There are 24 examples, with two in each of the twelve keys. Each key is denoted by its number in clock notation. The two examples in one key can be used over a pair of parallel chords.The first example in each key starts in major and the second in parallel minor, which is three semitones below the root note of the major chord. Thus, for the key 7 the first example starts in Eb major (Eb is 7 in clock notation) and the second example starts in C minor (C is 7-3 = 4 in clock notation). For each bar the chord changes to the parallel chord. Even though it sounds like the harmony is changing you can use the same pentatonic scale on both chords. If the time signature is not 4/4, or the feel is triplet rather than straight, it is indicated in red in order to draw your attention to it.
Key |
Clock |
Starting chord |
BPM |
Time |
Feel |
Audio |
Tablature |
1 |
A |
120 |
4/4 |
Straight |
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Gbm |
130 |
4/4 |
Straight |
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2 |
Bb |
120 |
4/4 |
Straight |
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Gm |
140 |
4/4 |
Straight |
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3 |
B |
100 |
4/4 |
Straight |
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Abm |
130 |
4/4 |
Straight |
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4 |
C |
95 |
4/4 |
Straight |
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Am |
100 |
4/4 |
Straight |
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5 |
Db |
140 |
4/4 |
Straight |
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Bbm |
130 |
4/4 |
Straight |
||||
6 |
D |
120 |
4/4 |
Straight |
|||
Bm |
120 |
4/4 |
Straight |
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7 |
Eb |
130 |
4/4 |
Triplet |
|||
Cm |
100 |
4/4 |
Straight |
||||
8 |
E |
120 |
4/4 |
Straight |
|||
Dbm |
130 |
4/4 |
Straight |
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9 |
F |
120 |
4/4 |
Straight |
|||
Dm |
120 |
4/4 |
Straight |
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10 |
Gb |
130 |
4/4 |
Straight |
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Ebm |
110 |
4/4 |
Straight |
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11 |
G |
140 |
4/4 |
Straight |
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Em |
90 |
4/4 |
Straight |
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12 |
Ab |
120 |
4/4 |
Straight |
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Fm |
140 |
4/4 |
Triplet |