TRA CKs 4-6
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.