By Ken Volpe
This is Lesson #20 in a series on Guitar Improvisation. Last week in Lesson #19 we discussed Option 2 for improvising. This week we will begin to explore Option 3.
Option 3 involves using a separate scale for each chord.
A Major chord use Form 1 of F# Minor Pentatonic Scale
Form 1 of F# Minor Pentatonic starts from the 2nd fret
D Major chord use Form 1 of B Minor Pentatonic Scale
Form 1 of B Minor Pentatonic starts from the 7th fret
E Major chord use Form 1 of C# Minor Pentatonic Scale
Form 1 of C# Minor Pentatonic starts from the 9th fret
Let’s continue with our theme on how chord tones and scale tones mesh.
The A Major chord contains notes A, C#, E
All 3-chord tones exist in the F# Minor Pentatonic Scale.
There are 2 scale tones that are not in the chord. These notes are: F#, B
The D Major chord contains notes D, F#, A
All 3-chord tones exist in the B Minor Pentatonic Scale.
There are 2 scale tones that are not in the chord. These notes are: B, E
The E Major chord contains notes E, G#, B
All 3-chord tones exist in the C# Minor Pentatonic Scale.
There are 2 scale tones that are not in the chord. These notes are: C#, F#
The great thing about utilizing Option 3 is that you have a 60% chance of always landing on a chord tone when using the proper scale. The tricky part is that you have to switch to a different scale every time the chord changes. However, this keeps you on your toes by being more aware of what chords are being played. Many guitarists are famous for going into their own little world and not knowing where they are in the song. Therefore; playing Option 3 will help you not to fall into this trap. Once you get used to switching the scales, your ear will lock onto the matching chord tones. As this becomes second nature you will have more creative freedom to switch between chord tones and non-chord tones.
There is one more important concept that you need to be aware of. The root note of each of your movable Pentatonic Scales is not a chord tone. For example, I told you to play the F# Minor Pentatonic Scale with the A Major chord. As we mentioned before, the F# note is not present in the A Major chord. Obviously, this F# note is the root sound of the F# Minor Pentatonic Scale. This creates a possible issue for your ear, because when you are learning to improvise your ear tends to favor the sound of the root scale tone, in this case the F# note. To summarize, when using Option 3, the root of the given scale does not exist in the matching chord but each of the chord tones does exist in your given scale. I would suggest to be aware of the root notes whenever possible.
With Option 3, I am showing you an additional way of hearing things. This way can be considered more complex and creative, but at the same time more challenging for your ear to grasp. I believe that if you avoid bad habits early on and really focus on ear training, then this whole process will be more natural. We will get much deeper into this topic in future lessons. Don’t drive yourself crazy with trying to fully understand all of this theory. Learning theory is a step-by-step process that needs to be consistently reviewed and applied.
Lastly, I want you to continue your focus on chord playing. Play different chord voicings, use different rhythms, and rearrange the order of our suggested 3 chords. Having your rhythm tracks move along at a slower tempo is probably best for now. Don’t try to play too many notes or run the scales, try to hear what you are playing beforehand.
In next week’s lesson we will continue to explore Option 3. I’ll see you all at the next lesson.
Contact Ken: [email protected]
free pentatonic guitar
Posted by: rudy rushady | October 30, 2006 at 04:10 AM