Arden Lutz was one of the honchos behind the development west of town. He and Bo Dunaway and Wink Hufstetler bought the old Decatur farm that runs along Soledad Creek. They chopped it into three-quarter-acre lots and sold “creekside vistas” for home sites. Darcie Lutz named it Purling Rill Prospect — she got that name from a poem by Woolworth.
Nobody had ever seen Soledad run much until that storm blew up from the Gulf five years ago — “Darlene” or “Dorothy” it was called. Seven fine ranch-style homes out there were flooded bad. The Travisburg bank that backed the loan pulled out and left Bo and them holding the bag. But he and Wink and Arden always land on their feet. Five of the families washed out in Purling Rill bought property here in town from — who else? — Dunaway and Hufstetler Realty.
Wink’s wife Harmony said Wink got death threats for a while over the Purling Rill mess, but they wound up being prank calls from his brother.
(Copyright 2018 James Mansfield Nichols. All rights reserved.)
Minor Pentatonic Scale (1) [7-6-2012]
Minor Pentatonic Scale (1) [7-6-2012]. (Copyright 2018 James Mansfield Nichols. All rights reserved.)
(b) This is a process I personally have to go through, however. The uses to which we put our sources are highly subjective. My own urgent need is to become more aware of the notes I play. In serving this need I will invariably translate any pattern of dots that I see in a guitar book into the names of notes.
(c) The book by Clements promises to be quite useful. I’ve owned it for several years, but have not given it a good look until now. Clements’s presentation of the “warped W” pattern for locating notes couldn’t come at a better time. I’m absorbing it with delight. It may render obsolete some of the fretboard views that I’ve posted!
(d) Back to the “box patterns” depicted above: Clements observes that, common and useful as these scales are, it can take a long time to memorize them because “there are no memorable visible repeating patterns.” She provides a remedy in the pages that follow, and I’m engrossed in that material now.
(e) I noticed that each of the five box patterns has a different root. I’ve added to each box pattern the major scale for its root, and the minor pentatonic scale that can be derived from that major scale using the formula 1-b3-4-5-b7. (This formula is provided by Clements in a “theory nugget.”) I use the asterisk (“*”) to mark the root note, also called the tonic note, in each box pattern.
(Copyright 2018 James Mansfield Nichols. All rights reserved.)