Ex­am­plES UN­USUAL PEN­TA­TONIC SCALES

Guitar Techniques - - LEARNING ZONE -

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.

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