is we have a flat three and flat seven. The flat three and the minus seven. The flat seven is basically what's giving it the minor tonality because previously we had a major third, so it was not flat. And we also had a major seven when we did the Ionian mode, which gave you that super happy bouncy feel is this time it's going to sound a little bit darker because of the flat three and the flat seven. Now the court that corresponds with this is a minor seven chord as opposed to a major seven. So we're going to play a C minor seven. You already hear the dog astounded that is giving you the shape for Dorian is like this. So we've got was seeing It's what I just played. There was a C. Then it goes to our D. Then this time we have a flat three. So instead of going, we're going to play any flat over here. So as opposed to see the total difference already from our flat 3rd, we're gonna go over to an F. Then we're going to play our job. Then we are going to play an egg on our D string, followed by a, B flat. Then we're gonna play the octave, which is our c. So that's the first half and it sounds like this. So far this is sounding pretty cool. I'm not gonna show you the second half of the scale. And then we'll put down the cord and you can hear how this sounds in action. So, so far we have this half of the scale. Now we're gonna play the second time from the sea. We're obviously going to play the second. We're then going to play all minor third. Then in play our fourth. Then we're gonna go to the fifth, the sixth, and then our flat seven. Then I would see a much darker sound than in the last video. I'm now going to lay down my C minor seven, which is like this. So last time we play the chord shape like this. Whereas this time we're gonna play one like this. We're going to borrow our finger down the backside of the frets and then we're going to lay down, I'm a second and our third finger on the corresponding shape, that's a lot easier way to play. It's very, very comfortable. Let's put this down on the loop pedal. 23. Mode 3 - Phrygian Minor Mode: We're now going to explore the third mode, which is Phrygian. Now, personally, phrygian is my favorite mode. He gives you a very sort of oriental type sound. Sounds absolutely fantastic. Now, the difference this time is we're going to still retain the flat three and flat seven, but we're now going to add a flat six and also a flat two. Flat T2 is what makes this thing sound absolutely awesome. Now I'm going to demonstrate this right now. So this time we're going to play on the seat just so I can demonstrate this. We're going to play one. Then instead of playing our normal two, we're gonna play flat 2D, easy, hard, dark this already sounding. In the last lesson, we took a look at Dorian, which saudi light is. This time Phrygian starts off like this. Now remember both of these scales are minor. The court for this one is just a minor seven. And it corresponds the same when you apply it in actual performance situation that would obviously be over a different code. It would be the third minor of the scale as opposed to just a generic minor to fully maximize this sound. What I'm going to play here is I'm gonna play you the entire scale in its entirety. So it's like this. Now one of the favorite things about the scale for me personally is the symmetry as well. Playing it makes it quite easy to remember. You can see on the fret diagram that has a lot of symmetry across the entirety of the scale. So what I'm saying here is I'm playing the C, and then I'm playing the ninth fret for the flat two. And then I'm playing the 11th fret, my third. Then we are going back to the eighth fret on the a string. And then this time we're gonna play the 10th fret. And then the 11th fret. Then we're going to repeat that exact shape. We're going to play two notes on the next string, just the eighth fret in the temp fret. Then we're gonna play the exact same pattern we did on the first string for the final two strings. So we're just gonna go 8911, and then we can go 8911. I'm now going to record a minor seven and then I'll show you how this sounds. 24. Mode 4 - Lydian Major Mode: So now we're gonna take a look at the fourth mode, which is Lydian. Lydian is a major scale and it's pretty much identical to the major scale. However, we have a sharp four, so every other notes, a neutral note, everything is just a natural. And then on the fourth note, we are going to make it a sharp fall. Now will that basically just simply means we take the fourth note, the scale, and we just move it up by semitone to create a sharp note. Now a really clever trick we can do is, if you remember back to the Phrygian shape that we did, basically, we can take the Phrygian shape and move it back one semitone and it creates the Lydian scale. They're literally identical. If we compare both the Lydian scale to the Phrygian scale, you can see the premise of each shape is pretty much identical just apart from where obviously the root note begins. So in Phrygian, obviously the group know he's here. Then in Liddy in the root note is here. This means if we want both of these to be on a C scale, we just simply need to move Lydian back one fret, so then we can Friday on the seat for demonstration purposes in this module. Now obviously because Lydian is major, the corresponding code is just a major seven chord. I'm just going to lay down a C major seven so you can just hear the tonality difference between the notes and the court. 25. Mode 5 - Mixolydian Dominant Mode: We're now going to explore the fifth mode, which is Mixolydian. Know I use Mixolydian quite a lot. And also guitar is like Alex lives in, quite like this mode as well. They use it, for example, in the intro of freewill by a rush with the did it, did it, did it do that type of thing? That probably sounds nothing like him. But now the special thing about Mixolydian, because it is the fifth mode, this corresponds basically to the minor dominant seven of a scale. So if you have any basic music theory, you will know the code terminologies between major and minor scales. And then the fifth one is that in the major it is the dominant five. So because this is a dominant five chord, we are going to play a dominant seven to match this mode. So it's going to sound like that. For example, it's going to sound like this, which is got a lot of suspense to it, because normally we use the fifth code in a scale to create a lot of tension, then we can resolve back to the ones. So for example, in the key of C major, the fifth chord is a G. So this is going to be a G dominant seven. So for example, we've got our C and then G. And because music theory says that the fifth code in the major scale is a dominant, it will sound like this. You can hear there, there is a lot of tension in this fifth code because it's a dominant seven. Now, what a lot of pop music does is they utilize this suspense to resolve back to the one which would be c, to create that huge resolution. So for example, we've got our G dominant seven and we get a result back to the sea. You can see how that really brings the core progression back home. With this in mind, we will use the G dominant seven on our loop pedal to play mixolydian. Now before we can do that, I need to show you the Mixolydian shape. Now the Mixolydian shape is kind of a tricky one to remember because it's quite weird how it's laid out, but I'll break it down for you right now. To play the Mixolydian shape, everything is going to be a natural apart from the seventh note. Now the seventh note is going to be a flat seven, which helps correspond with that dominant chord we played earlier on. It goes a little bit like this. We've got the first which is a seat. Second is just a, d is just an irregular forth, same again, regular interested F is the jeep. The sixth is a. Then the seventh is a flat. So normally in the major scale we will play, because this is In Selenium, we're going to play a flat seven, which is obviously a B flat. So the more resolve that back to the sea. It goes like this so far we've got which has quite a lot of suspense to the scale. Now the thing that makes Mixolydian so difficult to remember is the lack of symmetry inside of the scale shape. If you remember back to the Phrygian and Lydian scale that we took a look at earlier on. Those had a lot of symmetrical patterns inside of the scale, pattern shape. Whereas this time we have a bit of symmetry at the start, but then the second half, just tying it goes out of the window. So let's take a look at the second half of this scale. The second half of the scale goes a little bit like this. We just resolved on the scene for the first top, and now we're going to play on the G string now. So we're gonna go on the seventh fret. We're then going to go on the ninth fret, the 10th fret. Then we're gonna go down to the B string and play this exact same pattern, but starting from the eighth fret, then the temp fret, the 11th fret. And then finally, we're gonna play three strings on this string, which is the E string, and we're going to start on the 8th threat. Then we're gonna go to the tenth fret, and then the 13th. So far we've got this. I'm now gonna put down a dominant seventh chord on the loop pedal, which is going to be a C dominant seven for example purposes. And then I'll play the scale so you can hear the tonality. Now at dominant seventh chord is shaped like this. So you have your major chord and then you simply just remove the octave. So you remove the C in this instance and you have dominic port. Alternatively, you can play it down here. So you have your major, C major that you just remove the C and now you have a shape. Let's check how this sounds. 26. Mode 6 - Aeolian Minor Mode: We're now gonna take a look at the sixth mode, which is eolian. Eolian has to be probably the most common mode tonality that is used in pop rock, pretty much the majority of genres. Now this is because it's the standard minor shape, just like we had our major scale. We also have our minor scale, and the minor scale is the Aeolian mode. Now what is inside of the a allele Modi's? We have a flat three, flat six, and also a flat seven. Now obviously the flat three creates a very minor feel because it's a minor scale. When you play a minor chord, you flatten the third. If you don't flatten the third, anything major chord. Now the characteristic Tony is actually the flat six in this mode, which gives it that eolian field. So now let's take a look at how we can actually play this. The Aeolian mode. We're gonna do this obviously on the C note for demonstration purposes. It goes into a bit like this. We've got our second, our third. Then we have our, our fears, our flat six, flat seven. Then back to our root node, which is C. In the playlists across the neck. It's a little bit like this. This is the full shape. The corresponding code for the Ionian mode is just a standard minus seven. So now we're going to take a look at how these sounds on the loop station. You can get a feel of the tonality. 27. Mode 7 - Locrian Diminished Mode: The seventh mode that we're now going to take a look at is Locrian. Now to be honest, login is probably one I very rarely used in most guitarists don't use that commonly and that's because it is a diminished mode. Now, it sounds absolutely insane when you apply these mowed correctly. But for a majority of contemporary music, there's never really a place to drop these diminished links to make themselves correct, you can do it in passing, but to really dive into a mode, this usually crops have very rarely and usually has to be specifically planned in order to be executed correctly. Now, obviously, because this is a diminished mode, it's obviously going to have a very minor feel to it. So I'll show you the scale shape. Right now. The Locrian goes a little bit like this. You can hear there, there is a lot of flat notes as loads of accidentals. So pretty much everything is flat in this tail apart from the first and also the fourth note of the scale. Now, we can only apply this code over a dominant chord, like a diminished dominant chord for it to work correctly. So I'm gonna demonstrate that now on the loop pedal. 28. Unlocking the Fretboard - Combining Modes and Pentatonics: So now that we've taken a look at the seven different modes and actually want to show you a super clever trick on how you can actually combine these modes with the pentatonic scale positions. Now something that totally revolutionized my plane was discovering the fact that the modes basically fill in the gaps of the pentatonic scale shapes. So if you remember back to the module where we explored the pentatonic positions, we're now going to recall that knowledge and we are going to match up the pentatonic positions with a corresponding mode that fits the scale shape. It's going to blow your mind once you discover this connection. Let's kick things off with the first position of the pentatonic. So this was, don't see, this sounds super basic compared to the modes we just explored this lot less color to the actual notes were playing, but we can accentuate the pentatonic with a mixture of modal playing to really up our guitar solos. What we're going to do is we are going to connect the Aeolian mode with the first position of the pentatonic. Because if you take a look at both of these scales next to one another, you can see the pentatonic is the exact same shape as the eolian shape. And basically it's just a bare bones versions. It's missing the, the key fundamentals of that scale. So if I play the first vision and the pentatonic minor one, then I combine this with the eolian minor scale. Pentatonic. Much exactly the same. That's only the first scale that we can connect with a mode. The next one is obviously the second position, which is a major scale. So we've got our major pentatonic, so we're going up to the C, we've played out in a minor pentatonic. Now we're going to please the C major pentatonic. You can see already, I'm playing the major mode inside of this pentatonic. You remember back to the Ionian mode, which is our major scale. We've got our major pentatonic. And we can combine this with Ionian. Had to tie it. The Ionian. You can see we combining the bare-bones version of the pentatonic and fill in the gaps with the Ionian mode. So now, basically we can play independent tonics for we can hop into modal plane if the correct codes are underneath. To Warren that extra tonality, you can really see how this is really starting to unlock the fret board. If we now head into the third position of the pentatonic. So we've played our scene, we're now going to head on over to the dean position. This is going to match up with Dorian. So if we remember our Dorian shape, this is the exact same as the third position of the pentatonic pentatonic shape. Dorian. Now you can see how we can fill in the gaps or the third Pentatonic position with Dorian for extra tonality possibilities. This is what we've got so far. We have first position pentatonic. With eolian, the minor mode combines with the second, That's tonic position. Then we fill the gaps in with Ionian major scale. Now we have the Serbs East independent Sony. It combine these with Dorian. Now we're onto the fourth position of the pentatonic, which is going to now be the Phrygian mode. To check this out, obviously we have Dorian BP. Take a look at how Dorian ends with these two notes here. These two notes here. These combined perfectly with Phrygian, which starts like this. Then the rest of the scale. And then it ends like this. You can see the connection between the two scale shapes lines up perfectly with these notes here. Now, if we recall, our Pentatonic position here feels in perfectly with Phrygian. Now we're going to head into our final filling in the gaps, which is the fifth position of the pentatonics. And this is going to line up perfectly with Mixolydian. So we have our first addition to the pentatonic here. We have our fifth. Now, if you remember when we filled in the gaps of the first position pentatonic, these were the notes we had. Now, if we take a look at Mixolydian, there is an overlap of notes. Once again, these notes here overlap with our Aeolian mode. And then also these notes here line up with the Aeolian mode. We can combine the Pentatonic position with the modes once again to complete the cycle. So we're gonna play mixolydian position, play pentatonic. But the fifth, you can see how they would perfectly with one another. Lydian. Lydian. Now eolian and Pentatonic. Lydian position, pentatonic. Pentatonic. Then they only into Mixolydian. So you can see how that little tricks on it helps you memorize how to go about exploring the fretboard. And then you can apply the correct mode to the correct codes of the chord progression that you're soloing over to really create a lot of emotion and a lot of vocabulary in your guitar playing. Now, I know this was quite quick, but I just wanted to show you how you can combine all of those and then in your own time you can really practice getting the shapes down. But once I realized that there was this huge link between the pentatonic and these modal positions. It totally revolutionized my improvisation on the guitar and also just my creativity in general, because it meant I could just explore the fret board and the guitar as opposed to being dead strict with the music theory to get the sounds that I wanted. 29. Thanks for Watching!: I do hope that you have enjoyed this class if you did make sure you leave a review and also check out some of my other courses available here on Skillshare. I would highly recommend checking out some of my music production courses for both logic and also able to lie, which provide a great introduction to the techniques you need to record your own music and write songs at the comfort of your own home. But as always, I've been been rolling. Thank you so much for watching and I will see you in the next one.