The Essential Guitar Course For Beginners - Part 2

1. Beginners Course Part 2: Hi, and welcome to my course. Learn to play the guitar for the beginner part two. My name is Jeff Cynthia, and I will be your instructor today for the course. For we start just a little bit about myself. I have been teaching the guitar now for over 30 years, and I hold a licentiate degree in Teaching from the Trinity College of London. And this course, we will be looking first of all, the notes on the guitar fretboard would be breaking each of the strings down and going through, working up the fretboard, identifying each one of the numbers from G to a, two frets. So the a is on five fret, a to B to France. So on seventh fret we have a beam. There were on the b, we only move in one frame, which takes us to the C. C is on a friend. C0 to the d is two friends. And d to the e is two friends. And what we wanna do is From there we'll be moving on to the pentatonic scale, looking at the various shapes and the positions on the fretboard. And we are going to be looking at G minor and the atomic being a G minor pentatonic. We're going to start off on the note G, which is the third fret on the string. Now we are going to be using what we call two notes per string on this scale. So we've got one know already on next note, grown third fret is going to be on six spread, which is B flat. G. B flat will be discussing and looking at the blue scale. Also, how we can incorporate the use of the pentatonic scale with our playing. Also, we'll be looking at how we can develop movements of the scale around the fretboard. 53 on the, a mix of five. So we can now go. At the end of the course, there'll be a number of exercises for you to practice, the placement and the fingering of the pentatonic scale. And finally, we'll be looking at a number of techniques that can really embellish your playing and a little bit of excitement and interest to the way you are playing the scale on the scale position. So we're going to be hammering on from five fret on the G string, hammering down on the seventh fret. We always have to hover nor from an unknown T2. So we start off with PIG five fret. With our third finger. We are gonna hammer about finger onto the frame. I'm sure you're going to enjoy this course. So why don't you click on Lesson number one and let's start moving forward with your playing of the guitar. Enjoy unhelpful. 2. Lets start with notes up to the 3rd fret: In a previous lesson, we learned the nodes of the open strings, which if you cast your mind bank, we have an E, a, D, G, B, and E. And we have that way of remembering it. Dynamite. Good bye. Now what we're going to look at is we are going to learn the nodes to the third fret of the strings might send a daunting task to start with. But there is an easy way to remember this. Now we have a musical alphabet that goes from a to G, a, B, C, D, E, F, G. Now, all we have to remember is just to fix the notice that we've got are always going to be two friends apart from the b to the c and the e to the. So the next null took its own equilibrium. One threatened. And if we're playing an E, we're only going to be one flesh helps. So the B's and the 0s, one thread. Every single note, he's going to be to France. So let's start to apply that from these open strings. We'll look at the low string, which is the law e here. And as any, so straightaway where on the e to the f situation. So if we've got an E Here, we know there is only one fret to move. All. We are going to go to the first fret because we've gone from 0 to one. So this node here, f naught. And from the f, We now know that we have to go to France because from half to the g is two frets step. So f, one friend who up to a third friend gives us a t. So we are stopping and the third, Frank, so we've got opening, first string, third fret. Let's apply the same rule to the a string. We've got an a or a to B is going to be to France. So we've got a spread. Second fret is going to be the keynote. We're on a beach salted. Next note, beats C, is only going to be one friend. So we've got the second frame. C is on the third fret, moved down to the D string, D, D. So we know the next note is going to be two French silk, which is going to be the E. So we've got first frame. Second frame is we're on the eNode again, so E, f is one forever. F, D. And we move down to the G string. G to a is going to be to France. So we got second friend is your a. And remember we're only taking as far as the third fret, so we're not going to go forward any further on that. So we've just got two notes, open string on second fret on the G string couldn't be any easier. G to the B string. So again, it's going to be first frame because B to C. So first friend. Then we will for the C to D, which is to friends. So we're on the third frame, B, C, T. Because the E to E strings are tuned the same, it's going to be the same rules. We played it here on the low string as we are on the high string. So we got E, E to F, F to G to friends. So these two strings are identical. So really you only have a half to learn how notes are applied to the fret board across five strings. Because whatever we learn here is applied here. A little more simple for us. So let's just recap. E to the a string, to the D string, onto the GV. Easy one. On the B, the C. And again repeat open E string. Now want you to practice that. So you could just randomly call it notes on the different strings. You can play them. So if I was looking on the D string i one and D, two friends, ethnics to also get used to working them backwards. So we start on the third fret G. At the earlier history, seeing same omega d strings to be self-referent, which is the ADD D. And we do so in the third because we've only gotten converges to boil the second French so as to which is the a, G, B string we might to the third fret, which denote the C and the repeat of the low E string. Now, I don't want you to worry about floods are shown on the stage. And I want you to do is learn the whole notes, which are the white notes on the piano. And a, G, F, G, a, B, C, D, E, F, G. 3. Learn The Notes On The E String: This lesson we are going to learn all of the notes from the open string up to the 12th fret on the low E string will be on. Both extremes are identical. All the long bones. For the same reason I set at the 12th fret. On the 12th fret, which is no remote. Doubled on the 12th fret, is the identical naught value as the constraint. So 12th threat we would have d any dynamite. Exactly the same note on the 12th fret on the old confront. And in a previous lesson, we said there's two things you gotta think about. B and the e. To the next note from the b to the c is one frame. To the app is also one frame. Every of a node is two frets. So all we're gonna do, we're gonna just walk, oh, no pi naught till we get to 12th threat, which is pi to the e. So we start off on the e. So we now know that the f is on the first brand and from the previous lesson. So the G is on the first fret, from G to a, two frets. So the a is on fine fret, a to B to France. So on seventh fret behalf a B, they were on the bead. We only move at one frame, which takes us to the C. C is on a friend. C0 to the d is two friends. And d to the e is to France. And what we wanna do is learn what I'm fret numbers. Because not only can we untoward notes, we can think of them as numbers. So no y's. And a, B, C, D. Or it can be 35782. Well, remember what I said previously. Whatever we do on this low E string is exactly the same on the high E string. So a, B, C, D, 13578. Now it is very important that we do learn the notes on the E string. Because as you develop your playing and we look at power quantum will look up barcodes. You will learn that the majority of the time, what we call the root note of the chord actually played or Bill told from this law E string. And this will be covered in a future lesson. If you have to think about it position of one of the notes, what I would recommend is that we are not always what this direction we often work back from Leon Tech because we know this is, you know, it's so he have to play a D sort of working on the fretboard. Think here, e, two Fred's down, d to c, to Frank's down. So get used to working not only this direction, he used to work in that direction. Because I know when you start when somebody says words to see your stuff going, just as quick to go. So we have all of the nodes on the E string. 4. Learn The Notes On The A String: Now we will look at the notes on the a string applying the same rules would have previously. We have an a. A to B is two friends. B to C. One practice that takes us to Fred free. From C to D is going to be two frets. D to the e, two frets. Friend e to the f is one frame. So we're going to be f. Then we've got the G. F to G is two friends who are contemporary. And I, we got the obtains. A twelv means same. And G 235781012. If you've been following the last lesson, you will see that a majority of these notes are the same. I'll say 100 Eastern Europeans, that the difference is this F here, which was on first frontal lobe, and the b, which is to what we have seen and achieve of sharing. Third fret. We have a, D, a, e, and a, b, c and d. Now, what I always recommend to all my students is getting to see the connection between third fret, 57810 fret, because that will help you in the future. Move between the two strings. One of the ways I recommended is to come up with a system of connections between the nodes. Now, we know that we've got a G on the E string and we have a C on the a string. So what I want you to try and do is come up with something that actually sticks in your mind between the two. Now you could use good count and count the deal. Now I used to use, I used to go back to the Bible are running damnable AD. But you can come up with anything you want because you would have AD there. Now I've got B to F. One i want you to do is five points that you relate to. That way that when you play a G naught here, you know that you've gotta see underneath them or what's on the guitar. We've got an a with a near money and so on of the guitar. And also get used to doing it backwards. So if I've got a C on the a, I got on the e. So start to get connections between these notes. 5. Learn The Notes on The D String: And we're going to look at the D string and go through all the nodes on the D string. So we start D, D to E to France, Each one frame. So affix on the firm, f to the g to France. The CI is on five fret. G to a friend's. S1 is on seven. So that B two frets. So that b is on nine frame difference, all the previous ones. Then we have C, which is going to be b to c. I am friend, and I'm binding to the octane or 12th fret of the D. When most people start to play the guitar, there is always this kind of gray area that gets built upon the guitar. We tend to be ok on our law strings up to RAM five forever because of these uptake where rho k coming bandwidths. Remember if I got a D here, I know that that is going to be a scientist go backwards. Now, another way that we can look at is utilizing the octane position. And this will help you to start to build up familiarity with the string on the notes. Once you've learned the Nord Stream, one you can do to help with the D string is to look at the uptake position. The uptake work from the E string. If I'm on five fret on the E string, I want to play the octane set of going up to here and play, why can do I can go down to strings, which will take me to the D string and then forward two frets. So I've got a, which is on five friends. On this low E string. There are two strings and on the D string and a two frets forward. That shape the is an octane which will shrink. So that it's telling me that if I got an a here, that is an a as well. So we can work out by courts. So if I put my finger on here, and I'm all nine fret on the D string, and I'm not too sure what note is, and I want to do it quickly. I can go back to stretch by two frets and up two strings. So by two eigen Octave shares. So it's telling me it's a B. So there's an never way of looking at the D string is to use these octane or from here or sun. No, okay, on my of course it will. Vg is we've got the gene, but undos help you to actually work at them notes, especially in this gray area here that we have. We're not too sure band at play here. Mozart. No, what I was looking out today. So if you try to work these out quickly and you have a good time to go up the fret board where you can do is visually look at it and think of your obtained by two frets of two strings. And all of us have b, so b as well. So that's another alternative way of learning. The notes on the D string. 6. Learn The Notes On The G string: Now we're going to look at the notes on the G string. And I'm sure by now you're beginning to see the patterns form and you get a little bit more comfortable with understanding these nodes and the distances between nodes. So on the G. We already know from previous lesson, the second phrase, the a, a to B, is going to be two frets. So for Frank gives us R being the, well it's gonna be warm frets up to the sea. It's the same CTD to France. So we're on seven. Where on D? So we're looking at d two, e, two friends, nine friends. The f is, f is going to be warm Frank. So the F is on ten. F to g, two frets. So back on our 12th fret. So we're doing that. We can apply what we learned in the previous lesson about the alt text because the old safe shape between the a and the G string is exactly the same as it was to the D. So if I'm on this position here, I don't know what this notice that the moment I am home, seven friends. All I have to do is think back to France to strings, OK. And if I've been learning and working on my a string, I will know that that is a D because my friend only a day. So you can combine the knowledge between them, two strings to help. Obviously you have to learn the notes on the a string. But after a while, you will get this little gray area or start to make more sense when I was a quick way, if you ever onshore you put the finger. I go to. So they are the notes on the G string. 7. Learn The Notes Notes On The B string: We're going to look at the last string, which is the base string. Last but not least, how many the Hmong list, most of the hardest one that you've been looking up. People's remember, I know it was for me when I started them. We still just apply that rule of the East and the East. So we've gotta be, so frustrating is going to be C. C to D is going to be two friends. Detail, it's gotta be two friends were confined E to F. Well Frame F to G to friends, G to a, two friends, a TBI. So we get, do start getting used to working with the beatString, working backwards. 650. What's spent a bit of time on being, being string because it really will come in useful table a trouble when we started developing continents. So there are all of the notes on the B string. 8. Pentatonic Scale: Now we are going to look at the Minor Pentatonic Scale, which is probably the most used scale by any terrorist. Dt, right back to the early days when people first picked up the guitar. Right up to modern rock guitarist. They all use it. And some of the greatest guitar lines and melodies have been created inside the pentatonic scale. Future, when you continue learning, you'll hear all different names of scales, different variations that we've gone more. But the pentatonic. So the Minor Pentatonic is world wars. People fight too comfortable and very easy to use. So we are going to break it down and show you what we call pentatonic box warm. As we go on, you'll learn more and more about the different box positions. But to start with beginner, I just want to show you rocks because there's so much you can do without. You don't need to know all the other boxes at this stage. You can just sit there and just play it away to your heart's content juice using this simple, easy. Now we are going to be looking at a G minor pentatonic or being a G minor pentatonic, We are going to start off on the note G, which is the third fret on the law. Now we are going to be using what we call two notes per string on this scale. So we've got one already on next note, Grom, third fret. He's going to be on six spread, which is B flat. So we've got G, B flat. We then move down to the a string. And this is why again, this is so easy. We are going to the third fret, which you see on the next note that we are going to be playing is the D, which is on five fret, cross over to the D string. And again we're on third fret. Couldn't get any easier, Got it. So we played third fret, which is an app. And then we'd play five fread, which is another G. So the Minor Pentatonic, as we go through the minor album from the alphabet, we've got five volts and then the octet position two. And we don't stop there because we're going to use all of the strings moving down. So now we're gonna move to third fret on the G string, which is a B flat, which we know is part of this minor pentatonic silicon go. So we're on third fret, AMA g, five fret on the cheap positional boxes here. And we've gotta go down to our B string. And again we are conferred frame. And then we're going to cross over to the high E string. So whatever we played on a law, we've got a play on the Hive, so we play a three. And I go into six. So we have got simple, easy to remember. Ok, shared 363555636. And we'll go back to the GTR. Sort of sounds like some good salaries. They don't use the little thing I do. They stretch down with our third finger. I just find it easier to use in that little finger. But if you have problems with stretching, you come. And remember you don't have to keep the finger not first finger on, not null. So you can't have your game fun. A little bit of a strange can move your finger forward. But I would recommend as you're working with this scale, is getting used. Stretching offered, or introducing your little finger into the plane. Just the biggest stretches I used my little thing on my pinky or when I'm just playing the two fret, I'm on the third. Now. That is just purely skin. Or we do it without leaders going up and down. But I want you to get used to sign up box when you look at this, the fret board and just see that putnam, It's an instinctive thing. That's the way it's got to be with this. But you just look at that and you can pick any worse. Now that is the G minor pentatonic and so it was good. And there will be a few backing tracks that due to start to build up some lines on that will be included in this course. But what I want to point out here is that with G minor, because you started on g. But suppose member of Baumol tuna gorilla, No, we're gonna use singer and he can't play, I come sing. Energy needs to be in a, not a problem. Because you're just going to take the whole box and you're just gonna move it up two friends. So your first finger is only a note of that when we string. And you will play the same book shape. Well on different France. So this time you will repeat plane line 7577. And that is a minor pentatonic. Now, I'm sure you can see whether she's going because he felt it was G minor sandbox and I was a miner. I can probably play a pentatonic scale for any of the rooms I need, but note on that low E string and you write some incest you, now we're gonna play in F minor pentatonic. You just put your finger on first frame of the law E-string, and this time it's going to be wrong. Wrong, wrong. F minor pentatonic. Now if we think about this, all of them sharps or flats, that people tend to get very, very worried about, no longer problems. So we says to you, we are going to be playing in the Minor Pentatonic small KD, B flat, which is six frame. I'm, I'm always string. B Flat, Minor Pentatonic. Not a problem. No worries. We don't have to start worrying about the different nodes in it. All we're gonna do is just play that box ship. You couldn't get any easier than our nice little cotton like now. We've only got two real stretches or two movements. We, And we were moving from that three friends to fret to friend-to-friend. Three for every frame. Really is a user-friendly skill to learn. And he's such a good scale. And that's what everybody loves to go back to the minor pentatonic scale. So what can it start to remember it? I'll experiment it in different positions over the fretboard. 9. The Blues Scale: So now we are going to look at the blue scale. We've already covered the minor pentatonic. And the minor pentatonic and the blue scale are used very, very closely together. What a blues musicians like to use this scale, it adds a little bit of color to what they're playing. Stereo, very simple law. You're only adding one naught across the whole pattern. So if we go back, let's think about the a Minor Pentatonic, which was five, ain't 5-7, 5-7 live 758. Blues scale ats one norm, which is called the balloon naught. But really it's called the flat five. No, we're going to be adding is on the a string and it's between the five and the seven. So we're on six notes, so we get danced the blue nodes. And because it appears that it also appears down on the G strength on the eighth fret. A nicer tone to it in most ways favored and I'll whole lot with blues guitarist. And you can hear I am really answer. And we're going to move that around and just really out that to whatever we play. So the blue nor a string between the two notes and the normal pentatonics, we're gonna nicely on wrong luminol. And then on the G string. Moving on to the iframe. And remember, whenever we are played pentatonics doesn't matter what key we're in it. You just moves up and down, up front or your pen name of the key that we're playing. So if we're playing on B are blue naught will be iframe Saclay sent position number to want the scale. Doing so great of a minor chords. And it says great or dominant chords as well. 10. Lets use the Pentatonic Scale: So we've got six different easy to play Link's using our pentatonic scales. Now, for this vacuum trike, which is based on a BB King's song, we are going to be using the b minor scale. B minor scale, the a minor, but just moved to France on B naught, which is on the seventh fret on the law E string. And we're going to play seven. Change to the a. We do 79, changes to the D, 79, change to the g, 709, change to the B seven, Sen, changed to their high E seven. We are also in an include the movement that was covered in a previous lesson regarding the a minor. We are going to this box here, which is the extended Pentatonic position. And for that, we are on g 11 beats and the 12th high E we're on 1012. So they are the shapes that we aren't going to be using. So let's look at number one. Very simple rundown at the minor pentatonic scale. You're going to be starting off on the high E on seven, crossing over to be ten. B7 onto G9. G7. We are D9 twice. And that's just working down at one. Very, very simple to play. And as you saw, I played them twice just to show you that it would fit over any part of aggression in the song. Let's go and look on link number two, which is moving into that new box that we talks about. And we are going to play. Hey, nice, easy line in some that pentatonic. So we doing g 11 be ten. B 12, cross over to the bank to be 12 twice. So that is a lick. Number two with number six back into the normal shape of this beam, minor pentatonic. And we're doing that. We started off from B7 crossover to E7. And then we got beat SAN. Running down a pentatonics are B7. And then we've got 99 on the G string. Right? Let's have a look at number four. So we going a star army, a string at nine friend crossed a D7, D9, G7, and then bind to DNA. A short line this week does send every night over the vacuum try outs link number four. So we start out on the genome. B7, beat SAN, byte to be seven. And we're going to jump over the G string. And I use my second finger for this one. And I'm going to play D9. And I'm rule my finger over and you can move it down if you wind doesn't like to roll my finger when I do this to a G9. So we go. You can do it like this. Or you could do 23. Reminder. Every one of them dry. It's not really a wrong way of doing that. Now, let's have a look at the final link here. And again, we're just using pentatonic bunk shapes. I'm just going to play a 7-7. Very, very simple, but I use just the way I was staging the timing on Mount. So I'm just doing seven b to seven hyenas. And I move up to ten be sangha. You combined to 77. Very easy lines to play. No, you've got access to the whole backing track in this course. And you can experiment with different ideas of building up anything. One I've just shown you, you've got your pentatonic balls. And they extended. One I'd like you to do is also experiment with some of the techniques that we've looked out. We can take a simple little line under a hammer on, on a pore. Which among the g and I'm just doing a cheese seven g, nine by and I'm finishing it on the D9. Or we could try the slime. Surfing on the highest strings where we going to do the straight. We can combine the elements together. What I always advise when you're doing this, pentatonic soloing, organise biking trips. Don't stop working, got the skill from luck. He always String. It's more interesting for the LR if we start in the middle. So if we are targeting the G and the D string, sounds a lot more form. And of course, all in the soil. Nothing better. Put an ally slide in. Just doing our slide on the D from 79 still in the Pennzoil. Slight down our own poem. So I'm just taking one of the ideas that we had in the previous lakes that we've looked at and just expanding that. She was my put him on rice. It'll slide in there. Do little short phrases. We're not having to use every single note here I'm up pentatonic, isn't it to see how many knobs weaken gets in, in worn Gore. It's trying to make nice little statements as we playing these doors, just figure a nice little melody line. Don't need to be playing fast. This debate speed is just trying to get as you're playing. Just finally, what naught some really nice when you're playing organise back in Trunk. Does this one say nice? Does that wrong? If he does, put a little line. And then don't be afraid to repeat lines and just change the last naught. They sent great with the music behind just playing, just creating this great melodic wines. And I know you'll be able to start piecing together. You're all little parts. The back-end try. Got five minutes to totally immerse yourself. Joy yourself. And of course would be over backing tracks. You can take any of the lines that we've done in this B minor you're playing over and a minor backing trite, whose movie down to friends, suing the a Minor Pentatonic position, play the same lines. You'll be surprise how well these little easy lines that we've got fit so nicely inside. Back in trying your gonna be playing over, enjoy yourself, yourself. 11. Extended Pentatonic Scale Shapes: In this lesson, we are going to look at extending your pentatonic scale. We're just gonna have a few more, few more positions that will really start to expand your plane using this pentatonic scale. We are going to be looking at a minor pentatonic for this one, just because it's centered at the border. We've got our standard pentatonic box. How are we going to do on the low end on the E and the H string? We are going to include free on the E, going to 53, AMI, a GUI to five and the eight. So we can now go. What I'm doing now, I'm just coming down from the D-string doing 75 on the 875, moving down to three. And then I can even go to the five and the eight, down to the free. Bang. Why going down from the three, sort of from the five to three and the gain crossover to three. Although there are some tower IS included. I don't use this position to often, which is extending away from here going to the 800. I don't do that. What I like to do, I will come down the scale and then I will move down to the three. And then using my third finger, I bring him more P naught. So I guess I have to worry about last stretch here. Let's get the next one we're going to add is going the other direction. And this one, if we again on the a minor, what we're gonna do, instead of going across from our seven to our five, we're going to move forward. So nine fret. So we get a knife around the gene. And then we're gonna pick 08, which is an existing nodes that we've worked out. But now we're gonna switch you to prove our first thing. We got eight to 108 to ten Omega0. I get this little, little shit. And now as I'm moving my pen Statoil, and then I pick hope by 810 are sort of the string. Now I can do the opposite and slide down. Slide here. And already you can see we started to expand the whole idea of this pentatonic scale. Just adding the two extra little movements, we start to really have some form. 12. Hammer On's & Pull Offs: Now we're going to look at some techniques that we use when playing pentatonic skills. We are going to be looking at Hummer onwards. We are going to be looking at pole ofs. And the first one that we're going to look at is the hammer on. For the purpose of these lessons, we are going to be playing in a minor pentatonic, which is five times seven times 7575. Of course, you know the hub. So first of all, let's have a look at the hammer on. Now. It is what it says. We are hammering on. Now, if I just give you an example, what a hammer on should sound like and also look like. That's a hammer on. Now I've played this on the G string. And the way we're gonna do, we're taking one num, one note, and then we're going to be hammering on a second node. Now this could be one fret to fret, three frets. Certain cases for frets if you've got hums as long as anyone islands. Now the one we're gonna look at is a hammer on in the pentatonic scale positions. So we're going to be hammering on from five fret on the G string, hammering down on seven friends. We always have to hover nor from an unknown T2. So we start off, we pick five fret. And then with our third finger, we are going to hammer about finger onto the fret board in the position that we'd be picking the notes, which is just behind seven. So I pick. And then with my third thing, i drive it on to the fret board. Now we're not gonna get any Sony readers casually deployed onto the fretboard as if anything yielded, deaden the sound we've already picked. So it does have to be a, driven on to the fretboard says quantity, a little bit of force that we use to drive with our third finger. Now a lot of people do use suffered thing because there's a very strong finger being marine finger. So as we pick we forced them out by driving with a triple our finger on string. Because what's happening is the noise, not no change. It's come from as driving our harm at such a force onto the fretboard. So the string strikes the thread and then creates the new naught. So that is what we know as a hammer on. Now, we shall look, no, let's look at the poll often know the pull off. Whenever I've been teaching students this in the past, they take the word literally. And sadly, in guitar playing, it's not, it should really be called a snap off. Because when I get people to play a pull off, what they do, they just lift the finger. Just pull off the string. So if I'm playing seven frat, we're still in this G position on the G string between 57, because when we pull off, we have to pull off to one over naught. So I've still got my first finger. Thus we harm at all. And we're gonna pull off back to where we were. Now, what I normally get is this, you pick the north and you lift your finger off. Now, if your guitar pick it was quite hot, they tend to pick that all. But in most cases, you don't get a sound. Was war you have to actually do is you gotta get a snack. Because what I do and I'm snatching that finger off, so I catch it a little bit of the string where the tip of my finger and I'm pulling a snapping it by. So this finger acts a bit like pick because he's got the null. And then I'm snapping at all. To go back to that first note. And we can take a combination of the two movements. I can do a hammer on and then a pull off. So I'm only picking wants a pig comma, Paul. And what I want you to do is practice, first of all, the Third French stretch, so I could do it on the a string. Third fret. Now the next ones, we are going to be using our little finger. And these ones are a little bit harder to do when you first start there. Why would suggest to, for this one, you do this on the high E string. You pick homodyne. Now with the high E string, you can really hit the snout. So two techniques that we use heavily when we are playing in the pentatonics. So take you time. Practice this on. Listen for the quality of the sun to make sure you can hear each note as your hammering down and pulling off. 13. The Slide Technique: So in this lecture, we are going to be looking at the slide. Again, a very common technique being used when we're soloing using the pentatonic scale. Now the misconception on the slide for many people, when they make this movement, they believe that they've got to release the pressure of the fret board, which is entirely wrong. This is all about keeping pressure on the fret board. While we move from one note to the over. Now, we are going to be looking at a minor pentatonic, as in all previous exercises featuring the G string. First of all, now we are going to be sliding from five fret on the G string. Second fret, Like this. You notice this is the same as the hammer on in a previous lecture, what the technique is allowing you to slide over the fretboard, or we can slide down where I've gone from 75. Now we have to make sure when we pick the norm as we move up the front board, we don't raise our finger or take pressure off the string to get over the frame from an reapply a pressure and then raise it to get over the next one. If we raise any pressure on the string, we lose. The Northeast dies, we would get. And it kills it. Even though I'm moving forward. There's nothing there. So we push the finger into the fret board and then we slide it. Or now of course, we want to make the slide sensors though it's in temple. Again, a common misconception or slide has to be done very, very quickly. Well, the best slides are the ones that take the time in the account. I'm going to read both ways. As long as I'm going into cleaned sliding motion, I keep the pressure on I can driving backing and obviously the longer I leave him, I'm going to lose the nodes of the velocity of the Norwalk or down. But it still has a nice effect. But if I just take any from one position to the next, and then pick a landowner. Has a nice sound to it. The slide really dose. A few have distortion on the sounds even better. But the lesson to be taken away from this is pressure is applied and kept on to the fret board. Don't raise it at all. Lose the pressure, lose the naught, heat the pressure, keep Renault.