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Music Toyz.com Forum ! Music Toyz.com Forum ! Guitar Lesson and Technique Corner ! Smokin joe, Topic Closed|
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Celebrity |
Check out the " Scott Henderson " thread .
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Celebrity |
Here's a fairly easy way to add some spice to your minor pentatonic or blues scales: Simply substitute a major 6th for the b7th that usually falls within the scale.
For A minor pentatonic: Substitute F# (maj.6th) for G (b7th). The new scale looks like this: A (1) C (b3) D (4) E (5) F# (6) A (1) The somewhat aggressive sound of the pentatonic scale is mostly retained, but the major 6th lends a slightly "sweeter" sound. This substitution can also be effective over minor tonalities; The major 6th is one of my favorite slightly "outside" sounding intervals over minor. Another benefit is if you are playing a I-IV progression. If the I chord is A dominant 7 or A minor, and the IV chord is say, D9, your new substituted note (F#) will be the 3rd of the IV chord. The 3rd is the primary "target note" which implies a chord's harmony. No other interval (1,5,7,etc.) establishes harmonic identity as quickly as the 3rd. Another option would be to play the G over the I chord (b7 of A), and the F# over the IV chord (3rd of D). In other words, wail all over your favorite pentatonic licks; just change one note when moving from the I to the IV, in order to more convincingly outline the harmony of the chord changes. I'm not familiar with Smokin' Joe; This substitution within the blues scale is a pet harmonic device of Robben Ford, among others. |
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Junior Member |
use mixolidian mode...he use full time....pentatonic and mixolidian,,,,
i play some musics from bloodline!! fernandotmonteiro@yahoo.com |
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| <Laroosco>
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quote: Bloodline is exactly where I know him from! The solo from "Stone Cold Hearted" is great! Thanks, Lawrence D. |
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| <Laroosco>
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quote: AAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHH!!!!  Please excuse my ignorance, but being completely self taught and having no technical knowledge of music, I have NO idea what you are saying!!!!Thanks though Lawrence D. |
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Celebrity |
This is the only other way I know how to notate my original post in the digital realm that we work with here:
S = string F = fret * = note that has changed from the "usual" A minor pentatonic "box" shape S F - - 6 5 6 8 5 5 5 7 4 4 * 4 7 3 5 3 7 2 5 2 7 * 1 5 1 8 This is not, however, the mixolydian mode, as mentioned in the other post; That's a different beast... Just trying to clarify my original post, if possible... |
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| <Laroosco>
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Ah! Finally a language that I speak!!!
Thans a lot! Every bit helps!!! Lawrence D. |
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| <Laroosco>
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What about the Mixolydian mode? Could you write it down the same way to show how it applies in A?
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Celebrity |
S F
- - 6 5 6 7 5 4 5 5 5 7 4 4 4 5 * 4 7 3 4 3 6 3 7 2 5 2 7 2 8 * 1 5 * = G, or b7 of A. This is the only note that distinguishes the mixolydian mode from the major scale (a.k.a. ionian mode). The example I submitted is only one fingering possibility in one fingerboard position. Try to get the b7 interval "in your head". Getting any new fingerings down is half the battle. To really own it, you have to hear the interval. |
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Celebrity |
quote:I second that and I love Smokin' Joe! I mainly play pentatonic, but not being schooled I'm sure I mix in some other stuff that I don't know what it actually is - LOL |
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