Our recent lessons have been devoted to various Pentatonic scales stemming from the root of Mixolydian. As all Pentatonics are five-note scales, it’s a question of leaving two notes out of the seven-note Mixolydian each time. So, if you leave the 4th and 6th notes of Mixolydian (1-2-3-4-5-6-b7), you get Dominant Pentatonic (1-2-3-5-b7), whereas, leave out 2nd and 6th and you get Indian Pentatonic(1-3-4, 5-b7).
This lesson is the first in a series where we look at how the root of various Pentatonic scales can stem from other notes of Mixolydian rather than the root. Let’s start with the 2nd. First, if we leave out the 3rd and b7th of A Mixolydian, we get a Bm Pentatonic:
A Mixolydian: A B (C#) D E F# (G) 1 2 (3) 4 5 6 (b7)
B Minor Pentatonic: B D E F# A 1 b3 4 5 b7
Secondly, if we leave out the 5th and b7th, we get a Bm9 arpeggio, which, because, it has five notes, also acts like a Pentatonic scale: A Mixolydian:
Esta historia es de la edición December 2019 de Guitar Techniques.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor ? Conectar
Esta historia es de la edición December 2019 de Guitar Techniques.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor? Conectar
THE MOODY BLUES
This month Stuart Ryan delves into the picking style of this British prog legend whose acoustic guitar has powered many a Moody Blues song.
WAYNE KRANTZ
This issue Nick Mellor provides an insight into this brilliant jazz stylist, focusing on his approach to improvising over static chords.
OPEN G TUNING
Open tunings are great fun and can help create exciting new ideas. Simon Barnard shows how to incorporate open G tuning into your playing.
RODRIGO GOUVEIA
Last month we featured Mateus Asato, and mentioned the importance of the neo-soul style in his playing. Here we turn to his fellow Brazilian, the master of neo-soul fusion.
MARK KNOPFLER
Our topic this month is a master craftsman as both guitar player and songwriter. His style is unique and his influence spreads far and wide.
U2
Martin Cooper checks out the chiming pedal delay tones of this stadium-filling band from Dublin, Ireland, and guitarist The Edge.
LUTHER ALLISON
It’s blues with a touch of soul this month, as David Gerrish explores the dynamic, expressive style of an often overlooked Chicago bluesman.
JOHANN KASPAR MERTZ Capriccio
This month Declan Zapala explores the music of Austria at the turn of the Romantic period with a fiery caprice to level up your fingers and unlock your inner virtuoso.
THE CROSSROADS Michael Landau
John Wheatcroft explores the playing of a session ace _ and blazing blues-rock maestro who graces the top-flight m band of singer-songwriting legend, James Taylor.
VIDEO MASTERCLASS Troy Redfern
This month GT welcomes this slide guitar virtuoso. If you've been wanting to take your slide playing to the next level then this is one's for you. With Jon Bishop.
