The grouping of notes is very heavily inspired by Shawn Lane. When I first heard Shawn play, it was so blisteringly fast, it really excited and scared the hell out of me at the same time. I could hear that a lot of his tonality was with the pentatonic scale, but I couldn’t understand how anyone could play this scale so fast.
I start this lick on the eighth fret of the high E string. You'll notice I'm combining two patterns of the pentatonic together, and I do it throughout the lick. As we are traditionally taught the pentatonic scale in the box form (or two notes per string), this will be a new way of thinking for some of you.
What I love most about this scale is that tonally there are no surprises for the listener; it is harmonically beautiful whether played fast or slow. Obviously, this particular lick is to be played with some speed, but if you break it down, you could use any line from it and lead into a bend or slide — and it would sound incredible.
In this week's Monster Licks, I am — once again — pushing the boundaries of the minor pentatonic scale. The harmonic qualities of this scale really resonate with me. I know this may sound strange because this lick is played at high speed, but for me, the scale never looses its melodic beauty, no matter how fast or slow it’s played.
In the first installment of my new Monster Licks series, I'm going to take you through my extensive pentatonic lick library. These licks are the product of many years of hard work, and I'm glad to be sharing them with you! The straight (minor) pentatonic scale often gets overlooked when soloing. I find that most guitarists tend to head to the blues scale or other variations of the pentatonic because they find the straight scale a little limiting.