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Kumoi Joshi is an exotic sounding Japanese pentatonic scale comprising of the intervals R b2 4 5 and b6. This scale can be used to spice up your solos with a fresh sound and as it is similar to Phrygian can be used to great effect in modern metal.
Seeing the scale as an abridged version of Phrygian can help you learn it quicker as well notice it contains a minor triad built on the 4th degree of the scale ( In E Kumoi Joshi you have an Am triad). Little tricks like this can help you get a new scale under your fingers and more importantly the sound into your ears.

I have written a modern rock style study in E Kumoi Joshi with a backing track to help you learn this scale and apply it your own playing. You can learn the study in full or just take the ideas that appeal and develop them into your own style. Hopefully this will give you a few ideas how this scale can be used and how cool it can sound!

Bars 1-6 involve a wide interval sting skipping idea. I’m slightly muting the bass stings to allow the top notes to spring out. Watch for the quick position shift between bars 4 and 5.

Bars 7-10 have a scalic lick repeated in octaves played in a legato style although if you prefer it could be picked but I prefer the smooth sound of the legato.

Bar 11 uses an Am triad to start with some large slides to end. This requires left hand accuracy but its worth developing. These kind of wide interval slides can sound really cool and exotic even when using more common scales.

Bar 12 makes use of the two semi-tone intervals in the scale (between R+b2 and 5+b6) for some quick sting bends.

Bars 14 and 15 contain the overused technique of sweep picking but instead of just racing up and down triads we have taken the standard Am shape but changed some of the notes creating a pattern that still fits under the fingers but gives a more original sound to the tried and tested idea. Watch for the wide stretch here if you wear your strap low. Also worth considering if your not a big sweep picker is the descending notes can be played with left hand taps giving a smoother sound.

Bar 16 is another legato lick in octaves except this time we incorporate slides with the right hand taps . Tap at the 12th fret slide the finger up one fret then back down in one fluid motion then pull off to the left hand.

Bars 17-20 is a sequenced lick played entirely without picking, all notes are played with either left or right hand taps giving a smooth sound. The most important thing with this type of lick is to ensure you have good muting, the bass strings are muted with the right hand palm while unused treble strings with the underside of the left hand fingers. Remember with the final tapped E the vibrato still comes from the left hand whilst just holding the note with the right.

Bars 21-23 contain a picked sequence which is best played with economy picking which is great for finger independence. As with any lick practice it slowly then speed it up.

Bars 26-27 contain a typical legato trill type idea however using more exotic sounding notes and again due to the wide intervals in the scale contains a left hand stretch. Make sure you warm up before trying these stretches.

Well hopefully this study has given you a few ideas and shown you a cool new sound. Try out your own ideas with the backing track and develop your favourite licks into different keys and or positions. Remember this is a study written to show the potential of the scale not how to use it musically/creatively that part is up to you. Any questions, suggestions or requests feel free to e-mail me.

Full Study

Backing Track

Tab page 1

Tab page 2

Tab page 3