How to Shift out of the Key of G

How to Shift out of the Key of G Hey, guys! This is Will Christy again. We’re going to talk about Legato Phrasing in the solo I just did. I want to demonstrate how you can get a real fluid movement across the neck like saturating type stuff. The chord progression was C major to G major. So, when you see something like that, G and C major, for me that points at a G major key because the G and the C is the four chord. So, we’re actually going to have an F#. Everything else is natural. So from Legato Phrasing, there's a couple of things I did. One was, something like this. So, that’s just -- in this case let’s go with 5th fret, eighth in on the second string. So you'd hammer on from five to eight, pull-off, and hammer on the 7th fret. Now, I’ve got a system of teaching caged major scale in five positions which you should really look at in the key of C and then move it into other keys. And then you could connect the shapes together so you can play across the fret board. That’s why am able to freely move around but I’ll show you a few things. Going up one string is pretty common. I’ve showed that in other lessons but so knowing the scale in the G major, let’s just say B, C on the 1st fret, D 3rd fret, E 5th fret, F# 7th fret, A, 10th, 12th. So, you can just -- same idea. So you can do that -- going up. It has a cool effect maybe like Steve Vai sort a thing. It’s all hammer ons and pull-offs. Pick that first note. You can use finger to pick. My right hand is barely moving at all. And the other idea is more scale there. Now, I’m going to go over the G major pattern, let’s say. I’m going to go 3, 5, 7 and hit with my second and fourth finger – 3, 5, 7, 3, 5, 7. Then we got 4, 5, 7, 4, 5, 7; 4th and 3rd string. Now, we shift up to the 5th fret. So as you see, there’s a series of triplets. 3, 5, 7, 3, 7, 4, 5, 7, 4, 5, 7; 5, 7, 8, 5, 7, 8. Now, you can use your first, second, and third finger. So you pick the first note and you held on the next string. Pull-off that down. Now, what I do to get even more Legato is I’ll hammer on strings without having to pick them. So if I go -- 5, 7, 8, on the top E string. I can hammer on the E at the 8ht fret on the second string and hammer on. Now you have to watch the noise, some people have a hair band or something at the end of the strings that kind of keep them from buzzing, ringing on that. But what I do is I use my first finger to touch the second string. If I'm playing this -- first string, I’m lightly touching the string above it. It sounds like hammer on the second string without actually having picked it. So when you pick on that first note -- and then treble, hammer on each string as I go down. So your sound may go. Now, I’m just going back on the scale I just talked about, back up again, hammer on with that third finger, slide down, hammer on again back down, hammer on with the pinkie in the fourth string. So I’m accentuating that hammer on that part of the string. That’s the C, F#. So -- you could move that up. So, the cool thing is that pick that first note and when you’re picking the first note on the high E string, hammer that down, pull-offs, hammer ons. So you could do -- you also want to do the slides. It’s great to know 8, 10, 12, 8, 10, 12, 10, 8, 7, 10, 8, 7. You should know what those notes are in the key. You could practice going down two sets of strings -- so you could go like. So you’re able to go – so, I’m going slide, slide down with that. So it’s going to take some strength especially in your pinkie. But the beauty is I don’t even pick. And that’s just the old way. Alright, so the idea is to hammer on and pull-off with the slides and the key is going to be knowing those notes on fret board and be able to connect them. So have a look at one of my lessons on caged five scale shapes. I do everything based on the major keys. So have a look at it and let me know how it goes. See you guys!