how to write pentatonic guitar scale solos: … · 2021. 7. 13. · how to write pentatonic guitar...

HOW TO WRITE PENTATONIC GUITAR SCALE SOLOS: TEACHER’S GUIDE

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Table of Contents 1. Choose four pentatonic scales

2. Translate into tablature

3. Add a drum track

4. Add a bass line

5. Keeping time

6. Add intervals

7. Combine sequences

8. Refine the timing

9. Expand the tab

10. Chromatic pattern

11. Higher register

12. Concluding


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Step One

SELECT YOUR PENTATONIC SCALES

In the full lesson I use four pentatonic scales but, only one of them as my primary

example.

The scale shapes you use are important. Avoid full fretboard patterns as they’ll

tend to overwhelm and confuse the student. You should also select a convenient

key for each pattern. We’ve gone with the key of E and placed our pentatonic

scales in the seventh fret form.

Make sure the student gets time and exposure with all four scale patterns, even

though we’ll use only the minor pentatonic scale in our example.

https://www.guitarchalk.com/pentatonic-scale-guitar/


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Step Two

CONVERT THE DIAGRAMS TO TABS

Your scale diagrams should be converted into tablature for the ease and comfort

of the student.

Though many students will be familiar with scale diagrams, and can easily read

them, it’s good practice to take this step so you and your student aren’t spending

energy trying to decipher a diagram.

I’d also advise doing this ahead of time, making sure that both a formal scale

diagram and simplistic tab sheets are available to your student.

Major Pentatonic

E|--------------------------------7--9--

B|--------------------------7--9--------

G|--------------------6--9--------------

D|--------------6--9--------------------

A|--------7--9--------------------------

E|--7--9--------------------------------

Minor Pentatonic

E|-----------------------------------7--10--

B|----------------------------8--10---------

G|----------------------7--9----------------

D|----------------7--9----------------------

A|---------7--10----------------------------

E|--7--10-----------------------------------


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Pentatonic Blues

E|--------------------------------------6--7--10--

B|-------------------------------8--10------------

G|-------------------------7--9-------------------

D|----------------7--8--9-------------------------

A|---------7--10----------------------------------

E|--7--10-----------------------------------------

Pentatonic Neutral

E|----------------------------------7--10--

B|---------------------------7--10---------

G|---------------------7--9----------------

D|---------------7--9----------------------

A|---------7--9----------------------------

E|--7--10----------------------------------

Once you’ve introduced these concepts to the student, take some time to just play

the four patterns. You should demonstrate them to the student and then let the

student try it on their own.

A certain level of comfort and proficiency with the scales is necessary to

continue. While the student plays, listen for missed notes and look for struggles

with the physical aspects of playing the scales.

Difficulty stretching and buzzing or “muddy” notes will likely mean the student

needs more time to practice the patterns.


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Step Three

ADD YOUR DRUM TRACK Go to the SoundTrap studio, select drums then drag the “Drums - Busy Basics”

loop into the app’s mixer (gray area).

The backing track will serve as a more engaging and interesting way to provide

structure for the soloing pattern we’ll later create.

Most students don’t enjoy playing along with a click track or metronome, so this

is a much more engaging alternative.

https://www.soundtrap.com/studio/


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Step Four

ADD YOUR BASS LINE

The bass line is also a structural component, though you could do the exercise

without it.

I’d recommend including one, just because it makes a solo stand out more and

gives the student the sense that they’re making actual music instead of just

practicing a sequence of notes.

In SoundTrap select “Bass” from the top right corner. Then select the “Bass - Retro

Funk 1” loop and drag it into the mixer.


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Step Five

KEEP TIME

Before beginning with the solo, give your student the opportunity to practice

keeping time with the new backing track. A full-fledged explanation of the theory

behind time signatures is not necessary. Just make sure the student can count in

quarter and eighth notes while playing through the pattern.

They should be able to count four beats per measure and eight beats per measure.

Quarter Note Example:

Eighth Note Example:


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Step Six

ADD INTERVALS

Give the student a brief summary of the process you’ll go through to develop the

soloing pattern. It can be best explained in these three steps:

1. Extract segments of the scales we've memorized.

2. Rearrange, add-to and take-from those segments.

3. Add basic technique to the resulting patterns.

Once they understand the plan and process, you can take them through the first

three note intervals that will be taken directly from the minor pentatonic scale.

First Pattern

The bend and vibrato on the root E (at the seventh fret) will give you a way to

expose the student to some technique that we’ll continue to use as we build the

solo.


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It’s simple and could easily be replaced by a different pattern. But, this is a good

way to start since you’re combining the familiarity of a scale they’ve been

practicing and the complexity of technique that is either new to them or hasn’t

yet been on their radar.

Second Pattern

In the second pattern we do a full bend that comes back down to the D note on the

seventh fret, which is then followed up by a pinch harmonic.

If you or the student prefer, you can just use a natural harmonic or even hold that

note through the measure.


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Step Seven

COMBINE BOTH SEQUENCES

Now we’ll combine the two patterns we outlined in step six.

I’d recommend having the student run through the entire thing once without the

backing track. Then, once they’re comfortable, add the backing track so they can

feel out the timing.


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Step Eight

REFINE THE TIMING

If timing is proving difficult, have the student look away from the score and

simply use a tab sheet. Chances are that this is because the student is trying too

hard to “not screw up” the time signature.

Just give them the tab and tell them to take their best shot. Timing, as I mention

in the full article, is fluid and not always exact during a guitar solo.

Make sure your student knows they have the freedom to make mistakes and to

improvise their way through the solo.

E|-------------------------------

B|-------------------------------

G|-----7b8-----------------------

D|--9-------7-<7>----------------

A|-----------------------7b8--7--

E|----------------7--10----------

Timing might not be exact, but don’t stay on one tab for too long. Get as close as

you can then move on so your student doesn’t get bored.



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Step Nine

EXPAND THE TAB

To expand the tab you’ll either need to reinforce or introduce the concept of

intervals to your student.

Don’t overwhelm them with too much information here. Instead, explain to them

basics of the minor and major second intervals and how you’ll use them to add

notes to the pattern.

Once they understand things conceptually, begin by adding one new note so they

can see the process play out.


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Add the major second interval to the end of your original tab:

E|-------------------------------------------

B|-------------------------------------------

G|-----7b8-----------------------------------

D|--9-------7-<7>--------------------7--7h9--

A|-----------------------7b8--7--10----------

E|----------------7--10----------------------

Have your student play through this pattern several times more.

Next, present two different options:

1. Keep adding notes to try and resolve the tension.

2. Pull back and go with a different note/interval combination.

At some point, you’ll continue to add notes and intervals to both lengthen the solo

and to resolve the tension. If the student wants to go back and re-write the

sequence, that’s a good sign. Leave that up to your student at this point.

Assuming you continue with my pattern, here’s the improvised solo you’ll want to

guide your student through:

E|-------------------------------------------------------------------------------------------

B|-------------------------------------------------------------------------------------------

G|-----7b8------------------------------------7--9~~--/11--9--7h9p7-----7--------------------

D|--9-------7-<7>-------------------7--7h9~~-------------------------9-----9--7--/5--7p5-----

A|-----------------------7b8--7--10-------------------------------------------------------7--

E|----------------7--10----------------------------------------------------------------------

Audio samples are available via the full article.



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Step 10

ADDITIONAL CHROMATIC EXPANSION

At this point we’re simply looking for additional ways to expand and explore the

shape we’ve been working with. This could be considered supplemental or

“bonus” material and may or may not be necessary for the student to cover.

For steps 10 and 11 you can either combine them with the previous tab or start an

entirely new pattern.

Starting a new pattern might be easier for the student. Yet, if they breezed

through the previous material, you can let them try adding more components to

their newly constructed solo.

Either way works.

For the new sequence of notes, begin at the ninth fret on the fourth string.

Explain where we’re getting the three-note, chromatic pattern, and then isolate this tab:


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E|--------------------

B|--------------------

G|-----------7--8--9--

D|--7--8--9-----------

A|--------------------

E|--------------------

Once playing through the chromatic run is comfortable for the student, have them

try this full pattern:

E|-----------------------------------------------------------

B|-----------------------------------------------------------

G|-----7b8------------------------------------------7--8--9--

D|--9-------7-<7>--------------------7--/9--7--8--9----------

A|-----------------------7b8--7--10--------------------------

E|----------------7--10--------------------------------------


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Step 11

HIGHER REGISTER EXPANSION

At this point, you might have a student who is entirely capable of improvising a

number of different variations without further instruction.

On the other hand, if they’re still struggling to see how it all connects, this run will

allow them to link a few note sequences on the higher strings (high E and B) to

our original pattern and could help them see the process more clearly.

Start the student on the high E:

E|--7--10--10b12--

B|----------------

G|----------------

D|----------------

A|----------------

E|----------------

Then cover the following pattern:

E|--7h10p7--------------------------------------------

B|------------10b12--10h8-----------------------------

G|---------------------------9--7h9p7-----------------

D|---------------------------------------9--7--/5-----

A|-------------------------------------------------7--

E|----------------------------------------------------


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Conclude

TEACHING THE METHOD The best thing you can do for the student is to make sure they come away from

this material having retained a structured method. If they do, they can reuse that

method for building solos and lead patterns every time they learn a new

pentatonic scale.

As often as you can, give them the opportunity to pursue their own creativity

within the constructs that you’ve provided for them.

If you see they’re beginning to understand the constructs, and are coming up with

their own solos and patterns, there’s likely no need to push through the specifics

of the examples we’ve provided.

Stick to the structure and use examples when necessary.

If you need to access other resources or have questions about the material, feel

free to get in touch and we’ll do our best to assist.

Full article: https://www.guitarchalk.com/pentatonic-scale-guitar/

Email: bobby[at]guitarchalk[dawt]com

Blog: https://www.guitarchalk.com/blog

Shop: https://www.guitarchalk.com/shop


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how to write pentatonic guitar scale solos: … · 2021. 7. 13. · how to write pentatonic guitar...

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