In this third segment, we will be looking at the minor pentatonic and the blues scale starting on the seventh fret. Still on the key of A, we have looked at the typical blues forms starting on the fifth fret, then also on the fifth fret but back towards the neck. So now it will be up on the A, on the seventh fret, fourth string. The minor pentatonic here looks like this, still on a minor pentatonic.
Ever since we are starting on the fourth string, there is quite a few notes that go down below that root note. So as we discussed before, it's a good idea when you are practicing and learning a scale to start on the root, go up, all the way back down, then play those notes and come back up on the root so you will always remember, what relation the rest of the scale has to your root note.
So the whole scale will look like this, one more time. When we add the blues note in which is the flat five, we get this, one more time. Once again, these are all written out in your tab at the beginning of the video. So you can look at them slowly there. The benefit in this case is that we are now able to get some higher notes and a lot times in blues and rock soloing which is what these scales are used for all the time, it's important to use bending to really put expression in your playing and you always want to bend to cord turns. And so the benefit of this particular position is that we can get all the way up to this tenth fret D, which can then, be bent up to an E note which is the fifth.
So we have a high note that we can bend to and also incorporate this flat five and work on some really high notes in the normal position that most people know. The highest thing we have got is this C, now we can make it one more and since this is a five and we have got a flat five in the middle, we can really work that bend and have a lot of possibilities on it.
So what you will see lot of people do is slide into that position from their normal blues position. So they will do a lick such as -- and so you could see I started here with a bend and then use this seventh fret of the third string to slide in to the ninth fret, which then got me into my new position. And so we will proceed even higher up on the neck as we get into our next segments.
And the movement for the voice is E. The kind of trademark drop which is just going to the major third of the B. Now we are going into the three cores and it just mirrors, that -- put that crazy, where that voice is right there. It starts on the open E string and just goes.
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