ExamplES UNUSUAL PENTATONIC SCALES
EXAMPLE 11 Often, it’s good to consciously escape ‘guitaristic’ interpretations of a scale (in other words, familiar ‘under the fingers’ ideas). Here, the four-note pattern on each string-pair in this shape #4 line is more typical of a sax player than a guitarist, but will yield fresh-sounding results. Again, take note of the accents, which will help to make the line less mechanical and rigid.
EXAMPLE 12 There are more accents in this shape #5 line, which will give it a bit of added rhythmic interest. notice the convenient 9th and 12th fret note-configuration repeated on all of the top three strings in this shape of the 6#9 Pentatonic scale.
EXAMPLE 13 Although we have been focusing on lines that dwell within a single CAGed shape for each of these Pentatonic scales, this example shows how the same motif can be shifted laterally up or down the neck, morphing as it travels through one shape to the next. Have a look at what other ideas can also be shifted in a similar manner with each of the three Pentatonic scales featured in this lesson.
EXAMPLE 14 Finally, we move on to different examples in each of the five CAGed shapes of the Am6 Pentatonic scale (see diagram 1). The eagle-eyed among you will notice that this scale has the same notes as d dominant Pentatonic scale (in other words, it’s one of its five modes). Most of the examples in this lesson feature 32nd notes; however, this shape #1 line demonstrates the sort of languid and sleazy results that can be created by playing much slower.