Robert
Oranges and lemons, say the bells of St. Clements.
- Joined
- Sep 8, 2005
- Messages
- 12,699
- Reaction score
- 12
- City & State/Province
- Camrose, Alberta, Canada - used to be Umea Sweden.
Here's a little tip you might find useful. Let's say you are playing a blues in the key of A. You might be using the A minor Pentatonic scale a fair bit over the I chord, yes? Try moving that whole pattern 3 frets towards the guitar neck. Now you have a F# Minor Pentatonic, or you can also say it is an A Major Pentatonic (same thing).
If the blues starts 4 bars of A7, try play the first 2 bars with A Minor Pentatonic, and the next 2 bars with A Major Pentatonic (or F# Minor Pentatonic).
What do you think?
I tend to mix and mingle scales/arpeggios/triads in different ways to make interesting transitions from one chord to another.
You can take this approach further and experiment. As long as you land on the next chord with the right notes, it can sound very cool to be way out there just before that chord change. A lot of jazz cats use this approach, as you probably know.
Try it and let me know your thoughts.
If the blues starts 4 bars of A7, try play the first 2 bars with A Minor Pentatonic, and the next 2 bars with A Major Pentatonic (or F# Minor Pentatonic).
What do you think?
I tend to mix and mingle scales/arpeggios/triads in different ways to make interesting transitions from one chord to another.
You can take this approach further and experiment. As long as you land on the next chord with the right notes, it can sound very cool to be way out there just before that chord change. A lot of jazz cats use this approach, as you probably know.
Try it and let me know your thoughts.