Beginner Tuesday: Planes, Trains, & Pentatonic-mobiles Pt 1

Suddenly A Wild Major Scale Approaches:

Blues is a style of music that can be played in major and minor; today we will look at the (most famous) minor expression. However, how do we go from the major scale:

I-ii-iii-IV-V-vi-vii into the final expression: I-biii-IV-bIV-V-bvii-vii?

First, let us pretend that we come across a major scale in the wild and then we work on turning it minor:

I-ii-biii-IV-V-bvii-bvii

Pentatonic to Gin and Tonic:

Count the amount of notes on the current incarnation of the scale right now: its 7 notes (heptatonic). Lets prune out the ii and the bvii to form this:

I-biii-IV-V-bvi:

This is now what is known as the ubiquitous Penta(5)tonic(note) scale and for many, this becomes the final stop in the pursuit of the blues. However, this is just the skeleton or the blueprint of the house, the function of the space and the rest will be expanding on this to represent the decorations and appliances of the house which makes it livable.

Can we start to play blues from here? Yes, but I want to give you a little more before we talk about using the pentatonic for playing blues.Now that we have established a building, lets turn that building into 2 stations between 2 octaves and a train to shuttle between them:

 

So now we have two stations and a train, this is one of many ways to attack this scale pattern and we will be adding more to it soon. 

Here is a practice riff to help navigate this concept:

Passing Tones

If you look at the intervals of the scale, you’ll notice that there are spaces in between each notes that sometimes skip the original formation of the minor scale. Let’s fill in some of those gaps :

This is now what we could refer to as the “blues scale” because of the addition of passing tones ( filled in notes ) or blue notes.

So now there you have it, the evolution of the major scale to the blues scale, but what about a  practice lick using the staions concept:

Let’s concentrate on these passing tones, if we start on one these using the station 1-train-station 2 formula your playing will sound a little more rich and “real”.

This isn’t the end-all of blues scale playing but it is a good start into thinking outside the box and attempting to try a more “alive sound” with your guitar. Practice some more and make your own combinations out of this lesson.

PT 2 is here 

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Top 5 Thursday: 5 Exotic And Unique Scales For You To Marinate on

 

Hirajoshi Scale 

     A tuning scale for the Japanese koto by way of the shamisen, this scale revolutionized the koto in Japan by the Andres Segovia of koto :  Yatsuhashi Kengyō.

Metal and Jazz players have used this scale extensively.

Enigmatic Scale

     Invented by the great composer Verdi, he whipped this up on a public challenge.

Spanish Gypsy

Another name for the Phrygian dominant

Whole Tone Scale 

A great transition scale especially over a dominant chord like the G7 that is implied here.

Augmented Scale 

This is a great way to dip in and out of a blues scale when the V chord is invoked and whenever you can fit it in.

Take these scales and applications and see what you can create with them!

Beginner Tuesdays: What To Practice- Chord Changes, Arpeggios, and Power Chords.

Practice is something that I’m asked about all the time and I understand why… ractice is action and asking is procrastination. Especially as a beginner, you need to execute;  ACTION! Pull the trigger! That means sitting down and do, act and throw yourself in the process.

Some guys like to just play or jam around with other guys and never sit down and practice. They still get better, but why? Because they ARE practicing, its all about action. Playing over other songs, playing along with other songs, and just doing something active on the guitar gives you enough repetition to make it a productive practice for the day. However, what if we combined both a timed practice discipline with applied science on the guitar?  We would have some great routines that I will share with you now.

Please Please Me By The Beatles for a great chord change workout:

Q Q Q Q Q Q Q Q H  E E E E E E
|-0-0-0-0-0-0-0-0-0–3-3-0-0-2-2—-|
|-0-0-0-0-0-0-0-2-0–0-0-2-2-0-0—-|
|-1-1-1-1-1-1-1-2-1–0-0-2-2-2-2—-|
|-2-2-2-2-2-2-2-2-2–0-0-2-2-1-1—-|
|-2-2-2-2-2-2-2-0-2–2-2-0-0-2-2—-|
|-0-0-0-0-0-0-0—0–3-3—————-|

We hang on the E for a bit and then A-E, but then we hit 2 fast strikes per a chord with the G-A-B7. This is a great practice to work out your fast chord changes ( and I hope your working those out ). Fast chord changes strengthen your hands and in my humble opinion; make faster fingers for leads and solos.

Power Chord training with Fuck Authority by Pennywise

This fast and brutal power chord progression is a great fit for a beginner trying to get their left hand chops up a notch:

Here is the intro

e|---------------------------------------------------------------|
B|---------------------------------------------------------------|
G|---------------------------------------------------------------|
D|---------------533-333-333-332-------------5--------88-101010--|
A|--55-555-555-55311-111-111-11033-333-333-33355-5555-66--8-8-8--|
E|--33-333-333-33---------------11-111-111-11-33-3333------------|

Find Your Arpeggio Tri Force In The Underworld

Arpeggios simply speaking is a picked out chord played in some succession. This can be achieved with a pick, fingers, or (my personal favorite) hybrid picking. Try this one on for size for a good arpeggio workout and a nice dark diminished run at the end.

Drop D Tuning

     S S S S S S S S S S S S S S S S    S S S S S S S S S S S S S S S S
E||----------3-----------------------|--------------------------2-------|
B||------3-------3-------3-------3---|------2-------2-------2-------2---|
G||----3---3---3---3---3---3---3---3-|----2---2---2---2---2---2---2---2-|
D||--------------------------0-------|----------------------------------|
A||------------------1---------------|--4-------------------------------|
D||--5-------------------------------|----------4-------4---------------|

  S S S S S S S S S S S S S S S S    S S S S S S S S S S S S S S S S
----------1-----------------------|--------------------------0-------|
------1-------1-------------------|------1-------1-------1-------1---|
----1---1---1---1-----5-------5---|----0---0---0---0---0---0---0---0-|
--------------------6---6---6---6-|----------------------------------|
--------------------------4-------|--3-------------------------------|
--3---------------6---------------|----------2-------2---------------|

  S S S S S S S S S S S S S S S S    S S S S S S S S S S S S S S S S
----------------------------------|----------------------------------|
------1---3---1-------1-------1---|------1---3---1-------1-------1---|
----0---0---0---0---0---0---0---0-|----0---0---0---0---0---0---0---0-|
------------------1-------0-------|------------------0---------------|
----------------------------------|--------------------------4-------|
--1-------------------------------|--0-------------------------------|

  S S S S S S S S S S S S S S S S    S S S S S S S S S S S S S S  E
----------------------------------|------------------2---2-5-2-5s-8---||
----------------------------------|------1---1-4-1-4---4--------------||
--------------------------------2-|----2---2-------------------------*||
----------------1-----1-4---1-4---|--4-------------------------------*||
------0-3---0-3---0-3-----3-------|-----------------------------------||
--0-4-----4-----------------------|-----------------------------------||

Thank you to Justin Lincoln for the tab

This should hold you over till the next beginner lesson where we will discuss proven and successful practice strategies.

~Jonathan Hayes