MASTERCLASS BOOKLET

Luca Mantovanelli

PENTATONICS
MASTERCLASS
INTERMEDIATE
INTRODUCTION
Hi everybody, thanks for checking out my pentatonics masterclass intermediate volume.
In this volume Ill show you my pentatonics approach with different techniques.
Ill show you all the exercises first, and then well see how to use all this stuff. If you need to
revise the five basic pentatonic fretboard shapes, return to Volume 1 (Beginner).
VARIATION 3
If youve worked through the Beginner volume, you will have seen Variations 1 and 2, where I
showed you some patterns for practising the five basic pentatonic shapes. These patterns help
you to move around within the shapes, getting them under your fingers. Its good to do this as
soon as possible, instead of just playing up and down the shapes in a single line.
In Variation 3, we have a more demanding pattern. Well be working with pairs of strings E/A,
A/D, D/G, G/B and B/E. For each string pair, we have a little four-note phrase. Using just Shape
1, heres what those phrases will look like. Well play the notes as numbered, 1-2-3-4.

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INTERMEDIATE
LUCA MANTOVANELLI

.
When we descend back through the strings, well use a different pattern. Heres the first part of
the main Variation 3 tab file, to show you how it works.

V V V V V V V V V V V
V
V
V
V
V
V V V V V V V V
V
I V V V V V V V V V
V V
V
T
A
B

7
8

Got that? Now check out the main Variation 3 tab file, and youll also see that theres a version
in triplet rhythm. Good luck!
RHYTHMIC SHIFTING
To really push your playing to a new level, you need to do more than just learning scale patterns. You need to be able to apply a concept at any time, from any point. A good way to
sharpen your ability is to move patterns to different parts of the beat. Playing everything exactly on the downbeat (1-2-3-4) can become too easy and predictable.
The patterns in Variation 3 are all based on 16th notes, which means we have four notes in
each beat. That gives us four places to start each pattern. If we then change the patterns to
work in triplet rhythm, we have another three ways to play them, as you can see from this
diagram

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So your next task is to apply these concepts to the patterns from Variation 3 - check out the
separate Rhythm Shift tab files (shift1-3 are regular 16th notes; shift4-5 are triplets). This is a
lot of work, but it really increases your awareness of rhythm, phrasing and fretboard layout. You
can use this approach to work on any technique, scale or arpeggio.
ARPEGGIOS
This is a different approach to the standard pentatonics, and will really expand your musical
horizons.
Basically, Im using arpeggio shapes that exist in each of the five pentatonic shapes. Each time
I use the same basic pattern, which gives us some interesting arpeggios
Shape 5: Am Dsus2 Gsus2 Csus2
Shape 1: Csus2 C/E Am Dsus2
Shape 2: Dsus2 Gsus2 Csus2 C/E
Shape 3: C/E Am Dsus2 Gsus2
Shape 4: Gsus2 Csus2 C/E Am
Youll see that I started with Shape 5, so we can make use of the lower frets. As shown in the
Arpeggio 1 Tabs and audio/video files, I play all the triads for each shape like a loop.
To get a fluid sound, Im using hybrid picking, playing the first two notes with my pick
(downstroke) and the third note with my 2nd finger.
To create more of a melodic sound, I added a note for each triad as you can see in the
Arpeggio 2 files.
The extra note is simply the next pentatonic scale note after the original triad. For example,
the first triad in Shape 1 is A minor (A C E) and I simply added a G note after the E note. The
resulting arpeggios are now as follows
Shape 5: Am7 D7sus2 G6sus2 C6sus2
Shape 1: C6sus2 Cadd9/E Am7 D7sus2
Shape 2: D7sus2 G6sus2 C6sus2 Cadd9/E
Shape 3: Cadd9/E Am7 D7sus2 G6sus2
Shape 4: G6sus2 C6sus2 Cadd9/E Am7
For both versions of the arpeggio loop, I also recorded triplet versions, so you can hear how
much difference you get just from changing the accents and phrasing.

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WALKING ARPEGGIO
A cool idea to mix all the triads over the fretboard is an exercise I named walking arpeggio.
This is related to the linking shapes concept we covered in Vol 1 (Beginner). For each group
of strings, were taking the first arpeggio shape and then walking up and down the fretboard,
sliding between the triads.
All four sequences are shown on the separate Tab file.
HYBRID PENTATONIC
The final topic in this volume is the Hybrid Pentatonic.
For 5 years I have used only legato and hybrid picking. Everyone has a favourite technique,
and Ive definitely found mine! Try to find your relax technique; when you find it your playing
will be better and better. Remember, you should play all the exercises in this volume with your
favourite technique.
The hybrid pentatonic concept uses my two favourite techniques legato and hybrid picking.
For these exercises, you pick the first note, hammer-on to the second note, then pluck the third
note with your finger (hybrid picking). Its very important to use this pattern in different rhythms
(8ths, triplets, 16ths) and to start from different parts of the beat, as we did with the Rhythmic
Shifting exercises.
Sounds like Greg Howe!
In the Hybrid tab files, youll see five basic patterns (moving across the string groups), all with
rhythmic shifting.
LICKS
Finally, its time to play properly! As you will see, Ive played 10 licks, using the concepts weve
covered in this package. The backing is in C minor, using a Cm7-F9 chord progression to
create a Dorian sound (this works perfectly with the minor pentatonic). Obviously that means
you have to switch to C minor pentatonic (C Eb F G Bb).
As you play through the licks, try to spot the concepts. For example, youll see the Walking
Arpeggio shapes in Lick 1, the Variation 3 pattern in Lick 3, the triad shapes in Lick 4
And when youve worked through the licks, theres a full-length sample solo (also see separate
Tab files) to give you the opportunity to stretch out. There are also backing tracks for you to
jam over. Try experimenting with the concepts we covered in this package, and find your own
ideas.
Good luck and look forward to seeing you in the advanced masterclass!
Luca

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