Minor Pentatonic in Second Position Guitar Lesson

Chapter 1: (01:43) Lesson Introduction A Minor Pentatonic in Second Position

In this lesson, DJ continues to explore the vertical patterns for the minor pentatonic scale. This time around, he explains how to play the A minor pentatonic scale in second position.

Remember that position is defined by where the first finger plays. Within second position, the first finger plays notes located at the second fret. Subsequently, the second finger is used for all notes played at the third fret. Fourth fret notes are played by the third finger. The fourth finger plays all notes at the fifth fret.

Left Hand Fingering

Use the left hand fingering that DJ demonstrates in the video when practicing through this new pattern. In the context of a solo, many players choose to fret the notes on the E and B strings with the first and third fingers. It is easier to perform techniques such as hammer-ons, pull-offs, and bends with these two fingers. However, adhere strictly to the fingering that DJ uses when playing straight up and down the scale.

Root Locations

Pay careful attention to where the root notes are located within the pattern. This information is essential when transposing the pattern to new keys. Similar to the pattern demonstrated in the previous lesson, the root note is not the lowest note within the second position pattern. The lowest note is G, located at the third fret of the low sixth string. The root note is located at the fifth fret of both the sixth and first strings. Another root note can be found at the second fret of the third string.

Practicing the Pattern

There are a few different ways to play an ascending and descending pattern of a scale. DJ always begins a scale pattern on the lowest note available regardless of whether it is the root note or not. Then, he ascends to the highest available note in the pattern. Finally, he descends the pattern back down to the lowest available note.

Other players prefer to start and end a scale pattern with the root note. Practicing the scale in this manner gives the scale a definite beginning and sense of finality. This can be accomplished by following the process listed below.

1. Begin with the lowest root note available in the pattern.

2. Ascend up to the highest available note in the pattern.

3. Ascend down to the lowest possible note in the pattern.

4. Ascend back up to the root note that you started with.

Both practice methods are equally beneficial. The method you choose is purely a matter of preference.

Picking Practice

Also, practice through the pattern using a variety of picking techniques. Use the following picking patterns when practicing all scales:

1. All Downstrokes
2. Alternate Picking Beginning with a Downstroke
3. Alternate Picking Beginning with an Upstroke

Metronome Practice

To ensure that you are playing with steady time, practice scale patterns along with a metronome. Practice in eighth notes, triplets, quarters, and sixteenth notes at a variety of tempos. This type of practice will be extremely beneficial when it comes to playing solos in a variety of rhythmic styles. Chapter 2: (01:22) Scale Exercise Swing Feel

In 4/4 time, beats 1 and 3 are naturally emphasized. When playing with a swing feel however, beats 2 and 4 receive a natural emphasis. In addition, pairs of eighth notes are played differently. The first note is held slightly longer than the second note in the pair.

Practice through all of the pentatonic patterns that you have learned with a swing feel. This exercise serves as an effective stepping stone towards improvising solos with this rhythmic feel.

Note: Tablature and notation to all exercises presented in this lesson can be found under the "Supplemental Content" tab. Chapter 3: (01:47) Adding a Pickup Note Definition of a Pickup Note

A pickup note is a note that occurs on an upbeat at the end of a measure before a musical phrase. Often, a pickup note is referred to as an "anacrusis."

Pickup Exercise

Add an open string note before each fretted note within the pentatonic pattern. For example, pick the open E note before each fretted note on the sixth string. Pick an open A note before each fretted note on the fifth string. Ascend and descend the pattern in this fashion. The note B produced by the open second string is not part of the A minor pentatonic scale. However, this note sounds acceptable in this context since it occurs on a metrically weak beat. Also, this note is held for a very short length of time.

Note: For extra practice, palm-mute each open string pickup note within this exercise. Play very slowly with a metronome as you begin this process. Chapter 4: (03:26) Identifying Notes and Chords Spelling Major Chords

Any chord can be spelled by following a simple formula. Follow the process listed below when spelling any major chord.

1. Write out the major scale of the same letter name when spelling a major chord. For example, when a spelling an A major chord, list the notes contained within the A major scale. From the circle of fifths diagram, it can be deduced that the A major scale contains three sharp notes: F#, C#, and G#. Consequently, the A major scale is spelled as follows: A, B, C#, D, E, F#, G#, A.

2. Take the first, third and fifth notes from this scale. The notes A, C#, and E comprise an A major chord.

Repeat this process with the IV and V chords in the key of A major. Respectively, these chords are D major and E major.

Once you have determined the notes within each chord, find where these notes are located within second position. DJ demonstrates how these notes can be used to create some interesting new chord voicings. The A chord that he demonstrates is based on the shape of an "open" G major chord. The voicing demonstrated for the IV chord, D, is based on the visual shape of the "open" C chord. The E major chord is held in the shape of the "open" D major chord. Notice how the fingerings for these chord shapes must be adjusted in second position.

Note: Fretboard diagrams to all chords discussed in this lesson can be found under the "Supplemental Content" tab. Chapter 5: (01:50) Transposing Keys Transposition to D Minor

Use the lowest root note as a guide when transposing keys. This root note is fretted by the pinkie finger. DJ uses the key of D minor as an example. First, locate the note D on the low sixth string. This note is played at the tenth fret. Then, shift the entire pattern so that the pinkie is now fretting this root note. In the key of D minor, this pentatonic scale pattern is played in seventh position. Remember that the visual pattern for the scale will remain unchanged when transposed to a new key.

Transposition to G Minor

When transposed down to the key of G minor, several notes within the pattern must be played with open strings. Consequently, the scale must be fingered differently. The visual pattern remains the same, but the fingering is now different. Use the first finger and third finger for all notes played at the 1st and 3rd frets when playing G minor in this position. The notes that were fretted by the first finger in the key of A minor now become open strings.

Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.