I came to the Pentatonic Scale after I had already learned the Major Scale, but it's one of those things where often I hear folks thinking that if they're relying on the Pentatonic Scale that it isn't possible to play interesting stuff - it actually is!
I read an article where they discovered a 30,000 year old flute in Germany, possibly the oldest known instrument. And they determined that it played a pentatonic scale. To me, that just shows how deeply imbedded the pentatonic scale is in our human DNA, how far it goes back in our history, probably because the whole steps and minor third intervals are sounds often found in nature.
I know they aren't PURELY pentatonic scales, but I always thought the solos in Stairway to Heaven, Hotel California, and Comfortably Numb were alright... :P You can absolutely play a LOT of uninteresting stuff in a pentatonic scale, but it's also the source of some of the best moments ever recorded on the instrument, so... I think it's alright. ;)
I find pentatonic is more a crutch...until one understands the major scale...and then figures out Dorian...and how modes work. Notes are limited in pentatonic so you don't need to know what not to play, and when...which CAN help. Best place for a beginner to start...but it is just a start...imo.
Fellow guitarists, if you haven't already, commit to learning what John has outlined in this video. It will transform your playing. Exactly one year ago, I started this journey based on another of John's pentatonic videos. Before then, I was comfortable with 1-2 boxes but had never committed to learning all the boxes, connecting them, working on patterns within them -- all the stuff John outlines here. Spending about 20 min a day and using a metronome, I've spent the last year working this stuff based on John's advice. Now it's deep in my brain and I can play melodically up and down the neck without thinking. I can watch John's other videos and see better what he's doing because he's often using this as the foundation of his playing. Be inspired and get to work! Bookmark this video, get your metronome, set it to a slow speed, and start the journey. You'll start noticing progress after a week or two. It's the best thing I've done for my own playing ever. It's the most productive thing I've ever practiced in terms of making my solos beautiful, melodic, and effortless. And IT'S ALL HERE IN THIS VIDEO. (OK, and eventually check out John's thoughts on the hexatonic scale because it turns out adding one more note can be really pretty once you have the pentatonic locked in up and down the neck.) THANK YOU JOHN EDIT: (2-year update): I have continued to work on the stuff John outlines in the video and it continues to get better and more fun! My speed and accuracy are starting to come in. I can slide into beautiful notes and stick the landing on runs without thinking about it. I joined John's patreon so I could play along with his backing tracks. If you haven't started this journey, NOW IS THE TIME! This is that random internet comment that gets you to make your guitar playing better. This is it. DO IT! :)
This resonates with me a lot. I’m a bass player that plays it like guitar. Like Justin Chancellor from Tool. There are phases I feel like it sounds like shit, but it’s just cause I get burned out of hearing pentatonic, but It all goes away when i see faces melt 😅 Just keep exploring pentatonic, like it or not it’s the most powerful “spell” you can master.
When I was learning the Pentatonic and joining the dots, I found that learning triad chord voicings across the neck helped join up the scales. Once that was covered I started to locate notes I could bend up to a semi tone or tone below the target note.🎸👊
Thanks so much, John, for your superb defence of the pentatonic scale---probably the best I've seen. The idea that pentatonics are somehow elementary gets widely repeated, so that people who are still learning the basic shapes feel disheartened at the start. I think you show how becoming proficient in moving between the five boxes gradually imprints a map of the neck on a guitarist's mind. Speaking as a singer and guitarist, I was very struck by your comment about singers and pentatonics. Whereas guitarists are quite likely to learn the boxes in a fairly methodical way, I never learnt them like that as a singer, but of course, through saturation in particular genres and imitation of singers I admired, I gradually assimilated a lot of improvisional habits which turn out to be pentatonic. I think the strength of your video comes in part because you are out playing songs in public and have the sense all performers get that what works for an audience may not be the thing that in theory is most subtle. On the same principle, many of the most prolific guitar-based songwriters aren't necessarily the most technically awesome, since they're mainly focussed on expression, and using what they've got. Anyway, I for one would be happy if you chose to give us more on this theme.
Wonderfully paced and explained, thank you. Even after 40 years of playing, I do love how there's always something new to learn about how to approach the pentatonic scale. I'm going to take this approach in building ideas for dom7 arpeggios and the mixolydian scale too, not just pentatonics. Subbed!
Thanks for sharing, love your style, Important thing to know also, is how a pentatonic is built in terms of steps is really helpful too to get out of the boxes
This is a beautiful lesson. I've been playing for a while (13yrs) and I had my phase of going down the EJ rabbit hole. He does use a lot of pentatonics..but he also adds the major 2nd in the scale making it like a hybrid "hexatonic" scale. That plus his mixing of wide intervallic arpeggios makes his playing absolutely gorgeous.
Great upload. Really practical. Thank you I’m an avid viewer but would carve more time out to watch if there were more videos like this by you where they are super practical instructionals. The philosophy is good too but get more out of the practicals and to see you demonstrate what you are doing
That was great. I’m I guess an intermediate player who has gotten stuck as I’m sure you hear every day. I just recently started listening to you and I’m completely hooked. I love your style and you have a great demeanor. I’m so sick of seeing guys just pretending to like something because they are getting paid to. Anyway thanks again and I’ll be back for sure
I love how you say you're not confident in your teaching skills while you successfully create an entire amazing channel that literally teaches us SO much. thanks again for another great lesson 🫡 you're an awesome, great teacher and player.
Making use of the foundational areas, rather than half-way learning it, getting bored and moving on. Brilliant!!! A universal lesson for all aspects of life. I think I struggle with this more than many folks (ADD?), which is why I think it's so darn valuable 😊
Great video for real. Once I connected all the pentatonic patterns and incorporated my previous learned major scale notes it reallly opened up the fretboard. Amazing video man! Your the first channel I've subscribed to.
What a chill dude, and definitely I got to a pint where I tried to stop using the pentatonic scale but I realized that it’s quite useful to have pentatonics in your work. The pentatonic scale is quite a guitar sound and it’s quite a nice way to run up scales sometimes. Loving your channel, waiting to see you on the other “big” TH-camr channels. My nan loves the vids as well.
Great advice for getting around the neck.If you’re into creating jazz sounds using pentatonics I’d recommend jens larsen’s view on making Altered Dominant sounds using them. You can use F- pentatonic on a D7alt chord to create the altered notes. I’ve started practicing this in my ii V I improvisation and it gives you some spicy 🌶 outside sounds to resolve to the I
John, I am truly grateful for you putting out these excellent lessons. I can already see how this will help my playing. Thank you for giving your time and talent to help us out. The way you take your time and explain what your doing is fantastic. Your an amazing teacher. Many blessings Fren 💯👍💯
Hi JNC, 1st time I’ve seen one of your vids and gotta say it’s what I’m looking for a know the 5 Peña Positions but was looking at connecting them. Love the Harmony section at the end. Thanks for the content
Your pentatonic videos have been some of the most helpful videos I have watched as I have grown as a player. I know I will be coming back to this one when I have more time to work on and work through some of these practice ideas. Keep them coming!
What’s cool about this is that the title nails it. I’ve been playing so long and had felt that I should “move on” from the pentatonics that I’d used for decades. So I do similar exercises as the ones you’re showing for different scale patterns. But my skill with pentatonics has declined as a result. I really appreciate this video, John. Psyched to get back into it. Cheers!
This is gold! I find myself doing a very similar thing with the major scale and with triads. This way I have chords and a couple of extra notes for some splash when I want it. In the end, it's mostly just the pentatonic that is left. People need to remember that knowing what goes into the sauce isn't the same thing as being good at making the sauce. If it sounds good, it is good. Just pick up the guitar and play the thing. Serve the song and not your ego.
The first scale I learnt was the 5 patterns of the minor pentatonic scale since then I have learnt lots of other scales I am stuck on turning them into good sounding riffs and licks of my own not copying others not easy for me.
Amazing!!! Thank you for sharing this.... I could see the connecting the boxes with the slides being a total game changer! Especially making the Pentatonix not sound so scaly 😂 Another player that came to mind with this style, also maybe in a slightly more hammer-on style, is Slash???
its nice to see old school fusion ideas being revamped. Of all the skilled players you mentioned 2 that certainly use pentatonics a lot and in fast sequences too John Mclaughlin & Chick Corea (yes keys not gtr) but these guys are mamoth composers and players and usePentatonics all the time. Lots of exotic music uses them too. AN d you can go way away from the usual maj/min pentatonic scales that most people use. In a major scale there are 21 separate pentatonic scale - yes some are useless - but most sound ok and exotic. Then you can derive Pentatonics form Melodic & Harmonic minor scales. Its the narrow vision of the music and peoples use of them that has made them parse. Theres a mountain of work inside their use
Wow! Thank you John. I’ve watched so many videos on the pentatonic scale but this one really hit home. I’ve learnt the 5 shapes but didn’t know where to go next.. I’m off to ascend one shape and descend the next. Happy New Year 🙏
just remember there’s a caged shape that matches each pentatonic box, both major and minor. So when you play over a chord, you should be able to know what box you are currently in. Probably the most important thing you can know is what chord goes with the shape and what shape goes with the chord. This allows you to immediately be able to change pentatonic shapes on the fly as you play.
Pentatonic scales were the first thing I figured out on lead guitar, before I ever learned major scales, but I didn't know what it was or what it was called. One afternoon I was playing along to a Jimi Hendrix album, and trying to pick out a lick or two as melodies, when I noticed a frame all the notes ( including bends) seemed to be hung on; it was shape I thought of as ( yes) a box, because it seemed rectangular. When Jimi warmed to his theme, I noticed that he dropped down and did the same sort of licks lower on the neck. I soon realised the notes were the same but the shapes were a different type of overlapping box system, like empty pizza boxes staggered in a stack like dominoes. After an hour or two I saw that the shapes kept changing but after five the same shape appeared again ( the Eflat minor box). I knew I was on to something because after another two hours I saw that if I played (as Jimi did) across the " boxes" it made what to a 19 year old middle class kid, sounded cool and bluesy. Bends were the first thing I saw good guitarists do, so I figured them out before I even stumbled on what I found out later was the pentatonic scale. I spent the next ten years doing nothing but noodling up and down the neck on these rails but found it impossible to explain to others what I was doing. The only new thing I figured out was that if you slide your first shape down a few frets it still fitted the backing music ,but sounded more majory, and when I went back and forth between the two identical shapes rapidly on the fly, it sounded so authentic I realised this what Jimi and Eric C, and Peter Green were doing, and I felt as if I had stumbled onto a special secret of improvisation, because none of the classicly trained musicians I spoke with could explain what it was. Pentatonics are the most beautiful tool in an improviser's arsenal, because when you don't have to think ,or fall back on a practce drill, you're free to frolic and dance across the strings knowing you'll never hit a wrong note, so your playing is more fresh and intuitive.
This is good stuff, and very helpful. These are the kinds of pro tips that can really help me improve. Thank you, John Nathan. It's posts like these I'd like to see more of. Good stuff.
Nice you mentioned Ben Eunson. To me he is one of the guys that is finding new routes in guitar technique and more than just technique, he is able to really apply it in his playing and make music. Also, about pentatonics, Kurt Rosenwinkel use it a lot in a "modern way". Great content bro!
I put a backing track on and just play,, close your eyes and listen, play the whole neck and just see how different places let you use notes differently, its really just one pattern with add ins and drop outs depending on the backing track, practice with music,,,
When you are finding the same phrase in different places on the fretboard at 9:19, how do you confidently find the right starting note while improvising? What should you practice to be able to instantly find any note you are hearing anywhere on the fretboard?
Been playing Harmonic minor/modes/augmented serialism styles for 15 years or so, just starting to work on pentatonics now lol, never thought about learning the multiple positions the same way I learned the Major/minor scale multiple positions, makes sense.
Definitely useful, John. The problem that I have with the pentatonic scale is that I tend to fall into blue cliches (like bend the 4 up to the 5) even when they don't sound good, because the harmony isn't blues harmony. It's not the scale that's bad, it's the way I'm using it. The odd groupings against straight time ideas sounded really good. Thanks. More teaching and applied theory is always welcome.
Great video. I'm a relative beginner and was starting to feel impatient and wanting to move on from practicing pentatonics to more "interesting" territory despite not even remotely mastering them. This definitely changed my perspective and makes me want to double down on practicing the pentatonic scale.
Great lesson! I hear the words pentatonic rut far too much. Knowing the modes etc will make you better but don't rush past the pentatonic without truly unlocking its potential.
Pentatonic scale is 5 notes of any scale ie, you can make a Pentatonic from a Lydian dominant scale. It works well because its basically an arpeggio with extensions
Great Lesson! I practice the Pentatonic daily, all 5 shapes, 3 and 4 groups, and some others. Each day shifting the key by a fifth, to circle through the keys over time. Takes about 10 minutes, once you memorised all the shapes, and can move more freely between the keys. The trick for me was to learn and know the root position for each shape. And to know it from down to up, as well as up to down (especially to apply it). Could you make a video about which Pentatonic scale you use over which chords? For example on an Em chord, a G/Em Pentatonic would be the obvious one. But you can also use a D/Bm Pentatonic. This would bring in the 9 instead of the 3rd which gives a cool sound. My very own problem is that I just love the half tone steps in melodies. So usually I fall back to the major scale. But continuously working one the Pentatonic Scale. There is always a moment for it... 😁🤘
On sponsor Treufire you will be finding hundreds op players which each have a different approach of the pentatonic scala and get the most usage out of it. You have to learn all the shaper vertically, horizontaly, and combining them .again a very Nice video
The other thing I realized is that guys like Bonamassa, Johnson, Gilmour, etc. are also adding some notes by using Aeolian mode. I’ve noticed Lukather uses this mode a lot as well. It’s basically the Pentatonic scale with a few notes added in. What do you think, John?
It’s only Aeolian mode if you happen to be on the vi chord of the key. The mode you’re playing is entirely dependent upon the underlying chord at the moment. Edit to add: It’s far more likely you’re hearing them add “that note” when the song moves to the 4 chord in a minor key which is really a ii chord from the parent major key which puts you in Dorian. Best to have a thorough understanding of chord progressions before thinking modally…modes get used when one chord lasts for a very long time…songs like stranglehold or early Allman Brothers tunes like whippingpost…modal jazz tunes like impressions and so what.
@@EnigmaEuslam Aeolian mode is just the Natural Minor Scale. I see them use it all the time. Especially when they’re just jamming away. You can see Lukather use it in a video he did for his Dimarzio humbuckers. Eric uses it a bit in his instructional video Total Electric Guitar as well. There are also tons of videos about how the “pros use the pentatonic scale” and really they’re just adding some notes by using the Natural Minor Scale.
@@thepedalreview The natural minor scale is one of the three main parent scales we use to derive minor chord progressions so it works as a source from which to draw melodic material over minor chord progressions. That’s not quite the same as aeolian mode though despite the fact that it contains the same notes. The note that distinguishes aeolian from Dorian for example (the b6 vs natural 6) rarely gets used prominently over the one chord in a minor progression. Like I said before…chord progressions before modes. Edit to add: I say this as someone who thought a lot about modes while I was in music school…they’re a distraction from the fact that we all play tonal (not modal) music for the most part. Put as simply as possible…aeolian exists when there is a m7b6 sound happening.
I used to think like you are now and it cost me a lot of time. That’s why I commented on your post. If you need to hear it from a well established professional then check out Guthrie Trapp’s channel here on TH-cam.
@@EnigmaEuslam Correct me if I’m wrong but all you’re really saying here is that you can also use specific modes for specific chords in a progression, correct?
I came to the Pentatonic Scale after I had already learned the Major Scale, but it's one of those things where often I hear folks thinking that if they're relying on the Pentatonic Scale that it isn't possible to play interesting stuff - it actually is!
I read an article where they discovered a 30,000 year old flute in Germany, possibly the oldest known instrument. And they determined that it played a pentatonic scale. To me, that just shows how deeply imbedded the pentatonic scale is in our human DNA, how far it goes back in our history, probably because the whole steps and minor third intervals are sounds often found in nature.
Happy Holidays John! From Argentina. Thanks for everything you give us
I know they aren't PURELY pentatonic scales, but I always thought the solos in Stairway to Heaven, Hotel California, and Comfortably Numb were alright... :P You can absolutely play a LOT of uninteresting stuff in a pentatonic scale, but it's also the source of some of the best moments ever recorded on the instrument, so... I think it's alright. ;)
I find pentatonic is more a crutch...until one understands the major scale...and then figures out Dorian...and how modes work. Notes are limited in pentatonic so you don't need to know what not to play, and when...which CAN help. Best place for a beginner to start...but it is just a start...imo.
@@TheDogPa No
Fellow guitarists, if you haven't already, commit to learning what John has outlined in this video. It will transform your playing. Exactly one year ago, I started this journey based on another of John's pentatonic videos. Before then, I was comfortable with 1-2 boxes but had never committed to learning all the boxes, connecting them, working on patterns within them -- all the stuff John outlines here. Spending about 20 min a day and using a metronome, I've spent the last year working this stuff based on John's advice. Now it's deep in my brain and I can play melodically up and down the neck without thinking. I can watch John's other videos and see better what he's doing because he's often using this as the foundation of his playing. Be inspired and get to work! Bookmark this video, get your metronome, set it to a slow speed, and start the journey. You'll start noticing progress after a week or two. It's the best thing I've done for my own playing ever. It's the most productive thing I've ever practiced in terms of making my solos beautiful, melodic, and effortless. And IT'S ALL HERE IN THIS VIDEO. (OK, and eventually check out John's thoughts on the hexatonic scale because it turns out adding one more note can be really pretty once you have the pentatonic locked in up and down the neck.) THANK YOU JOHN
EDIT: (2-year update): I have continued to work on the stuff John outlines in the video and it continues to get better and more fun! My speed and accuracy are starting to come in. I can slide into beautiful notes and stick the landing on runs without thinking about it. I joined John's patreon so I could play along with his backing tracks. If you haven't started this journey, NOW IS THE TIME! This is that random internet comment that gets you to make your guitar playing better. This is it. DO IT! :)
Thank YOU Andrew!
Yes I'll too implement this lesson in my daily practice from now👍❤️
This resonates with me a lot.
I’m a bass player that plays it like guitar. Like Justin Chancellor from Tool. There are phases I feel like it sounds like shit, but it’s just cause I get burned out of hearing pentatonic, but It all goes away when i see faces melt 😅
Just keep exploring pentatonic, like it or not it’s the most powerful “spell” you can master.
Thanks!
Thanks for all you do, John. You give us so much through your videos and playing. Happy holidays and keep up the good work!
When I was learning the Pentatonic and joining the dots, I found that learning triad chord voicings across the neck helped join up the scales. Once that was covered I started to locate notes I could bend up to a semi tone or tone below the target note.🎸👊
Thanks so much, John, for your superb defence of the pentatonic scale---probably the best I've seen. The idea that pentatonics are somehow elementary gets widely repeated, so that people who are still learning the basic shapes feel disheartened at the start. I think you show how becoming proficient in moving between the five boxes gradually imprints a map of the neck on a guitarist's mind. Speaking as a singer and guitarist, I was very struck by your comment about singers and pentatonics. Whereas guitarists are quite likely to learn the boxes in a fairly methodical way, I never learnt them like that as a singer, but of course, through saturation in particular genres and imitation of singers I admired, I gradually assimilated a lot of improvisional habits which turn out to be pentatonic. I think the strength of your video comes in part because you are out playing songs in public and have the sense all performers get that what works for an audience may not be the thing that in theory is most subtle. On the same principle, many of the most prolific guitar-based songwriters aren't necessarily the most technically awesome, since they're mainly focussed on expression, and using what they've got. Anyway, I for one would be happy if you chose to give us more on this theme.
Wonderfully paced and explained, thank you. Even after 40 years of playing, I do love how there's always something new to learn about how to approach the pentatonic scale. I'm going to take this approach in building ideas for dom7 arpeggios and the mixolydian scale too, not just pentatonics. Subbed!
Cheers David!!
Thank you, John!
“What do they know that WE don’t” says john cordy, making sure you know he’s one of us
Gooble gobble one of us💀
Yet, we know he is not😉
Thanks for the great lessons during the year, all the best to you and your family John.
Thanks for sharing, love your style,
Important thing to know also, is how a pentatonic is built in terms of steps is really helpful too to get out of the boxes
This is a beautiful lesson. I've been playing for a while (13yrs) and I had my phase of going down the EJ rabbit hole. He does use a lot of pentatonics..but he also adds the major 2nd in the scale making it like a hybrid "hexatonic" scale. That plus his mixing of wide intervallic arpeggios makes his playing absolutely gorgeous.
00:45
01:00
These types of runs always make me stop and pause. They give me goose bumps every time.
Appreciate all you do John. Enjoy the Holidays!
Great upload. Really practical. Thank you
I’m an avid viewer but would carve more time out to watch if there were more videos like this by you where they are super practical instructionals. The philosophy is good too but get more out of the practicals and to see you demonstrate what you are doing
Yes, more learning videos please! Learning videos with things that are useful are excellent. Thank you.
Yeah, “Sliding out of the box!” Thank you for that, Jonathan!
Some of the most interesting and melodic lines come from the pentatonic scales. Coltrane used a lot of pentatonics in his soloing.
BB King. B minor, I believe, Ridin’ With the king. So much fun!!
Thanks, great lesson
Very thoughtful
Great lesson. I was turned off by the run playing in the front end demo, but the lesson content made it worth it. Glad I hung around.
That was great. I’m I guess an intermediate player who has gotten stuck as I’m sure you hear every day. I just recently started listening to you and I’m completely hooked. I love your style and you have a great demeanor. I’m so sick of seeing guys just pretending to like something because they are getting paid to. Anyway thanks again and I’ll be back for sure
I love how you say you're not confident in your teaching skills while you successfully create an entire amazing channel that literally teaches us SO much. thanks again for another great lesson 🫡 you're an awesome, great teacher and player.
A gold mine of great ideas, John. Not just interesting sounds, but fun ways to practice connecting up the positions. Thanks!
Making use of the foundational areas, rather than half-way learning it, getting bored and moving on.
Brilliant!!!
A universal lesson for all aspects of life.
I think I struggle with this more than many folks (ADD?), which is why I think it's so darn valuable 😊
Great video for real. Once I connected all the pentatonic patterns and incorporated my previous learned major scale notes it reallly opened up the fretboard. Amazing video man! Your the first channel I've subscribed to.
Great lesson. Thanks!
What a chill dude, and definitely I got to a pint where I tried to stop using the pentatonic scale but I realized that it’s quite useful to have pentatonics in your work. The pentatonic scale is quite a guitar sound and it’s quite a nice way to run up scales sometimes. Loving your channel, waiting to see you on the other “big” TH-camr channels.
My nan loves the vids as well.
10:07 ba dap bap bap ba, im lovin it
Great advice for getting around the neck.If you’re into creating jazz sounds using pentatonics I’d recommend jens larsen’s view on making Altered Dominant sounds using them. You can use F- pentatonic on a D7alt chord to create the altered notes. I’ve started practicing this in my ii V I improvisation and it gives you some spicy 🌶 outside sounds to resolve to the I
John, I am truly grateful for you putting out these excellent lessons. I can already see how this will help my playing. Thank you for giving your time and talent to help us out. The way you take your time and explain what your doing is fantastic. Your an amazing teacher. Many blessings Fren 💯👍💯
Great Lesson, John!! Extremely practical too. Yes, definitely please post more playing info like this!
Great video - gorgeous playing on the intro track!
I like your teaching videos... currently I've been into your pentatonic ones and legato ones.
Hi JNC, 1st time I’ve seen one of your vids and gotta say it’s what I’m looking for a know the 5 Peña Positions but was looking at connecting them. Love the Harmony section at the end. Thanks for the content
Brilliant. I love how your mind works. Very inspiring
Your pentatonic videos have been some of the most helpful videos I have watched as I have grown as a player. I know I will be coming back to this one when I have more time to work on and work through some of these practice ideas. Keep them coming!
What’s cool about this is that the title nails it. I’ve been playing so long and had felt that I should “move on” from the pentatonics that I’d used for decades. So I do similar exercises as the ones you’re showing for different scale patterns. But my skill with pentatonics has declined as a result. I really appreciate this video, John. Psyched to get back into it. Cheers!
Immediately useable and produced new inspiration for me. Thank you.
This is gold! I find myself doing a very similar thing with the major scale and with triads. This way I have chords and a couple of extra notes for some splash when I want it. In the end, it's mostly just the pentatonic that is left. People need to remember that knowing what goes into the sauce isn't the same thing as being good at making the sauce. If it sounds good, it is good. Just pick up the guitar and play the thing. Serve the song and not your ego.
Deep
Yes please, more videos like this that teach musical constructs.
Nice lesson and practice John. I Learn from your video . Very useful
Good stuff, thanks john
The first scale I learnt was the 5 patterns of the minor pentatonic scale since then I have learnt lots of other scales I am stuck on turning them into good sounding riffs and licks of my own not copying others not easy for me.
Amazing!!! Thank you for sharing this.... I could see the connecting the boxes with the slides being a total game changer! Especially making the Pentatonix not sound so scaly 😂 Another player that came to mind with this style, also maybe in a slightly more hammer-on style, is Slash???
Great video & you play a Nashville tele. Doesn't get much better 😀
Super helpful lesson, thank you!
its nice to see old school fusion ideas being revamped. Of all the skilled players you mentioned 2 that certainly use pentatonics a lot and in fast sequences too John Mclaughlin & Chick Corea (yes keys not gtr) but these guys are mamoth composers and players and usePentatonics all the time.
Lots of exotic music uses them too. AN d you can go way away from the usual maj/min pentatonic scales that most people use. In a major scale there are 21 separate pentatonic scale - yes some are useless - but most sound ok and exotic. Then you can derive Pentatonics form Melodic & Harmonic minor scales. Its the narrow vision of the music and peoples use of them that has made them parse. Theres a mountain of work inside their use
thanks for this video dude, a lot to work on 👍🏼
John... really liking the pentatonic stuff you're doing - any chance you could do a playlist for the pentatonic videos?
Wow! Thank you John. I’ve watched so many videos on the pentatonic scale but this one really hit home. I’ve learnt the 5 shapes but didn’t know where to go next.. I’m off to ascend one shape and descend the next. Happy New Year 🙏
just remember there’s a caged shape that matches each pentatonic box, both major and minor. So when you play over a chord, you should be able to know what box you are currently in. Probably the most important thing you can know is what chord goes with the shape and what shape goes with the chord. This allows you to immediately be able to change pentatonic shapes on the fly as you play.
@@eddieisfiction442 thank you! very useful 👍 I need to work this out!
@@danrye9461 no problem have a good day
Dude, you are a great teacher! 🙏🏾
Pentatonic scales were the first thing I figured out on lead guitar, before I ever learned major scales, but I didn't know what it was or what it was called. One afternoon I was playing along to a Jimi Hendrix album, and trying to pick out a lick or two as melodies, when I noticed a frame all the notes ( including bends) seemed to be hung on; it was shape I thought of as ( yes) a box, because it seemed rectangular. When Jimi warmed to his theme, I noticed that he dropped down and did the same sort of licks lower on the neck. I soon realised the notes were the same but the shapes were a different type of overlapping box system, like empty pizza boxes staggered in a stack like dominoes. After an hour or two I saw that the shapes kept changing but after five the same shape appeared again ( the Eflat minor box). I knew I was on to something because after another two hours I saw that if I played (as Jimi did) across the " boxes" it made what to a 19 year old middle class kid, sounded cool and bluesy. Bends were the first thing I saw good guitarists do, so I figured them out before I even stumbled on what I found out later was the pentatonic scale. I spent the next ten years doing nothing but noodling up and down the neck on these rails but found it impossible to explain to others what I was doing. The only new thing I figured out was that if you slide your first shape down a few frets it still fitted the backing music ,but sounded more majory, and when I went back and forth between the two identical shapes rapidly on the fly, it sounded so authentic I realised this what Jimi and Eric C, and Peter Green were doing, and I felt as if I had stumbled onto a special secret of improvisation, because none of the classicly trained musicians I spoke with could explain what it was. Pentatonics are the most beautiful tool in an improviser's arsenal, because when you don't have to think ,or fall back on a practce drill, you're free to frolic and dance across the strings knowing you'll never hit a wrong note, so your playing is more fresh and intuitive.
I learned the pentatonic scale over 40 years when was just starting to learn guitar... but I learned a little more about it today. Thanks!
Excellent lesson sir!
This is good stuff, and very helpful. These are the kinds of pro tips that can really help me improve. Thank you, John Nathan. It's posts like these I'd like to see more of. Good stuff.
This is a fantastic video!! Thank you so much for opening my eyes to what I already knew without knowing it!!
10:07-10:27 I’m lovin’ it.
This is one of, if not the, most helpful pentatonic lessons that I’ve seen. Many thanks!!
Nice you mentioned Ben Eunson.
To me he is one of the guys that is finding new routes in guitar technique and more than just technique, he is able to really apply it in his playing and make music.
Also, about pentatonics, Kurt Rosenwinkel use it a lot in a "modern way".
Great content bro!
Most excellent lesson.
Great lesson. Maybe a future video on this Nashville guitar and why you do or don’t like it. Merry Christmas and thank you for your gift of music. 🎄🎁
Thank you for helping to reinvigorate the pentatonic scale...I use it all the time but I like your ideas on integrating it more into my playing!
Another great lesson!!!
Your videos are always extremely interesting and eye opening. Very refreshing.
That solo made me cry
Absolutely brilliant video. Thank you, sir.
This is definitely helpful, now I have some great ideas on how to take the scale further.
Great stuff, thank you!
undoubtedly the best lesson, thank you so much
I put a backing track on and just play,, close your eyes and listen, play the whole neck and just see how different places let you use notes differently, its really just one pattern with add ins and drop outs depending on the backing track, practice with music,,,
This was a super helpful video! Thanks Jon!
Great job John. You are right, very sensible, very practical and this really helps to make scales into actual music.
Great tips for more creative playing, John!
That was a great lesson. Very useful. Thanks.
When you are finding the same phrase in different places on the fretboard at 9:19, how do you confidently find the right starting note while improvising? What should you practice to be able to instantly find any note you are hearing anywhere on the fretboard?
Know the roots
Been playing Harmonic minor/modes/augmented serialism styles for 15 years or so, just starting to work on pentatonics now lol, never thought about learning the multiple positions the same way I learned the Major/minor scale multiple positions, makes sense.
Great lesson today John! Thanks man.
Interesting and useful take on the basics, with some great playing too!
Great lesson👍🔥
LOVE these pentatonic lessons!
Great lesson Pentatonic is the best in my opinion 🎸🎸🎸👍
sick vid dude!
A really useful video and great explanation. Thank you
Definitely useful, John. The problem that I have with the pentatonic scale is that I tend to fall into blue cliches (like bend the 4 up to the 5) even when they don't sound good, because the harmony isn't blues harmony. It's not the scale that's bad, it's the way I'm using it. The odd groupings against straight time ideas sounded really good. Thanks. More teaching and applied theory is always welcome.
Then don’t bend. Just group. 😊
Great job. I will use this a lot.
Great video. I'm a relative beginner and was starting to feel impatient and wanting to move on from practicing pentatonics to more "interesting" territory despite not even remotely mastering them. This definitely changed my perspective and makes me want to double down on practicing the pentatonic scale.
I just want to say HOLY CRAP that opening was one of the greatest things I've eve heard!
Great video. Would love to see more lesson content like this.
Great lesson! I hear the words pentatonic rut far too much. Knowing the modes etc will make you better but don't rush past the pentatonic without truly unlocking its potential.
Excellent
Pentatonic scale is 5 notes of any scale ie, you can make a Pentatonic from a Lydian dominant scale. It works well because its basically an arpeggio with extensions
1 3 #4 5 b7
@@beanzthumbz Through in a Dim 1/2 whole over the Dom chord and you will sound like a pro
Try 3 note per string pentatonic then move up to the 2nd note for the next ascending pentatonic shape.
Really helpful; tx!
Great Lesson! I practice the Pentatonic daily, all 5 shapes, 3 and 4 groups, and some others. Each day shifting the key by a fifth, to circle through the keys over time. Takes about 10 minutes, once you memorised all the shapes, and can move more freely between the keys. The trick for me was to learn and know the root position for each shape. And to know it from down to up, as well as up to down (especially to apply it). Could you make a video about which Pentatonic scale you use over which chords? For example on an Em chord, a G/Em Pentatonic would be the obvious one. But you can also use a D/Bm Pentatonic. This would bring in the 9 instead of the 3rd which gives a cool sound. My very own problem is that I just love the half tone steps in melodies. So usually I fall back to the major scale. But continuously working one the Pentatonic Scale. There is always a moment for it... 😁🤘
every mode has a parent major scale so do pentatonics.dont think of the mode as "giving you a sound' its the chords underneath it that does that.
This is some good stuff John, should help me make some connections. Thanks!
On sponsor Treufire you will be finding hundreds op players which each have a different approach of the pentatonic scala and get the most usage out of it. You have to learn all the shaper vertically, horizontaly, and combining them .again a very Nice video
Man, I need to learn that lick at 4:14!!
Good stuff man.
The other thing I realized is that guys like Bonamassa, Johnson, Gilmour, etc. are also adding some notes by using Aeolian mode. I’ve noticed Lukather uses this mode a lot as well. It’s basically the Pentatonic scale with a few notes added in. What do you think, John?
It’s only Aeolian mode if you happen to be on the vi chord of the key. The mode you’re playing is entirely dependent upon the underlying chord at the moment.
Edit to add: It’s far more likely you’re hearing them add “that note” when the song moves to the 4 chord in a minor key which is really a ii chord from the parent major key which puts you in Dorian. Best to have a thorough understanding of chord progressions before thinking modally…modes get used when one chord lasts for a very long time…songs like stranglehold or early Allman Brothers tunes like whippingpost…modal jazz tunes like impressions and so what.
@@EnigmaEuslam Aeolian mode is just the Natural Minor Scale. I see them use it all the time. Especially when they’re just jamming away. You can see Lukather use it in a video he did for his Dimarzio humbuckers. Eric uses it a bit in his instructional video Total Electric Guitar as well. There are also tons of videos about how the “pros use the pentatonic scale” and really they’re just adding some notes by using the Natural Minor Scale.
@@thepedalreview The natural minor scale is one of the three main parent scales we use to derive minor chord progressions so it works as a source from which to draw melodic material over minor chord progressions. That’s not quite the same as aeolian mode though despite the fact that it contains the same notes. The note that distinguishes aeolian from Dorian for example (the b6 vs natural 6) rarely gets used prominently over the one chord in a minor progression. Like I said before…chord progressions before modes.
Edit to add: I say this as someone who thought a lot about modes while I was in music school…they’re a distraction from the fact that we all play tonal (not modal) music for the most part.
Put as simply as possible…aeolian exists when there is a m7b6 sound happening.
I used to think like you are now and it cost me a lot of time. That’s why I commented on your post. If you need to hear it from a well established professional then check out Guthrie Trapp’s channel here on TH-cam.
@@EnigmaEuslam Correct me if I’m wrong but all you’re really saying here is that you can also use specific modes for specific chords in a progression, correct?
I just realized you're playing some kind of Nashville tele. Can you give us some info on that guitar, JNC?