Play Guitar Solos over the ENTIRE Fretboard with 5-Notes!

[Music] imagine simplifying one of the most popular  scales used for soloing laying it out on the fretboard in a way that's easy to remember  multiplying it so you get even more notes out of the deal and having a virtual  endless amount of musical ideas to draw from in a way that covers a lot of the  fretboard well that's what we're going to cover today but be sure to stick around  till the very end of the lesson because I've got a free gift for you and your guitar  that you're both going to [Mu

sic] [Applause] [Music] love okay so what is this scale that  is arguably the most if not one of the most popular scales used for soloing I'm speaking  of course of the a minor pentatonic scale but the very stripped down version of the a minor  pentatonic scale because the pentatonic scale in essence is just five notes Penta meaning five  so if we take for example in the key of A minor right the a minor pentatonic scale which is  almost always an exclusively played in that particular position we

're going to shake it up  a little bit but we're actually going to boil it down to its five basic notes so the five  notes in the pentatonic scale are actually you got your root your minor 3D your fourth  your fifth Fifth and your minor 7th there so you have five notes 1 2 3 4 5 but what we're  going to do is we want to lay them out on the fretboard in a way that like I said is easy to  remember and easy to multiply right because we like to use multiple octaves when we're soling  we don't want t

o just be in one register right so let's take a look at this we're going to  look at this layout of the minor pentatonic scale it's actually going to start on the third  fret of the low E string then the root which is the fifth fret all right then we have third fret  fifth fret on a and then we have seventh fret on a so you bring your finger your third finger up  to play that seventh fret and it actually works as a nice sort of way to just slide into  that note now you may not think it just at f

irst glance but these are the same five notes  contained within the a minor pentatonic they're just in a different order right so we're not  starting with the root anymore we're actually starting with the Minor 7 also known as the flat  7even right which is G same note as this just an octave lower here and then we have our root  then we have our uh minor third right which is here so same note so we have Minor 7 root minor  third fourth and then fifth all the necessary components to make up the m

inor pentatonic  scale in a minor right but it's you know it doesn't sound quite the same as right just the  order of the notes gives it a different inherent sound and that's going to come in handy when  we're using this for soloing so we effectively have a layout an extended little layout of the  a minor pentatonic scale right we're starting on G then a then C D E so Minor 7 root minor 3D  4th fifth if you want to get technical perfect fourth perfect fifth right so that's our initial  octave so

right there we already have a little bit of a different movement through the scale  because if we were to just you know let's say use uh this particular position for a minor  pentatonic you [Music] know you can get some good sounds out of that but when it's laid  out like this there's just something I don't know smooth about it [Music] right could be  that slide is what really makes it smooth right so have that to work with now what  about multiplying it across two additional octaves to exponen

tially increase the amount  of notes that we get right pretty cool and easy this is the best part we're going to  employ what I like to call the three for one octave system where we take a one finger  pattern a single finger pattern right and then we're going to get basically three more  finger patterns out of it that are just in different positions on the fretboard and  in different octaves so when we're moving to this now middle octave from the low octave  right we're actually going to be play

ing this so it's going to be 5 seven 5 S on the  d and g strings and then nine on the G string so do you hear how those are the exact same notes as same exact notes but a little bit of a  different tamber because now we're in this middle octave so we can actually get different  sounds out of the same notes effectively just by virtue of the octave that they're in right so  we have our second octave but we got one more octave to explore okay an upper octave so to in  order to find this we're actua

lly going to take this finger pattern we're going to shift it here  starting on the eighth fret of the B string then 10th fret and then 8 10 12 on the high [Music] e  you hear how those are the exact same notes right just in different octaves that's what's so cool  about it is that we really just took one little pattern and just did three for one we got three  octaves out out of it and check out check out how we just went from the third fret to now  the 12th fret you know being able to cover all

that distance using that finger pattern and  what's great about especially this particular note right here that we slide into is that it's a  great little segue into each octave so we can go like and you can essentially walk up  just just in a linear way walk up from the third fret to the 12th fret just by  following through with that pattern it's pretty remarkable but of course just that by  itself will only get you so far you want to be able to make good use of the notes that you  have availa

ble to you now what I particularly love about a pattern like this used in  the 3 for one octave system is that it discourages you from noodling more so than  if you were to play in a you know kind of a more ergonomic linear finger pattern right  where it's a lot more tempting to just kind of Ascend and descend which is going to get  boring after a while if that's the only way that you know how to solo so at least with this  it like I said it discourages you from noodling because it's harder to j

ust like go up and  down and up and down when you're having to travel across the fretboard to this amount  right so it allows you to really listen to the notes and really milk them for all their  worth which is what you want to do if you're trying to solo with the proper intent you want  to be in control when you're soloing right so having a simple framework like this is great  because you're thinking a lot less and you're just listening cuz listening is a huge part in  learning how to improvise

you want to be able to not only listen to but when you're listening  to music when you're listening to the music that inspires you right there's certain things that  it does where it just perks your ears up and it just it gives you that you know that Rush of  of dopamine or it just like feels great when you hear that particular moment in a song or in  a Solo right but it's all using just notes that we all know and have access to just done in a  certain way so that goes back to that intent I'm t

alking about so with a layout like this we  can focus on the intent and in order to actually inject some intent it's about just having a  little bit of control so control comes from listening to the notes and just kind of hearing  what they do when you just kind of wand through them and then of course applying what we  like to call Guitar Linguistics which are things that will make the guitar sound more  vocal and more expressive like slides vbr bends all that kind of stuff it'll  make your guit

ar playing a lot more spicy and a lot more interesting  than just robotically you [Music] know you know and it it adds that intent that  I'm talking about so it doesn't take much just throwing in some slides and bends and vibr maybe  some Trails you know if you want to do that all that kind of stuff is is totally fair game  when you're using a layout like this oh and hey by the way if you're getting value out of  this lesson please consider hitting that like button and subscribing to our YouTube

channel  really helps us out and it lets us know that you want to see more lessons just like this one  so thanks in advance and let's get back to it so what I'm going to do now to demonstrate this I'm  going to throw on that backing track again that you heard in the beginning of the video then  I'm just going to kind of wander through the notes a little more casually I'm not going to  do anything flashy or anything just to really listen right and and hear what those notes  can give me wherever

I decide to put [Music] them [Music] [Music] all right so I give you a little play byplay  of what I was doing I just was moving through the octaves at first to hear the different  sounds I can get using the same notes just in different registers right so I started  low and just like you know you can kind of get like those kind of mean really like uh  like Blues Rocky kind of sounding with that low register it's really cool it's nice so that  kind of has a thing right and then as far as the thin

g in the middle octave I you know I was  focusing on like really like kind of like you know thematic sort of phrasing and of course  Very bluesy but now in a way that's a little bit more Audible and it cuts a bit more uh not  quite as mean sounding as the lower register but like I said it's a little bit it's a little  bit aggressive in that sort of like uh the fact that it just cuts right and then when I move up to  the upper octave it was just making it scream you know you know so you want to t

hink of it almost  like what a singer does you know if a singer were to really explore their range start Slow and Low  right to just kind of like those like Earth and kind of tones that that can be a little bit uh  Haunting in a way right and then kind of moving it up to that middle register where that's like  bringing up some intensity and starting to to cut a little bit more as I'm saying and then when  it's just going on a full-on scream it's like going to that upper octave so you kind of hav

e a  dynamic range right there that's something that a lot of like really really talented singers would  do and so you really want to think of it that way you don't want to just focus on you know just  moving through the octaves and kind of treating them like they're all the same because even though  the notes are the same the octaves being different kind of colors the sound in a different way so  I really want you to listen for that so that you can almost assign like a thing to each octave like

  how I said like the the thing for the low octave is like that mean sound middle octave just cuts  and then the high octave just screams so you can even use that if you want right or you can just  kind of come up with your own descriptors that'll help you when you're when you're improvising so  you can think like okay I'm in the low register I'm going to get a little mean right or I'm in the  upper register I'm going to make a scream so it's like mean to scream and everything in between  that w

as super corny but I had to do it so now let's take a look at some guitar Linguistics  now that we've kind of explored the color we can get from these different octaves let's think  about things like slides bends and veratos right because those are all fair game as I said so  we can put some more effort into those guitar Linguistics to spice things up even further  so for example like slides which like I said is it's such a natural feeling thing to slide  from that like if you're in the low octa

ve from that fifth fret to that seventh fret and then of  course from that n uh seventh fret to that ninth fret and then that 10th fret to that 12th fret  on the high E string so that sliding stuff is really nice but you can do slides I mean anywhere  you can go [Music] like you know exploring slides with each octave like just start with one little  guitar linguistic thing at a time you [Music] know yeah and just stay within  the framework of those notes just to keep it simple so you're  not hav

ing to think as much right so you do that and then you're like  okay let's try some bends you [Music] know this has a great sound you [Music] know  then you can start combining [Music] them so there's all kinds of fun Liberties you can take  with it again not having to deviate from that five note finger pattern that we're just kind of  uh you know perusing the whole fretboard with but you can spice it up and really like the the the  possibilities are endless like you should never be able to run

out of ideas if you find that you  are running out of ideas the problem is not the scale or the amount of notes you have the problem  is that you're approaching it in a single kind of way and if you do that single way you you know  over time it's just going to get stale and boring and you're going to think that you just don't  you don't have any more like notes to work with and you got to learn another scale or something  right but what you really want to be able to do and what I invite you to r

eally practice uh  doing is if you if you run into that little rut just do things a little bit differently just  like take what you normally do and like maybe do the opposite so for example if let's say the  first thing you want to do when you're playing like the middle octave right would be something  like this what I've been doing pretty much this whole time let's say that's your first move  you're like you're ready to solo and that's your first move and then after a while you're like  man all

my solos are sounding the same like it's like no duh because you're just doing that same  move so instead try to do the opposite just as a starting point like let's do that thing pretty  much [Applause] backwards that has a completely different sound it's played virtually in the  same way but the order of the notes is different so instead of it's like backwards so if you do  that you're automatically going to hear yourself play something a little different and then you  can start making slight

changes so instead of like if you're more of a of an Ascender let's say  you want to do an ascending lick you now are just focusing on descending licks and and just like  make yourself do it for like a whole run through over a backing track is like only focus on just  doing the opposite move what you normally do so if you're an Ascender become a descender just for  that just to get used to that right [Music] so so you're focusing on a descending kind of motion  rather than an ascending motion an

d over time what that's going to do is it's just all going  to start cluttering and get compartmentalized in your head so you have all these different ways  of approaching the same notes and when you add on to this over time by making slight changes not  big changes slight little changes you're you're going to be able to approach you know a solo in a  very creative way and you're going to have really a lot of control because you've heard it so many  times and you've heard it in so many different

ways you'll just be able to pick and choose it'll  be like a buffet of like I want to do a descending lick now because I've done this so many times  and like I know how it sounds or it's like or I want to do a really really bendy kind of lick  that goes across all octaves like and you're just making that whole pentatonic playground a whole  lot more interesting so now you've got yourself a dense pentatonic playground in the key of  A minor to practice this three for one octave sort of extended

minor pentatonic layout and you  can do it over any backing track in the key of A minor or like a blues and rock even if it's an  a cuz you can totally throw in minor pentatonic over track like that and it'll just give you a  whole lot of you know different uh um uh styles to work with and in fact by diversifying the  sort of genres that you're playing over even if they're all in the key of A minor it'll  Inspire newer and different ideas because you'll start to develop a Time feel and just kind

  of a certain Rhythm to the way you do it so let's say there's like something that's a little bit  more like funky right you can do stuff like and you know you're just kind of approaching it  very differently than you would a more Straight Ahead kind of rock sound so I invite you to spend  your next practice session focusing hugely on what we just covered today and just have fun experiment  try things out take risks right that's the way you can figure out if something works or it doesn't  and I

mean you can ask around like does this scale work is this right am I doing this okay you  know I I completely understand uh the desire to be inquisitive when it comes to that stuff  but this is all creativity based and it's very subjective so if you really want to know there is  an inner musician inside you that inspired you to pick up playing guitar in the first place right  you're still in the process of getting to know it but you'll really get to learn more about it  if you try things out on

your own in a you know safe environment where it's just you playing  to a backing track and just you know like I said taking risks and experimenting that inner  musician right your own ear is going to tell you whether you like something or not and if let's  say you like something that was Tech techically like broken or or bending a rule as far as music  theory is concerned that doesn't matter cuz if you like it if you like how it sounded it sounded  good to you it inspired you that's that's all

that it's about right there when it comes to  the the creative process in music is you want to continuously find inspiration you're more  likely to find inspiration when you're doing that than if you're reading about music theory  in a book or something and today we covered the key of A minor but imagine being able to take  what we learned today and expand it across any musical key in any position on your fretboard  well that happens to be very relevant to that free gift I was telling you about

and now that  you made it to the end of the lesson I got to make good on my promise so here it is this is  a comprehensive lesson on how to instantly Solo in any key it's going to show you how to take  what you learned today and expand it across all musical Keys all over your fretboard and it's  yours free today be sure to click here to claim your copy or check that link in the description  box I don't think anyone should ever be afraid of keeping it simple when it comes to music  much less gui

tar there's a lot of beauty and simplicity and a whole lot of fun to be had  case in point what we just learned [Music] today