AULEGIESERT BRAK C8 UBB ¢ VALUABLE SCALES ¢ ARPEGGIOS ge (NPIL \Paul’s =A minor a Pentatonic Shapes { 8 8 =] = Agent S e s e e e [4 5 oa e e x eThe minor pentatonic scale uses five different notes. The intervals are: the root (1) /m3/P4/ P5/m7. | want to BEND UP to the “chord tones.” (1,3,5,7) from a scale step below. This means that sometimes | have to use a note outside of pentatonic as a starting point for bend- ing. For example, to bend to C (the m3), | have to use B (the 9th) as a starting point. And if | bend to G (the 7th), | have to start with F# (the M6). So here is the pentatonic scale including places where you can bend up to a chord tone. 1 =half-step bend 2=whole-step bend 3= step and a half bend 0 = Don't bend this note. (3rd fret) no - —_—t 8 Here are more places to bend chord tones on the top three strings (where bending is most practical). (3rd fret) o 4 ' 4 3 + ' é 2 0 2 t | also added the bs (blue note) as a possible starting point on the diagram above.S E min triad shapes S soeC Major Triads AdiminE min7 arpeggios — Emin9 arpeggio pF oFC Maj7 arpeggios uP Down Down 4. ~% J cal poe = e e e e e epo C# min7b5 arpeggios jp mS AQ chord KZce = — CHtmin7bs (A9) e e ST A13 arpeggio. Same as last arpeggio but with additional F# note. e e e ST But let’s use D13 for (oan) the next [A a Works over A13 chord. 8 a = PS Teo raya Very similar shape. to F# min pentatonic. More D13 shapes “2 e e eMore D13 7 Arpeggio shapes S mo © {+s} oe e ‘e e e oS e S V2 — > ee S 6 Toi a|e e e e a Reve > { Tay e CX) es) e e e e eE7#9b13 chord fs) -10-F Lydian 12 Sve ue —> G/F arpeggio a Bve ve > F Lydian F Lydian ianUse all of these over an E root (E Phrygian Dominant). re Qve ve > — —— i <= hd S | imal e eG e1Te + . ae e -12-A Major Blues i i Ter Sy Ascending & — q Use this shape to descend’, — But always play the m3 into the M3 minor blues shapes. = q Q ba e fe > e> Daa e w e e e One last Major Blues shape -13-