Outside the BOx
MOOD SWINGS
Robin Henderson demonstrates how to alter the mood of your solos by swapping between Major and minor pentatonic scales…
Ex1. Practice A minor & Major pentatonic 1
Ex1. Practice A minor & Major pentatonic 1
When soloing over a blues tune you would normally select your scale by taking the root note of the most common chord in the sequence (often but not always the first chord). However, the standard 1-4-5 blues structure (1st, 4th & 5th chords of the key) isn’t always clear whether to use a Major or minor pentatonic as your lead base. Blues music traditionally follows a minor theme because it was originally deemed to be sad, however there’s nothing stopping you unleashing the Major pentatonic over a blues, swinging the mood to a happy, Country Rock feel. First, learn the Major and minor pentatonic scales, plus every Major keys relative minor. This will let you use your favourite minor position, even over a Major key. To locate it, simply move 3 frets lower from the Major root note on the low E string and play the 1st position minor pentatonic.
Ex1: Get familiar with shifting between the Minor and Major pentatonic shapes. This ascending A minor pentatonic changes to the A Major pentatonic shape on the descending sequence. Listen how the mood changes from minor blues to a happy, country rock feel. Spread your fingers across 4 frets and always use one finger per fret.
Ex2: Swapping between A minor and Major pentatonic scales, this time using the relative (F#) minor. Play one finger per fret and once at the top of the scale slide from the 5th to 2nd frets and descend the scale 3 frets lower, which will give you the Major pentatonic sound.
: 4 : 4
4 : 4
c c
4
Ex1. Practice A minor & Major pentatonic 1
Ex2. A minor & Major pentatonics using relative minor (F#m) 5
: 4A min pentatonic & &
: 4 B
c
Ex3. Jimmy Page country style lick in A Major (F# minor) 9
Ex3. Jimmy Page country style lick in A Major (F# minor) 9
A min pen&tatoni)c
Ex2. A minor & Major pentatonics using relative minor (F#m) 5
BDB BDBBB BBB B B &
BDB BDB B B &
& A min) pentatonic B
# &
# & # B ) ) B
BDB BDB B B B B B #
% %
#
% %
# &#
% %
# (# 13
Ex3. Jimmy Page country style lick in A Major (F# minor) 9
9
BDB BDQB B BDB B B BDBDB #
% # % % #
Ex4. Chuck Berry style lick merging the Major & minor pentatonic 13
Ex5. E minor blues lick merged with C# minor (E Major) Ex5. E minor blues lick merged with C# minor (E Major)
Ex4. Chuck Berry style l(ick merging the Major & minor pent(atonic ( '
Ex4. Chuck Berry style lick merging the Major & minor pentatonic 13
# %
' '
& &
full
& &
( # % # % # % ,%-
& &
& &
& &
& &
& &
& &
#
& &
& &
Major pentatonic
18 13
8
Robin Henderson has over ten years experience in teaching guitar and band coaching. His students have gone on to win national awards: XFM Rockschool 2005 and 2007, Vodafone Live Music Awards Best Live Unsigned Act 2007, Kerrademy Award Best Unsigned Band 2008. Realistic Rock Academy is based in
Epsom, Surrey and can be contacted on - 01372 740300,
www.realisticrock.com.
18 "& B?? "&
Ex5. E minor blues lick merged with C# minor (E Major) E minor pentatonic blues lick
18
B? B
"& "& "&
E minor pentatonic blues lick full "&
18 full full
? ?
60 3pickup Page 1/1
B @ B B
full "# full "& "& full
? ZZZ ?@ ?@
@ "# "#
ZZZ ZZZ B
B full "& full "& ?@ full B "# "%
? ZZZ ?@ B B B B B B B ?
"# "# "# "& "#
B B B B B B B ?
full "# "# "% "% "# full ? "# "# "# "& "# "# "# "& "# "% full BB
E minor pentatonic blues lick E minor pentatonic b&lues lick
BB
E minor pentatonic b&lues l(ick full
Ex5. E minor blues lick merged with C# minor (E Major) full
full full
"& "&
B? ZZZ ??@B @ B B B B B B B ??
full full
?@@ B
ZZZ ZZZ B
"# "#
L '
Ex5. E minor blues lick merged with C# minor (E Major) full
full
Ex5: This starts with a Hendrix style E-minor blues lick that shifts to E major using the relative minor (C sharp minor). This lick concludes with a country feel as the lick shifts to the E Major scale. "&
full full
"& "&
' &
"# "#
(
"% "%
& &
& &
"# "#
& &
"# "#
& &
& &
"# "#
& &
& &
"& "&
& &
"# "#
& &
& &
' full "%
"% '
B @?? ?
full & &
"# "#
"% "% full ? full full "% "% ( "%
"% ("% "%
"# (
"# "# "% "# &"%
"# "#
)
full * *
"" ""
& E Major pentatonic country lick
B @ B B B B B B B B B DB B B? B B B B B B B B B DB B
"# "% "% "% "# "# "% "# * E Major pentatonic country lick ""
@ @
"# "# "% "% "% "% "% "% "# "# "# "# "% "% "# "# * * "" ""
ZZZZ ZZZZ
* *
ZZZZ ZZZZ
* DB ""
DB? ""
full ? "" "# "# full
ZZZZ ZZZZ
B DBB B
Q DBZBBLZZ Q DB
Major pentatonic
B DB B
full ( (
B ?
full B full ( & @ B B B ?B B?B B B ? @ B DB B BB DBBB B B BBB BB
& &
B BB B B B BB B B BBB
BB
& &
BB BB
& &
BB
& &
BB DB
& &
'
B BDB B B BB BBB B BBB BB B DB B ?
B DB & B B B B? full
ZZZZZZZZ ZZZZZZZZB
ZZZZZZZZ ZZZZZZZZB
# % B? ( full B &
E Major pentatonic country lick ) E Major& pentatonic country lick
# %
Major pentatonic #
Ex4: A useful Chuck Berry style lick. Use down strokes to drive through the double stops on the thin strings. Swap to the minor pentatonic, swinging the mood from Major to a bluesy-sounding minor whilst still incorporating the double stops. # L%
% ,%-
BDB BDB B B Q DB
Q DB #
L %
L B B B? B DB?
B
% ,%- (
full
BB P BB
B
& &
BB
BB BBP B BB
& &
BB BB
BBDB BDBDB #
# BB % %
BDB BDB B B B B B? BB
# # % #
B DB #
%
BB DB %
& &
& &
% #
' '
% B
& &
%
B DB ? #
#
% ,%- (
( % ,%-
BB B BBBDB BDB #
% # % ,%- full
BBB P B BB P
& &
B
full full
full
& &
( (
B
( (
& &
B?? B?? BDB BDB B B B B B? ? @
ZZZZZZZZ ZZZZZZZZB
ZZZZZZZZ ZZZZZZZZB
# BB # B % #
ZZZZZZZZ ZZZZZZZZB
full full
& % &
# #
) )
B % # minor pentatonic(
) E Major& pentatonic country lick full
? @ ? @
B DB BB B (
* *
(
ZZZZ ZZZZ
ZZZZ ZZZZ
full full
? ?
& &
BB DB
& &
DBBB ??
full
) )
DB ""
""
) )
full
& &
"# "#
& &
B % # % ,%-
( (
minor pentatonic full
full
minor pentatonicfull full #
full %
? @ % # B
& &
full % ,%- full
B ??? BB B? BB
full
& &
& &
& &
BB Q BB
% % # % ,%- B BB
) )
& &
) )
BB
) )
& &
BB ?DBB
B L
%
& &
& &
% full
( (
( (
B B B BB DBB BBB
BB DBB B B
& &
( (
( (
"# "#
( (
& &
& &
"" ""
& &
full ?
,%- % full
& &
,%- % (#
& &
BB B B B @@??
full full
full "# "# "" full
B?B BDB B B BB? B
B BB full BB ( %
B B
(
* (
? B B B @ B ?
"# "# "" full ? "" @ * * B B #
& &
B DB B B ZBZZZZZZZ (
B & 1/4 ?
"" ""
* *
(
B DB BB B AZBZZZZZZZ &
ZZZZZZZ ZZZZZZZ
B DB B B B *
1/4 &
"" ""
* (
B B B? B DB B B B @
"" "" * * "" "" * Page 1/1
* DB B B B *
"" ""
ZZZZZZZ Page 1/1
*Page 1/1
ZZZZZZZ ZZZZZZZ
*Page 1/1
ZZZZZZZ ZZZZZZZ
? Z*ZZZZZZZ (
ZZZZZZZ ZZZZZZZ
# % % 1/4 ? # 1/%4 # 1/4 ( # ( ( B
Ex3. Jimmy Page country style lick in A Major (F# minor) 9
B BBB BBB PB B ? B
( & P
full full
% ,%- &
% ,%-
Ex4. Chuck Berry style lick merging the Major & minor pentatonic 13
Ex3. Jimmy Page country style lick in A Major (F# minor) (
4 Chuck Berry style lick m rging the Major & minor pentatonic &
& full (
Major pentatonic Major pentatonic
? full ? & ( ? ( BB P
& &
& &
B &
BDB BDB B B B B B B P B BDB BDB B B B B B (
B (
B B
& &
# #
% %
#
% %
&
B B
) ) )
BDB BDB B B B B B #
# #
% %
# #
& )
B B
& &
B B
) )
full full
% ,%- % ,%-
?
& &
& &
&
Ex2. A minor & Major pentatonics using relative minor (F#m) 5
Ex3: In A Major, this country rock lick is written 3 frets lower in the relative minor (F#m) and is inspired by Jimmy Page. In 16th notes, play a flurry of hammer-ons ascending the A & D strings. Once you hit the G string, use a quick up stroke back to the 4th fret D string and continue back to a hammer-on on the G string. Bend a full tone, hold up and play a bar using your 4th finger on the 5th fret top 2 strings.
cB & B
) )
B & & ( & ( & ( & ) & ) & & B PB DB
? B DB BB P
# # ( & (
A Maj pentatonic (F#min) #
B DB &
A Maj pentatonic (F#min)
DB #
#
B BDB BDB B B B B B &
DB %
B &
BDB BDB B B B B B #
# #
% %
#
% %
% %
# #
% %
#
# #
#
BDB BDB B BBBB BBB BBBB BQ BB DBBDBB #
%full #
minor pentatonic minor pentatonic
?
& &
%
full #
?
B L
%
BDB BDB B B B B B BB QDB %
# #
full full
BB Q% #
% ,%- %
% ,%-
& &
& &
# & ' %
B DB #
% ( %
B DB?? B DB ?? BB Q% %
B L
B L
B L
% B B
# #
full full
#
B B
# (
B DB &
# #
% ( & =
& &
B B BDB B B B BB B BDB
full full
,%- %DB #
,%- % &
B B B ?
B??
full &
# # # % #
# DB B B= &
#DB B B %
%
# #
% %
& % &
B ZZZZZZZZZ
# #
?? ZZZZZZZZ A
BBB B BDB BB B ZZZZZZZZ ,%- %
ZZZZZZZZZ A
B ZZZZZZZZZ
AA
ZZZZZZZZZ A
B ZZZZZZZZZ
#
ZZZZZZZZ ZZZZZZZZ
ZZZZZZZZ A
ZZZZZZZZZZZ &
ZZZZZZZZZZZ ZZZZZZZZZZZ
ZZZZZZZZZ A
ZZZZZZZZZZZZZZZZ =
ZZZZZZZZZ A
ZZZZZZZZZ A
B ZZZZZZZZZ
c 4 &
B B
B 4BB BBB B BB B BB B
& ) & min pentatonic
) ( (
B
& & ( &
B B
(
BBB BB B
& B
( (
& B
& ( &
B B
(
BBB B
& B
( (
&
B B B
( B ( B
& &
B
) )
B B
& B
& ) &
B
) )
min pentatonic min pentatonic
Ex1. Practice A minor & Major pentatonic 1
BB
Ex2. A minor & Major pentatonics using relative minor (F#m) 5
Ex2. A minor & Major pentatonics using relative minor (F#m) 5
Ex1. Practice A minor & Major pentatonic 1
B
& &
A min pentatonic A min pentatonic
min pentatonic BB & ) B
) )
B & B
( (
BB
min pentatonic &
B
& &
B
( (
B
& &
BB BB BB BB BB BB B
( (
BB
& &
B BB B
) )
BB B
& &
BBB BB B
B BBB DB DB
& A Maj pentatonic (F#mi(n) ) & B & B
B DB &
& #
A Maj# pentatonic (F#mi(n) &
) B &
B DB B
( &
B DB &
# #
B DB DB B DB
BB B
) )
BB B
& &
BB B
( (
Maj pentatonic Maj pentatonic
B DB B DB
&
Maj p&entatonic (
( B DB
A Maj& penta(tonic (F#min) Maj pentatonic
Maj pentatonic
B DB B DB
& &
B DB
' '
&
BB BB DBDB BB BDBDB BB B BDBDBB (
' B DB & B
% %
#
B DB '
B DB #
% %
% B %
B DB (
# % (
B DB %
% % (
B DB &
(
B DB %
B ( BB
% %
B
B DB B DB
B DB
( (
% %
B DB B DB
B DB
( (
% %
BB B
( (
= = =
& &
ZZZZZZZZZZZ ZZZZZZZZZZZ
ZZZZZZZZZZZ ZZZZZZZZZZZ
ZZZZZZZZZZZ ZZZZZZZZZZZ
== =
& = &
sponsored by
www.staggmusic.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68