Ex­AM­PLES

TRA CKs 13-15

Guitar Techniques - - Play: Pentatonic -

Rock Ex 10 This ex­am­ple draws from the B mi­nor pen­ta­tonic scale, ba­si­cally us­ing shape 1 and adding a fur­ther note from the scale on each string by way of tap­ping with ei­ther the first fin­ger (i) or sec­ond fin­ger (m) of your pick­ing hand. Try this Van Halen style se­quen­tial triplet lick both with a clean sound (to gain strength of ex­e­cu­tion) and then with loads of dis­tor­tion (to hone your mut­ing tech­nique in or­der to avoid lots of un­wanted string noise).

Countr y Ex 11 For our first coun­try style ex­am­ple we are in A mi­nor pen­ta­tonic. It’s a shuf­fled 8ths feel and the held and re-picked bend from 7th fret to 9th fret on the third string is a com­mon idea in this genre - aim to get the 8th fret on the sec­ond string ring­ing si­mul­ta­ne­ously as well.

Countr y Ex 12 This ex­am­ple con­tains some fiery coun­try style licks and the ba­sic rule is that we are us­ing the cor­re­spond­ing ma­jor pen­ta­tonic for each chord in this I, IV, V, I pro­gres­sion. That gives us G ma­jor pen­ta­tonic (E mi­nor pen­ta­tonic), C ma­jor pen­ta­tonic (A mi­nor pen­ta­tonic) and D ma­jor pen­ta­tonic (B mi­nor pen­ta­tonic). See how the same ring­ing bend-based lick from Ex­am­ple 11 is used for both the C and D chords, es­sen­tially bend­ing from the 2nd to the 3rd of each chord, while adding the 5th to the mix as well. We also get a lit­tle bluesy in the fi­nal bar, with a semi­tone bend up to the mi­nor 3rd (Bb), which if you see it from the per­spec­tive of E mi­nor pen­ta­tonic is the so- called ‘blue note’ (flat 5) of the scale.

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