Advanced

Luca Mantovanelli

Luca Mantovanelli

PENTATONICS

PENTATONICS

MASTERCLASS

MASTERCLASS

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INTRODUCTION INTRODUCTION

Hi everybody, thanks for checking out the advanced volume of my pentatonics masterclass. 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 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 pen

pentatonic scales, including altered pentatonics and double pentatonics. Once again, I’vetatonics. Once again, I’ve designed lots of exercises to help you master the new concepts, and then

designed lots of exercises to help you master the new concepts, and then we put these conceptswe put these concepts to work in 10 licks and a full solo.

to work in 10 licks and a full solo.

DOUBLE PENTATONICS DOUBLE PENTATONICS

Ready for the first challenge? A cool idea is to mix together two adjacent shapes, creating the Ready for the first challenge? A cool idea is to mix together two adjacent shapes, creating the kind of

3-note-kind of 3-note-per-string lines that you’per-string lines that you’d normally associate with regular 7-note scales andd normally associate with regular 7-note scales and modes. The main problem here is the larger inter

modes. The main problem here is the larger intervals in a pentatonic scale, meaning that youvals in a pentatonic scale, meaning that you need to STRETCH! It’s tough at first, but

need to STRETCH! It’s tough at first, but you’lyou’ll get there with a l get there with a little practice.little practice. Anyway, check out the

Anyway, check out the “doubl“double” Te” 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

The first exercise uses Shape 1 and Shape 2, the second uses Shape 2 2, the second uses Shape 2 and Shape 3, and soand Shape 3, and so forth. I’ve used the

forth. I’ve used the same pattern in each exercise, and there’s a nice 5-note legato phrase onsame pattern in each exercise, and there’s a nice 5-note legato phrase on both the ascending and descending parts.

both the ascending and descending parts.

MASTERC

PENTATONIC

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LUCA MANTOVANELLI LUCA MANTOVANELLI

As you’ll see, one interesting feature of this technique is that you play the same note twice as As you’ll see, one interesting feature of this technique is that you play the same note twice as you cross strings… the highest note on the D string is the same as the lowest note on the G you cross strings… the highest note on the D string is the same as the lowest note on the G string, etc.

string, etc.

By combining two regular shapes like this, we get a series of larger 3-note-per-string By combining two regular shapes like this, we get a series of larger 3-note-per-string pentaton-ic shapes. If you

ic shapes. If you can also memorise all the double shapes, can also memorise all the double shapes, you’ll develop a good ‘’wide angle’’you’ll develop a good ‘’wide angle’’ visualisation of the fretboard.

visualisation of the fretboard. Have you checked out the

Have you checked out the 10 licks yet? Let’s take a detailed look at one where I 10 licks yet? Let’s take a detailed look at one where I use a doubleuse a double pentatonic pattern.

pentatonic pattern.

LICK 3 LICK 3

The double pentatonic exercises were all in A minor

The double pentatonic exercises were all in A minor pentatonic (A C D E G) but pentatonic (A C D E G) but now we’llnow we’ll switch to F minor pentatonic (F

switch to F minor pentatonic (F Ab Bb C Eb) for the licks. In Ab Bb C Eb) for the licks. In Lick 3 I’m using Shape 1 and Lick 3 I’m using Shape 1 and ShapeShape 2 together

2 together. In bars 1 and . In bars 1 and 2 I play the same cool 2 I play the same cool pattern four times… twice over the pattern four times… twice over the Fm7 andFm7 and twice over the Bb13. For practice, try

twice over the Bb13. For practice, try playing that same pattern all the playing that same pattern all the double shapes in differ-double shapes in differ-ent keys.

ent keys.

In bars 3 and 4 I play a descending pattern through the same double pentatonic shape. In bars 3 and 4 I play a descending pattern through the same double pentatonic shape. Through the whole lick I use legato and hybrid picking to create a smooth sound.

Through the whole lick I use legato and hybrid picking to create a smooth sound.

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PENTATONIC

PENTATONICS S MASTERCLASSMASTERCLASS

ADVANCED ADVANCED

LUCA MANTOVANELLI LUCA MANTOVANELLI

As you’ll see, one interesting feature of this technique is that you play the same note twice as As you’ll see, one interesting feature of this technique is that you play the same note twice as you cross strings… the highest note on the D string is the same as the lowest note on the G you cross strings… the highest note on the D string is the same as the lowest note on the G string, etc.

string, etc.

By combining two regular shapes like this, we get a series of larger 3-note-per-string By combining two regular shapes like this, we get a series of larger 3-note-per-string pentaton-ic shapes. If you

ic shapes. If you can also memorise all the double shapes, can also memorise all the double shapes, you’ll develop a good ‘’wide angle’’you’ll develop a good ‘’wide angle’’ visualisation of the fretboard.

visualisation of the fretboard. Have you checked out the

Have you checked out the 10 licks yet? Let’s take a detailed look at one where I 10 licks yet? Let’s take a detailed look at one where I use a doubleuse a double pentatonic pattern.

pentatonic pattern.

LICK 3 LICK 3

The double pentatonic exercises were all in A minor

The double pentatonic exercises were all in A minor pentatonic (A C D E G) but pentatonic (A C D E G) but now we’llnow we’ll switch to F minor pentatonic (F

switch to F minor pentatonic (F Ab Bb C Eb) for the licks. In Ab Bb C Eb) for the licks. In Lick 3 I’m using Shape 1 and Lick 3 I’m using Shape 1 and ShapeShape 2 together

2 together. In bars 1 and . In bars 1 and 2 I play the same cool 2 I play the same cool pattern four times… twice over the pattern four times… twice over the Fm7 andFm7 and twice over the Bb13. For practice, try

twice over the Bb13. For practice, try playing that same pattern all the playing that same pattern all the double shapes in differ-double shapes in differ-ent keys.

ent keys.

In bars 3 and 4 I play a descending pattern through the same double pentatonic shape. In bars 3 and 4 I play a descending pattern through the same double pentatonic shape. Through the whole lick I use legato and hybrid picking to create a smooth sound.

Through the whole lick I use legato and hybrid picking to create a smooth sound.

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1 1 T T A A B B

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PENTATONIC

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LUCA MANTOVANELLI LUCA MANTOVANELLI

 AL

 ALTERED PENTERED PENTTAATONICSTONICS

Maybe if you have seen some of my other work you already heard about altered pentatonics. Maybe if you have seen some of my other work you already heard about altered pentatonics. Let’s see what it means.

Let’s see what it means. The concept is easy – we jus

The concept is easy – we just move the root note down a semitone (one fret). This creates at move the root note down a semitone (one fret). This creates a new pentatonic scale based around t

new pentatonic scale based around the Superlocrian, but in he Superlocrian, but in a different keya different key.. In the following diagram, we’

In the following diagram, we’re taking A minor pentatonic (A C D re taking A minor pentatonic (A C D E G) at the 5th fret andE G) at the 5th fret and dropping all the root notes (A) by one fret. This

dropping all the root notes (A) by one fret. This gives us a new scale (Ab gives us a new scale (Ab C D E G) which is C D E G) which is partpart of E Superlocrian (E F G Ab

of E Superlocrian (E F G Ab Bb C D). The diagram show the principle applied to Shape 1 Bb C D). The diagram show the principle applied to Shape 1 of Aof A minor pentatonic…

minor pentatonic…

Check out the

Check out the separate “alteredseparate “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 to remember a whole

Of course you now need to remember a whole new set of root notes. We have an E (alterednew set of root notes. We have an E (altered dominant) scale, not an A minor scale, and that’s why I would use t

dominant) scale, not an A minor scale, and that’s why I would use this altered pentatonic overhis altered pentatonic over an E dominant chord

an E dominant chord (E7(E7, E9, E7#9 etc). The full Superlocrian is a , E9, E7#9 etc). The full Superlocrian is a really popular jazz scale forreally popular jazz scale for dominant and altered dominant chords, so you know

dominant and altered dominant chords, so you know this pentatonic will work!this pentatonic will work! Here’s a good way to prac

Here’s a good way to practise using this tise using this concept. Imagine you’re playing over a repeatingconcept. Imagine you’re playing over a repeating Am-E7 progression. Over the Am you just use A minor pentatonic (A C D E G) as normal. When Am-E7 progression. Over the Am you just use A minor pentatonic (A C D E G) as normal. When you come to the E7, dr

you come to the E7, drop all the root notes (A) by one fret, 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

which is related to E Superlocrian.Superlocrian.

Let’s see how I used the altered pentatonic in one of

Let’s see how I used the altered pentatonic in one of the licks…the licks…

LICK 5 LICK 5

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

PENTATONICS MASTERCLASS

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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.

PENTATONICS MASTERCLASS

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LUCA MANTOVANELLI

LICK 8: _{Super legato lick! This is double pentatonics AND string skipping.}

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 (the file “walk1triplet”). As you can see, it’s 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 sequences in triplets, working on different string pairs, and then 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 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}

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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.

Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Altered Pentatonics

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

ALTERED PENTATONICS

As recorded by jamtrackcentral.com

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

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Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Double Pentatonics

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

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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DOUBLE PENTATONICS - jamtrackcentral.com Page 2 of 2

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W

Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Full Solo

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

FULL SOLO

As recorded by jamtrackcentral.com

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

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FULLSOLO-jamtrackcentral.com Page3of6

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FULLSOLO-jamtrackcentral.com Page4of6

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FULLSOLO-jamtrackcentral.com Page5of6

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FULLSOLO-jamtrackcentral.com Page6of6

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Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Lick 01

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

ADVANCED LICK 1

As recorded by jamtrackcentral.com

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

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Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Lick 02

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

ADVANCED LICK 2

As recorded by jamtrackcentral.com

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

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 I

5 T A B

eeee

Fm7

V

15

V

 sl. (15)

Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Lick 03

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

ADVANCED LICK 3

As recorded by jamtrackcentral.com

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

 I

1 T A B

eeee 44

P

 = 118 (

P PCPDP

) Fm7

V

H 13 8va

V

H 16

g V

18 3

V

13

V

18

V

P 16 3

V

13

V

P 18

V

16 3

V

13

V

P 18

V

P 16 3

V

H 13

V

H 16

V

18 3

V

13

V

18

V

P 16 3

V

13

V

P 18

V

16 3

V

13

V

P 18

V

P 16 3

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2 T A B

eeee

B

`

13

V

H 13 8va

V

H 16

V

18 3

V

13

V

18

V

P 16 3

g V

13

V

P 18

V

16 3

V

13

V

P 18

V

P 16 3

V

H 13

V

H 16

V

18 3

V

13

V

18

V

P 16 3

V

13

V

P 18

V

16 3

V

13

V

P 18

V

P 16 3

 I

3 T A B

eeee

Fm7

V

H 13 8va

V

H 16

g V

18 3

V

13

V

P 18

V

P 16 3

V

13

V

P 17

V

15 3

V

13

V

P 17

V

P 15 3

V

H 13

V

H 15

V

17 3

V

13

V

P 17

V

P 15 3

V

13

V

P 18

V

15 3

V

13

V

P 18

V

P 15 3

 I

4 T A B

eeee

B

`

13

V

H 13

V

H 15

V

18 3

g V

13

V

P 18

V

P 15 3

V

13

V

P 18

V

15 3

V

13

V

P 18

V

P 15 3

V

H 13

V

H 15

V

18 3

V

13

V

P 18

V

P 15 3

V

13

V

P 18

V

16 3

g V

13

V

P 18

V

16 3

W

 sl. 13

Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Lick 04

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

ADVANCED LICK 4

As recorded by jamtrackcentral.com

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

 I

1 T A B

eeee 44

P

 = 118 (

P PCPDP

)

 j

k

_V

3

d

 I

2 T A B

eeee

D

`

maj7

V

1

V

3

V

P 3 3

V

1

V

P 3

V

1 3

V

1

V

 sl. 3

V

6 3

V

3

V

6

V

P 5 3

V

3

V

P 6

V

3 3

V

3

V

 sl. 6

V

8 3

V

6

V

8

V

P 8 3

V

6

V

P 8

V

6 3

 I

3 T A B

eeee

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b

5

V

6

V

 sl. 8

V

10 3

V

8

V

10

V

P 10 3

V

8

V

P 10

V

8 3

V

8

V

 sl. 10

V

13 3

V

10

V

13

V

P 13 3

V

10

V

P 13

V

10 3

V

10

V

 sl. 13

V

15 3

V

13

V

15

V

P 16 3

 I

4 T A B

eeee

Fm7

V

13

V

P 15

V

13 3

V

13

V

 sl. 15

V

17 3

V

16 8va

g V

17

V

P 18 3

V

16

V

P 17

V

16 3

f V

16

V

 sl. 17

f V

18 3

V

16

V

18

V

P 18 3

V

16

V

P 18

V

16 3

V

16

V

M

1 1/2 20 Fm6

V

(20)

V

20

V

19

f V

18 3

e V

M

Full 21

V

18

V

M

Full 21 3

V

18

Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Lick 05

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

ADVANCED LICK 5

As recorded by jamtrackcentral.com

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

 I

1 T A B

eeee 44

P

 = 118 (

P PCPDP

) B

`

m7

V

H 13

V

P 18

V

H 13 3

V

H 16

g V

18

V

H 13 3

V

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V

H 13

V

H 16 3

V

18

V

H 13

V

P 18 3

g V

H 13

V

H 15

V

18 3

V

H 13

V

P 17

V

H 13 3

V

H 15

V

17

V

13 3

V

17

V

16

V

13 3

 I

2 T A B

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b

5

V

12

f V

P 16

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13

V

15

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V

13

V

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V

13 3

V

14

f V

P 15

V

13 3

V

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V

13

e V

15 3

V

P 14

f V

13

e V

P 15 3

V

13

V

P 16

V

12 3

f

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3 T A B

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13

V

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V

13

g V

15 3

V

15

V

15

V

13 3 Fm6

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(13)

V

15

P

H 13

z V

15

W

Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Lick 06

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

JamTrackCentral Ltd 2016 JamTrackCentral Ltd 2016 Generated using the Power

Generated using the Power Tab Editor by Brad Larsen. Tab Editor by Brad Larsen. http://powertab.guitarnetwork.orghttp://powertab.guitarnetwork.org

ADVANCED LICK 6

ADVANCED LICK 6

As recorded by

As recorded by jamtrackce

jamtrackcentral.com

ntral.com

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

 I

 I

1 1 T T A A B B

eeeeeee 4e 444

PP

 = 1 = 11818 ((

P P PPCCPPDDPP

)) D D

``

maj7maj7

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H H 1 1

VV

3 3

VV

4 4

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P P 3 3

VV

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VV

H H 3 3

VV

6 6

VV

6 6

VV

P P 6 6

VV

 sl.  sl. 3 3

VV

H H 1 1

VV

3 3

VV

4 4

VV

3 3

VV

H H 1 1

VV

H H 3 3 C7 C7

bb

55

VV

6 6

VV

6 6

VV

P P 6 6

VV

 sl.  sl. 3 3

VV

H H 6 6

VV

8 8

VV

9 9

VV

P P 8 8

VV

 sl.  sl. 6 6

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H H 3 3

VV

6 6

VV

6 6

VV

P P 6 6

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VV

H H 6 6

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8 8

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3 3 T T A A B B

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P P 8 8

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H H 8 8

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10 10

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11 11

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 sl.  sl. 10 10 7  7 

VV

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VV

H H 6 6

VV

8 8 3 3

VV

9 9

VV

P P 8 8

VV

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VV

H H 8 8

VV

10 10

VV

11 11

VV

P P 10 10

VV

 sl.  sl. 8 8

VV

H H 6 6

VV

8 8 7  7 

VV

9 9

VV

P P 8 8

VV

 sl.  sl. 6 6

VV

H H 8 8

VV

10 10

VV

11 11

VV

P P 10 10 7  7 

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VV

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ff VV

11 11 3 3

VV

12 12

ff VV

P P 11 11

VV

 sl.  sl. 9 9 3 3

VV

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VV

12 12

VV

13 13

VV

P P 12 12

VV

 sl.  sl. 10 10

VV

H H 9 9

VV

11 11 7  7 

VV

12 12

VV

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VV

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10 10

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P P 10 10

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10 10

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VV

8 8

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Luca Mantovanelli

Luca Mantovanelli

JTC SAYS: JTC SAYS:

PENTATONICS

PENTATONICS

MASTERCLASS:

MASTERCLASS:

 A

 AD

DV

VA

AN

NC

CED

ED

Lick

Lick 07

07

Please refer to the main masterclass PDF for the details and concepts in

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

T

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

ADVANCED LICK 7

As recorded by jamtrackcentral.com

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

 I

1 T A B

eeee 44

P

 = 118 (

P PCPDP

) Fm7

V

P 4

V

1

V

P 4 3

V

1

V

P 4

g V

1 3

V

1

V

 sl. 4

V

6 3

V

4

V

6

V

P 6 3

V

4

V

P 6

V

4 3

V

4

V

 sl. 6

V

9 3

V

6

V

9

V

P 8 3

V

6

V

P 9

V

6 3

 I

2 T A B

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B

`

13

V

6 8va

V

 sl. 9

g V

11 3

V

8

V

11

V

P 11 3

V

8

V

P 11

V

9 3

V

8

V

 sl. 11

V

13 3

V

11

V

13

V

P 13 3

V

11

V

P 13

V

11 3

V

11

V

 sl. 13

V

16 3

V

13

V

16

V

P 16 3

g

 I

3 T A B

eeee

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V

13 8va

V

P 16

g V

13 3

V

13

V

 sl. 16

V

18 3

V

13

V

18

V

P 18 3

V

13

V

P 18

V

13 3

V

13

V

P 18

V

13 3

V

17

V

P 18

V

13 3

V

P 17

V

13

V

13 3

P

 sl. 17

z V

15 B

`

13

V

(15)

V

 sl. 13

g V

15

V

15

V

13

V

P 15

V

13

V

 sl. 15

V

P 13

V

11

g V

13

Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Lick 08

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

ADVANCED LICK 8

As recorded by jamtrackcentral.com

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

 I

1 T A B

eeee 44

P

 = 118 (

P PCPDP

) D

`

maj7

V

H 8

V

H 10

V

13

V

8

V

P 13

V

P 10

V

H 8

V

H 10

V

13

V

9

V

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V

P 10

V

H 8

V

H 10

V

13 7 

V

8

V

P 13

V

P 10

V

H 8

V

H 10

V

13

V

9

V

P 13

V

P 10

V

H 8

V

H 10

V

13

V

8

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P 13

V

P 10

V

 sl. 9

f

 I

2 T A B

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b

5

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V

13

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15

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10

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P 15

V

P 13

V

H 10

V

H 13

V

15

V

11

V

P 15

V

P 13

V

H 10

V

H 13

V

15 7 

V

10

V

P 15

V

P 13

V

H 10

V

H 13

V

15

V

11

V

P 15

V

P 13

V

H 10

V

H 13

V

15

V

10

V

P 15

V

P 13

V

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 I

3 T A B

eeee

Fm7

V

H  sl. 13

g V

H 15

V

18

V

13

V

P 18

V

P 15

V

H 13

V

H 15

V

18

V

13

V

P 18

V

P 15

V

H 13

V

H 15

V

18 7 

V

13

V

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V

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V

H 13

V

H 15

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18

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13

V

P 18

V

P 15

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13

V

M

1 1/2 17

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4 T A B

eeee

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V

_k

_V

M

Full 15

V

15 3

V

13

V

15

V

15 3

V

13

Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Lick 09

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

ADVANCED LICK 9

As recorded by jamtrackcentral.com

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

 I

1 T A B

eeee 44

P

 = 118 (

P PCPDP

) B

`

m7

V

H 13

V

16

g V

13

V

16

V

P 15

V

13

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13

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13

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15

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13

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P 15

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13

V

13

g V

15 C7

b

5

V

P 15 8va

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13

V

P 15

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13

V

13

V

15

V

P 16

V

13

V

P 15

V

13

V

13

V

15

V

P 16

V

13

V

P 15

V

H 13

 I

3 T A B

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17

V

18

V

P 17

V

 sl. 15 3

V

H 13

V

15

V

16

V

P 15

V

 sl. 13

V

H 15

V

17 7 

V

18

V

P 17

V

 sl. 15

V

H 13

V

15

V

16

V

P 15 7 

V

 sl. 13

V

H 15

V

17 3

V

18

V

P 17

V

 sl. 15 3

 I

4 T A B

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V

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V

15

V

16

V

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V

 sl. 13

V

H 10

V

13 7 

V

13

V

P 13

V

 sl. 10

V

H 13

V

15

V

16

V

P 15 7 

V

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V

H 10

V

13 3

V

13

V

P 13

V

 sl. 10 3

V

H 8

V

10

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11 3

V

P 10

V

8

V

9 3

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5 T A B

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D

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_V

10

P

H 8

z

V

10

V

P (10)

V

8

 j

Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

Lick 10

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

ADVANCED LICK 10

As recorded by jamtrackcentral.com

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

 I

1 T A B

eeee 44

P

 = 118 (

P PCPDP

)

 j

k

_V

 sl. 11

u

8va

 I

2 T A B

eeee

D

`

maj7

V

11 8va

V

P 11

V

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V

H 11

V

13

V

13 3

V

P 13

V

 sl. 11

V

H 9

V

11

V

11

V

P 11

V

 sl. 9 7 

V

H 11

V

13

V

13

V

P 13

V

 sl. 11

V

H 9

V

11 7 

V

11

V

P 11

V

 sl. 9

V

H 11

V

13

V

13

V

P 13 7 

 I

3 T A B

eeee

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b

5

V

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V

H 13

V

16

V

16

V

P 16

V

 sl. 13

V

H 11 7 

V

13

V

13

V

P 13

V

 sl. 11

V

H 13

V

16

V

16 7 

V

P 16

V

 sl. 13

V

H 11 3

V

13

V

13

V

P 13 3

V

 sl. 11

V

13

V

M

Full 16

 I

4 T A B

eeee

Fm7

V

8va

g V

13

V

13

V

16

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M

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V

 sl. 15

V

 sl. 16

f V

P 15

e V

13 3

V

15

V

15

V

M

1/4 13

V

15

V

15

V

13

g P

 sl. 15

R V

13 Fm6

V

P (13)

V

11

V

 sl. 13

V

15

V

13

V

15

V

15

V

15

V

13 P.M.

V

15

V

15

V

13

V

15

Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

String Skipping

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

STRING SKIPPING

As recorded by jamtrackcentral.com

(From the 2016 Album LUCA MANTOVANELLI PENTATONICS MASTERCLASS 3: ADVANCED) A Shape 1

 I

1 T A B

44

_V

P

 = 90 5

V

P 7

V

5

V

P 8

V

5

V

5

V

7

V

P 7

V

5

V

P 7

V

5

V

5

V

7

V

P 7

V

5

V

P 7

V

5

V

5

V

7

V

P 8

V

5

V

P 7

V

5

V

5

V

8

V

P 8

V

5

V

P 8

V

5

V

P 8

V

5

V

7

 I

3 T A B

V

P 8

V

5

V

P 7

V

5

V

5

V

P 7

V

5

V

7

V

P 8

V

5

V

P 7

V

5

V

5

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P 7

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5

V

7

V

P 7

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5

V

P 7

V

5

V

5

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P 7

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5

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8

V

P 7

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5

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5

V

5

V

P 8

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5

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7 B Shape 2

 I

5 T A B

V

8

V

P 10

V

7

V

P 10

V

8

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7

V

10

V

P 10

V

7

V

P 10

V

7

V

7

V

10

V

P 9

V

7

V

P 10

V

7

V

8

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9

V

P 10

V

8

V

P 9

V

7

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8

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10

V

P 10

V

8

V

P 10

V

8

V

P 10

V

8

V

9

 I

7 T A B

V

P 10

V

8

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P 9

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7

V

8

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P 9

V

7

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10

V

P 10

V

8

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7

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8

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7

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7

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7

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7

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7

V

10

V

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V

7

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V

8

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7

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8

V

7 C Shape 3

 I

9 T A B

V

10

V

P 12

V

10

V

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V

10

V

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V

12

V

P 12

V

10

V

P 12

V

10

V

9

V

12

V

P 12

V

9

V

P 12

V

10

V

10

V

12

V

P 13

V

10

V

P 12

V

9

V

10

V

13

V

P 12

V

10

V

P 13

V

10

V

P 12

V

10

V

12

STRING SKIPPING - jamtrackcentral.com Page 2 of 2

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

 I

11 T A B

V

P 12

V

10

V

P 12

V

9

V

10

V

P 12

V

9

V

12

V

P 13

V

10

V

P 12

V

10

V

10

V

P 12

V

10

V

12

V

P 12

V

9

V

P 12

V

10

V

9

V

P 12

V

10

V

12

V

P 12

V

10

V

P 12

V

10

V

10

V

P 12

V

10

V

12 D Shape 4

 I

13 T A B

V

12

V

P 15

V

12

V

P 15

V

12

V

12

V

15

V

P 14

V

12

V

P 15

V

12

V

12

V

14

V

P 14

V

12

V

P 14

V

12

V

13

V

14

V

P 15

V

13

V

P 14

V

12

V

12

V

15 8va

V

P 15

V

12

V

P 15

V

13

V

P 15

V

12

V

14

 I

15 T A B

V

P 15 8va

V

12

V

P 14

V

12

V

12

V

P 14

V

12

V

14

V

P 15

V

13

V

P 14

V

12

V

13

V

P 14

V

12

V

15

V

P 14

V

12

V

P 15

V

12

V

12

V

P 15

V

12

V

15

V

P 14

V

12

V

P 15

V

12

V

12

V

P 15

V

12

V

12 E Shape 5

 I

17 T A B

V

15

V

P 17

V

15

V

P 17

V

15

V

14

V

17

V

P 17

V

14

V

P 17

V

15

V

14

V

17 8va

V

P 17

V

14

V

P 17

V

14

V

15

V

17

V

P 17

V

15

V

P 17

V

14

V

15

V

17

V

P 17

V

15

V

P 17

V

15

V

P 17

V

15

V

17

 I

19 T A B

V

P 17 8va

V

15

V

P 17

V

14

V

15

V

P 17

V

14

V

17

V

P 17

V

15

V

P 17

V

14

V

15

V

P 17

V

14

V

17

V

P 17

V

14

V

P 17

V

15

V

14

V

P 17

V

15

V

17

V

P 17

V

14

V

P 17

V

15

V

14

V

P 17

V

15

V

17

Luca Mantovanelli

JTC SAYS:

PENTATONICS

MASTERCLASS:

 ADVANCED

String Skipping Walk

Sequence

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

JamTrackCentral Ltd 2016

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

STRING SKIPPING WALK 

As recorded by jamtrackcentral.com

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

A Triplets sequence 1

 I

1 T A B

44

P

 = 90

V

H 3

V

5

V

5 3

V

P 5

V

 sl. 3

V

H 5 3

V

8

V

7

V

P 8 3

V

 sl. 5

V

H 8

V

10 3

V

10

V

P 10

V

 sl. 8 3

V

H 10

V

12

V

12 3

V

P 12

V

 sl. 10

V

H 12 3

V

15

V

14

V

P 15 3

 I

3 T A B

V

 sl. 12

V

H 15

V

17 3

V

17

V

P 17

V

 sl. 15 3

V

H 12

V

15

V

14 3

V

P 15

V

 sl. 12

V

H 10 3

V

12

V

12

V

P 12 3

V

 sl. 10

V

H 8

V

10 3

V

10

V

P 10

V

 sl. 8 3

V

H 5

V

8

V

7 3

V

P 8

V

 sl. 5

V

H 3 3

V

5

V

5

V

5 3

W

B Triplets sequence 2

 I

6 T A B

V

H 3

V

5

V

5 3

V

P 5

V

 sl. 3

V

H 5 3

V

7

V

7

V

P 7 3

V

 sl. 5

V

H 7

V

10 3

V

9

V

P 10

V

 sl. 7 3

V

H 10

V

12

V

12 3

V

P 12

V

 sl. 10

V

H 12 3

V

15

V

14

V

P 15 3

 I

8 T A B

V

 sl. 12

V

H 15

V

17 3

V

17

V

P 17

V

 sl. 15 3

V

H 12

V

15

V

14 3

V

P 15

V

 sl. 12

V

H 10 3

V

12

V

12

V

P 12 3

V

 sl. 10

V

H 7

V

10 3

V

9

V

P 10

V

 sl. 7 3

V

H 5

V

7

V

7 3

V

P 7

V

 sl. 5

V

H 3 3

V

5

V

5

V

5 3

W

C Triplets sequence 3

 I

11 T A B

V

H 2

V

5

V

5 3

V

P 5

V

 sl. 2

V

H 5 3

V

7

V

8

V

P 7 3

V

 sl. 5

V

H 7

V

10 3

V

10

V

P 10

V

 sl. 7 3

V

H 10

V

12

V

13 3

V

P 12

V

 sl. 10

V

H 12 3

V

14

V

15

V

P 14 3