Technique X - Pentatonic Scales; Dissonant II - V - I

Like last month’s technical exercise, this month’s uses the pentatonic ideas I’ve been developing over the course of the last many months in the harmonic context of a II-V-I. What is different about this exercise is that the pentatonic scales used sound largely dissonant against the chords of the progression. Additionally, I am switching between pentatonic scales in an asynchronous way, relative to the harmonic rhythm of the chord progression.

Over the II chord, which I am hearing as a ‘minor’ or half-diminished II chord, I am playing a pentatonic scale whose root is a tritone away from the root of the II chord. This produces the third, fifth, and seventh of the chord and adds the ♭9th and ♭13th.

Over the V chord I am switching between a pentatonic scale built on the root of the chord and one built a tritone away from the root of the chord—in this case, C and then F# pentatonic. Heard against a C7 chord, the F# pentatonic scale produces ‘altered’ extensions, the ♭9, ♯9, ♯11, ♭13 in addition to the chordal seventh.

Over the I chord I am using pentatonic scales built a perfect fifth and major second from the root of the chord—in this case C and G pentatonic against an Fmajor7 chord. These scales produce lydian inflected extensions, especially the G pentatonic which produces the 9, ♯11, and 13 in addition to the chordal third and seventh.

You can download the PDF for these exercise here and view my performance of them here.

Technique IX - Pentatonic Scales; Consonant II - V - I

The technical exercise for this month situates the pentatonic ideas explored over the last several months in a particular harmonic context, a II-V-I progression. There are no rules for this particular exercise but I tried to make the connection between these example melodies and the preceding exercises as linear as possible.

Over the II chord I am playing a pentatonic scale built on that chords seventh. In the picture above and the attached PDF, this looks like playing a C pentatonic scale against or over a Dm7 chord. This combination excludes the II chords third but includes its 7th, 9th, and 11th in addition to its root and fifth.

Over the V chord I am playing a pentatonic scale also built on that chords seventh. In this specific case, I am playing an F pentatonic scale over a G7 chord. Like the II chord, this combination excludes the V7’s third but includes a 7th, 9th, and 11th in addition to the chordal root and fifth.

Lastly, over the I chord I am playing a pentatonic scale built on that chords fifth—in this example, a G pentatonic scale over a Cmaj7 chord. This combination omits the root of the I chord but includes its 7th, 9th, and 13th in addition to the chords third and fifth.

You can watch me play through these examples on my instagram page.

Technique VIII - Pentatonic Scales; Ascending Key/Descending Melody

This month’s technical exercise is the reverse of last month’s. Rather than modulating by a descending half-step, I am doing so by an ascending half-step. This exercise works best if you start at the top of the fretboard and gradually descend. The fretboard patterns are more varied and unpredictable.

The rules for this exercise are:

1. Using three notes per string, play a D♭ major pentatonic scale starting on the highest available note on the guitar’s first string or the highest sounding string of any set of three adjacent strings.

2. When you switch strings, repeat the last note of the previous string (D♭-B♭-A♭, switch strings, A♭-F-E♭).

3. Every three strings change direction and modulate to a pentatonic scale one semitone higher (the first modulation will be from D♭ to D pentatonic).

4. When you exhaust the strings of the guitar in one direction, add one more note on that string in the direction you want to travel along the fretboard.

This and last month’s exercises are a bit difficult to hold only in one’s imagination. For reference, you can download a transcription of the exercise here and view my performance of it here.

Technique VII - Pentatonic Scales; Descending Key/Ascending Melody

Over the last several months, many of my technical exercises have alternated between two pentatonic scales that have no common tones. While I varied which two scales I was alternating between, I was still always alternating between just two keys. This month’s technical exercise, like the exercise from January, switches directions every three strings. Rather than coordinate this change of direction with a switch between one of two scales, it is coordinated with a ‘modulation’ down a semitone. Instead of switching between two scales, I am constantly cycling through twelve.

The rules for this exercise are:

1. Using three notes per string, play a G major pentatonic scale starting on the guitar’s third string or the lowest sounding string of any set of three adjacent strings.

2. When you switch strings, repeat the last note of the previous string (G-A-B, switch strings, B-D-E)

3. Every three strings change direction and modulate to a pentatonic scale one semitone lower (the first modulation will be from G to F# pentatonic).

4. When you exhaust the strings of the guitar in one direction, add one more note on that string in the direction you want to travel along the fretboard.

This exercise works best when moving up through the fretboard as the fretboard patterns so created are more varied and unpredictable. You can try this exercise with just the rules above or you can play through my transcription of it, available here. You can also watch me play it here.

Technique VI - Pentatonic Scales; Alternate E/B♭ Major - Two Strings

This month’s technical exercise further restricts the use of guitar strings, from three to only two. I mentioned last month that ‘turning around’ on a string is the most demanding part of these exercises for my right hand. Well, by restricting myself to playing on only two strings, I am forcing myself to ‘turn around’ on every string I play.

Playing one pair of strings at a time also considerably shortens the exercise and so my performance, which you can view here, and transcription, which you can download here, include examples starting on a few different strings.

The rules for this exercise are:

1. Using three notes per string, play an E pentatonic scale starting on the guitar’s second string or the lowest sounding string of any pair of adjacent strings.

2. When you switch strings, repeat the last note of the previous string (B-C♯-E, switch strings, E-F♯-G♯).

3. Every two strings switch to the pentatonic scale a tritone away and change direction (the first switch will be from E to B♭ pentatonic).

4. When you exhaust the strings of the guitar in one direction, add one more note on that string in the direction you want to travel along the fretboard.

Technique V - Pentatonic Scales; Alternate G/D♭ Major - Three Strings

Over the last few months, my technical exercises have used all six strings and the entire range of the fretboard. This month, I have decided to restrict my use of strings. As before, I am alternating between pentatonic scales separated by a tritone. What is different is that I am switching direction every three strings.

This means there is less time between ‘turning around’—playing six notes on one string in order to switch scales and direction. This is probably the most technically challenging moment of the exercise as I have to subtly change the orientation of my right hand based on the direction I am picking. Even though I am ‘economy’ picking these exercises, I still find a slight slant in the direction I am picking helps. This is the adjustment I have to focus on when ‘turning around’ on one string.

The rules for this exercise are:

1. Using three notes per string, play a G major pentatonic scale starting on the guitar’s third string or the lowest sounding string of any set of three adjacent strings.

2. When you switch strings, repeat the last note of the previous string (G-A-B, switch strings, B-D-E).

3. Every three strings switch to the pentatonic scale a tritone away and change direction.

4. When you exhaust the strings of the guitar in one direction, add one more note on that string in the direction you want to travel along the fretboard.

A transcription of this exercise is available here and you can watch my performance of it here.

Technique IV - Pentatonic Scales; Alternate F/E Major Every 2 Strings

In previous technical exercises I alternated between pentatonic scales a tritone apart. My stated reason was that such scales held no common tones. Acknowledging that pentatonic scales separated by a semitone also have no common tones, I stated that my reason for avoiding scales related this way was because the fretboard patterns created by their alternation were too similar. Well, this month’s exercise does alternate between pentatonic scales separated by a semitone but in such a way that the fretboard patterns which result are more interesting, varied, and—most importantly—difficult to predict.

Rather than switch scales every three strings, this exercise switches between scales every two strings. Since the guitar’s strings produce three pairs of adjacent strings and I am alternating between two scales, the sequence of scales is different on the ascent than on the descent. For example, this particular exercise ascends F-E-F pentatonic and descends E-F-E

The rules, as usual, are:

1. Using three notes per string, play an F major pentatonic scale starting on the lowest available note in the scale found on the guitar.

2. When you switch strings, repeat the last note of the previous string (F-G-A, switch strings, A-C-D).

3. Every two strings switch to the pentatonic scale a semitone away. The first switch will be from F to E pentatonic.

4. When you exhaust the strings of the guitar in one direction, add one more note on that string in the direction you want to travel along the fretboard.

A transcription of this exercise is available here and you can watch my performance of it here.

Technique III - Pentatonic Scales; Alternate E♭/A Major Every 3 Strings

The technique exercise for this month is the same as last month’s expect that now, instead of switching scales every six strings, I switch every three strings. I have again chosen scales a tritone apart which means that when you switch strings into a new scale, the first note you play will not be the same as the last note you played on the previous string—which is the rule for switching strings within the same scale. The rules for this exercise are:

1. Using three notes per string, play an Eb major pentatonic scale starting on the lowest available note in the scale found on the guitar (F on the low E string).

2. When you switch strings, repeat the last note of the previous string (F-G-B♭, switch strings, B♭-C-E).

3. Every three strings switch to the pentatonic scale a tritone away. The first switch will be from Eb to A pentatonic.

4. When you exhaust the strings of the guitar in one direction, add one more note on that string in the direction you want to travel along the fretboard and reverse direction.

A transcription of this exercise is available here and you can watch my performance of it here.

Technique II - Pentatonic Scales; C Major up - F♯ Major Down

This month’s technique exercise varies last month’s by changing the scale every time the direction of the melody changes. On the ascent, play C pentatonic and on the way down, F#. Why these two keys? They have no common tones. Of course, pentatonic scales a semi-tone apart also have no common tones. So why not ascend C pentatonic and come down Db? Since these two keys are a semitone apart, the physical pattern created on the fretboard on the ascent would repeat on the descent only one fret higher. When one alternates between C and F# pentatonic, or any two pentatonic scales separated by a tritone, the fretboard pattern will be different on the ascent than on the descent. I don’t like to create habits based on shapes and patterns and so I prefer this latter option.

As I mentioned last month, these exercises are based on a set of constraints and rules. The rules for this month’s exercise are:

1. Using three notes per string, play a C major pentatonic scale starting on the lowest available note in the scale found on the guitar (the low E string).

2. When you switch strings, repeat the last note of the previous string (E-G-A, switch strings, A-C-D).

3. When you exhaust the strings of the guitar switch to an F# major pentatonic scale and change direction. To continue this pattern all the way up and down the fretboard you could generalize the rule as follows: when you exhaust the strings of the guitar in one direction, add one more note on that string in the direction you want to travel along the fretboard.

Because the rules of this exercise are a little more complicated than the last one, it may be helpful to refer to my transcription. You can watch me play it here.

Technique I - Pentatonic Scales, Three Notes Per String

As with other aspects of my playing, I often find it helpful to practice using a set of rules or constraints. These rules force me to visual the fretboard in unexpected ways and help me break out of well-worn habits. This exercise involves the following rules:

1. Using three notes per string, play a C major pentatonic scale starting on the lowest available note in the scale found on the guitar (the low E string).

2. When you switch strings, repeat the last note of the previous string (C-D-E, switch strings, E-G-A).

3. When you get to the first string, add one note and come back down through the scale, still playing three notes per string. To continue this pattern all the way up and down the fretboard you could generalize the rule as follows: when you exhaust the strings of the guitar in one direction, add one more note on that string in the direction you want to travel along the fretboard.

Obviously such an exercise does as much to help develop one’s knowledge of the fretboard as it does technique but it is worth mentioning that, for me, this exercise helps my left hand technique by forcing me to span large intervals on one string. I play this using an ‘economy’ picking motion which makes the three notes per string pattern easier to execute. To develop this kind of picking, practice the exercise at a variety of speeds and with a variety of accent patterns. While you can accomplish the exercise in its entirety with only the rules listed above, you can find the exercise notated in full here. You can watch me play it here.