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Hi, I've been playing for countless years now but have never pushed myself to get out from the comfort zone of lead work in pentatonics. Now the band I'm in is finally starting to gig a bit more regularly I'd like to develop a bit more interesting solos for the couple of tracks that are my responsibility. Basically EVERYTHING I solo over is done in pentatonics ONLY! Yes, occasionally I manage to add an odd note outside that but on the whole it's just pentatonic.
The two tracks involved are 'In a broken dream' and 'Ain't no sunshine' both of which allow me to play solos in Am pent, but I'll be honest it's starting to bore me a little sticking to pents all the time. What other options are open to me? I know it's not a case of using lots of different notes and more how you use those notes. That's one of the good things that being restricted to a pent scale has taught me.
Any suggestions will be gratefully tried,
Cheers.
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Ain't no sunshine has a natural 2nd so either Aeolian or Dorian scales, depending on whether you like the sound of the natural or #6th. Try both.
I personally think the Dorian scale would sound nice there. Just try playing the tune of "what shall we do with a drunken sailor" over it and see how it tastes to you. If you lean heavily on that raised 6th you will get a nice juicy acidic flavour. But that's just *adding* a note to the pentatonic (which has 1,3,4,5,7 and 8).
You could also, in combination with that #6, *alter* one of the notes of the pentatonic, for example the 4th note, - for extra juice try raising it a semitone (augmenting it), then you'd have the 4th mode of the harmonic scale, called the Ukrainian Dorian. Mmmm delicious!
Maybe the next alteration would be to add to that Ukrainian Dorian a sharp 7 instead of a natural 7. That would be the 4th mode of the harmonic major, which is a combination of the Hungarian Gypsy scale and the Lydian scale. Very nice, especially again if you squeeze and emphasize those augmented 4ths and raised 6ths and 7ths.
Then you could also really break the mould; return to the original pentatonic and introduce a flattened 2. That would fit Phrygian or Dorian flat 2 (the 2nd mode of melodic minor).
If you introduce a 6th note and it's natural (ie flattened), it would be Phrygian. If you introduce a sharpened 6th, it would be Dorian flat 2. Both would be cool.
Then, along with that flat 2, you could also raise the 3rd, even though that contradicts that fact that the band's playing in pentatonic minor. Oooo that would give it some flavour! You could do that either with a sharpened 6th (the 6th mode of the harmonic Major scale, the "mixolydian flat 2") or with a natural 6th (the 5th mode of the harmonic Minor scale, the rather nice "Freygish", or "Phrygian dominant", or "Phrygian major" scale).
Here are all the above scales in order:
http://i865.photobucket.com/albums/ab217/Vizzage/scalesfordhaywood_zps35ca7c15.jpg
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
If you get two verses for your solo, take your time and build up tension. When the lyrics would have said "Ain't no ..... Sunshine" play with space... spaces are like 0s after a number.
then wham! they've been waiting for that note, if it's the wrong note play it again, slide it up a fret or slide it down a fret - more space more impact.
The best solos have build-up, in the best bands the other musicians support that and create it for the other players but you can do it yourself.
If you want to play more and more notes toward the end think about playing the chord progressions think about following it different fingerings of the chords picked out - not all the notes played find odd sequences to play them.. find other chords to fill in between and pick them out...
Practise that that a bit and have a few licks to chuck in at certain points if mixing it isn't working that time.
Pentatonics broken out of musicality retained. HTH,.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Also, try moving the shape up 2 frets (Dom7 pentatonic), or down 3 frets (Maj7 Pentatonic) (c) Clarky
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Yes, so if you're playing in Am, moving it up 2 frets (so it looks like you're playing B pentatonic) gives it a sweet Dorian flavour because it introduces the raised 6th, and sounds very beautiful.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Thanks everyone. Plenty to go at there. Although not sure if I understand it all frankus lol. I should get time to try a few of these tomorrow night before Thursdays rehearsal and I'll let you know how I get on.
Thanks
the dorian suggestion is a good one ... some learning vids for you here:
http://www.justinguitar.com/en/BL-028-DorianApproch.php
http://www.justinguitar.com/en/BL-029-DorianLicks.php
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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Studio: https://www.voltperoctave.com
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Me: https://www.jamesrichmond.com
Football is rubbish.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Football is rubbish.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Football is rubbish.