Berklee Blogs

First-hand accounts of the Berklee experience

Author: Robin Stone (Page 1 of 2)

String Theory by Robin Stone / Chapter Four ~ The Mixolydian Pentatonic Scale

String Theory is a bi-annual publication intended for guitarists who are interested in all aspects of music theory, specifically as it pertains to the guitar. 

String Theory: The Mixolydian Pentatonic Scale was originally published in the Fall 2018 edition of Open Position.

“My best songs come from making a lot of mistakes and playing a lot of garbage.”

~ Eric Johnson

Eric Johnson is a gifted and unique guitarist. Born on August 17th, 1954 in Austin Texas, Eric was influenced by guitarists Eric Clapton, Chet Atkins, Wes Montgomery and Jimi Hendrix to name a few. Johnson recorded two albums ‘Seven Worlds’ and ‘Tones’ before finally hitting the nail on the head with the album ‘Ah Via Musicom’ released in 1990.

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Lauren Passarelli ~ The new album ~ Night Vision

http://https://youtu.be/j50egOPbY-0

 

Lauren Passarelli’s latest CD Night Vision

Lauren Passarelli’s latest release Night Vision is an album of great variety and texture. Recorded using 2″ tape Lauren’s compositions and arrangements once again showcase her multi faceted talents.

 

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String Theory by Robin Stone/Chapter Three ~The Lydian Pentatonic Scale

String Theory by Robin Stone Chapter Two ~ The Lydian Pentatonic Scale was originally published in the Spring/Fall 2011 edition of OP

String Theory is a bi- annual publication intended for guitarists who are interested in all aspects of music theory, specifically as it pertains to the guitar.

Chapter Two
Atypical Pentatonic Scales:
The Allman Brothers, Lydian
and Mixolydian Pentatonic scales.

The Allman Brothers, Lydian, and Mixolydian Pentatonic scales; uniquely independent of one another, express three different signature sounds prevalent in rock improvisation.

String Theory: The Lydian Pentatonic Scale

“I don’t care about the rules. In fact, if I don’t break the rules at least 10 times in every song, then I’m not doing my job properly.”

~ Jeff Beck

Jeff Beck’s career as a guitarist has been a long and storied one. In 1965 he joined the Yardbirds, replacing Eric Clapton; two short years later he would form the Jeff Beck Group featuring a singer by the name of Rod Stewart as well as future Rolling Stones guitarist Ron Wood on bass. Aynsley Dunbar rounded out the band, he would later be ranked by Rolling Stone magazine as the 27th greatest drummer of all time. Truth (1968) and Beck-ola (1969), the only two albums the band recorded, quickly established Jeff Beck as a substantial guitarist in his own right. In 1975 Beck released his signature album, the classic “Blow By Blow.” Produced by George Martin (who you may remember as having a hand in the Beatles success) the album remains a quintessential example of progressive rock and fusion, having significantly influenced most serious guitarists in some manner since then. The tune “Scatterbrain” from Blow by Blow showcases Beck’s technical finesse and his solo serves as an example of the way in which he uses pentatonic scales over a modulating modal progression. More specifically it is Beck’s use of D major and E major pentatonic scales over the chords D/C and E/D respectively from the tunes solo progression that demonstrates the use and sound of the Lydian Pentatonic scale.

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String Theory by Robin Stone/Chapter Two ~ Atypical Pentatonic Scales: The Allman Brothers, Lydian, and Mixolydian Pentatonic Scales

String Theory by Robin Stone (originally published in the Fall 2009 edition of OP)

String Theory is a bi- annual publication intended for guitarists who are interested in all aspects of music theory, specifically as it pertains to the guitar.

Chapter Two
Atypical Pentatonic Scales:
The Allman Brothers, Lydian and Mixolydian Pentatonic scales.

The Allman Brothers, Lydian, and Mixolydian Pentatonic scales; uniquely independent of one another, express three different signature sounds prevalent in rock improvisation.

 

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String Theory: A Column by the Editor

First published in the spring 2009 edition of Open Position, my “String Theory” column was created and designed to enlighten and inspire guitarists to study music theory. Playing an instrument is a multifaceted journey of discovery, and I believe understanding the language of music through theoretical principles enhances one’s playing and overall understanding of music. I find it most important for guitarists in particular to learn these theoretical concepts because of the inherent difficulty of seeing theory on the instrument itself. The guitar is not a theory-friendly instrument.

Enjoy this reprint of the inaugural edition of my “String Theory” column with more to come!

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