The Three P's


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Washburnd Fretz
10-13-2007, 06:00 AM
*Disclaimer*....[Do not interpret this exercise as standard. Everything is
made up for the sake of viewing the scale in a different way.]



Sup Everybody...

Today i wanna talk about my three P's...

*Pentatonic Pair Practice*

The pentatonic scale is very simple but it can be the most amazing
thing you've ever heard if played the right way. Sometimes it can
get boring...so I would like to share one of my practice routines with
you all...

First of all...

How many of you have had a favorite song with a kickin solo that you
were dying to learn? You get to your favorite music store grab the book
and flip to the song you couldn't wait to see. You have every intention
on buying the book...only to get to the solo of that song ..and you think..

*What da heck!?...this is nothin but a bunch of 12's and 14's with an
occasional 15 thrown in.*

Well..thats the idea that i'm trying to get across. The Pentatonic scale has
a whole bunch of stuff going on in it. My goal is to help you look at it as a
bigger scale and possible a jump-off point to new compositional discoveries.

The routine I have thrown together is very unorthodox and unconventional..
but give it a chance and you will understand why I have done it this way.
The pentatonic scale has 5 notes normally...but in this exercise it has 12.
Octaves will not count. These exercises will make a jazz or blues inspired
sound. Good for improving. We will move around in 2-note voicings.

We are going to use A-minor Pentatonic.... 5th fret (conventional view)

E---a---d---g---b---e

5---5---5---5---5---5 <----------- this is law
|----|----|---|----|---|
|----7---7---7---|---|
8---|----|----|---8---8

now.....lets look at it as a 12 note scale


E---a---d---g---b---e

1-----2-----3----4----5-----6
|------|------|----|-----|------| <--------this is made up
|------7-----8----9----|------|
10----|------|----|----11---12

throwing away repetition gives you a better view of your options.

I like to play the scale in all 2-note voicing...you can play them as many times
as you line. I usually each pair in 2, 4-counts...here is your list. It's simple...
Start on a number as a root and it with every note adjacent to it.
note* (there will be a few big stretches)

1) 1+2....1+7

2) 2+1....2+3...2+8...2+10

3) 3+2...3+7....3+4.....3+9

4) 4+3...4+5...4+8....4+11

etc...

now you will start to see a bigger picture...i hope...

When you get used to playing the patterns try another exercise....

ex#2

bend every note at different steps...1/2...1whole...1 1/2 steps...
then...resolve it to a note adjacent to it.

The purpose of this exercise is to help you build a memory of correlations between
notes. You will find your own favorite patterns. This bank of correlations will help
you improv...because you will be able to make things up a split second before you
play them...things wont just "come out." The sounds of the same patterns will
become familiar...now when you stop for a bend...you will automatically know
what the next portion of your improv will sound like..according to what path
you decide to go to next...no matter what key you are in...as long as the next
note has the same spacing..you will know where your sound is going.

e-------------------8^--5
b--------------------------
g-----------5^-----------
d--------------7----------
a--5^--------------------
E-----8--------------------



ex#3

take 2 pairs and play a rhythm with them....keep the same rhythm and move
around to different pairs...

e-----------------5-5-----8-8
b-----------------5-5-----8-8
g------------------------------
d-5-5---7-7-----------------
a-5-5---7-7-----------------
E-----------------------------

next take the rhythm and add fills.....

e---------------------------5-5-----8-8
b---------------------------5-5-----8-8
g---------------------------------------
d-5-5---5h7p5---7-7-----------------
a-5-5-------------7-7-----------------
E----------------------------------------

as long as you keep the same time signature you dont even have to
follow the same exact rhythm...all you need is either the first 2note
phrasing or the last 2note phrasing in the same place....on every
measure....


e-----------------------------------------------------------8-5---------
b----------------------------------------------------------------8-5----
g------------------------------------------------------------------ -----
d-5-5----7-7------5-5---7-7-----------------7-7---5--------------7
a-5-5----7-7------5-5---7-7-------5h7p5--7-7---5--------------7
E------------------------------------------------------------------------


if you've tackled all this and you're still feeling up for another challenge...
incorporate some inversion type voicings...(mirror images)...as long as
the root note is in the scale...its fine

e--
b--
g--
d-5
a-7
E--

to

e--
b--
g--
d-5
a-3
E--


If you still wanna play with the scale some more...add this extended pattern
to your practice....
---------[ ]
----[ ]------
[ ]----------


E---a----d----g----b---e

5----5----|----|----|-----|
|-----|----|----|----|-----|
7----7----7---7----|-----|
|-----|----|----|----|-----|
|-----9---9---9----|------|
|-----|----|----|--10----10
|-----|----|---11---|-----|
|-----|----|----|---12---12
|-----|----|----|----|----13


I hope you can see how this flows...

A good example of this extension in action is on *Alice in Chains* Unplugged
The solo in the song *Angry Chair* starts off with a run down the extended
pentatonic....then it works its way back up the neck..then back down...It sounds
like pure genius when used well....In *Snowblind* by *Black Sabbath* you can
hear the same idea...only backwards...from high to low and back to high...

If you have Guitar Hero 2...or have time to check it out on youtube...the solo
on *Them Bones*...by *Alice in Chains* also uses a similar technique...you will
hear the slide drop to the extended part of the scale right after the power chords
stop...then the slide.....In *Snowblind* by *Black Sabbath* you can
hear the same idea...only backwards...from low on the neck..up and back down.
only slowed down with some dramatic bends..I like to compare these two songs
so you can hear the same idea..taken two totally different directions...

The solo on *Comfortably Numb* by *Pink Floyd* uses the same idea...compare these three solos and listen to how differently they speak musically.


Wah-Lah

Get to work....see ya at the open mic...

sTx
10-13-2007, 11:48 AM
You need to use [code] to make the tabs look pretty.

Tim_N
10-14-2007, 08:06 AM
push & pull pots? :haha