i'm going to play devil's advocate here and say it's certainly not true that you have to avoid them. gonzalo and other guys have some great pentatonic licks they use, it sounds fine in the right context.
that said, if you play ONLY pentatonic stuff you will definitely sound lame, so use them in good taste..
Well, Playing devils advocate to your devils advocate, I would say that, the point of this post has to do with the general challenge rock and roll guitarists experience when trying to cross over from rock/blues/ etc into the Gypsy Jazz realm. As you may know, in rock and roll, we often play one pentatonic scale for sometimes an entire solo, never leaving a single key. As a result, you don't really need to pay a whole lot of attention to the chord changes.
Once crossing over to Gypsy Jazz, you HAVE to pay attention to the chord changes, and you can't simply pick a pentatonic scale and stay there (if you want to sound like Django that is).
So, at least at first, I think it's important to toss your pentatonic scales out the window until you can phrase without them... then reintroduce them in the new context.
Comments
Thanks,
Will
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
Cheers
Anthony
that said, if you play ONLY pentatonic stuff you will definitely sound lame, so use them in good taste..
Once crossing over to Gypsy Jazz, you HAVE to pay attention to the chord changes, and you can't simply pick a pentatonic scale and stay there (if you want to sound like Django that is).
So, at least at first, I think it's important to toss your pentatonic scales out the window until you can phrase without them... then reintroduce them in the new context.
Cheers
Anthony