ExamplES UNUSUAL PENTATONIC SCALES
like example 3, this final shape #5 line exploits forms that visually jump out at us once we see the scale represented on the guitar neck. Here, we use a convenient triad pair (A and C) that exists within the A7#9 Pentatonic scal&e asisoeof ne.# as the thematic b this rhythmic and m elodoeic li next, we move on to different examples in each of the five CAGed shapes of the A6#9 Pentatonic scale (see diagram 1). More often than not, blues-rock players will use a to approach a 3, and not the other way around; however, here, in this shape #1 line, we do see C# followed by C twice. This sh1if7t fBDrom 3 to is something frequently exploited by modern jazz artists such as1J7oe Zawinul of Weather report. Finally, note how this example finishes on a (G natural), which is not part of the 6#9 Pentatonic scale, but just sounded right.
This shape #2 line starts with a two-note pick-up and reverts back to the more traditional shift from (C) to 3 (C#) at the start of bar 18.
A three-note pick-up this time is used at the start of this line that traverses shapes #3 and #2. Here, we’re using a symmetrical arrangement whereby the pattern on the top string-pair (second and first strings) is replicated an octave lower on the middle string-pair (third and fourth strings). note how we pass from C to C# and also vice versa.