Chords for Wayne Benson - pentatonic scales

Tempo:
120.35 bpm
Chords used:

A

E

Am

Eb

B

Tuning:Standard Tuning (EADGBE)Capo:+0fret
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Wayne Benson - pentatonic scales chords
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You play your E string open and then [Eb] play the third [A] fret.
I don't have a fret marker there, that's why I'm singling that out.
[B] And then if you play everywhere [Eb] that you [A] have a fret marker, that's a pentatonic scale.
So you [G] play just those notes and [A] I'll play [C] every chord of the whole chord [E] scale
and you'll hear how it works over every chord.
[G] Hear
[Am]
[Bm]
me change [A] chords and it works every [Am] time?
[D]
[Em]
[Bm] [A] I'm playing every chord [G] of the chord scale [E] and the pentatonic scale.
That's just a really simple version [A] and a lot of people, after they do that and hear,
whoa, that actually worked, I learned that scale.
And it's almost like it's freeing because then you're not [E] bound by what you hear.
You know that this scale will work.
David Grissman plays pentatonic a lot.
If you listen to a full version, [E] [A]
you think about Grissman's playing.
[Em] He plays [Am] pentatonic a [E] lot.
A lot of the [Bb] slower pieces,
[B]
[Bb] when you listen to him [Am] improvise,
[Bb] [Am]
he's playing [A] pentatonic over that [G] because he knows that [Bb] scale's going to work
over [Db] the B flat major [C] 7, the A minor 7.
He's just choosing a scale that works.
There [B] were tunes that we used to play with John when I was playing with Cowan
and Luke Vola and Jeff Autry would just be wailing over these chord progressions
and I would be, I'm over here sweating bullets trying to figure out what to do
and they're doing tequila shots and living it up.
And then I discovered, whoa, they have the pentatonic scale in their arsenal.
So I started working on that and it freed me up to be able to just think about dynamics
and what John was doing on the bass instead of thinking about notes.
I had the notes already in my pocket, so to speak,
and then it was a matter of listening to what everyone else did.
So you should [E] learn the [A] pentatonic version.
And once you learn [Bb] that pattern, [G]
[Am] [Bb] then it's just like [B] everything else.
It can be [Eb] [A] transposed.
There's a great book [Eb] that this guy Niles Hockenden or Hockenden or something
and it's called The Pentatonic Mandolin [A] that he put out I think in the early 80s.
I have it at home.
[Eb]
It's a really, really, really great book to have about playing pentatonic scales on the [F] mandolin
and he gives a lot of [Db] examples of [A] popular [Eb] music that you, well, at that point,
some of the stuff that he talks about, I'm not sure,
[Db] I was too young at that time to know what those songs were.
What's his last name?
[Eb] Can you spell it?
It's H-O-K [Db]-A -N-E-N?
Maybe two N's.
I'm not sure.
H-O [A]-K-A-N-E-N-N?
Niles H.A. [N] and foot mandolin.
[A] Yeah, it would.
It would.
He's still on Mandolin Cafe a lot.
One of the tunes would probably show up in there, but [Em] you get to be of a certain age.
Here's a pentatonic [E] scale.
[A]
[Am]
[D] [A]
[D] [A]
At [Eb] a certain age, you recognize it.
[A] [Ebm] That one I recognize.
[E]
I think my mother taught me that.
[A] Any TV show thing from the 60s and 70s, there's just something memorable.
[Am]
[A] We have one note that's not.
[Gb] One note that's really warm.
[A] [B] I never really noticed that before.
[Am]
[B]
See, I've always [E] thought of this as an improvisational tool
and not really looking for what [Db] melody could be played just within that scale.
I want to say you can whistle.
It's that, isn't [Gbm] it?
You're a little bitty.
[B] Any more TV show thing, you can't whistle.
Yeah, that's [Db] true.
Whistle, even though, X [B] files.
I mean,
Key:  
A
1231
E
2311
Am
2311
Eb
12341116
B
12341112
A
1231
E
2311
Am
2311
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You play your E string open _ and then [Eb] play the third [A] fret.
I don't have a fret marker there, that's why I'm singling that out.
_ [B] And then if you play everywhere [Eb] that you [A] have a fret marker, _ _ _ _ _ _ that's a pentatonic scale.
So you [G] play just those notes and [A] I'll play [C] every chord of the whole chord [E] scale
and you'll hear how it works over every chord.
[G] _ _ _ Hear _
_ _ _ [Am] _ _ _ _ _
_ _ _ _ [Bm] _ _ _
me change [A] chords and it works every [Am] time? _ _
_ _ _ _ _ _ [D] _ _
_ _ _ _ _ _ _ [Em] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[Bm] _ _ _ _ _ [A] I'm playing every chord [G] of the chord scale [E] and the pentatonic scale.
That's just a really simple version [A] and a lot of people, after they do that and hear,
whoa, that actually worked, I learned that scale.
And it's almost like it's freeing because then you're not [E] bound by what you hear.
You know that this scale will work.
David Grissman plays pentatonic a lot.
If you listen to a full version, [E] _ _ _ _ [A] _ _
you think about Grissman's playing. _ _ _ _
_ _ _ _ [Em] _ _ He plays [Am] pentatonic a [E] lot.
A lot of the [Bb] slower pieces, _
_ _ [B] _ _ _ _ _ _
[Bb] when you listen to him [Am] improvise, _ _ _
[Bb] _ _ _ _ [Am] _ _ _ _
_ _ _ _ _ _ _ _
he's playing [A] pentatonic over that [G] because he knows that [Bb] scale's going to work
over [Db] the B flat major [C] 7, the A minor 7.
He's just choosing a scale that works.
There [B] were tunes that we used to play with John when I was playing with Cowan
and Luke Vola and Jeff Autry would just be wailing over these chord progressions
and I would be, I'm over here sweating bullets trying to figure out what to do
and they're doing tequila shots and living it up.
And then I discovered, whoa, they have the pentatonic scale in their arsenal.
So I started working on that and it _ freed me up to be able to just think about dynamics
and what John was doing on the bass instead of thinking about notes.
I had the notes already in my pocket, so to speak,
and then it was a matter of listening to what everyone else did.
So you should [E] learn the [A] pentatonic version.
_ _ _ _ _ And once you learn [Bb] that pattern, [G] _ _ _ _ _ _
_ _ [Am] _ _ [Bb] _ then it's just like [B] everything else.
It can be [Eb] [A] transposed. _ _ _ _
_ _ _ There's a great book [Eb] that this guy Niles _ _ Hockenden or Hockenden or something
and it's called The Pentatonic Mandolin [A] that he put out I think in the early 80s.
I have it at home.
[Eb] _ _
It's a really, really, really great book to have about playing pentatonic scales on the [F] mandolin
and he gives a lot of [Db] examples of [A] popular [Eb] music that you, well, at that point,
some of the stuff that he talks about, I'm not sure,
[Db] I was too young at that time to know what those songs were.
What's his last name?
[Eb] Can you spell it?
It's H-O-K [Db]-A _ -N-E-N?
Maybe two N's.
I'm not sure.
_ H-O [A]-K-A-N-E-N-N?
Niles H.A. [N] and foot mandolin.
[A] Yeah, it would.
It would.
He's still on Mandolin Cafe a lot.
One of the tunes would probably show up in there, but [Em] you get to be of a certain age.
Here's a pentatonic [E] scale.
_ _ _ [A] _ _
_ [Am] _ _ _ _ _ _ _
[D] _ _ _ _ _ [A] _ _ _
[D] _ _ _ [A] _ _ _ _
At [Eb] a certain age, you recognize it. _ _
[A] _ _ [Ebm] _ That one I recognize.
_ [E] _
_ I think my mother taught me that. _ _ _
_ [A] Any TV show thing from the 60s and 70s, there's just something memorable.
_ _ [Am] _ _ _
_ _ _ _ _ _ _ _
_ [A] _ _ _ _ We _ _ _ _ _ have one note that's not. _
_ _ _ _ _ _ _ _
_ _ _ _ [Gb] _ One note that's really warm.
_ [A] _ _ [B] I never really noticed that before.
_ _ [Am] _ _ _ _
_ _ [B] _ _ _ _ _
See, I've always [E] thought of this as an _ improvisational tool
and not really looking for what [Db] melody could be played just within that scale.
I want to say you can whistle.
_ _ It's that, isn't [Gbm] it?
You're a little bitty.
[B] Any more TV show thing, you can't whistle.
Yeah, that's [Db] true.
Whistle, even though, X [B] files.
I mean, _

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