Four-Note Blues

THERE ARE MANY tutorials that advise on how to expand your vocabulary in terms of extra notes added to pentatonic patterns, referring to implied chord extensions or even superimposing one implied chord over another. While I’m a fan of these lessons, it occurred to me that it might be interesting to flip this approach on its head and go in completely the opposite direction. To that end, I’ve chosen just four notes from the B minor pentatonic scale (A, B, D and E) and not ventured outside of this self-imposed limitation at all – not even to play these notes in different positions.

Doublestops, slides and string bends are all fine, so there is at least some room to expand, but the whole point here is to work with what we have. I even decided not to use a pick when playing the example solo. The theory is that if we remove the pressure to play harmonically complicated or technically challenging phrases, it may focus the mind in a more ‘musical’ way. A beginner could grasp the concept of playing just four notes (any of which will fit at any point over the backing), but the challenge is to bring dynamics, melody and rhythmic interest, using the skills we would normally bring to more technically advanced playing.

At first, this is really difficult! I’m reminded of picking up a Les Paul at the end of the 80s and constantly reaching for a whammy bar that wasn’t there. However, after a few minutes I stopped playing out of habit and managed to focus on working within this limited palette. Admittedly, I haven’t left as much space between phrases as I might normally (demonstrating ‘silence arranged for guitar’ isn’t known for attracting readers…), but the way this approach forces you to think more and play less is a very worthwhile exercise. Hope you enjoy this approach and see you next time!