Advanced Pentatonic Lessons 31-35

 

Advanced Pentatonic Lesson 31

 

The more I worked with the Super-Imposed scale the more basic I wanted to make it.

One of the things I went back to was the “pattern” idea. Like how the Blues scale was first shown to me as dots on a fretboard diagram.

So, I started breaking it down more into patterns based off common/basic chords I was playing.

Two of these chords are what I call the E Position and A Position barre/movable chords. This way I could learn something in one spot that was movable to any of the chords using these formations.

The E Position chord is the basic barre chord that looks like an Open E Chord that has the lowest Root on the low E string. The A Position Chord is the basic barre chord that looks like an Open A Chord that has the lowest root on the A string. Hope that clears up my terminologies.

The image shows both of these types of chords so you can get a visual on them.

In this lesson I want to show you a couple of really basic patterns I came up with. These patterns are deadringers for a Dom7 chord. So, whether your playing a chord progression made up of all Major Chords, or Dom7 chords, OR just playing the V7 chord of a diatonic key…you’ll have a quick resource for some fresh ammo.

The patterns can also be moved along with each chord for your I-IV-V progressions.

The image shows the patterns based on the E Position and the A Position chords, and remember these patterns are movable with each of these types of chords. You can see how in the E Position example the higher notes on each strings of the pattern look just like the E Position barre chord. And the higher notes of each strings in the A Position example look very similar to the A Position chord itself.

This is to help you visualize new things based on basic chords most of you already know.

The audio shows you how you can take this pattern and move it with the same chord but at different roots, and areas on the fretboard. I show the basic example in the first tab. This corresponds to the first audio example played against a G barre chord at the 3rd fret. The tab does not move it along with the audio as the audio continues up to A, B, C, and D.

The last tab corresponds to the last lick played on the audio. It’s an idea using the pattern, but based off the C chord using an E Position formation. But, the thing that REALLY makes it work is that fact that ALL of the bends are bending into the note being played in the chord. This is a key thing to work on when using the Super-Imposed scale in general…to always know where the notes of your chord are within that big mess of notes. This is only a basic idea but very important. So you can use the Super-Imposed scale, along with these smaller patterns it contains to go as far outside as you want while always being able to land on your feet and calm the listener ;)

I didn’t do any examples in this lesson regard the A Position chord and pattern, but in the past few lessons we’ve already started to use it. And, in up coming lessons both the E and A Position ideas will be used. So, take it upon yourself to experiment with the A Position stuff.

This lesson was only to take that big mess of notes within the Super-Imposed scale and start showing you how you can break it down to some very simple, and usable, ideas.

Now, start experimenting with bends and slides in and out of the notes of these patterns and always remember where the chord tones are in relationship to everything.

 

Audio for Lesson 31

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Advanced Pentatonic Lesson 32

 

NOTE This lick is out of the C Super-Imposed scale, not the G. To play it in G, use the G (A position barre chord) at the 10th fret as a reference to figure out how you could move it to G.

This one starts out using little chromatic groups of notes that fit pretty much always over a dominant 7 chord. Then, it moves into a classic country bend riff (ala Ricky Skaggs, Vince Gill, etc…).

Try and lock the chromatic group of notes in your brain as they can be used a lot and in different orders to make up some pretty cool stuff. And visualize how they “look” in relation to the chord formation you’re already familiar with as reference.

For the bend lick…I suggest using your second finger alone to bend the note then your 3rd finger for the 8th fret of the B string, then your 1st finger for the 6th and 5th fret of the B string. The second finger just seems to be stronger and more solid for this type of lick where you’re holding a bent note and fretting other notes around it. At least it does for me, and from seeing others play this lick on TV and in concert it seems to be the norm for this common lick.

 

Audio for Lessons 32

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Advanced Pentatonic Lesson 33

 

NOTE This is in the C Super-Imposed scale, not G. To move it to G, use the G (A position) chord at the 10th fret as a reference.

What I’m doing here is combining those little chromatic groups of notes from the last lesson, and based on the A Position type C chord, with the dominant 7 arpeggio type lick from a previous lesson.

But yes, I do start with the arpeggio lick then move to the chromatic groups. I’m using a slide to connect the two with gives it its “twist” sound, since it slides up a fret and a half, then cascades down chromatically.

Try playing this one against a I-IV-V progression and moving it accordingly with the appropriate chord. In other words in the key of C, move it from C to F to G. That’ll get you movin’ along nicely, and it will sound very tight within each of the chords ;)

 

Audio for Lesson 33

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Advance Pentatonic Lesson 34

 

Ok, this one is going to be a fest!

It’s comprised of a bunch of Double-stops featured in the Super-Imposed scale. And, it moves the riff from chord to chord.

When I hear this one I hear the double-stops creating chords based in the notes in the double-stop and the notes in the appropriate chord.

This is the breakdown of the double-stop stacked on top of the chord. I’ll leave out the Root name of the chord so it’s a little more universal (X could equal G, C, or D or any other chord for that matter):

1st double-stop (low to high is the b7 and 5th played against X) = X7

2nd double-stop (low to high is the Root and 6/13 played against X) = Xadd6 or Xadd13

3rd double-stop (low to high is the M3 and Root played against X) = X

4th double-stop (low to high is the 11 and 9 played against X) = Xadd9/11

5th double-stop (low to high is the 5th and M3 played against X) = X

6th double-stop (low to high is the #11 and #9 played against X) = Xadd#9/#11

7th double-stop (low to high is the 11 and 9 played against X) = Xadd9/11

8th double-stop (low to high is the M3 and Root played against X) = X

9th double-stop (low to high is the Root and 6/13 played against X) = Xadd6 or Xadd13

10th double-stop (low to high is the b7 and 5th played against X) = X7

11th double-stop (low to high is the 5th and M3 played against X) = X

12th double-stop (low to high is the 11 and 9 played against X) = Xadd9/11

13th double-stop (low to high is the M3 and Root played against X) = X

I think I got that right. I chose the interval names I did based on X already having a Root, M3, and 5th in chord. But in reality, with the Boogie Woogie rhythm in the background, the 6 (or the 13) is being adding into the chord periodically. So, the chord names could even change further than what I’ve written out.

If you visualize the Super-Imposed scale you can see a gazillion double-stops all over the fretboard. So, experiment for sure beyond this smidgen that I’ve shown here.

Also, for the old-timers, this example is kind of a variation of the Bob Dylan song named “Rainy Day Woman #12 & 35” (what the hell does that name mean anyways?). Plus these are more than likely some moves I pick up learning some Chet Atkins stuff decades ago, plus all the country and rockabilly stuff I used to do.

Ok, now on to the double-stop/pull-off lick. There is nothing new here that isn’t in the first pass of the example. Although, I’m hitting the low note of the double-stop then the high note individually, then after hitting the high note I pull-off to the open string I was fretting on.

Then I move to the next double-stop, repeating the idea, and continuing on.

The open strings will fit in just about anywhere when using the Super-Imposed scale. There are just so many options with the Super-Imposed scale depending on what root you are playing it from.

I apologize for my sloppy playing on the pull-off thing, I should’ve probably went back and made it better. But, I was just trying “razz” things up in real-time to push the basics of this lick to the next level. I suggest you always try and push these licks to the next level by changing up and using hammer-ons, pull-offs, slides, adding open strings, combine the notes in different order…whatever you can do to make it keep sounding fresher and fresher the more you play it.

Have fun with this one.

 

Audio for Lesson 34

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Advance Pentatonic Lesson 35

 

After the whirlwind of Lesson 34…

This is a quick little lick/idea to get us in the mindset to using some simple Double-Stops in conjunction with moving them along the fretboard based on the E and A Position references. As we proceed we’ll see how this basic idea and reference can transform into some pretty slick licks in a few different styles.

The first and third lick of the example can be looked at in several ways…one being that they are centered around the E Position barre chord. Another being, that these are notes from the E Dorian scale specifically or generally from the E Super-Imposed scale. Another being, that these two licks are just standard tried and true Chuck Berry, Keith Richards, John Lennon, etc…issued licks.

The second lick of the example can be looked at a couple of different ways too. One being, that it is centered on an A Position E chord at the 7th fret. Another being that these notes are specifically from the E Mixolydian scale, or generally that they are from the E Super-Imposed scale. Either way this lick sounds more Major against the chord.

By playing this example you are crossing the boundaries of the Major and Minor sounds against an E chord, in one lick!

Move these little patterns around to other keys as we’ll be looking at a few ideas in E and in A in the next few lessons.

This lesson will be the basis for Lesson 36, where we’ll turn it into a hellacious full flavored lick!

 

Audio for Lesson 35

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