OK, here are a few exercises. They're not
strictly pentatonic, but they are extrememly useful if you want to shred.
Ex. 1
Code:
|-------------------------------5h7h8-|
|-------------------------5h7h8-------|
|-------------------5h7h8-------------|
|-------------5h7h8-------------------|
|-------5h7h8-------------------------|
|-5h7h8-------------------------------|
Use you index, ring and pinkie for the 5, 7 and 8 notes respectively.
Ex. 2
Code:
|-------------------------------5h6h8-|
|-------------------------5h6h8-------|
|-------------------5h6h8-------------|
|-------------5h6h8-------------------|
|-------5h6h8-------------------------|
|-5h6h8-------------------------------|
Use you index, middle and pinkie for the 5, 6 and 8 notes respectively.
Ex. 3
Code:
|-------------------------------------------------------------5h6h8-|
|--------------------------------------------------------5h7h8------|
|--------------------------5h6h8----------5h6h8-----5h6h8-----------|
|-----------5h7h8-----5h7h8-----5h7h8----------5h7h8----------------|
|------5h6h8-----5h6h8---------------5h6h8--------------------------|
|-5h7h8-------------------------------------------------------------|
Exercises 1, 2 and 3 don't obey strict scale patterns but they are useful as a means to improving finger strength and accuracy. Exercise 3 also includes some string skipping so you can practise moving between strings with more accuracy. Try these patterns up and down the fretboard and in descending patterns so that you can practise pull-offs. Now an exercise that utilizes both hammer-ons and pull-offs.
Ex. 4
Code:
|---------------------------------------------------5h6h8p6p5-|
|-----------------------------------------5h6h8p6p5-----------|
|-------------------------------5h6h8p6p5---------------------|
|---------------------5h6h8p6p5-------------------------------|
|-----------5h6h8p6p5-----------------------------------------|
|-5h6h8p6p5---------------------------------------------------|
Try this with the 5h7h8p7p5 pattern as well and then expand Exercise 3 to incorporate these patterns. Now we can apply these ideas to a simple scale pattern - the minor pentatonic - which consists of 5 notes.
Ex. 5
In the Key of A:
Code:
|-------------------------------5h7h8-|
|-------------------------5h7h8-------|
|-------------------5h6h7-------------|
|-------------5h6h7-------------------|
|-------5h6h7-------------------------|
|-5h7h8-------------------------------|
This is the minor pentatonic with additional chromatic passing tones to make it sound more interesting. Once again, apply the other ideas already discussed to this pattern and then we can move onto something a little more involving - the natural minor - which conisists of 7 notes.
Ex. 6
In the key of E:
Code:
|---------------------------------------10h12h14-|
|-------------------------------10h12h13---------|
|------------------------9h11h12-----------------|
|-----------------9h10h12------------------------|
|---------10h12h14-------------------------------|
|-10h12h14---------------------------------------|
Apply the usual patterns and ideas to this. Now we can start to apply some further legato ideas such as slides and tapping (more on this later).
Ex. 7
In the Key of A:
Code:
|-------------------------------5/7h8-|
|-------------------------5h7/8-------|
|-------------------5/6h7-------------|
|-------------5h6/7-------------------|
|-------5/6h7-------------------------|
|-5h7/8-------------------------------|
Ex. 8
In the key of E:
Code:
|------------------------------------------------------10h12h14/15-|
|-------------------------------------------10h12h13/15------------|
|---------------------------------9h11h12/14-----------------------|
|-----------------------9h10h12/14---------------------------------|
|------------10h12h14/15-------------------------------------------|
|-10h12h14/15------------------------------------------------------|
Notice how Exercise 7 uses 3 notes per string and Exercise 8 uses 4 notes per string. Now for some tapping exercises. Tapping is very pleasing to the legato player as it gives a greater range to his or her playing and introduces notes that cannot be reached by conventional fretting. Taps are indicated by a 't' above (or below) the note to be tapped.
Ex. 9
In the key of E:
Code:
|-0h5h8h12p8p5p0-|
|--------t-------|
|----------------|
|----------------|
|----------------|
|----------------|
When you get used to this try Exercise 10.
Ex. 10
In the key of E:
Code:
|-0h5h8h12p8p5/10h14h20p14p10\5p0--|
|--------t------------t------------|
|----------------------------------|
|----------------------------------|
|----------------------------------|
|----------------------------------|
Now apply tapping to multiple strings.
Ex. 11
In the key of E:
Code:
|------------------------------------------------------------------|
|----------------------------------------------t---------t---------|
|--------t------t----------------------7h9h11h16p11p9p7h14p9p7p5p0-|
|-0h5h9h14p9p5h14p9p5-t--------5h7h9/10----------------------------|
|--------------------14p8p5h7h8------------------------------------|
|------------------------------------------------------------------|
Exercise 11 is very difficult but it is very attainable if you practice the earlier discussed ideas over a period of months. In addition to this final exercise, you can add further techniques such as tap slides, multiple finger tapping and string skipping but they can all be discussed once you've digested the ideas contained herewithin.
I hope this helps! It fucking better had as it took long enough to type out!
