Ex­am­plES UN­USUAL PEN­TA­TONIC SCALES

Guitar Techniques - - LEARNING ZONE -

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.

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