Ex­AM­PLES

TRA CKs 4-6

Guitar Techniques - - Play: Pentatonic -

Blues Ex 1 This ex­am­ple is in A mi­nor and shows the im­me­di­atecy of the mi­nor pen­ta­tonic. Al­though the chords change from Im to IVm the clas­sic A mi­nor pen­ta­tonic shape 1 still works through­out.

Blues Ex 2 Here we have a static chord pro­gres­sion in B mi­nor, start­ing out with B mi­nor pen­ta­tonic shape 5 (the G shape from the CAGED sys­tem). This is fol­lowed by an ex­tremely use­ful pen­ta­tonic shape, which re­peats up three oc­taves and pro­vides a great way of trav­el­ling up the neck, us­ing slides to move be­tween po­si­tions. Mov­ing fur­ther up the neck you will no­tice that I per­form the three-fret bend (5th to the b7th) on the sec­ond string, rather then on the first. Large bends feel and sound bet­ter on the sec­ond string; in this in­stance it also puts the fin­gers in po­si­tion to ex­e­cute the fi­nal bend up from a high A to B at the very end. Re­mem­ber to sup­port such bends re­ally well with your other fret­ting hand fin­gers, so as to have greater con­trol and not put too much strain on your mus­cles.

Blues Ex 3 This ex­am­ple moves through the Vm, IVm and Im chord of a mi­nor blues in G, show­ing how you can sim­ply move the mi­nor pen­ta­tonic scale that cor­re­sponds to each chord. In­her­ent in each mi­nor pen­ta­tonic scale is the mi­nor 7th ar­peg­gio and this is out­lined for both the Dm7 and Cm7 chords. No­tice how the G mi­nor pen­ta­tonic also is used and works per­fectly on the sub­dom­i­nant (Cm7) IV chord.

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