What we’re going to be doing today is drawing on this knowledge to learn how to combine the minor and major pentatonic scales to create patterns that give us a very unique and interesting sound. For this example let’s start off by running through the first position of A minor pentatonic starting on the fifth fret of the sixth string.
If you treat each note of a chord as a different voice, paying attention to how each note transitions to the notes of the next chord, your playing will take on a new maturity. This is known as voice leading. Think of it as directing a choir on your fretboard rather than playing a series of shapes.
I start in the seventh-position B minor pentatonic box pattern with some string skipping and hybrid picking, using my pick-hand middle finger in conjunction with the pick. I hit the first note, on the low E string, with a down-stroke, hammer-on the second note, then pluck the third note, on the D string, with the middle finger, followed by another hammer-on.
On beat three of bar 2, I flip my fret hand over the neck and perform the arpeggios on top of the fretboard. Here, I use my thumb [indicated by the t in the finger prompts below the tab] to fret the low E [sixth string, 12th fret] so I can make the fret-hand transition over the neck without skipping a beat.
Welcome to part 6 of "Learning Mozart's 25th Symphony in G Minor." We are getting close to finishing this piece, which might sound surprising considering we have only learned four minutes out of the full 10-minute piece. However, don't worry, because there's going to be a lot of repetition between now and the end.
This video is bonus content related to the May 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
“This first lick [FIGURE 1] is an arpeggio etude [musical-sounding exercise] in A minor that integrates tapping, multiple hammer-on and pull-off combinations and a little bit of economy picking into a steady stream of 16th notes. It pretty much stays within the realm of the A minor pentatonic scale [A C D E G], with the flatted fifth, Eb, added in the last two bars.
Last month, we dissected the first six bars of the guitar solo section in the title track of Nevermore’s latest release, The Obsidian Conspiracy. Let’s pick up where we left off and take a detailed look at the rhythm and lead parts I play over bars 7–10 of the solo section.
A lot of people come up to me and say, “Satchel, you rock! You know all 28 frets of your guitar, man!” And I say, dude, are you stupid? My guitar only has 24 frets…or something. I don’t remember how many frets my guitar has. But the point is that I know how to get up and down my neck, and how do I know that? I know all the scales and all the arpeggios, and all of the positions of all of the modes, in all of the keys.