Introduction to One Finger Tapping – Lesson 96

About Introduction to One Finger Tapping – Lesson 96

Level: Advanced

Introduction to One Finger Tapping – Lesson 96

In this lesson we show you some variations on one-finger tapping.

Syn’s Tips

A lot of cool stuff here from Papa Gates and I LOVED how he added some interesting Theory in the mix as well!

So I'm gonna talk about that! Let's discuss the two most popular Jazz/Blues substitutions for a minor pentatonic scale that PG mentioned-

1) Playing the substitute minor pentatonic on the 5th note of the root or Tonic chord which will be A minor for both examples. So the 5th of A minor is.... you guessed it, "E". So we could play an E minor pentatonic over A minor which would give us a "B" and since that is the 2nd or 9th of "A", this will give us an A minor 9th chord/arpeggio which is my personal favorite of the two substitutions.

2) Playing the substitute minor pentatonic over the 2nd degree of our A minor scale which is "B". So what does a B minor pentatonic add to A minor? Well as PG teaches us in the video, it gives us the major 9th and major 6th degrees of A minor. PG gives us a great example of what we can use this over which is the IV chord in A blues. Generally speaking though, what type of A minor 7th mode does a major 6th degree make it? Yes, the Dorian Mode!

So basically you can play these Substitutions over an A minor jam without having to wait for changes. It all depends on how you want to color the music you are playing over.

So why don't we just think in terms of A minor 9 or A minor 6 when we want to add these qualities? Well, you should know what effect ALL Substitutions have over the music you are playing but for most players, Substitutions are much easier to recall and apply. Think of the second Substitution we discussed, all we really have to do to get a cool Dorian sound for A minor now, is shift any A min pentatonic shape up a whole step and continue playing the same pentatonic shapes, just two frets higher. To me, this is a lot easier than trying to locate the F# over the entire fretboard, at least at fast speeds anyways.

As you learn more about Substitutions, you will find that they really begin to teach YOU! For example, when I tell you that a C maj7 arpeggio sounds awesome over an A min7 chord, you can apply that immediately because you already(should;) know both of these. I bet that It'd be more confusing and take a lot more thought if I told you to play an A min9 without the root across the entire fretboard. To me, hands down it would be easier to think in terms of the C maj7 arp.

Don't get me wrong, there are players that get there both ways but for me, applying Substitutions to allow me to hear music in a unique way, made it a lot easier. Then Go and Analyze What You Are Playing and Hearing because then you can choose your Substitutions tastefully. At this point, I understand a lot of what I'm playing and experimenting with Harmonically, but if I can, I always think in Substitutions when I want to color things differently with little complication.

Please share with us any exciting Substitution discoveries you have made especially when applied to tapping! Upload those videos to the "Lesson Comments" section below and have fun with this material, we are getting to a really exciting place now. You guys know a lot of Technique and Theory and it's easy to forget if you don't apply the new to the old and vice versa. Also keep this stuff fresh in your minds, Constantly Discuss This Amongst Yourselves!

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