Pentatonic Patterns, in blues |
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Pentatonic Patterns, in blues |
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May 3 2011, 04:43 PM |
Playing blues can be difficult, but also very easy at the same time. Check out this new Laszlo's lesson on blues:
Classic Blues Patterns This lesson focuses on two pentatonic positions when playing blues. When you start playing blues, how far will you go on the neck using pentatonic positions? I usually start from position 1, and go from there. Do you insert some blues notes along the way? -------------------- - Ivan's Video Chat Lesson Notes HERE
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May 3 2011, 05:33 PM |
Great post Kristian, excellent thinking!
What do you people think? Do you try to find the most adequate sound for particular situation like Kristian, or you try with a different approach? Do you insert lots of blues notes? And on what positions do you use blues notes the most? This post has been edited by Ivan Milenkovic: May 3 2011, 05:34 PM -------------------- - Ivan's Video Chat Lesson Notes HERE
- Check out my GMC Profile and Lessons - (Please subscribe to my) YouTube Official Channel - Let's be connected through ! Facebook! :) |
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May 3 2011, 11:32 PM |
Kristian, you mentioned mixing major and minor pentatonic scales. Is there any particular way you like to combine them when playing blues?
Same question for others! When soloing the blues, what pentatonic patterns come to your mind, and how do you create a solo (starting from where, inserting what etc)? -------------------- - Ivan's Video Chat Lesson Notes HERE
- Check out my GMC Profile and Lessons - (Please subscribe to my) YouTube Official Channel - Let's be connected through ! Facebook! :) |
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May 4 2011, 09:26 AM |
I would really like to eventually extend my positions on the neck when playing blues however right now I feel limited to only a few places.
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May 4 2011, 12:40 PM |
Laszlo's new lesson presents an idea that I've been wanting to get into more of for quite awhile. Actually I first started thinking about it when Emir Hot did a collab called "Combining Licks into a Solo" back in February of 2010. The idea of "combining licks" to be precise. My process of learning to improvise has been to sort of design patterns, licks and notes on my own without really trying to figure out how to reuse them in a solo. Instead of reusing a library of licks, I've been working to get flexible enough to just play what I'm hearing in my mind. I think this has actually limited me to some extent. When I participated in Emir's collab, I realized that to learn a bunch of different licks and work on transposing them and even re-phrasing them to fit a different solo would be a good way to grow my vocabulary for improvisation. To be honest, I still haven't gotten around to learning licks and fitting them into solos. It might be a good time to start. To write a pentatonic solo, I commonly will first find a note in any position that fits the harmony, then identify the pentatonic scale that surrounds that note. From there I just noodle around on all the pentatonic scales in any given position that are in the desired key until I find something that seems cohesive enough for a complete solo. It would be cool to see a lesson that presents say five licks, and then two or three widely different backing tracks (different key, chord progression, tempo, etc.) all making use of those same licks. Got to get working on Laszlo's new lesson now! That's very interesting thinking James. I like your response a lot! If you don't mind me writing a bit on this subject, as I was in the same boat in the past. Perhaps this can help some of the members, while we are on the subject: The thing that can enable you to really incorporate any lick is to actually know the chords. What you are looking for is a way to use similar licks to different situations where you have different harmonic progression or tempo. One of the simpler solutions for this is to know the notes of chords. If you have Am in the backing, you have A, C and E notes that are strong notes. Licks should revolve around those notes in order to sound connected with the backing. If for example you go from Am to Dm, now the strong notes are: D, F and A. Now the focus should be on these notes. One of the main problems with this solution for me was to actually learn and memorize all these notes on the fretboard, I was a bit lazy in this area to be honest What helped me very much is printing out arpeggio patterns on pieces of paper for all 7 C major chords, and then I played them over chords, just jamming. The progress was visible in a week already (as soon as I started to invent licks on top of arpeggios). I would really like to eventually extend my positions on the neck when playing blues however right now I feel limited to only a few places. Very good goal. Expanding and learning new positions is excellent way to break out of limitations of one position! James mentioned usage of similar licks in different situations. What do you guys think: Can you use your favorite blues licks in various situations? In what way do you normally do that? -------------------- - Ivan's Video Chat Lesson Notes HERE
- Check out my GMC Profile and Lessons - (Please subscribe to my) YouTube Official Channel - Let's be connected through ! Facebook! :) |
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May 22 2011, 10:48 AM |
You are 100% right my friend Practice/jamming (which is fun) combined with some theory learning in parallel (which is useful), can produce excellent results for us! Nice conclusion is drawn out of the topic!
-------------------- - Ivan's Video Chat Lesson Notes HERE
- Check out my GMC Profile and Lessons - (Please subscribe to my) YouTube Official Channel - Let's be connected through ! Facebook! :) |
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