Blues Licks Linking Pentatonic Scales – Lead Guitar – Lesson 12 – Essential Blues Guitar Lessons

hi how you doin Justin here today we're going to be looking at linking patterns 1 & 2 of the minor pentatonic scale now I'm sure you've learned pattern 1 and some licks and you're a blaring away over that you've learned pattern 2 and you've got some licks and you've loved the blues scale so you're throwing some spice in there it's all sounding really sweet but a lot of people say that they can't kind of link up between the different patterns very easily and to be honest there aren't really any rules to it you know you can do whatever you like you can just jump from one pattern to another pattern if if it's working for you you know that you really want to explore different things however there are a few little tricks that I can give you a few licks that might help you negotiate your way between them and I think it can be kind of helpful to do that so we're going to be looking at five licks each that's got a slightly different kind of approach of negotiating the different patterns the first one a lot of people see it as a scale actually in that quite often senators talkers a scale it actually starts in pattern five which we're not going to look at until series two of blues lead guitar but it kind of moves from right down this end of the neck to right up here all in the minor pentatonic scale sounds like this the very very cool little idea this so I'm going to explain to you how that's working and how to play it and how to use it to negotiate your different patterns the second lick we're going to look at is using the same note on different strings very common blues technique particularly the older guys you Albert King and Freddie King this idea where we play one note and then slide up to the same note and add a bit of vibrato it's got a few cool little features that little one the third lick now we're going to look at is just literally jumping from one pattern to the other by going a little bit tricky but it's really good for your technique about just jumping from one place to the other and I'll show you some tips on how to negotiate that well the fourth lick is a Stevie Ray Vaughan classic and this is a really fantastic it probably might even be my favorite blues lick of all if I play it kind of statically it sounds a little bit wrong okay we're starting a pattern one slide in a patent two very momentarily and going back but when it kind of once you get used to it in your ironing out the iron out the wrinkles a bit this guy's got a real kind of slinky I reckon it's a very very tasty little lick that one and lastly we're going to be looking at a similar kind of thing that we looked at in the blues thing of this idea of having one phrase that can negotiate different sets of strings so we just have this little very very nice little idea again very simple but often simple things are actually the best so let's get to a close-up and check out how to play these licks okay lick number one okay very cool little idea this one so we're starting off with a third finger in the fifth fret of the thickest string then we're going to play the third fret on the 5th string with the first finger then the fifth fret with the third finger and then slide that up to the seventh fret so the first bit you can see we've transitioned from pattern five which you don't know yet but anyway they're slid off into pattern one first finger in the fifth fret of the fourth string third finger it's the middle class what's one hopefully you're familiar with that now then we're going to slide with the third finger from the seventh fret to the ninth fret so okay root you can see already we've got that nice little transition straight up there as soon as we've done that we've got first finger in the eighth fret of the second string tenth fret eighth fret turnspit on the thinnest string and if you want you can do another slide up to the twelfth fret which will put you in box three so again we're starting with the third finger on the fifth fret of the thickest string then onto the fifth string third fret fifth fret slide up to the 7th fret onto string four fifth fret seventh fret on the string 3 fret seventh fret slide up the ninth fret then we move on to string two eighth fret 10th fret on the string one eighth fret 10th fret and then slide up for the 12th fret now do try and get it nice and smooth as well so just literally two and three and four okay now totally works going down as well okay you can negotiate the slides with your first finger if you want I always preferred using my third finger so actually an exact opposite exact opposite of what we went up with and I did it there at the end just because I couldn't help it but sliding back to this note is a really cool sound in almost users as a lick so we're actually going to learn as lick number five but kind of giving the game away a little bit there but you see there I'm just negotiating the scale however I feel like you don't want to be stuck to having to do it the same way every time so see how else you can play that particular lick to link your different pentatonic patterns so for this lick I would normally use alternate picking so down up down slide down up down slide up down up down slide again down up down slide down down slide up down top-down but it's very rare that you play that whole thing so actually the picking use for any particular section isn't important lick number two okay this is I mean this is just a great lick okay going from the note a on the thinnest string and then sliding up to the same note on the second string third finger it's got a really cool texture very very good kind of ending it looks a lot of guys use like so a little classic blues lick followed by the slide but you can use it however you like and in fact the whole idea you can use it in other contexts as well this is the most common and the one that I would recommend that you start with and the big tip I want to give you is after you've played this note when you're going for the slide don't look at your finger and follow it up until it hits the right spot keep your eye here at the tenth fret on the second string and just slide your third finger up to the point where your eyes are and you'll be able to slide from quite far away and jump up and stop at the right place if you keep your eye there that's the big deal if you follow your finger when it's moving that fast you probably go and over slide and have to come back for it so as soon as I'm here and I know I'm going there eyes are there and then I slide up to the note you can of course experiment with e it's another nice one using first finger there on the fifth fret of the second string and sliding up to that same note with the second finger this time just to help you negotiate that part you know so you could slide just feels a bit unnecessary it works it's definitely easier there using your second – okay some guys jump around between the different done as well very very common kind of early kind of Blues of the you know early to mid 60s common to do that kind of phrase so the picking for this one I'll normally play an up pick on the thinnest string and then a down pick on whatever note I'm sliding to because I want a bit more forceful aggression on that slid note of course it doesn't always happen that way but that's definitely what I'd recommend to start off with so lick number three I want you to get used to the idea of jumping much like when we talked before about keeping your eye there when you're doing a little jumping phrase like this after I finished that first part so just eighth fret fifth fret eighth fret fifth fret box one of the minor pentatonic soon as I finish that my eyes are looking here okay at the tenth fret on the thinnest string eyes and look at the tenth fret and then I can jump it's quite easy ten a ten eight now at that point my eyes are now looking here kind of through my finger so I can jump back either with a third finger or four things as no matter whatever feels comfortable for you eyes jump eyes looking where we want to go and jump I have nothing really want to go you can use this so all three and one if you wanted to four one three of course the same idea works in other parts of the neck as well this particular grouping is a little bit tricky just because they get quite different but that one you could work for as well but really that's most commonly done on the thinnest couple of strings and definitely worth a bit of practice and exploring that idea so when it comes to this kind of shifting lick I would normally be using down up down up and then shifting with the down up down but it would completely depend on what pattern you were playing okay lick number four this is probably the one you've been waiting for it to kill early okay let's start with it nice and slow because you really want to make sure you got it right before you start speeding it up and trying to make it slinky so you start with the third finger in the seventh fret of the third string when you slide it up two frets then second finger is going to come off and play the eighth fret on the second string then we go back to the ninth fret on the third string with the third finger slide it back and then we play the fifth fret on the third string seventh fret on the fourth string back to the first finger in the fifth fret of the third string and then we repeat that so it's seven slide nine eight nine slide seven three and four okay so you want to practice that up really quite a lot first can you hear it just changed okay the rhythm changes a little bit as it becomes slinky but you've got to start with it just really like this much making sure that you get the technique of it right before you try and get it all fancy so for this lick I'll normally start with a Down pick slide up down slide click on that last one and then down so down slide up down slide down down slide up slide flick down okay lick number five okay again is this idea I've just started to see these little string groupings of strings one and two three and four and five and six has been little couples that you can use in this particularly very very common little idea just sliding again down to this note D in the key of a is a lovely if I just keep it real straight to start off with actually even you could even take away the slide and of course it extends to here starting on the D move it down here this note D then down to this note D maybe you're starting to see why learning the notes on the fingerboard can be useful okay having a slide at the beginning very very nice sound straight away you can also put a curl with the set first finger you really really nice okay so it wouldn't have to be whole thing it might be you can see the idea here of just taking this little box and using it to help you shift positions for position shifts using the little box that would of course depend on what you played in the box for the particular example I've given you here you're probably going to do down up down up down so I hope you enjoy using these licks to link your patterns together we will be looking at more ways of doing this in later courses because there's there's an infinite number of options there but these are good ones to kind of get you started with particularly using that lick one that really really big kind of scale looking thing and also using the same note on different strings so they're probably the two big ideas the other ones I was just throwing in there because they're kind of fun to explore as well so I hope you have a lot of fun with that and I'll see you for plenty more very soon take care of yourselves bye bye

25 thoughts on “Blues Licks Linking Pentatonic Scales – Lead Guitar – Lesson 12 – Essential Blues Guitar Lessons”

  1. Justin you are the best! You are really helping me progress as a guitarist with both funk and blues you are an awesome teacher i appreciate you!

  2. Justin, did you know that there was a passing reference to your website in that movie, "45 Years" from last year (with Charlotte Rampling and Tom Courtenay. This guy trying to learn ukulele mentions it. I said, "Hey, that's our Justin." Anyway, excellent lesson as always. Keep on rocking…..

  3. Great approach to learning scales Justin, is there a vid of you jammin' these licks over a track to show how you would use them in real time? Just wondering….. enjoyed the lesson thanks.

  4. Hey Justin, check out my video I almost mastered Layla and cali dreaming thanks to you man im starting to get the hang of things. I just started 5 months ago and you are by far the best and most detailed teacher on the tube. thanks again

  5. That Stevie ray Vaughan lick looked tough, but then I realized it was basically the same lick I've been playing forever in Soul to Squeeze by the Red Hot Chili Peppers. Very cool lick, and an amazing video, as always. Keep it up! Cant wait for the funk lessons!

  6. Hey Justin! Your voice is only coming out from my left headphone exclusively, don't know if it was on purpose, just letting you know.

    On another note, is it possible to blues-up ones soloing over non-blues progressions (such as I V iii IV or just I IV)? I seem to get stuck only with the major I scale or major pentatonic most of the time… And one last question, will you do a video on double stops?
    As always, thank you for your awesome videos!

  7. Justin, when moving up the string with my picking hand [from E to B, B to G, etc.] I find it extremely difficult to maintain an alternate picking pattern. I find, by default, I use an up-pick regardless of the direction of my last pick. I am finding it make doing repeating patterns difficult, as there is a different stroke for each repetition of the pattern. Is this common? Is there a practice technique? Been playing for 2+ years.

  8. Hey Justin, I've been a long time viewer/student! Recently you're panning your guitar and commentary hard left and hard right. It makes listening to your commentary very hard on headphones! I don't know if other people experience this as well but I just wanted to give you a heads-up! 🙂

  9. what another great lesson justin!

    your enthusiasm is infectious my friend.
    It's people like you who deserve to knighted.

    Thanks again Sir Justin sandercoe!

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