#1
Hey UG.

How would I use a regular pentatonic shape to make a run for a solo? It's pretty much the only scale I feel confident enough to use to make a solo, so:

a) Should I try and find another scale to use? (If so, please recommend me one)
b) Not try and make a solo if this is the only scale I can use confidently
c) Just mess around and see what happens.

So yeah, please help ... Ima stuck.
R E G G A E
#2
Get your hands on Zakk Wylde's Pentatonic hardcore.. thatll help you alot or just study his solos and Jimmy Page's.. That should help quite a bit..

Go for the modes or at least minor, major scales..
and for god sake - Keep soloing!
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#3
mess around with differnet ideas all over the pentatonic scale, try it in loads of different keys too
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#4
well if you feel confident to use the pentatonic scale then use it. subsequently i would suggest learning other scale and also scale construction so you can start to solo outside the standard major/minor/mode scale boxes. i generally construct scales based on chord content of a song and they haven't failed me yet.
#5
It can pretty easy. Use legato to give you a chance to switch strings, make it interesting. Try playing in other places on the neck using the notes rather than just staying in a "box" shape.

Paul Gilbert style pentatonic runs are immense.
#6
Slash's runs in alot of his songs are really sweet. Dirty Little Thing has a sweet run too. And alot his awesome gnr solo's too.
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#7
u know David Gilmour never shreds in his solos but he does all those jazzy runs and phrasing, look the the Comfortably Numb solo and some of the runs in that, easy pentatonic that u can study from
#8
Natural minor is a sensible scale to learn after the minor pentatonic, as it's like the minor pentatonic with a minor 6th and major 2nd. If you're putting those into your pentatonic box shapes, it adds in some notes for runs so you can play three notes per string without stretching.
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Very good post Marmoseti, you're on the right track.



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#9
Something that I've been experimenting with recently is playing different pentatonic scales over the same chord progressions to get different sounds, rather than your normal minor pentatonic sound. For instance, playing over Cmaj7 or Cmaj chords, here's what I've discovered so far:

Cmaj7: C-E-G-B or Cmaj: C-E-G

Minor Pentatonic: (1-b3-4-5-b7)

Bm pentatonic: B-D-E-F#-A
In relation to C: (7-2-3-#4-6) [Lydian sound; simulates Cmaj13#11]

Am pentatonic: A-C-D-E-G
In relation to C: (6-1-2-3-5) [Simulates Cmaj13 over Cmaj7 or C6/9 chord over Cmaj]

Em pentatonic: E-G-A-B-D
In relation to C: (3-5-6-7-2) [simulates Cmaj13]

Dm pentatonic: D-F-G-A-C
In relation to C: (2-4-5-6-1) [Ionian/major sound over each of the chords]

Dominant Pentatonic: (1-2-3-5-b7)

G dom. pentatonic: G-A-B-D-F
In relation to C: (5-6-7-2-4)

D dom pentatonic: D-E-F#-A-C
In relation to C: (2-3-#4-6-1) [another Lydian-type scale; simulates Cmaj13#11 over Cmaj7 or C6/9#11 over Cmaj]

In the scales that don't have a C in them, you just have to add it every once in a while to let people know that you might have some idea of what you're actually playing. You should also experiment with other pentatonic scales to see what you can come up with. A scale will (usually) fit as long as you don't alter any of the notes in the chord that you're playing over. Try building the pentatonic scales from every note in teh chromatic scale. And make sure you don't limit yourself to major-type chords; try to find pentatonic scales to play over minor and dominant chords, too. Have fun with your experimentation. Remember that some people spend their entire careers using the pentatonic scales. Just because some people on the internet look down on guitarists who use just pentatonics, doesn't mean you have to move on. Get everything you possibly can out of them before you move on.
Last edited by titopuente at Feb 22, 2007,