Advanced technique exercises
in the pentatonic scale
Use of scale fragments
After having seen in the previous page how the complete fingerings can be useful to memorize entire positions on the fretboard, we will now work on the fragments of scales. Basically, we only need to analyze the use of a portion of the fingering, intended as number of string pairs.
We begin in the scale of Am, remembering that the choice of scale comes from the fact that this is the most common and simple to understand, given its total absence of alterations.
The execution has to be a sixteenth note with rigorous alternate picking. Avoid rests between the changes of position, because sometimes the left hand will jump from one box to the other.
Remember to play using a metronome, starting with a slow speed (about 60bpm) then increasing once you have mastered the exercises.
Exercise #1
In this exercise we will work entirely on the first and second strings. Every position therefore has a total of four notes for every box, played in an ascending direction from the lowest to the highest position.
Once you have reached the highest zone of the fretboard, return to the first position by scaling the fingerings one by one.
Exercise #2
In this exercise we work with every box, as before, but starting from the highest note of every fingering. Always use alternate picking.
Exercise #3
Lets try to change the pair of strings by moving to the second and third strings. In this case it becomes more difficult to organize the exercise, because the position of the fingerings is more uncomfortable.
Exercises for all the pairs of strings
Apart from the pair on the second and third string, all the others have the same fingerings, moving along the fretboard according to the position. We will briefly analyze this concept.
As an example, we will compare box 1 on strings 1 and 2 with box 5 on strings 4 and 3. The notes and the fingering will be the same. This points out the fact that once you have learned how to use a series of fragments on a pair of strings, in reality you have also learned to play on the other pairs, with the only difference being that you have to move to other points on the fretboard. The exception, as already mentioned, is the second and third string pair, which have their own fingerings.
Lets now work on all the pairs of strings using the pattern of notes seen in exersises 1 and 2 above, and also trying some of the variations illustrated below. Every sixteenth quatrain that you see in the example should be transposed to the fingerings. Here is a practical example.
Lets try the first example. The sequence, being written on the first two strings, can be transposed to the 4th and 3rd string pair, extending the pattern to all the boxes. We will do this so that every box is played with the pattern just selected. The result will be the following:
It's now up to you to organize the biggest job, which is transposing the various examples to the various pairs of strings, and above all trying to be organized when studying these patterns and this system of string pairs.
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