ExamplES UNUSUAL PENTATONIC SCALES
EXAMPLE 1 We start with a different example in each of the five CAGed shapes of the A7#9 Pentatonic scale (see diagram 1). This first one is based around CAGed shape #1, and exploits the subtle difference between a C# and a C note that is bent up towards C#, but never quite makes it (curl). On the face of it, this might look like a standard blues line but, without thinking in terms of the 7#9 Pentatonic, the eighth note of the sequence would probably have been GUITAR a d instead TECHNIQUES of a C#, and the 2 line 7 9 may have deviated evSenhafuurtnheBr on if there weren’t a defined concept shaping the results. Basically, the more concepts you have, the greater the variety and contrast of your musical ideas.
EXAMPLE 2 next, we move up to CAGed shape #2 of the A7#9 Pentatonic. Although the start may look like standard blues fare, i’m sure you’ll agree that the second half of bar 4 doesn’t. Again, this is purely because the discipline of having to stick slavishly to the concept of shape #2 of the A7#9 Pentatonic
ou-t of our usual patterns of play.