Ex­am­plES UN­USUAL PEN­TA­TONIC SCALES

Guitar Techniques - - LEARNING ZONE -

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.

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