Making A Longer Phase From A Few Notes

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.

A Pentatonic Asc Desc
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.

Start Small

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.

A Pent 3 Note Sweeps

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

A Pent 5 Note

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.

A Pent Descending Line

Let’s Break This Down

A Pent Breakdown
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:

Lick #2

A Pent Lick 2

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.

Idea 3

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!

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My Weekend Project Or My New $5 Pentatonic Book Is Now Available On Fiverr

Hey all!

Now, I know that I’ve been writing a lot about my Kindle books (There may be a new one out as early as this weekend!), and putting a lot of focus here on music business and personal productivity.  But there’s been a bit of a slip on the guitar postings here.  (Mind you there has been weekly output for tone postings and lessons on Guitar-Muse but that’s quibbling; ) )

The Fiverr Challenge

Some of you may have remembered that GOOFY “book-in-a-month club” challenge last year which actually yielded quite a list of guitar books at the end of last year.  After contacting someone on Fiverr (where every service starts at $5) about a cover, I looked around the site for a while and had a brief moment of inspiration.  I realized that I have produced a number of large scale books but nothing small.  I asked myself, “Could I get a short instructional book written to put up on Fiverr by the end of this weekend?”

So I put up a services ad on Fiverr yesterday.  Here’s the ad.  The text of it is pretty simple:

“… I’ve also come up with a unique way to break out of the blues box shape you may be stuck in! For $5, I’ll send a 60+ page pdf that will show you how to use 4 unique shapes to help you visualize the pentatonic scale anywhere on the guitar! Better yet, this visualization method can be applied to ANY scale or mode!”

Well, with orders came the need to get the book done.  About 15 hours of writing, editing, tab creation (and editing) and layout (and about 3 hours fighting with hyperlinks that I had to finally abandon), over 2 days – I had a short book done.
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So, what will you get for $5 if you order the book?
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A good deal!
I’ve broken the book out into 6 different lessons over 50+ pages that covers:
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  • how to visualize pentatonic minor scales on the fingerboard positionally
  • how to use the scales over different tonal centers
  • 1-string patterns
  • Cool ways to sequence the melodic cells with combinatorics and…
  • Pentatonic harmony (Worth the price of admission alone)

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In other words, it’s a series of short succinct lessons to get under your fingers to start playing but with enough meat on their bones to keep you busy for a while.

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As always, thanks for reading!

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PS – This pdf has a major update so if you’re willing to spend $5 more on a pdf (or $15 for a book) – you’ll get a really great deal!

My Pentatonic Visualization Book

Minor Pent Front

is 100 + pages of licks and instruction and includes demonstrations and breakdowns of two-string fingerings, diagonal pentatonics, sweep picking pentatonics, pentatonic harmony and much more!  It’s not just 40 more pages – it’s a complete overhaul of the material!

It’s available here.

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