But then I can’t do a full bend, only a half, so I’m suddenly looking at 6, then 4 rather than 7 then 5 (or 5 then 3 as it is played in front of me). F b bbb 3 3 Am7(b5) D7 &b 21 n Gm 7 j bn C. For example, on the B minor G shaped position reference is made to the use of the pentatonic during one phrase and Brian is playing 5th fret second string with a full bend, so then I’m having to think, yes but that’s 7th fret if I’m imagining the pentatonic superimposed over the B minor G position. Figure 3 is the minor pentatonic scale form that is the basis for the. As usual this is another great lesson Brian – brilliant teaching using another composition cleverly put together to illustrate all the points.Īm I the only one who finds it a little confusing, in a lesson which keeps overlaying scale patterns with fret numbers and references to note names being given, when the tab has a different fret number + full bend and I’m trying to play on a guitar on which full bends are not possible, so in order to incorporate a bend at all I’m having to do a half-bend.
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