from Pentatonic Scales for Guitar
(00695699)
Here we see the same figure played with only one difference. The first phrase features a third-finger slide from A to C, while the
second phrase features a first-finger slide from G to A. This is done to demonstrate that there are a number of ways to connect two
scale forms together. Different situations, such as personal preference, ease of execution, or musical logic will dictate which one
works best for you.
Here we see the same figure played with only one difference. The first phrase features a third-finger slide from A to C, while
the second phrase features a first-finger slide from G to A. This is done to demonstrate that there are a number of ways to connect two scale forms together. Different situations, such as personal preference, ease of execution, or musical logic will dictate
which one works best for you.
Here we see the same figure played with only one difference. The first phrase features a third-finger slide from A to C, while
the second phrase features a first-finger slide from G to A. This is done to demonstrate that there are a number of ways to connect two scale forms together. Different situations, such as personal preference, ease of execution, or musical logic will dictate
which one works best for you.
Here we see the same figure played with only one difference. The first phrase features a third-finger slide from A to C, while
the second phrase features a first-finger slide from G to A. This is done to demonstrate that there are a number of ways to connect two scale forms together. Different situations, such as personal preference, ease of execution, or musical logic will dictate
which one works best for you.
Here we see the same figure played with only one difference. The first phrase features a third-finger slide from A to C, while
the second phrase features a first-finger slide from G to A. This is done to demonstrate that there are a number of ways to connect two scale forms together. Different situations, such as personal preference, ease of execution, or musical logic will dictate
which one works best for you.
oeoe˙
8 10
9
oeoe˙
8 10
9
oeoe˙
8 10
9
oeoe˙
oeoe˙
8 10
9
oeoe˙
8 10
9
oeoe˙
8 10
9
oeoe˙
oeoe˙
8 10
9
oeoe˙
8 10
9
oeoe˙
8 10
9
oeoe˙
oeoe˙
8 10
9
oeoe˙
8 10
9
oeoe˙
8 10
9
oeoe˙
oeoe˙
www.premierguitar.com
This example moves through one scale form each beat by way of slides until you reach your destination—one full octave above
where you started. You’ll find slides invaluable when moving between different scale forms.
This example accomplishes this one-octave climb by way of shifts and strict alternate picking.
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
This example moves through one scale form each beat by way of slides until you reach your destination—one full octave above
where you started. You’ll find slides invaluable when moving between different scale forms.
This example accomplishes this one-octave climb by way of shifts and strict alternate picking.
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
& 44
oeoeoeoeoeoe
8 10
5 7 10
7
58
oeoeoeoeoeoe
8 10
99
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
oe oe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
Here is an impressive “span the neck” lick that climbs from the A note on fret 5 of string 6 to the C note on fret 20 of string 1.
Note the extensive use of slides. The trick here is to be able to stress the three-note groups as sixteenths instead of triplets.
Here is an impressive “span the neck” lick that climbs from the A note on fret 5 of string 6 to the C note on fret 20 of string 1. Note
the extensive use of slides. The trick here is to be able to stress the three-note groups as sixteenths instead of triplets.
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
This example moves through one scale form each beat by way of slides until you reach your destination—one full octave above
where you started. You’ll find slides invaluable when moving between different scale forms.
This example accomplishes this one-octave climb by way of shifts and strict alternate picking.
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
& 44
oeoeoeoeoeoe
8 10
5 7 10
7
58
oeoeoeoeoeoe
8 10
99
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
Here is an impressive “span the neck” lick that climbs from the A note on fret 5 of string 6 to the C note on fret 20 of string 1.
Note the extensive use of slides. The trick here is to be able to stress the three-note groups as sixteenths instead of triplets.
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
This example moves through one scale form each beat by way of slides until you reach your destination—one full octave above
where you started. You’ll find slides invaluable when moving between different scale forms.
This example accomplishes this one-octave climb by way of shifts and strict alternate picking.
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
& 44
oeoeoeoeoeoe
8 10
5 7 10
7
58
oeoeoeoeoeoe
8 10
99
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
Here is an impressive “span the neck” lick that climbs from the A note on fret 5 of string 6 to the C note on fret 20 of string 1.
Note the extensive use of slides. The trick here is to be able to stress the three-note groups as sixteenths instead of triplets.
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
This example moves through one scale form each beat by way of slides until you reach your destination—one full octave above
where you started. You’ll find slides invaluable when moving between different scale forms.
This example accomplishes this one-octave climb by way of shifts and strict alternate picking.
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
& 44
oeoeoeoeoeoe
5 7 10
7
58
oeoeoeoeoeoe
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
&
#
44
oeoeoeoeoeoe oe oeoeoeoeoeoe oeoeoe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
& 44
oeoeoeoeoeoe
8 10
5 7 10
7
58
oeoeoeoeoeoe
8 10
99
5 7 10
7
58
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
5 8 10 12
5 5 8 10 8 10 13 10 13 15 13
7
oeoeoeoeoeoeoeoeoe oe
15 17 20 17
15 17 15 17 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
8 5 10 8 12 10 15 12
8 5 10 8 13 10 15 13
oeoeoeoeoeoeoeoeoe˙
17 15 20 17
17 15 20 17
& 44
oeoeoeoeoeoeoeoeoeoeoeoeoeoeoeoe
20
15 17 20
12 14 17
10 12 14
7 10 12
5 8 10
w
17
oeoeoeoeoe oe oe oe Em C D
20
T
A
B
T
A
B
T
A
B
T
A
B
1
1 1/4
8va
8va
8va
Here is an impressive “span the neck” lick that climbs from the A note on fret 5 of string 6 to the C note on fret 20 of string 1.
Note the extensive use of slides. The trick here is to be able to stress the three-note groups as sixteenths instead of triplets.
PREMIER GUITAR NOVEMBER2010 105 oe j oe oe oe oe oe ˙
G
oe joeoeoeoeoe˙
G
oe joeoeoeoeoe˙
G
G
oe joeoeoeoeoe˙
G
oe joeoeoeoeoe˙
G
oe joeoeoeoeoe˙
G oe joeoeoeoeoe˙
G
oe joeoeoeoeoe˙
G
oe joeoeoeoeoe˙
G oe joeoeoeoeoe˙
G
oe joeoeoeoeoe˙
G
oe joeoeoeoeoe˙
G
G
