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Latest reviews
Totally recommended
Published on 28-Nov-2011
My experience with Jean Pierre lasts for less than a year and I must say that he is the right choice for any guitarist who wants to open up his musical journey

Motivation and Artistry
Published on 23-Oct-2011
I first met Jean Pierre when I was fifteen years old, having learned guitar for two years, and in desperate need for renewed motivation to improve both my knowledge and technique concerning guitar playing as well as the application of these skills in regard to songwriting.

Flexible Teaching
Published on 21-Oct-2011
I feel such honoured and privileged to be given the possibility to appraise my guitar mentor in such a public place. In my opinion, it is the least that I can do to return, in part, what he has given me over the last year from when he decided to take me under his wing... moreover when I know that such reviews helped me to choose Jean Pierre as my guitar tutor!
Guitar Lessons
Lesson 16 - Unusual Pentatonic Runs
Hello there. When soloing we’re faced with the task of saying something meaningful and sometimes it needs to be said in a short span of time! So having at our disposal some ‘cool’ runs can be very beneficial which can take us out of 'trouble' many times.

Published on 15-Jul-2011

Some time ago I gave you some bending ideas using the minor pentatonic scale. In this lesson we’ll add some runs that use the same notes hence can and should be used in the same musical ‘arena’. So let’s go on and explore them!

Usually runs of this type will use 2 notes per string. But I’m using 3 notes in most of the examples hence the word ‘unusual’ in the title. This will help the legato sound come out stronger as we’ll be using hammer ons and slides on the same string to achieve that. Pay close attention to the indicated fretting hand fingers. Using only the 1st and 3rd fingers will facilitate your smoothness apart from helping you to build up speed. Remember that the least finger combinations you use in a scale run or arpeggio the faster you can execute it! That’s good to keep in mind. The picking directions can be altered to suit your technique although the ones indicated can be very efficient.

All the six examples should be played slowly at first keeping in mind that quality comes always before speed. When you can handle them well enough start to move them around in all keys. The only drawback can be the register/frets you play certain keys at. When this happens you can replace the 3rd finger with the 4th if bigger stretches come in play. But do not alter their construction because then you’ll lose the concept behind this lesson.

Next time you’ll be playing on a blues be sure to find a place for these runs to jump in. You can do that in various manners. One of them is by playing a run starting on the chord’s root every time. So if you’re playing on a blues in the key of A with the chords A7 D7 and E7 in the rhythm you will play an A minor penta run on A7 a D minor penta run on D7 and an E minor penta run on E7! Obviously you will need to transpose some of the runs to the new keys to achieve that. Trust me that will sound very cool! Or you can use 3 different A minor penta runs on the A7 D7 E7 progression and you’ll still sound great. Needless to say they’ll work in any musical situation that calls for a minor scale/mode or arpeggio to be played upon. You just need to grab your axe and try them out on them. The results will be very encouraging so go ahead and get creative! Best wishes and remember to practice perfectly!

Jean





JeanPierre Zammit
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