Just like Ratt – I’m back for more (hopefully you are also).
(Please feel free to insert another random hair metal reference if that suits you better).
I’m in the midst of a bunch of recording and gig preparation, and I thought one of the things I pulled out in a piece might help you.
I have an instrumental track that’s based on a pentatonic I’ve heard in Hindustani music before but don’t know the name of. Other players have gravitated to this sound as well and in print I’ve only seen it listed as “Indian Pentatonic” (which, if we’re going to call it that, we might as well call it “Vindaloo” because vindaloo is at least tasty.)
Here’s the scale in A descending and then ascending. Don’t let the time signature throw you off. It’s just there to get all 5 notes in a bar.
In A – I see R, 3, 4, 5 b7 (aka an A Mixolydian extraction) so this would work over chord taken from the parent scale D major. In this case I’m using over a G – A vamp.
Notice in the descending version I used one note on the B string and then 3 on the G string. I do this because keeping only one note of the scale on the middle string of a 3 string group (in this case E, B, G) allows me to set up a sweepable version of the scale.
Why do I do that?
Here’s a little secret about guitar. Certain techniques will take you a VERY long time to get under your fingers so if you’re going to spend the time to work on them make sure you find ways to use them to get the sounds you’re looking for.
Here I’ve taken the ascending scale and added 2 descending notes. I’ve included 2 picking variations in the first two examples. In my own playing I find that I end up going to the first Down Up Up pattern more often than not – but it’s worth the time to be able to do both of them.
For the example below – choose ONE picking variation and use it for all the groups of notes. Pay attention to the 3 T’s (Timing, Tone and Hand Tension) and try playing it over a chord to associate the scale with a harmony.
You might notice in the example that the E string always uses the index finger of the fretting hand and the G string always uses the pinky. That leaves either the 2nd or 3rd finger for the B string note. The fingering consistency also makes it easier to memorize the patterns.
Then build up
Now I’ve added a few notes on the G string. One nice thing about Pentatonics is that they have some built in intervals larger than a major or minor 2nd that make them sound less “scale-ish” to my ears. I’ve only included one picking idea above. The 2-note sweep in the middle with the alternating picking would allow you to repeat the picking pattern, but you could also use pull-offs on the notes on the G string.
If the scale can descend on the G string – it can also ascend on the E string. Here’s a two bar lick based on the idea above and adding in some notes on the E string as well.
Let’s Break This Down
I’ve broken this down in overlapping phrases to show how I expanded the initial idea into something larger.
Bar 9 Above: This is a simple descending / ascending of the scale on the E string
Bar 10: There’s the sweep
Bar 11: This is a similar 7-note descending / ascending idea as bar 9
Bar 12-13: I broke this out to show the position shift to add the C# again with a similar idea as bar 9 and 11
Bar 14: There’s the sweep again
Bar 15: this is an the same idea as before but one octave lower.
Notice how there are two simple pieces of “connective tissue” the sweep and the short one string scale passage that ties the lick together.
Let’s look at another (and more challenging) idea:
Here I expanded on the initial idea. I’m using sextuplets now so it’s faster. In the first measure – there’s a slight pause on the last A in beat 3 to accommodate a position shift for the following beat. As a phrase, I’d likely sit on that A for a beat or two before continuing but I shortened the time to fit it in a smaller graphic.
The position shift allows me to set up a sequence to ascend the scale again and build a little excitement. Technically this uses all the ideas that have already been used.
Again – these techniques take time to get them under your fingers so they sound good. Don’t take shortcuts. Really focus on the 3 T’s and then find ways to incorporate them in ideas you already are using.
And one for the road
So far in this lesson we’ve been exploring string ascending / descending scales. Adding in things like string skipping will give you some wider intervals to incorporate and get you further away from the scale sound. Here’s one variation below.
My suggestions (should you choose to take them)
- Find fingerings that work for you
- incorporate some of the scale sequence ideas into the phrases you create
- mix and match see how far you can go in one direction or the next before you run out of notes
- incorporate different scale sequence ideas. (For more information on this my Melodic Patterns book can open some doors here).
I hope this helps and as always, thanks for reading!