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MASTERC MASTERCLLASSBOOKLET

LucaMantovanelli

PENTATONICS MASTERCLASS AD A A  D V  VA  V   AN  A A NCED INTRODUCTION Hieverybody,thanksforcheckingouttheadvancedvolumeofmypentatonicsmasterclass. InthisvolumeI’llshowyoulotsofthingsyoumayneverhavethoughtaboutdoingwith pentatonicscales,includingalteredpentatonicsanddoublepentatonics.Onceagain,I’ve pentatonicscales,includingalteredpentatonicsanddoublepen tatonics.Onceagain,I’ve designedlotsofexercisestohelpyoumasterthenewconcepts,andthenweputtheseconcepts designedlotsofexercisestohelpyoumasterthenewconcepts,andthen weputtheseconcepts toworkin10licksandafullsolo.

DOUBLEPENTATONICS

Readyforthefirstchallenge?Acoolideaistomixtogethertwoadjacentshapes,creatingthe kindof3-note-per-stringlinestha kindof kindof3-note3-note-per-stringlinesthatyou’ per-stringlinesthatyou’dnormallyassociatewithregular7-notescalesand tyou’dnormallyassociatewithregular7-notescalesand modes.Themainproblemhereisthelargerintervalsinapentatonicscale,meaningthatyou modes.Themainproblemhereisthelargerinter valsinapentatonicscale,meaningthatyou needtoSTRETCH!It’stoughatfirst,butyou’l needtoSTRETCH!It’stoughatfirst,but you’llgettherewitha lgettherewithalittlepractice. littlepractice. Anyway,checkoutthe“doubl Anyway,checkoutthe “double”T e”Tabfile…therearefive abfile…therearefiveexercises,oneforeachpair exercises,oneforeachpairofshapes. ofshapes. ThefirstexerciseusesShape1andShape2,thesecondusesShape2 ThefirstexerciseusesShape1andShape 2,thesecondusesShape2andShape3,andso andShape3,andso forth.I’veusedthesamepatternineachexercise,andthere’sanice5-notelegatophraseon forth.I’veusedthe samepatternineachexercise,andthere’sanice5-notelegatophraseon     

  

PENTATONICS PENTATONICSMASTERCLASS MASTERCLASS ADVANCED LUCAMANTOVANELLI

Asyou’llsee,oneinterestingfeatureofthistec Asyou’llsee,oneinterestingfe atureofthistechniqueisthat hniqueisthatyouplaythesame youplaythesamenotetwiceas notetwiceas youcrossstrings…thehighestn youcrossstrings…t hehighestnoteontheD oteontheDstringisthe stringisthesameasthe sameasthelowestnoteonth lowestnoteontheG eG string,etc. Bycombiningtworegularshapeslikethis,weget Bycombiningtworegularshapesliketh is,wegetaseriesoflarger aseriesoflarger3-note-per-stringpentaton3-note-per-stringpentatonicshapes.Ifyoucanalsomemoriseallthe icshapes.If icshapes.Ifyou youcanalsomemoriseallthedouble canalsomemoriseallthe canalsomemorise allthedoubleshapes,you’lldevelopa doubleshapes, doubleshapes,you’lldevelopagood‘’wide shapes, you’lldevelopagood‘’wideangle’’ good‘’wideangle’’ angle’’ visualisationofthefretboard. Haveyoucheckedoutth Haveyouche Haveyoucheckedoutthe ckedoutthe10licksyet?Let e10licksyet?Let’stakea 10licksyet?Let’s 10licks yet?Let’stakeadetailed ’stakeadetailedlookat takeadetailedlookaton detailedlookatonewhere lookatonewhere onewhereI ewhereIuseadouble Iuseadouble I useadouble pentatonicpattern. LICK3

Thedoublepentatonicexerci Thedouble ThedoublepentatonicexerciseswereallinAminor pentatonicexerciseswere seswereallinA allinAminorp minorpentatonic(A pentatonic(ACDE pentatonic(A entatonic(ACDE CDEG)but CDEG)butnowwe’ll G)but G)butnowwe’ll nowwe’ll switchtoFminorpentatonic switchtoF switchtoFminorpentatonic(F minorpentatonic(FAbBbCEb) (FAbBbCEb)forthe AbBbCEb)forthelicks.InLick3I’musingShape1and forthelicks.In licks.In Lick3I’musingShape1andShape Shape 2together.Inbars1and 2together .Inbars1and2Iplaythe .Inbars 1and2Iplaythesamecool 2Iplaythesamec 2Iplay thesamecoolp samecool oolpatternfour patternfourtimes…twiceovertheFm7and atternfourtimes…twice times…twiceoverthe overtheFm7and twiceovertheBb13.For twiceover theBb13.Forpractice,try theBb13.Forpractice,tryplayingthatsame practice,try practice,tryplayingthatsamepatternallthe playingthatsamepatternallthe playingthatsame patternallthedoubleshapesindifferpatternallthedoubleshapesindiffe  doubleshapesindifferrentkeys. Inbars3and4Iplayadescendingpatternthroug Inbars3and4Iplayadescen dingpatternthroughthesamed hthesamedoublepentatonicshape. oublepentatonicshape. ThroughthewholelickIuse Throughthewhole lickIuselegatoandhybrid legatoandhybridpickingtocreate pickingtocreateasmoothsound. asmoothsound.

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PENTATONICS PENTATONICSMASTERCLASS MASTERCLASS ADVANCED LUCAMANTOVANELLI

Asyou’llsee,oneinterestingfeatureofthistec Asyou’llsee,oneinterestingfe atureofthistechniqueisthat hniqueisthatyouplaythesame youplaythesamenotetwiceas notetwiceas youcrossstrings…thehighestn youcrossstrings…t hehighestnoteontheD oteontheDstringisthe stringisthesameasthe sameasthelowestnoteonth lowestnoteontheG eG string,etc. Bycombiningtworegularshapeslikethis,weget Bycombiningtworegularshapesliketh is,wegetaseriesoflarger aseriesoflarger3-note-per-stringpentaton3-note-per-stringpentatonicshapes.Ifyoucanalsomemoriseallthe icshapes.If icshapes.Ifyou youcanalsomemoriseallthedouble canalsomemoriseallthe canalsomemorise allthedoubleshapes,you’lldevelopa doubleshapes, doubleshapes,you’lldevelopagood‘’wide shapes, you’lldevelopagood‘’wideangle’’ good‘’wideangle’’ angle’’ visualisationofthefretboard. Haveyoucheckedoutth Haveyouche Haveyoucheckedoutthe ckedoutthe10licksyet?Let e10licksyet?Let’stakea 10licksyet?Let’s 10licks yet?Let’stakeadetailed ’stakeadetailedlookat takeadetailedlookaton detailedlookatonewhere lookatonewhere onewhereI ewhereIuseadouble Iuseadouble I useadouble pentatonicpattern. LICK3

Thedoublepentatonicexerci Thedouble ThedoublepentatonicexerciseswereallinAminor pentatonicexerciseswere seswereallinA allinAminorp minorpentatonic(A pentatonic(ACDE pentatonic(A entatonic(ACDE CDEG)but CDEG)butnowwe’ll G)but G)butnowwe’ll nowwe’ll switchtoFminorpentatonic switchtoF switchtoFminorpentatonic(F minorpentatonic(FAbBbCEb) (FAbBbCEb)forthe AbBbCEb)forthelicks.InLick3I’musingShape1and forthelicks.In licks.In Lick3I’musingShape1andShape Shape 2together.Inbars1and 2together .Inbars1and2Iplaythe .Inbars 1and2Iplaythesamecool 2Iplaythesamec 2Iplay thesamecoolp samecool oolpatternfour patternfourtimes…twiceovertheFm7and atternfourtimes…twice times…twiceoverthe overtheFm7and twiceovertheBb13.For twiceover theBb13.Forpractice,try theBb13.Forpractice,tryplayingthatsame practice,try practice,tryplayingthatsamepatternallthe playingthatsamepatternallthe playingthatsame patternallthedoubleshapesindifferpatternallthedoubleshapesindiffe  doubleshapesindifferrentkeys. Inbars3and4Iplayadescendingpatternthroug Inbars3and4Iplayadescen dingpatternthroughthesamed hthesamedoublepentatonicshape. oublepentatonicshape. ThroughthewholelickIuse Throughthewhole lickIuselegatoandhybrid legatoandhybridpickingtocreate pickingtocreateasmoothsound. asmoothsound.

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PENTATONICS PENTATONICSMASTERCLASS MASTERCLASS ADVANCED LUCAMANTOVANELLI

ALTEREDPEN AL TEREDPENT T A  ATONICS A TONICS

Maybeifyouhaveseensomeofmy Maybeifyouhaveseen someofmyotherworkyou otherworkyoualreadyheard alreadyheardaboutaltered aboutalteredpentatonics. pentatonics. Let’sseewhatitmeans. Theconceptiseasy– Theconcept Theconceptiseasy–wejus iseasy–wejustmovetheroot wejustmovetherootnotedown tmovetherootnotedownasemitone(onefret).Thiscreatesa notedownasemitone asemitone(onefret). (onefret).Thiscreates Thiscreatesa a newpentatonicscalebased newpentatonic newpentatonicscalebasedaroundt scalebasedaround aroundtt heSuperlocrian,but heSuperlocrian,butinadifferentkey heSuperlocrian,butin inadifferentkey.. Inthefollowingdiagram,we’retakingAminorpentatonic(ACD Inthefollowingdiagram,we’ retakingAminorpentatonic(ACDEG)atthe5thfretand EG)atthe5thfretand droppingalltherootnotes droppingallthe rootnotes(A)by (A)byonefret.Th onefret.Thisgivesusanew onefret.This isgivesusanewscale(Ab is givesusanewscale(AbCDEG)whichis scale(AbCDEG)whichispart part ofESuperlocrian(EFG ofESuperlocrian ofESuperlocrian(EFGAb (EFGAbBbCD).The AbBbCD).Thediagramshowth BbCD).Thedi BbCD ).Thediagramshowthe diagramshowtheprinciple agramshowtheprincipleapplied eprincipleappliedtoShape principleappliedtoShape1ofA appliedtoShape1 toShape1ofA 1 ofA minorpentatonic…

Checkouttheseparate“altered Checkoutthe separate“altered”Tabfilestoseeournewalteredscale ”Tabfilestoseeournewalteredscaleinallfiveshapes. inallfiveshapes. Ofcourseyounowneed Ofcourseyou Ofcourseyounowneedtorememberawhole nowneedtoremembera torememberawholenewsetofroot wholenewsetofrootnotes.We newsetofrootnotes.WehaveanE(altered notes.WehaveanE haveanE(altered (altered dominant)scale,notanA dominant)scale, dominant)scale,notanAminorscale,andthat’swhyIwoulduset notanAminorscale,and minorscale,andthat’swhy that’swhyIwould Iwouldusethisalteredpentatonic usethisalteredpentatonicover hisalteredpentatonicover over anEdominantchord(E7 anEdominantchord (E7,E9,E7#9etc).ThefullSuperlocrianisa ,E9,E7#9etc).ThefullSuperlocrianisareallypopularjazzscalefor reallypopularjazzscalefor dominantandaltereddomin dominantand dominantandaltereddominantchords,soyouknow altereddominantchords, antchords,soyou soyouknowthispentatonicwill knowthispentatonicwillwork! thispentatonicwillwork! work! Here’sagoodway Here’sa Here’sagoodwaytoprac goodwaytopractiseusingt topractiseusingthis tiseusingthisconcept.Imagine tiseusing thisconcept.Imagineyou’replaying his concept.Imagine concept.Imagineyou’re you’replayingover you’replayingovera playingoverarepeating overarepeating arepeating repeating Am-E7progression.OvertheAmyoujustuse Am-E7progression.OvertheAm youjustuseAminorpentatonic Aminorpentatonic(ACDE (ACDEG)asnormal.When G)asnormal.When youcometotheE7,dropalltherootnotes(A)byonefret, youcometotheE7,dr opalltherootnotes(A)byonefret,creatingthenewscale(AbCD creatingthenewscale(AbCDEG) EG) whichisrelatedtoESuperlocrian. whichisrelatedtoE Superlocrian. Let’sseehowIuse Let’ssee Let’sseehowIusedthealteredpentatonicinoneof howIusedthe dthealteredpentatonic alteredpentatonicinoneofthelicks… inoneofthelicks… thelicks… LICK5

Thelicksandfull Thelicksan ThelicksandfullsoloareallinFminor,soour“home”scaleisFminorpentatonic(FAb dfullsoloareall soloareallinFminor, inFminor,soour“home” soour“home”scaleis scaleisFminorpentatonic Fminorpentatonic(FAbBbC (FAbBbC BbC Eb).Thislickis Eb).This Eb).Thislickisplayedoverthischordp lickisplayedover playedoverthischord thischordp p rogression…

  

PENTATONICSMASTERCLASS ADVANCED LUCAMANTOVANELLI

ThisisbasicallyaIV-V-IprogressioninFminor.OvertheBbm7,theFminorpentatonic(F AbBbCEb)worksfine(Iuseddoublepentatonicshapesinthislick).Thenwhenthechord changedtoC7#5,IdroppedmyfinalFnotedowntoFb(orE)andthendescendedthroughthe alteredpentatonic(FbAbBbCEb).ThisisourpartialformofCSuperlocrian(CDbEbFbGb AbBb)whichworksperfectlyoveraC7#5chord. TheprogressionendsonFm7-Fm6whichmeanswe’rebackinregularFminorpentatonic.

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STRINGSKIPPING

Stringskippingcanalwaysbeusedtofindnewmelodiclinesfromanyscale.It’sgoodto practiseitinaformalisedfashion,inordertofindwhat’spossible.I’vedesignedanexercise here,basedontwodifferentpatterns,oneascendingandonedescending. Wethentakebothpatternsupthroughthefivepentatonicshapes.It’snotalwayseasytoplay thatpatternoveralltheshapes,soplayslowlyandusethehybridpicking/legatotechnique. ToseehowIapplythestring-skippingtechniqueinproperplaying,checkouttheseparateTab files(andaudio/video)fortheselicks… LICK1 :Inbar3IplayanascendingFm7arpeggiointripletsandthenmoveintoastring

skippingpatternusingShape4. Itseemseasybutthegoalistoplayallthenotesatthesamevolume. 

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PENTATONICSMASTERCLASS ADVANCED LUCAMANTOVANELLI

LICK8:Superlegato Superlegatolick! lick!

ThisisdoublepentatonicsAN ThisisdoublepentatonicsANDstringski Dstringskipping. pping. I’musingmypicktohitthefirstnoteofeachlegatoline,andthenpoppingtheG-stringand B-stringnoteswithmy2ndfinger(hybridpicking). STRINGSKIPPINGWALK

Here’sanothercoolnewconceptforgettingmorefromyourscaleshapes.Asthename suggests,theconceptistoplaythepentatonicshapeswithstringskipping,butalsomovingup anddownthefretboard. Letsstartwiththefirsttripletsequence Letsstartwiththefirsttripl etsequence(thefile“ (thefile“walk1triplet”). walk1triplet”).Asyou Asyoucansee,it’s cansee,it’sasimple asimple five-notepattern,andwejoineachshapewithaslide.Becausewe’replayingafive-note patternagainsttriplets(5:3)wegetamoreinterestingmelodicline.We’renotjustplayingthe patternonthebeateverytime. ForeachexampleI’musingmypickandthenlegatoforthelownotes,poppingthehighnotes withmy2ndfinger(hybridpicking). Therearefourseque Thereare foursequencesin ncesintriplets,workin triplets,workingondifferentstrin gondifferentstringpairs, gpairs,andthen andthenthereare thereare foursequencesinquintuplets.Aquintupletisfivenotesplayedevenlyacrossabeat.This meansthatthepatternfitsexactlyintothebeat,BUTit’salittleharderbecausethenotesare fasterandyouhavetogetusedtotheunfamiliar5-notefeel.Thequintupletpatternisslightly different,startingwiththe different,startin gwiththehighnote. highnote. Forsomereal-worldexamples,checkouttheseparateTabfiles(andaudio/video)forthese licks… LICK6: Thestringskippingwalkpatternstartsineven16thnotes,butthenspeedsup.Don’t

worryifyoucan’tplaythefastnotegroupsexactlythesame–theimportantthingistofitthe patternintothebar. LICK9:Hereweseetheascendinglinefromourstringskippingexercises,followedbysome

stringskippingwalking. LICK10:Thisisalittledifferent.Iusedthepatternofthestringskippingwalkexercise,but

there’snostringskipping!Thisjustshowshowyoucancombineandmixtechniques.Richie Kotzenplayslineslikethisalot. LICK7:ThisissimilartoLick10,andthe(non-skipping)walkcoversahugeareaofthe

fretboard.It’sreallyimportanttopractisethiskindofthingindifferentkeys,inordertoimprove yourfretboardknowledgeand“navigation”.Youneedtoknowwhereyourfingersaregoing next,withouthavingtostopandthink:“ok,thepatternwentfromthe5thfrettothe8th,soI needtogofrom,er…17thto…er,huh?” LICK4:Thisismyfavouritelick!Thisisallaboutthenon-skippingwalk,andIplaythepatterns

ondifferentstringgroups.

 

PENTATONICSMASTERCLASS ADVANCED LUCAMANTOVANELLI

We’vecoveredsomeseriousstuffinthispackage,andifyouworkedthroughallthreevolumes, youhaveplentytopractise!Alltheselicksandexercisesaredesignedtoshowyouwhat’s possibleandtohelpyoufinddisciplinedwaysofbuildingyourtechnique.Ihopeyouhavefun! IlookforwardtoseeingyouinfuturemasterclassseriesatJTC! Allthebest,

Luca.

 

TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED AlteredPentatonics JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

 

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TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED DoublePentatonics JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

 

DOUBLEPENTATONICS Asrecordedbyjamtrackcentral.com (Fromthe2016AlbumLUCAMANTOVANELLIPENTATONICSMASTERCLASS3:ADVANCED) A Shapes1and2

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TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED FullSolo JTCSAYS:

Thistrackisintendedforyoutoputtouseallofthegreatconceptsthatcanfoundinthe mainmasterclassPD mainma sterclassPDFina Fina‘realwo ‘realworld’ rld’example. example.

  

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3

15

18 P

15

13 P

H

18 H

13

13

15

18 P

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V

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13

(13) sl.

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TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED Lick01 JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

   

ADVANCEDLICK1 Asrecordedbyjamtrackcentral.com

P PP CP DP ` V V   V V V   V   V V e   V V e4 l   } V V gV   V V V V l l l g V l   V V e e I 4 u M M (Fromthe2016AlbumLUCAMANTOVANELLIPENTATONICMASTERCLASS3:ADVANCED)

=118 =1 18 (

)

Fm7

B1 13 3

3

1

1 1/4 /4

Full

T A B

8

11

9

10

10

8

9

10

10

8

10

x

8

10

10

8

sl.

6

8

6

8

8

P

V V V V g V V V V   V V   V V V V V V e e l g V V V V e e V I   V Fm7

3

3

3

T A B

8

10

11

8

10

3

11

8

9

3

11

8

3

11

8

P

H

10

B 13

11

8

10

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P

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3

8

10

H

3

8

8 P

10 H

V `   V V V V e V e e e V V I gV V V V V V V M 3

3

4

3

3

1/4 1/4

T A B

8

10

10

8

8

11 P

8 11

P

8 P

11

8 P

6 sl.

JamTrackCentralLtd2016 GeneratedusingthePowerTabEditorbyBradLarsen. GeneratedusingthePower TabEditorbyBradLarsen. http://powertab.guitarnet http://powertab.guitarnetwork.org work.org

8

6

10

 

TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED Lick02 JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

 

   

ADVANCEDLICK2 Asrecordedbyjamtrackcentral.com

P PP CP DP

(Fromthe2016AlbumLUCAMANTOVANELLIPENTATONICMASTERCLASS3:ADVANCED)

=118 =1 18 (

)

Fm7

Ieee e44

3

V V V gV   V V 13

8

8

11

13

3

V

3

1

T A B

V V V V V V V V V g V V V V V  V V

3

3

3

V

8

13

8

11

8

13

8

13

3

3

10

13

8

13

8

10

9

13

13

11

9

` V V V V V V V V V V   V V g V V V V V V V V V V V e V e e I e H

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H

H

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H

H

H

H

P

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H

P

H

H

H

P

H

B1 13 3

2

3

T A B

13

3

13

8

8

P

H

3

13

11

H

H

11

P

3

8

13

P

Fm7

11

9

P

3

H

H

11

13

3

9

P

P

8

13 P

10 H

3

3

13 H

10 P

8

8

13

P

P

10 H

13 H

B 13

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3

3

3

3

3

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T A B

11

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15

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3

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13 15 13 15 P

15 13 P

P

15 13

16 13 15

P

(15) sl.

JamTrackCentralLtd2016 GeneratedusingthePowerTabEditorbyBradLarsen. GeneratedusingthePower TabEditorbyBradLarsen. http://powertab.guitarnet http://powertab.guitarnetwork.org work.org

P

13 15 13

15 13

P

P

13 15 13 P

H

 

TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED Lick03 JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

   

ADVANCEDLICK3 Asrecordedbyjamtrackcentral.com

P PP CP DP ee e e4 V gV   V V V V V V V V V V V V V V V V V V V V V V I 4 ` V g V V V V V V V V V V V   V V V V V V V V V V e e V V e e I (Fromthe2016AlbumLUCAMANTOVANELLIPENTATONICMASTERCLASS3:ADVANCED)

=118 =1 18 (

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Fm7 8va

1

3

T A B

13

3

16

H

18

13

3

16

18

H

13

3

18

P

13

16

3

18

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16

P

13

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3

16

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13

18

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16

18

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13

3

18

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16

13

18

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16

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P

B1 13 3 8va

2

3

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16

13

13

18

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18

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H Fm7

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18

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16

13

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18

13

16

18

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H

P

P

16

13

16

18

3

3

3

13

18

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16

13

16

18

P

P

P

8va

3

3

Ieee e V gV   V V V V V V V V V V V V V V V V V V V V V V

3

3

T A B

13

4

T A B

13

18

16

3

18

16

13

3

17

15

13

3

17

15

13

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15

17

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15

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H

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3

3

3

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3

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3

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18 15 13 18 15 13 18 15 13 15 18 13 18 15 13 P

P

P

P

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P

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18 16 P

13

18 16 P

JamTrackCentralLtd2016 GeneratedusingthePowerTabEditorbyBradLarsen. GeneratedusingthePower TabEditorbyBradLarsen. http://powertab.guitarnet http://powertab.guitarnetwork.org work.org

15

13 sl.

13

18

15 P

P

 

TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED Lick04 JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

   

ADVANCEDLICK4 Asrecordedbyjamtrackcentral.com

P PP CP DP

(Fromthe2016AlbumLUCAMANTOVANELLIPENTATONICMASTERCLASS3:ADVANCED)

Ieeee44

=118 =1 18 (

1

T A B

k   Vd

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3

`

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3

3

Ieeee V V V V V V V V V V V V V V V V V V V V V V V V 3

3

3

3

3

3

2

T A B

1

3

3

1

3

1

1

3

6

3

5

6

3

6

3

3

6

8

6

8

8

6

8

6

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8

10

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8

10

13

10

10

13

13

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3

3

3

3

3

3

P

13

10

10

13

13

15

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P

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Fm7

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13

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16 20

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Full

20 19 18

16

21

18

Full

21 18

 

TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED Lick05 JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

   

ADVANCEDLICK5 Asrecordedbyjamtrackcentral.com

P` PP CP DP V V V V V V V ee e4 V   V V V V V V V gV   V V V V V I e 4 V V gV (Fromthe2016AlbumLUCAMANTOVANELLIPENTATONICMASTERCLASS3:ADVANCED)

=118 =1 18 (

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3

3

1

3

3

3

T A B

13

18

13

16

18

18

13

3

3

13

18

16

13

18

13

3

15

18

13

17

15

13

13

17

16

17

13

bfV eV V V   V V   V V V V f  V e V V f V e V e e   V V V fV   V e e I H

P

H

H

H

P

H

H

H

P

H

H

H

P

H

H

C7 5

3

3

2

3

3

3

3

12

T A B

16

13

15

16

P

 

13

14

15

P

3

15

14

15

15

13 15

13

15

14

V

Fm6

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13

15

V Pz   V W 15

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JamTrackCentralLtd2016 GeneratedusingthePowerTabEditorbyBradLarsen. GeneratedusingthePower TabEditorbyBradLarsen. http://powertab.guitarnet http://powertab.guitarnetwork.org work.org

15 H

13 P

P

P

3

3

13

13 P

V gV   V V V V

Fm7

13

15

P

Ieee e W T A B

13

16

12 P

 

TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED Lick06 JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

   

ADVANCEDLICK6 Asrecordedbyjamtrackce Asrecordedby jamtrackce  jamtrackcentral.com ntral.com

P` PP CP DP b V V V V V eee e4 V V V V VV VVV VV V V I 4 V V V V V V V V VVV VVV (Fromthe2016AlbumLUCAMANTOVANELLIPENTATONICMASTERCLASS3:ADVANCED)

=118 =1 18 (

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1

T A B

4

1

3

6

3

H

1 P

3

6 H

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4

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JamTrackCentralLtd2016 GeneratedusingthePowerTabEditorbyBradLarsen. GeneratedusingthePower TabEditorbyBradLarsen. http://powertab.guitarnet http://powertab.guitarnetwork.org http://powertab.guitarnetwork.org work.org

10

8

10 (10) 8 sl.

sl.

10 P

 

TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: AD A A  D V  VA  V   AN  A A NCED Lick07 Lick 07 JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile. PleaserefertothemainmasterclassPDFforthedetailsandconceptsin thisTABfile.

   

ADVANCEDLICK7 Asrecordedbyjamtrackcentral.com

P PP CP DP V V V V V V V V V V V V V V V V V V V V e e4 V g V V   V e e I 4 (Fromthe2016AlbumLUCAMANTOVANELLIPENTATONICMASTERCLASS3:ADVANCED)

=118 =1 18 (

)

Fm7

1

3

3

4

T A B

3

1

1

4

3

4

1

1

3

4

4

6

3

6

6

4

3

3

6

4

4

6

9

6

8

9

6

9

6

` g V V V V V V V V V e e V V V V V V V V V V V Ie e V gV   V V P

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P

P

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P

sl.

P

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3

3

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6

T A B

9

11

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11

11

sl.

8

11

8

9

11

11

13

sl.

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P

13

11

13

13

11

11

13

16

13

16

16

sl.

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P

3

3

3

3

3

3

P

B 13

Fm7 8va

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3

16 13

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16 18

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18 13

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17

3

18 13

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17 13 P

13

17 15 sl.

(15) 13 15 sl.

JamTrackCentralLtd2016 GeneratedusingthePowerTabEditorbyBradLarsen. GeneratedusingthePower TabEditorbyBradLarsen. http://powertab.guitarnet http://powertab.guitarnetwork.org work.org

15

13

15 13 P

15 13 11 13 sl.

P

 

TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED Lick08 JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

   

ADVANCEDLICK8 Asrecordedbyjamtrackcentral.com

P` PP CP DP V V e V V V V V V V V V V V V V V V V V fV e4 V V V V V V V V V V Ie e 4 V (Fromthe2016AlbumLUCAMANTOVANELLIPENTATONICMASTERCLASS3:ADVANCED)

=118 =1 18 (

)

D maj7 maj7

1

7

T A B

8

10 13

13 10

8

10 13

13 10

8

10 13

9

8

13 10

8

10 13

13 10

8

8

10 13

13 10

b V V V VVVVVVVVV V V V V V V V V V V V V V V V V V V V H

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P

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18

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18

13

13 18

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13 P

15 H

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13

V 3

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T A B

15

15

13 15

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15

13 P

17

 

TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED Lick09 JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

   

ADVANCEDLICK9 Asrecordedbyjamtrackcentral.com

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JamTrackCentralLtd2016 GeneratedusingthePowerTabEditorbyBradLarsen. GeneratedusingthePower TabEditorbyBradLarsen. http://powertab.guitarnet http://powertab.guitarnetwork.org work.org

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TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED Lick10 JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

  

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P PP CP DP

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JamTrackCentralLtd2016 GeneratedusingthePowerTabEditorbyBradLarsen. GeneratedusingthePower TabEditorbyBradLarsen. http://powertab.guitarnet http://powertab.guitarnetwork.org work.org

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TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED StringSkipping JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

 

STRINGSKIPPING Asrecordedbyjamtrackcentral.com (Fromthe2016AlbumLUCAMANTOVANELLIPENTATONICSMASTERCLASS3:ADVANCED) A Shape1

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STRING SK  IPPING -  jamt  jamtrackcen   rackcentral.com tral.com

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17 15 17 P

 

TAB

LucaMantovanelli

PENTATONICS MASTERCLASS: ADVANCED StringSkippingWalk Sequence JTCSAYS:

PleaserefertothemainmasterclassPDFforthedetailsandconceptsinthisTABfile.

 

STRINGSKIPPINGWALK Asrecordedbyjamtrackcentral.com (Fromthe2016AlbumLUCAMANTOVANELLIPENTATONICSMASTERCLASS3:ADVANCED) A Tripletssequence1

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STRING SKIP IPPI PING NG W  ALK -  jamtrackcen  jamtr  ackcentral.com tral.com

Page 2of 4

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STRING SKIP IPPI PING NG W  ALK -  jamtrackcen  jamtr  ackcentral.com tral.com

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