Tone guide · the lead voice
B D E F♯ A — R ♭3 4 5 ♭7. Five notes; the art is which intervals you lean on and where you let a run land. This maps the most pleasing moves and the resolution targets, with runs and drills to bake them in.
All of B minor pentatonic, labelled by interval. Tap a box to isolate it; tap any dot to hear it. The riff and most of the runs live in Box 1 (frets 7–10).
● root B (gold) · ● box notes (green) · tap a dot to hear it
Not all five notes feel equal to land on. This is the resolution hierarchy — the bar shows how "at rest" each one feels. Tap to hear a phrase finish on it.
The interval movements that just work in minor pentatonic — the bends, leaps and double-stops players reach for. Audio includes the bends gliding in pitch. Tap to hear.
Original phrases, each ending on a deliberate target so you feel the difference. The tag says where it lands and why.
Phrasing drills, not finger drills. These train the ear for targets and tension.
Improvise any 4-bar phrase, but you must land the last note on the root (B). Do it five times. Then switch the target to the 5th (F♯), then the ♭3 (D). Same notes, three different feelings of "done." This is the single most useful pentatonic drill there is.
Play a tense phrase that ends on the 4 (E) or ♭7 (A) — leave it hanging. Then "answer" it with a phrase that resolves to the root. Two-bar question, two-bar answer. You're learning that unresolved endings create the pull that resolved endings satisfy.
Isolate the two money bends: ♭3→4 (D up a whole step to E) and ♭7→root (A up to B). Play the target note first, then bend to match it exactly. If the bend doesn't hit the pitch you just played, it's flat — and a flat bend is the difference between pro and amateur.
Whole phrase building to a single climax: the 5→♭7 bend (F♯ bent up a minor 3rd to A) held with wide vibrato. Everything before it is a runway. Restraint makes the one big note land.
Start a run in Box 1, shift up to Box 2 (frets 9–12) using the shared notes, and resolve on the octave root up high. Trains the neck as one connected map and a strong finish in a new position.
96 bpm · 4/4 · | Bm | A | G | F♯7 | × 14 · ~2:20
A descending B-minor vamp (the "Andalusian" line). B minor pentatonic works over the whole loop. The key practice moment is the F♯7 bar — that's the V chord pulling home, so set up your phrase there and land on B as it resolves back to the top of the loop. Import to Cubase, loop it, and run the exercises above against it.