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Mastery of the pentatonic scale is an essential skill for any serious guitarist. But relying on simple major and minor pentatonic scales can get old fast. In this exciting course, veteran guitarist Jeff Marshall uses simple techniques to take your usage of pentatonic scales to the next level. If you're looking to expand your knowledge of music theory and learn some incredible new lead and solo ideas, this course is perfect for you.
Complete course with step-by-step lessons and practice examples.
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Jeff Marshall will highlight innovative ways to use the pentatonic scales that you're already familiar with. He'll break down concepts like root alteration, diminished and minor b5 pentatonics, and more. Each lesson will begin with the teaching of the concept at hand, followed by a practice session that will help you learn to apply the concept in a musical context.
Join Jeff Marshall in this intensive new course that will take your knowledge of pentatonic scales to the next level.
Before we can get into complex pentatonic substitutions, let's start with some simple phrases, sequences, and patterns based on our classic minor pentatonic.
We take a look at using different minor pentatonic shapes to create a modal sound over a minor root chord.
Building on the previous lesson, we learn to apply minor pentatonic shapes over a major chord.
We dive deeper into different pentatonic shapes and their relation to the CAGED system.
Using simple pentatonic substitution, we learn how to get some very complex and modern sounds when playing over a simple 2-5-1 turnaround.
We learn a simple variation on the minor pentatonic shape to give us even more tonal possibilities.
By simply moving the root of our pentatonic scale by a whole note, we can achieve unique and complex sounds quickly and easily.
We take the concept of the previous lesson and apply it in a different context by moving our pentatonic scale around in half-note increments.
We learn another simple pentatonic variation, this time focusing on outlining the dominant or Mixolydian scale.
By moving our dominant pentatonic shape over our root chord, we can lend a hip and modern Lydian sound to our playing.
We discuss how to imply the sound of the 5 chord using a substituted pentatonic scale.
By flatting the fifth of our minor pentatonic, we can achieve a hip diminished sound that's ideal for bluesy soloing.
We learn another cool use case for our minor b5 pentatonic - creating a unique dominant sound when used over a major chord.
We combine several different pentatonic substitution strategies to create a hip and modern sound when playing over a 2-5-1 turnaround.
We use the minor b5 pentatonic to achieve a Lydian sound.
We continue to explore the versatility of the minor b5 pentatonic, this time by using it to achieve a Dorian minor sound.
We find yet another application for the minor b5 pentatonic, this time using to imply an altered sound over a 2-5-1.
We learn a hip 'bebop' pentatonic shape that gives our playing a funky and unique sound.
Our next pentatonic scale is based on the diminished scale. We learn the shape and compare and contrast it to the full scale.
We use our diminished pentatonic to imply a 5 chord over a static vamp, while also practicing our phrasing.
By simply moving our diminished pentatonic, we can achieve a unique and hip sound that pushes the ear in interesting ways.
We learn a new pentatonic sequence based on the whole-tone scale.
We use the whole-tone pentatonic shape to imply the 5 over a vamping groove.
We take our whole-tone pentatonic shape and translate it into an augmented triad shape. We then apply this shape over a more complex chord form.
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Really cool stuff, thanks!
Great explanations and easy to follow. Enjoyed this lesson. Walter R
Great tips for making modes more useable
I loved this lesson the most yet
Thank you Jeffery!
I like your approach. you simplify concepts with good practice