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Thread: Blues progressions (licks, analysis, and pentatonic patterns)

  1. #16
    Chief assistant to the assistant chief JHC's Avatar
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    But he would need suckers on his fingers to pull the keys down I just can't see it working and how would he operate the pedals, no I think the film had it wrong at least IMHO. My poor old bull fiddle went walk about years ago ,,,,, I hope it is happy just stringing along from bar to bar.
    I don’t want a signature any more

  2. #17
    Vice Admiral Virtuoso John Watt's Avatar
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    What did I just say? What was all this leading up to?

    Hey! I've just reassembled the same equipment I first used with a Marshall stack.
    A Dallas Arbiter fuzz-distortion, original Crybaby, and an MXR phase shifter.
    I should take it somewhere and start making some noise in public.

  3. #18
    Recruit, Pianissimo
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    Got some good mileage out of this thread guys

    I've been slowed up somewhat at the moment having been asked to take a school stage band for a term (which has now been extended to a small jazz band and a bunch of students). I'm fitting this around my day job so is stretching me a bit. Tiring as is it, it's a real eye opener having not taught school aged students for quite a few years, and am benefitting greatly from it.
    Enjoying the friendly banter.

    Rob

  4. #19
    Vice Admiral Virtuoso John Watt's Avatar
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    It could have been friendly banter, and jamming, but it wasn't.
    Those were some serious musicians who were there to play,
    and for the first time with pros, I was just singing, no guitar in my hands.

    That put my head through big time, a wonderful time.
    I've been saying I caught a big splash of Niagara Falls,
    and it's enough to make me want to move there.
    It's tough, breaking into Niagara Falls, on the off-season.

  5. #20
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    One reason pentatonics are so flexible is because they can function as "partial" scales of several 7-note (diatonic) scales. Guitarists can memorize one pent pattern, then simply move it around to see where it works, and with what color notes get emphasized, and view them as adjuncts to other scale patterns. Steve Kahn's Petatonic Khancepts is a good book for guitarists.
    Another thing about pentatonics, they can be viewed as "complements" to a 7-note scale (7+5=12). By "complement," I mean the left-over notes. Harmonically, a complementary pent scale, such as the left-over notes of a C major scale, Eb minor pent or F# major pent, can be ways to go totally outside the key, and guarantee the playing of "all wrong notes" within that key.
    Last edited by millions; Oct-18-2017 at 22:14.

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