Full pen­ta­tonic piece

TRACK 24

Guitar Techniques - - Play: Pentatonic -

we ‘bor­row’ a chord (Dm) from a dif­fer­ent mode (A Ae­o­lian). Then, we switch back to F# mi­nor pen­ta­tonic for the two bars of the A chord, only to re­vert to A mi­nor pen­ta­tonic for the Fmaj7, again ap­ply­ing the prin­ci­ple of a mi­nor pen­ta­tonic start­ing on the 3rd of the chord. For the Em7 we sim­ply think ‘E mi­nor pen­ta­tonic’ and for the Dm7 A mi­nor pen­ta­tonic works great again. That leaves us to end by go­ing back into happy sound­ing ma­jor mode, us­ing F# mi­nor pen­ta­tonic (A ma­jor pen­ta­tonic) for the fi­nal A chord. full piece Ex 21 Our fi­nal ex­am­ple in A ma­jor uses the pen­ta­tonic scale to ne­go­ti­ate chord changes in a colourful, yet some­times easy-to-ap­ply type of way. For the first five bars, we are think­ing ‘A ma­jor pen­ta­tonic’ – or F# mi­nor pen­ta­tonic if you will. For the D chords we com­ply with the prin­ci­ple of us­ing the mi­nor pen­ta­tonic start­ing from the 3rd of the chord (F# of D ma­jor). In bar 6 we use A mi­nor pen­ta­tonic to play over the Dm chord - har­mon­i­cally speak­ing the Dm here con­sti­tutes an ex­am­ple of ‘mo­dal in­ter­change’ whereby

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