Maj_Pentatonic.pdf

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FENDER PLAYERS CLUB MAJOR PENTATONIC SCALE
From the book:
Total Rock Guitar
A Complete Guide to Learning Rock Guitar
by Troy Stetina
#HL 695246. Book/CD $17.95 (US).
Read more. ..
AUDIO CLIP
AUDIO CLIP - Guitar Only
Major Pentatonic Scale
The major pentatonic scale is the major “parallel” of the minor pentatonic. Below, you’ll find
the D major scale followed by the D major pentatonic. Since the full diatonic scale has seven
tones, and all pentatonics have only five, two must be left out—the 4th and 7th.
D Major
D Major Pentatonic
3
5
7
9
12
3
5
7
9
12
scale
tones:
1
2
3
4
5
6
7
1
1
2
3
5
6
1
6
7
7
5
7
9
7
9
5
7
9
5
7
9
fingering: 1
2
4
1
2
4
1
2
1
1
3
1
3
1
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Below is the full two-octave D major pentatonic scale. The astute guitarist may notice the curious fact that
this happens to look a lot like the B minor pentatonic box 1 pattern. In fact, both scales share the same
notes, and as a result, we say they are related to one another. In regard to their sound, however, although
both are similar in the sense of being pentatonics (“angular” and somewhat more aggressive-sounding
than the diatonic versions), they are worlds apart. The major pentatonic is happy and bright, and finds
itself used in country, rockabilly, and bright rock sounds. The minor is dark and “bluesy” and is found in
rock, blues, hard rock, and metal. But enough background...the major pentatonic awaits! Play it!
D Major Pentatonic (Box 1)
D Major Pentatonic (w/ extension)
5
7
9
12
5
7
9
12
15
7 10
7 10
10 12
10 12
7 9
7 9 11
7 9
7 9
5 7 9
5 7 9
fingering:
1
3
3
1
3
1
3
1
3
1
3
1
3
3
1
3
1
3
3
1
3
1
3
Moving Riffs Through a Progression
Sometimes you will see a riff, which basically outlines one particular chord, move intact through a larger
chord progression. This is exactly what we saw back in lesson 6, for example (in the chorus of “Rockibillity”),
where a single-note rock ‘n’ roll comping figure moved through a I–IV–V blues progression. Below, that same
idea is applied using the major pentatonic scale with a I–bVII–IV progression. The main thing to be aware of
here is the relationship between the scale pattern and the barre chord that it outlines, sort of superimposed
together. That is, even though you aren’t actually playing the chords per se, you still see them “underneath.”
D
C
G
5
7 9
79 7
3
5 7
57 5
5 7 575 7
5
75 7
5
3
fingering:
1
3
3
1
3
1
1
3
3
1
3
1
1
3
3
1
3
1
3
1
3
1
3
1
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From the book:
Total Rock Guitar
A Complete Guide to Learning Rock Guitar
by Troy Stetina
#HL 695246. Book/CD $17.95 (US).
Read more. ..
AUDIO CLIP
AUDIO CLIP - Guitar Only
TUNE UP
Song Prep: “Southern Comfort”
This time we’re heading down South with a clean tone, à la the band with a first name of
Leonard (but spelled with a few “Y”s). Note the familiar Mixolydian progression and
prominent use of major pentatonics.
The solo brings up an interesting issue: Unlike the main Rhy. Fig. 1 lick underneath, which
utilizes different major pentatonics, the solo itself sticks with D major pentatonic
throughout. This works because the G (IV chord) and its associated major pentatonic lick
are both firmly within the overall key of D Mixolydian. Stay inside the key and you just can’t
go wrong. Notice also the picking approach. Basically, the format is alternating picking for
sixteenth notes (all eighth notes are downstroked). Whenever a sixteenth subdivision is
skipped, whether due to a hammer, pull, tie, etc., you skip its associated pick without
impacting the overall rhythmic motion—much like strumming. However, in the solo’s third
and fifth measures, this picking format gives way to a physically-dictated method, ruled not
by rhythm but rather by the location of the strings. This is a good example of picking as it
happens in real musical situations. No picking approach is ever “written in stone.” Always
feel free to bend the rules as you see fit, if it makes this easier for you.
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SOUTHERN COMFORT
A Chorus
Slow Rock = 88
N.C.(D)
Rhy. Fig. 1
(C) (G)
(D)
(C) (G)
(D)
suggested
picking:
sim.
7
9
7
5 5 79 797 9 3
5
5
7
9
9
3
5
7
5
5
3 3 357 575 7
5
3
3
3
5
7
7
suggested
fingering: 1
1
3
3
1
3
1
3
1
1
1
1
1
3
1
3
1
3
1
sim.
(C) (G)
(D)
(C) (G)
(D)
End Rhy. Fig. 1
5 5 79 797 9 3
3 3 357 575 7
5
5 5 79 797 9 3
5
5
5
3
3
5
7
5
7
5
7
1
1
1
3
1
1
3
1
1
3
1
B
N.C.(D)
Rhy. Fig. 2
Verse
(C)
(G)
(D)
(C)
(G)
End Rhy. Fig. 2
let ring
let ring
let ring
let ring
let ring
let ring
3
3
7
5
5
3
7
7
5
7
7
4
X
X
7
7
4
5
5
3
5
55
3
5
3
3
1
1
3
3
3
1
3
3
1
1
1
1
2
1
3
A Chorus
Gtr. 1: w/ Rhy. Fig. 1
B
Solo
Gtr. 1: w/ Rhy. Fig. 2, 2 times
Gtr. 2
w / slight d ist.
full full
full
full
7
7 (7)
7
7
7
9
9
9
(9)
(9) 7
7
9
3
1
1
1
1
1
Gtr. 1
(clean)
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full
full
full
full
full
7
7
7
7
7
10
10
10
7
10
12
10
12
10
9
9
9
9
9
2
1
2
1
2
1
2
1
2
1
3
3
3
1
3
3
3
3
3
full
full
full
10
10
10
10
10
10
10
10
10 12
12
12
(12) 10
10
10
12
12
12
12
3
3
1
3
1
3
1
3
1
1
1
1
1
full
full
full
10
12
10
10
12
10
10
11
11
11
9
9
9
9
(9)
1
3
1
2
1
3
1
2
1
2
2
2
A Chorus Outro
Gtr. 2 tacet
Gtr. 1: w/ Rhy. Fig. 1
N.C.(D)
(C)
(G)
(D)
5 5 79 7 9 7
9 3
3 3 357 575 7
5
(C)
(G)
Repeat & Fade
(D)
7
9 7
5
5
7 9
9
9
3
5
5
5
3
3
5 7
5 7
5 7
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