PLAY } TECHNIQUE
ON THE CD
TRACKS 4-37
Turb Tu rbocharge ocharge your
Pentatonics!
Want your Pentaton Pentatonic ic scales sounding speedy and impressive? impressive? Using all all five CAGED CAGED shapes Richard Barrett shows you how ho w to play faster extended runs runs across the fretboard! fretboard! them, or rapidly shifting across the distinct positions, either up or down. In these cases, Info Will improve your… the best way to acquire the necessary skills is Key Various Tempo Various CD TRACKS 4-37 Lega Legato to Alter lternnate ate Pickin c kingg Fretb retboa oard rdkno knowled wledge ge atterns designed to develop fast playing to clarify, all the scales and patterns used are shown in full, so there’s no need for any prior are often arranged in Major or Minor almost putting themselves in the right places. scale patterns. But while useful as knowledge of the Major or Minor Pentatonic A mistake mistake many many players players make is to expect the exercises, these patterns can seem scales; although most of us will have learned a few patterns and licks derived from these integrate into your playing as part of a useable already, even if unaware their ‘formal’ names. over-helpful friend who doesn’t wait for you musical vocabulary. Unlike the more familiar All the examples are derived exclusively getting to work. sound of the Major and Minor Pentatonic scales, which somehow seem a bit more ready to use ‘out of the box’. patterns like these throws up other issues, like pick angle, fretting-hand position, or even While there’s no substitute substitute for for hard hard work in these matters, there is also no need to make you might think; think; and, and, while you’re you’re at at it, it, relax designed to methodically put some of those valuable valuable lesson in the process process of solving solving any any in a more user-friendly context, with the technique problems that stand in your way. Although Although there’s there’s no short cut to achieving achieving this added bonus of being based around a scale pattern most of us are comfortable with. Just kind of dexterity, you will be surprised and bit of patient, patient, repetitive repetitive practice! practice! TECHNIQUE FOCUS Economy Picking and Minor shapes cover much of the same 5 5 7 Occupying the middle ground between legato 3 7 (hammer-ons, tapping, etc) and alternate picking, different shapes in total that allow us to ‘map’ this technique allows the articulation of complex the whole fretboard. GAIN BAS S MIDDLE TREBLE REVERB phrases without the drawbacks encountered The all-important speed part of the when sticking rigidly to one set of skills. There are equation is another matter. Tapping and many forms economy picking can take, getting legato licks aside, fast licks are usually close to sweep picking at the most extreme end, generated by playing repeated groups of notes but our examples deal mostly with brushing There isn’t a definitive tone that must be used for across adjacent strings with a single down or across two or three strings. Heavy emphasis any of the examples or solos, though they do upstroke. Combining this with legato technique on ‘repeated’ here, though it’s technically not probably suit a medium gain sound best overall. to sound passages of notes on the same string is a impossible to skip through octaves without This also helps bring out detail in the legato very effective way to cover lots of ground without passages. Beware: overdoing the gain can cause as repeating a note, it would be highly unusual the potential overkill of sustained alternate many problems as it may first seem to solve, so be and surprisingly ineffective: the run would be picking. It’s also a great way to add in short flurries prepared to trim it back if you encounter excess over before you had a chance to blink! of notes without feeling that you need to keep handling noise, feedback and fizziness. A small Some of the examples also integrate two or ‘shifting gears’ between slow and fast playing. tweak can make a world o f difference. more positions, either by stretching between ABILITY RATING
Advanced Advan ced
P
ALTHOU ALTHOUGH GH THERE’S THERE’S NO REAL SHOR SHORTCUT TCUT TO DEXTERITY, DEXTERIT Y, YOU’LL BE DELIGHTED AT HOW QUICKLY THE FINGERS RESPOND TO PATIEN PATIENT, T, REPETITIVE PRACTICE PRACTICE
12
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FAST { PENTATONIC LICKS Eric Johnson’s fast Pentatonic groupings are legendary
Stevie Ray Vaughan was brilliant at speedy blues Pentatonics
S E G A M I Y T T E G / A C C A S U B
TRACK RECORD Though our examples are quite rocky, fast Pentatonics are employed in blues, jazz and other genres. Check out SRV
on Scuttle Buttin’ to hear the shape 1 minor Pentatonic as not many ca n make it sound. Zakk Wylde’s solo on Ozzy’s No More Tears is more economy picked across the positions; and Eric Johnson’s intro to Cliffs Of Dover could keep you going for ages without running out of material!
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PLAY } TECHNIQUE
ON THE CD
EXAMPLES 15
TRACKS 4-37
CD TRACKS 4-8
EXAMPLE 1 SHAPE 1 Minor PentatonicThe title says it all. This is the most popular shape, and one that you’ve almost certainly used it in riffs and solos,whether
you know it or not!
#
©»ªº œ Shape 1 E minor Pentatonic
E B
3
0
G D A
3
0
2
0
2
0
E
œ
2
œ
0
3
œ
0
EXAMPLE 2 SHAPE 2 Minor Pentatonic. Slightly less comfortable and familiar but nonetheless a valuable member of the team, this shape really comes into its
own when combined with the neighbouring shapes 1 and 3.
# œ
œ
Shape 2 E minor Pentatonic E
5
B G D A
3
5
3
4
2
5
2
E
5
2
5
3
EXAMPLE 3 SHAPE 3 Minor Pentatonic. The symmetrical lower register of shape 3 makes it great for riffs (and it has been used for many), with the initially tricky higher strings yielding some interesting, yet still familiar combinations if you toy around with it for a while.
# œ
Shape 3 E minor Pentatonic E B
7
5
G D
8
5
7
4
A E
7
5
7
5
7
5
EXAMPLE 4 SHAPE 4 Minor Pentatonic. Adding in a few chromatic linking notes (tomakethree to fournotes per string,instead of only two) makes this shape quite an effective ally if you want to add a jazzy feel to your playing. Still the same five notes, just a different perspective!
# œ Shape 4 E minor Pentatonic E B
10
7
G D A
10
8
9
7
9
7
E
10
7
10
œ
7
EXAMPLE 5 SHAPE 5 Minor Pentatonic. This completely symmetrical shape completes the picture. It’s great for repetitive triplet runs, or combining with the shape 1 that starts the sequence all over again at the 12 fret (in this key of E minor).
# œ Shape 5 E minor Pentatonic E B
12
G D A E
14
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12
10
12
9
12
9
12
10
12
10
FAST { PENTATONIC LICKS EXAMPLES 610
CD TRACKS 9-13
EXAMPLE 6 SHAPE 1 Major Pentatonic. In the key of G major, you may notice this has a remarkable similarity to the E Minor Pentatonicshape 2; and you’d be absolutely right - being the relative major of E minor, G major contains the same notes, intervals and patterns in a slightly different order. To avoid confusion between the two, we’ve opted to show the Major Pentatonic ascending, with this particular example ending on a repeated root note: G.
# œ
œ
Shape 1 G major Pentatonic
œ
E B G D A E
3
2
5
5
2
5
2
4
3
5
3
5
3
EXAMPLE 7 SHAPE 2 Major Pentatonic. It’s all about the context. In its twin guise as shape 3 of E Minor Pentatonic, this is a great ‘riffing’ scale. The same applies in
G major, although it takes on a different personality as a ‘major’ pattern - perhaps a more country feel?
# œ
Shape 2 G major Pentatonic E B G D A
5
E
7
œ
5
7
5
7
4
7
5
8
5
7
EXAMPLE 8 SHAPE 3 Major Pentatonic. If you took a regular open-position C chord and moved the root note (on the fifth string) up to the 10th fret, you’ll notice that all those notes appear in this scale. To mess with you even further, see how well it fits over an E minor chord!
# Shape 3 G major Pentatonic
œ
œ
E B G D A E
7
10
7
10
7
9
7
9
8
10
7
10
EXAMPLE 9 SHAPE 4 Major Pentatonic. Equally comfortable over its home chord of G major or the relative minor of E, you will find different ideas come to you depending on the underlying chord.
# œ Shape 4 G major Pentatonic E B G D A
10
E
12
10
12
9
12
9
12
10
12
10
12
EXAMPLE 10 SHAPE 5 Major Pentatonic. Identical to shape 1 of the E Minor Pentatonic scale, this shape 5 G Major Pentatonic plays out at the 12th fret. Understanding the relationship between relative major and minor chords and scales doubles your vocabulary, without having to learn any new licks!
# Shape 5 G major Pentatonic E B G D A E
12
15
12
14
12
14
12
14
12
15
12
15
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PLAY } TECHNIQUE
ON THE CD
EXAMPLES 1113
TRACKS 4-37
CD TRACKS 14-16
EXAMPLE11 LINEAR/HORIZONTAL 1 Using the E Minor Pentatonic, this example demonstrates how you can arrange the five notes across the fretboardover several octaves. We’re not into the fast stuff just yet, but this is a major step on the way to achieving that goal.
# œ
œ Linear / Horizontal 1 E B G D A E
0
1
3
5
5
7
7 10
7
9 12
9 12 14
12 1 5 17
15 1 7 19 17 1 5
17 15
14
16
17 14
14
17
EXAMPLE12 LINEAR/HORIZONTAL 2 Though this is alternate picked on the recording, it also sounds great with legato. Travelling from high to low registers, it isn’t designed to be played all the way through. It’s more about honing the coordination for shorter bursts and getting ideas to work in multiple registers.
# Linear / Horizontal 2 E
19 17 15
B G D A E
17 15
17 15 12 16
15 12
15 12 10 14
12
10
12 10 7 12
10 8
10 7
5
9
8
5
7
5
7
1
# œ E
3
B G D A
5
3
5
3
0
4
3
0
0
3
2
0
2
3
0
0
2
2
0
2
0
2
E
3
EXAMPLE13 STAGGERED/ALTERNATE PICKED 1 Again, this is alternate picked, but need not be. Working across E minor shape 1 in groups of six, this has a very Eric Johnson feel. We’ll combine this with some other positions later, but your aim is to get this sounding nice and even first.
3
#
b
3
œ
3 3
Staggered / Alternate Picked 1 E B
15 12
G D A E
1
15 12
14 12
15 12
14 12
14
3
3
14
E
3
16
14 12
12
3
3
D A
13
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14
12
14
12
14
12
14
12
14 15
12
3
3
etc
#
E B G
3
12
12 14 12
11
3
14
12
14
12
FAST { PENTATONIC LICKS EXAMPLES 1415
CD TRACKS 17-18
EXAMPLE14 STAGGERED/ALTERNATE PICKED 2 Combining shapes 1 and 2 of the E Minor Pentatonic, this idea has been used by playerslike Gary Mooreand Zakk Wylde. It’s far easier to perform these kind of stretches in this register than in open position, where it might be better to focus on different techniques.
# 3
E B
15 12
G D A E
1
3
3
Staggered / Alternate Picked 2
15 12 15
12 17 12
3
3
15 12 15
12
15
12
14
12 14
12 17 12
14
12
14
12
etc
3
# 3
E B G D A
3
3
3
14
3
3
12
14
12
12
14
16
3
12
14
12
3
12
14
16
12
14
E
14
12
15
3
12
EXAMPLE15 ECONOMY/SWEEP PICKED 1 This useful technique allows flurries of notes to be played in a relaxed way, without the ‘all guns blazing’ feel of
alternate picking. This example takes us across all six strings, but shorter bursts are equally effective.
3
3
3
3
E B G D A E
1
8
5
7
5
7
5
7
5
7
5
7
5
E B
8
G D A E
3
5
3
8
5
8
3
5
7
5
3
8
5
7
7
3
7
5
5
7
8
5
8
5
3
œ
3
5
7
5
etc
3
3
7
5
5
3
3
3
3
Economy / Sweep Picked 1
7
5
7
5
7
5
7
5
7
5
8
February 2018
17
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ON THE CD
EXAMPLES 1618
TRACKS 4-37
CD TRACKS 19-21
EXAMPLE16 ECONOMY/SWEEP PICKED 2 Combining this technique with stretches between shapes 1 and 2 can give results like thisflashy blues-rocklick. Getting the picking right may take a few tries; it can be counter-intuitive at first, but keep practising slowly and it wil come.
3
3
3
3
Economy / Sweep Picked 2 E B G D A
10 13
12
10
13 10
13 10
13
10
3
3
3
13 10
12
10
10 13
13 10
3
15 10
10
13
13 10
E
1
( )
12
D A
etc
Loco
b
3
10
13
10
13
12
10
3
3
3
3
E B G
3
10
13
10
13
10
10
12
13
9
12
10
12
E
3
EXAMPLE17 LEGATO 1 We’re combining shapes 1 and 2 again, though this time with a more legato feel. This can almost sound like sweep picking in some contexts, though it is equally effective as a static repeated phrase.
Loco
#
b n
# 3
3
3
3
3
3
3
3
Legato 1 E B G D A
17
15 17 19 17 15
12 15 17 15 12
15
15
12
15
17
15
12
14
12
14
15
14
12
E
1
# 3
3
3
3
E B G D A
12
14
14
16
14
12
12
14
E
14
16
14
12
14
3
EXAMPLE18 LEGATO 2 Adding lots of chromatic linking notes and avoidingpicking as we change strings on the descent across the strings, this example is particularly smooth sounding. It gives you an idea how some of those Vai/Satriani licks are created!
b n n
b 3
3
3
3
3
3
b 3
3
Legato 2 E B G D A
10
E
1
18
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10 12
13
10
12
13
12
10
13
10 11 13 11 10
12 10 11 12 11 10
12
FAST { PENTATONIC LICKS EXAMPLES 1820
CD TRACKS 21-23
EXAMPLE 18 ...CONTINUED
3
3
3
3
E B G D A
10
11
12
11
10
12
E
10
11
12
11
10
3
13
10
EXAMPLE 19 TAPPING 1 A simple, but effective pattern using the E
Minor Pentatonic to create a three-notes-per-string pattern. All the taps happen at the 19th fret, but it’s worth experimenting with others to create more harmonically complex patterns.
3
# Tapping 1
3
3
3
3
3
3 3
E B G D A E
12 15
1
12 14
12 14
12 14
12 14
12 14
12 14
12 15
3
3
#
œ
3
E B G D A
œ œ
3
12
12
14
12
14
12
15
15
15
12
15
12
14
14
12
14
14
E
12
14
3
EXAMPLE 20 TAPPING 2 Combining tapping, hammer-ons and legato techniques, this example hints at some of the many possibilities this scale-based approach can offer. It’s always worth running licks like this over a slow click to ensure full control of the timing.
Loco
3
3
3
3
3
Tapping 2 E
15 10 13 10
B G D A
3
3
3
L
13 10 15 10 13 10
12 10
L
14 10 12 10
L
12 10 15 10 12 10
E
1
3
12 10
3
3
3
. œ
œ
3
E B G D A
L 15
E
3
10
12
10
13
10
L 15
10
13
15
10
12
L 15
10
12
February 2018
19
PLAY } TECHNIQUE
ON THE CD
EXAMPLES 2123 MAJOR LICKS
TRACKS 4-37
CD TRACKS 24-26
EXAMPLE21 LINEAR/HORIZONTAL 1 Taking a three-notes-per-string approach, this example traverses the fretboard pretty much from end to end, staying within the five notes of the Major Pentatonic. We all know it needn’t stop there though...
Loco
# Linear / Horizontal 1 E B G D A E
5
1
7
7
9
9 12
9 11
14
11 14 16
14 17 19
16
19 21 17 19
19
17
17 19
14 17
16
14
14
EXAMPLE22 LINEAR/HORIZONTAL 2 Ramping up the speed, this legato idea moves through rapid position shifts, though it’s worth reiterating that this alone isn’t our goal. You will probably find short bursts most effective in a musical context. This example merely seeks to demonstrate in several positions.
# Linear / Horizontal 2 E B
19 21 19 17
G D A E
19 17
17 19 17 14
14 17 14 12
17 14
14 12
12 14 12 9
12 10
9 12 9
12 10
7 9 11
1
#
E B G D A
7
10
5
7
7
5
9
7
5
2
5
2
6
5
2
4
2
E
3
EXAMPLE23 STAGGERED/ALTERNATE PICKED 1 If you’ve ever heard Eric Johnson tearing through the Pentatonic shapes and wondered how he does it, this example should give you some clues. Though it’s demonstrated here using alternate picking, it can work with a more legato approach.
Loco
# Staggered / Alternate Picked 1 E
14 12 10
B G D A E
1
12
12 10
14 10
10
12 10
11
12 10
11 9
10 7
9 7
etc
# œ
œ
œ
œ
w
œ
E B G D A
9
E
3
20
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9
7
7
9
7
10
9
7
10
7
7
10
7
5
5
7
9 7
9
9 7
9 7
7
9 7
9
FAST { PENTATONIC LICKS EXAMPLES 2426 MAJOR LICKS
CD TRACKS 27-29
EXAMPLE24 STAGGERED/ALTERNATE PICKED 2 Shifting across shapes 5, 4 and 3 in groups of six notes, this exercise is great for developing comfortin position changes, though as you’ll hear, it’s also a lick in itself. Again, play slowly with a click before attempting it at speed.
3
3
# 3
3
3
3
E B
10 7
G D A E
1
10 7
9 7
7 5
10 7
9 7
3
3
3
Staggered / Alternate Picked 2
7 5
9 7
3
3
3
7 4
7 5
5 2 7 4
5 3
7 4
4 2
5 3
4 2
4 2
5
etc
EXAMPLE25 ECONOMY/SWEEP PICKED 1 Using the shape 2 Major Pentatonic, this unusual but very useful shape gives a nice combination of clearly defined picked notes, with smooth legato phrasing. Pay close attention to where the pick strokes change direction, is the key.
3
3
3
3
3
3
3
3
3
E B
12
G D A E
1
10 13
10 12 10
13 10
12
10
12 9
12
9 12
1013 10
12 9
12
9
3
3
Economy / Sweep Picked 1
12 10
12
3
10 12
9 12 9
12 10
12
10
12 10
etc
12
EXAMPLE26 ECONOMY/SWEEP PICKED 2 Though we traverse the whole scale here, playing the pattern in a more ‘staggered’ fashion allows for a longer run that is also easier to execute. As with any fast playing, be sure to consider whether it fits the mood – once you’ve cracked this stuff, it can be addictive!
3
# 3
3
3
3
Economy / Sweep Picked 2
3
E B G D A E
1
15
12 14
12
14 12 14
12
12 14
14 12
14
12 14
12
3
14 12 14
3
12 15
12
15 12
etc
Loco
3
# 3
E B G D A
12 15
3
15
3
3
3
3
3
12 15
12
12 14
15
11 14
14
12 14
12 14
14
12
14
12
14
14
14
3
12 15
E
February2018
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PLAY } TECHNIQUE
ON THE CD
EXAMPLES 2730 MAJOR LICKS
TRACKS 4-37
CD TRACK 30-33
EXAMPLE 27 LEGATO 1 Arranged in the higher register to facilitate stretches, this idea covers similar musical ground to major arpeggios,but without the need to sweep pick across the strings. Be sure to realise the potential of small groups of repeated notes as well as this bigger picture.
Loco
œ
œ
#
3
3
3
3
œ
w
3
3
3
3
3
3
3
3
Legato 1 E B
17
G D A
15 17 1 9 17 15
15
12 15 1 7 15 12 14
12 15 17 15 12
12 14 16 14 12 14
E
121416 14 1214
1214 161412
15
1
EXAMPLE 28 LEGATO 2 A lovely way to travel across multiple octaves at speed while staying completely melodic, this example makes cunning use of slides to shift position. It will take a while to get this under the fingers, but it is well worth the effort. Try it over B minor too!
Loco
3
# 3 3
Legato 2 E
12 14 12 10
B G D A
œ
3
3
3
12 10
11
9
7
9
11
9
7
3
3
9
7
9
E
7
œ
5
7
9
7
1
3
E B
5
E
7
9
5
5
3
3
G D A
7
j œ
3
#
5
7
7
9
10
11
12
10
12
14
12
3
EXAMPLE 29TAPPING 1 Using stretches and string skipping to articulatea major arpeggiostylerun, Nuno Bettencourt has used this idea a few times with great results. As ever, play through slowly and carefully, avoiding the temptation to rush before your fingers are completely certain where they should land.
L
Loco
3
3
3
3
œ 3
3
œ 3
œ 3
w
œ 3
3
3
3
Tapping 1 E B G D
L
15 8 1 2
17 1012
A E
1
17 9 12
17 9 12 17 10 12
L
15 8 12 15 12 8
15 8 10 12 10 8 17 8 10 12 10 8
17 9 12
L 15
EXAMPLE 30TAPPING 2 Taking a slightly simpler approachto a major, arpeggio-based idea, this example crosses thestringsuntil it lands on therootnote(D). Ideally, you will find yourself able to change to fit chords without too much trouble once you’ve familiarised yourself with the pattern.
# Tapping 2 E B
17 10 12 14 17 14 12 10
G D A E
1
22
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1 7 10 12 13 17 13 12 10
17 10 12 14 17 14 12 10
17 10 12 14 17 14 12 10
L 17
FAST { PENTATONIC LICKS EXAMPLE 31 MAJOR SOLO
CD TRACK 34
EXAMPLE 31 MAJORSOLO Like the minor solo, this is more about demonstrating licks in a more musical context than anything. It is pretty densely packed with ideas, so is not in any way meant to be an example of how to structure a tasteful, minimalist solo.You’ll recognise many of the exercises hidden away here. Enjoy!
©»¡¡¡
#
D
j œ
~~~
A
.
j œ
3
E B
10 12
G D A E
10 12
12
14
12 10
~~
3
~~~~ 12 10
~~
12
9
7
11 9
7
11 9
7
9
7
1
C
G
n
#
8
8
8
10
8
12
10 12 10
8
~~~ ~~~
3
3
E B G D A
3
8
12
10
8
10 12 10
8
9
7
9
7
10
E
3
B
b
#
C
n
n b
n
n
j œ
3
3
BU E B
10 13 10
G D A E
8
11
10
12
10
8
10
12
10
11
10
13
12
13 12 10
13
12
14
15
15 14 (15 )
5
( ) #
D
Loco
j œ
~~~ 6 6
BD
BU
BD
(14 ) 17 (19 )
E B
( 17 )
14
17
14
G D A E
7
17
D
15
16
14
17
15
~~~ 16
14
16
14
17
etc
A
# 6
E B G D A
17 14
6
6
6
14 17 14 14 17 14 14 17 14 12 17 15 17 17 15 17 17 15 17 17 15 17
6
17 12
15 14 15
6
6
12 17 12
15 14 15
12 17 12
15 14 15
6
12 17 12
15 14 15
12
E
9
etc February 2018
23
PLAY } TECHNIQUE
ON THE CD
TRACKS 4-37
EXAMPLE 31 MAJOR SOLO
CD TRACK 34
C
( ) #
G 6
6
6
E B
15 12
G D A E
6
6
6
6
6
12 15 12 12 15 12 12 15 12 12 15 13 15 15 13 15 15 13 15 15 13 15
15 12
10 12 15 12 12 15 12 12 15 12 14 12 14 14 12 14 14 12 14 14 12 14
11
( #
B
b
C
n
n
6
6 6
E B G D A
13 10
6
6
œ
6
6
6
10 13 10 10 13 10 10 13 10 10 13 11 13 13 11 13 13 11 13 13 11 13
12 1312 10
13 10
12 14 12 10
14 10 121412 10
E
1210
1210
1210
13
D
#
~~~
j œ
j œ
BU E B G D A E
12
15
12
14
G
#
14
12 1 4 16
15
17
j œ
n
15 14
15
15
14
j œ
BD
17 (19 )
(17 )
~~~
C
n
BU
BD
15 (17 )
15
1210
(15 ) 13 15
D
j œ
3
œ œj
3
~~~
PM E B
13 15 13 12
G D A E
10 12 10
8 10
12
10
8 10 8
7 8 7
9
7
~~~ 7 9
9
7
7 9
9
7
9
7
5 7 9
18
C
#
G
A
~~~
j œ
6
n œ 3 5
6
7
5
5
5 7
5
8
7
9
8
8
10 12
10
~~~
15
BU
17 (19 )
BD
( 17 ) 14
~~~
17
14
17 14
21
24
~~~
n
E B G D A E
February 2018
16
14 17 13
16 14
16
14
16
FAST { PENTATONIC LICKS EXAMPLE 31 MAJOR SOLO
Loco
#
CD TRACK 34
D
~~~ ~~~
PM
~~~
E B
~~~ 10
14
G D A
7 16
14
7 15
14
7
9
10
8
7
9
7
7
7
7
7
7
9
12
E
24
A
C
#
E B G D A
‰
10 9
L L
10 9
9
7 9
9
11
17
26
L
#
E B G D A
12
15
10
15
17
E
28
12
17
L 15
9
12 15 12
8 17 12
9
17
17 10 12
11
15
10
L L L L 15
15
10
15
9
15
7 15
10
15
9
15
D
U ~~~~~ 6
6
6
3
E B
12 30
8
12
8
#
A E
9
b
C
G D
L L 15
12
b
‰
8
8
10 14
B
L L L L
15
17 9
E
G
œ
n
12 10
Loco
3
10
8
10
12
15
12
10
8
12
14
17
14
12
10
12
14
L
17
~~~~~ 14
12
10 12 14 17
14
16
February 2018
25
PLAY } TECHNIQUE
ON THE CD
TRACKS 4-37
EXAMPLES 32 MINORSOLO
CD TRACK 36
EXAMPLE 32 MINOR SOLO This 32-bar solo encompasses many of the example licks (or parts of them) in a more musical context. It’s transcribedfully,but the main purpose of this solo is to make the exercises more accessible and perhaps give you some ideas to take away and use.
#
Em
©»¡¡º
C
~~~
j œ
‰ 3
BU 17 ( 19 )
E B G D A E
(17 ) 15
17
15 17
15 17 15
G
D
6
15 12
15 12 13 15 13 12
j œ
14 12
13 12
1 / 4
Em
~~~~
1 / 4
~~~~
14 /
14 12
14
14 12
12
14
15
12
12
C
1 / 4
12
15 (17 )
14
15
~~~
12
15
~~~
BD
BU 12
(14 ) 12
14 (16 )
12
14
14
12
5
G
D
6 6
# 6
~~~ œœ
6
Light PM 10 7
7
8
PM
7
9
7
8
7
~~~ 9
7
9
7
9
7
9
7
10
7
9
7
10 7
etc
Em
10 7
9
10
3
BU
9
15
12
14 (16 )
12 14
6
6
BU 12
12
12
15 12
15 (17 )
12
15 12
February 2018
12 14
j œ
j œ
12
10 12
9
C
#
26
12
j œ
BU
E B G D A E
etc
3
#
E B G D A E
17 15
œ
6
14 15 14 12
15 17 19 17 15
Loco
6
15 17 15 12
17 15 17
6
E B G D A E
15 17 15
1
( ) # E B G D A E
~~~
BD
6
6
15 12
15
12
15 12
14
12 15
12
15 12
FAST { PENTATONIC LICKS EXAMPLES 32 MINORSOLO
( ) #
CD TRACK 36
G
D Loco
6
E B G D A E
17 12
15
11
12
6
6
15 12
14
12 15
12
15 12
14 12
15
12
6
6
15 12
~~~
14
6
12 15 11
14 12
14
14
14
12
14 12
14
14
9
14 12 10 12
12 14
Em
~~~
C
j œ
#
6
6
BU E B G D A E
12
14 12
14
12
14
15 12
12
12 15
BD
12 15 17 17 (19 )
(17 ) 15 17 15
13
( ) #
G
6
6
17 15 17
j œ
Loc
6
15
etc
D
6
15 20 15
17 15 17
6
6
6
BU E B G D A E
19 15
17 15 17
15 17 15
17 15 17
14 15 14
15 14 15
14 17 14
15 14 15
12
15 12
15 12 15
12 14 12
15 12
14 12
15 12
14 12
15 (17 )
1412
15
Em
C
Bm
j œ
#
Am
j œ
w
3
3
To neck pickup BU E B G D A E
12
BD
14 (16 )
14
(14 ) 12 14
15
17
17
#
Em
C
~~~~~~
j œ
Bm
j œ
j œ
~~~
6
3
BU E B G D A E
16
17 (19 )
BD (17 ) 15
~~~~~~
17
3
BU BD BU 14 (15 )
(14 ) (15 )
~~~
œ
6
BD
(14 )
12
15 12
15 12
15 12
14 12
15 12
14 12
14 12
21
February 2018
27
PLAY } TECHNIQUE
ON THE CD
TRACKS 4-37
EXAMPLES 32 MINORSOLO
CD TRACK 36
Am
Em
Loco
#
~~~
j œ
C
j œ
~~~
3
6
3
~~~
~~~
E B
14 12
G D A E
14 12
12 10
12
10
11 12 14
12 15
12
12
15 ( 17 )
15 12
15
~~~
12 14 15
19
G
D
. ~~ 6
6
E B G D A
BU
9 14 12 14
24
( ) #
~~~
3
6
6
17 15 14 12 14 15 19 15 14 12 14 15 20 15 14 12 14 15 19 15 14 12 14 15
17 15 14 12
15
17 14 12
L
~~
15 17 15
E
27
( ) #
Em
C 6
6
œ
6 6
E B G D A
19
15
12
19
15
12
19
14
12
E
L 19
15
12
19
14
12
29
#
(
6
14
30
( ) #
14
12
19
14
12
6
œ
E B
19
19
19
G D A E
G
12
œ
L L L L 19
14
12
19
14
12
19
15
œ
œ
œ 14
19
14
12
19
14
œ
12
œ
œ 19
14
D
j œ
28
L
19 14 12
31
12
6
~~~~
12
19
Loco
‰
3 6
E B
14
6
œ G D A E
L
œ
February 2018
19 14 12
L L 19 14 12
19 15 12
BU
19 14 12
19 15 12
19 12 1 5 17 (19 )
~~~~~ 19
14
12
