Members gennation Posted January 1, 2008 Members Share Posted January 1, 2008 This is directly from my Advanced Pentatonic Tutorial, lesson 47 to be exact. It deals with some musical moves that apply to blues, jazz, and rock music using the Blues Scale and Major Pentatonic scale together to create "motif" lines that can be moved through a chord progression. --------------------------------------------- Advanced Pentatonic Lesson 47 This is the same lick as lesson 46, although it Link to comment Share on other sites More sharing options...
Members Puckman Posted January 2, 2008 Members Share Posted January 2, 2008 I thoroughly enjoyed that!:thu: Link to comment Share on other sites More sharing options...
Members gennation Posted January 2, 2008 Author Members Share Posted January 2, 2008 Cool. The lick in E is played a couple of times on it's own for reference then the full tab is played. All of those chord could/should really be "7" chords: E7, A7, and B7. So, you can consider each phrase a "Dominant 7" lick. If you take the notes of each lick and "re-phrase" them, you can create a ton of new licks that fit perfectly over Dominant 7 chords in almost all cases. The Root for each phrase is found on the lowest note on the high E string as well as the note played on the D string. So, understanding how this lick lines up with an "E Position" type chord will allow you move to any "7" type chord you'd run into. Link to comment Share on other sites More sharing options...
Members Puckman Posted January 2, 2008 Members Share Posted January 2, 2008 I did exactly that. Played it over a 12 bar blues in E (E7, A7, B7). Link to comment Share on other sites More sharing options...
Members gennation Posted January 2, 2008 Author Members Share Posted January 2, 2008 Using it as a lick for "just Dominant chords" try it over the intro to Couldn't Stand The Weather by SRV... || B7 | B7 | A7 | A7 | G7 | G7 | F#7#9 | F#7#9 || Play the lick I showed for the B7 chord, then move it down two frets for A7, then down two more for G7. There's a ton of uses for it, especially the group of notes for each chord. Link to comment Share on other sites More sharing options...
Members Puckman Posted January 2, 2008 Members Share Posted January 2, 2008 Yup! I can see that! Question: (beginner here, so bare with me)Looking at the pattern of the lick (in any key, but let me take A, for example)the 5 and 8 fret on strings 1 and 2 would be from the pentatonic scale. But what is the 7 that's being played on both those strings? Link to comment Share on other sites More sharing options...
Members wolfpackphd Posted January 2, 2008 Members Share Posted January 2, 2008 Yup! I can see that!Question: (beginner here, so bare with me)Looking at the pattern of the lick (in any key, but let me take A, for example)the 5 and 8 fret on strings 1 and 2 would be from the pentatonic scale. But what is the 7 that's being played on both those strings? Those are the sixth (string 2/fret 7 in A) and ninth (string 1/fret 7 in A), common additions to the pentatonic scale as used in rock and blues. Link to comment Share on other sites More sharing options...
Members Puckman Posted January 2, 2008 Members Share Posted January 2, 2008 Good to know! That's why I love this forum. I always pick up little tidbits like that. Link to comment Share on other sites More sharing options...
Members gennation Posted January 3, 2008 Author Members Share Posted January 3, 2008 Those are the sixth (string 2/fret 7 in A) and ninth (string 1/fret 7 in A), common additions to the pentatonic scale as used in rock and blues. Bingo! Those particular licks stem from combining a Major Pentatonic scale with a Minor Pentatonic lick. This combining scales idea is very common when playing over Dominant chords. The reason it works over the Dominant chords is because, first of all the Dominant chord is a Major chord, hence the reason the Major Pent works, this is where the 6th and 9th come from that wolf pointed out. But also a Dominant chord contains a Tri-Tone between the b7 and M3 (or vice versa too). So, this gives the chord an unstable sound that you can hang some tension on. That's where the Minor Pent/Blues comes into to play with the #9 note being a half step from the M3. Remember, this little lesson comes from a full blown tutorial at my lesson site covering the mixing of these scales in detail, through example: http://lessons.mikedodge.com/lessons/AdvPent/AvdPentTOC.htm Make sure you read the Introduction!!! Link to comment Share on other sites More sharing options...
Members DRPool Posted January 10, 2008 Members Share Posted January 10, 2008 Very helpful, thanks. Link to comment Share on other sites More sharing options...
Members gennation Posted January 10, 2008 Author Members Share Posted January 10, 2008 Very helpful, thanks.Hey, no problem. Check out week 2's mini lesson too Link to comment Share on other sites More sharing options...
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