rc,tr

uolBny't

EEETEEEE IrES SONS

sertoo

Jozz Pentotonicstun ht 1y,,,

filI-z

DTuning note

contentl-tllB^.

ll

(pe. l8)

I [Tl f+l l-s I foII-71

B*. IB^. 2

(pe. 6)

(pg.7) s^.3 (pg.8)B^. a (pe. e)

lT5l Bx. 12 (pe. le) [-tol s*. l3 (pg.2l) I-t7l s,*. t4 (ps.22)f-ta.lP,*.

a E

Study No. 6 (pg. 34)

Ex.2l

(pg. 36)

@ @

Ex.22 (pg.31)Study No. 7 (pg. 38-39)

ls (pg.23)16 (pg. 26)

B^.s(pe.e)a,^. 6 (pg.

l-tgl

stroy No. 3 (pg. 24-25)

lo)

Eollzt

sx.

[-s-l

e*. 1 (pg. t2) [-91 Study No. I (pg. 12-13) I tO E*.8 (pe. la)

I B^. t7 (pe.2'7) @t zx. 18 (pg. 29)l2Tlr,x. le (pe. 30)

FTI[T2ll-tl

e*. e (pe. ls)Bx. lo (pe. 1s) stuay No. 2 (pg. 16-17)

I

E4 DII Study No. 4 (pg. 32) E6 | Study No. 5 (pg. 33)ex.20 (pg.3l)

E @ E E E E

PRACTICE TRACKS-APPENDX"Leaves" Key of G (pg. 40) "Leaves" Key of Bb (pg.

4l)

"Love" (pg.42) "Solarize" (pg. 43)F Blues (pg. 44) "Yesterdaze" (pg. 45)

1234561890O 2OO4 BY MEL BAY PUBLICATIONS, INC., PACIFIC' MO 63069. ALL BIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A. transmitted in any lorm No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or permission of the publisher' or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written

Visit us on theWeb at www.melbay.com

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E-mail us at email@melbay,com

or grids' deal almost exclusively with fingerings, boxes and minor. The bulk of the material 0ffered will harmonic pentatonic scales and their use over more active This particular book is attempting to approach start with of tne typical guitar student. consequently, it will movement while addressing the speciai n""ds harmonic specific uses of pentatonic scales in different some basic infbrmation before addressing some focus wiil pentatonic scales andstatic harmony but the main situations. we will briefly explore the use-of or trumpet and study the relationship of the guitar onto th; same plane as the piano, saxophone be to bringpentatonic scales and chord changes'

r- \ entatonic scales have been explored often and by many authors' It seems' harmony or vamps' The with I "J;"ffi';;;ard the guitar and pentatonics are ofte; concernedstudentstatic pentatonic scales; major two jffi; *?t* with the guitar in mind will typically offer the

however' that books

guitarist, especially one accustomed to approaching This will take a lot of work on the part of the typical chord visual wall is the first step toward negotiating guitar visually rather than musically. clearing tt i, the not helpful This is not to say that a grid, grip, box or dots are changes with the primary focus a musical one. note how a specific note relates to harmony and how that tools but that a more comprete knowledge of very important' sounds against the underlying harmony is

to your repertoire of improvisational colors' A lot of practice is necessary to add some of these scales to use a of you and some may be an acquired taste. when Some of the sounds w,r be familiar to many musician is of taste, judgement and art of any particular specific sound is a musical choice and thus the than any and music are in many ways more important prime importance. Time feel, sound, rhythm, space considerations our mantra might be: The rightparticular note or scale. As a safeguard against non-musical time' The right note at the right time' note at the right time. The right note at the right

2

chapter one: minor seventh pentatonic Five perpendicularfingering exercise Lateral fingerings Harmonic uses of minor seventh pentatonic Exercises, Study No. 1. Melodicvoiceleading introduction. StudyNo.2. Practicestartingnotes

scale

. . . 4-19

....4-7....8-10. . . . . 11 . . . 12-13

....14-15.16-17

....1g-19

chapter two: minor seventh flat five pentatonic Harmonic uses of minor seventh flat five pentatonic Five perpendicularfingerings. Minorii-V-i patterns... StudyNo.3. Ex. 15, delayed application of pentatonic.... Ex. 16 Phyrgian chord use ..

scale

. . . . 2o-zz. . . .2O

......21...22-23.24-25

....26 ......272a-34

chapter three: dominant seventh pentatonic scale Harmonic uses of dominantseventh pentatonic. Combination lateral/perpendicularfingerings Ex. 18 & 19 / major ii-V-l sequences. . Study No.4/F majorblues. StudyNo.S/Cminorblues. StudyNo.6/ Solarize changesstudy chapter four: maior flat sixth pentatonic scale scale

.......29 ....29. . 30-31

.......92 ......33 ....3435-40. . . . . 35

pentatonic Ex.20&21 lii-V-l sequenceusingskips. Study No. 7 / Love changes with skips.Harmonic uses of major flat sixth

....36-373g-39

40-47PracticetrackNo.l Leaves keyofG,minorseventhsuggestions ... Practicetrackno.2 Leaves keyofBb,minorseventhsuggestions ... Practicetrackno.3 Love changes,mixedpentatonicsuggestions ... Practicetrackno.4 Solarize changes,mixedpentatonicsuggestions.... Practicetrackno.5 Fblues keyof Bb,mixedpentatonicsuggestions... Practicetrackno.6 Yesterdaze,mixedpentatonicsuggestions ...

....40 ....42 ......43 .......44 ......45 .......46 ...._..47....41

AnswerkeyforpagelS... Answerkeyforpagel9...

3

five notes: root, he minor seventh pentatonic scale is one familiar to most guitarists. It consists of (C), 2nd (D), 3rd b3rd,4th,5th andblth. If considered the C major pentatonic the notes are: root (E), 5th (G) and 6th (A). For simplicities sake we'll consider this the minor seventh pentatonicthroughout this book.

AmiT (or G maior) Pentatonic scale

root h3rd

J-

sth

A minor chord' Most guitarists are very familiar with this scale and would use it for a A dominant 7th or changes, the hand Unfortunately, some guitarists can only "see" this scale from the root and if the chord is to learn some new must move to the root of the next chord on the lowest (in pitch) E string. Our first task perpendicular (physically up & down) fingerings for the mi7 pentatonic scale. Since the pentatonic is a Let's use five-note scale, any one of the pitches in the scale could be part of five other pentatonic scales.the note

"A"

as a Pivot Point.

The note "I|l'could be:Roof (Ami7 Pentatonic) b3rd (F#mi7 Pentatonic)

4th (Emi7 Pentatonic)5th (Dmi7 pentatonic)

b7th (Bmi7 pentatonic)

Four other mi7 he AmiT pentatonic scale located near the fifth fret is at the top of the page. pentatonic scales in this general location would be:

The note .34' as minor third = Filmi7 pentatonicF#mi7 pentatonic scale (notice fhis2

is the same

as A maior pentatonic)2-,)

-----_-4+-

&-T

4eI

\r._/

ofes are roots

-fi+f lAE

jr__

A-

J,.ttu., Tr

t

Iv

4

v minor seventh penlotonic / perpendiculorThe note ffAt as fourth = EmiT pentatonicI II

4fr.I

a

+-TTJ.Y)T

v-tlta E1 gvat6OE J'V ,E t 1E

I

lar

ZE1 E)Eavr

I

333443

The note "A'as fifth = DmiT pentatonic

aJ I +U)lE-,

LJ-J-JEOE

\7r c.A-OC

.,6E

AE-,

443344

EF6

9'

EfF6vv

22

22

The note t'fi'as flat seventh = BmiT pentatonic ?

aJ j(r- -,'E2EEA

T' - 'V)l1E

I

A

444444

trr-- . -,REA

;t-r--

tz-

A-,

,1E

There are other perpendicular pentatonic fingerings available around the fifth fret and you will probably discover these for yourself. It might help to start by knowing the position of each root and the visualize the position of the rest of the notes in that particular pentatonic scale. After that, learn 4th, relationship of the rest of the notes in that particular scale to the root of that scale. The b3rd, 5th and h7th.

5

minor seventh pentotonic / perpendiculor vxercise 1 uses the five previously listed minor seventh pentatonics, perpendicular fingerings, all in the general neighborhood of the fifth fret. The fingering is somewhat arbitrary. Try to identify the notes in each scale by their relationship to the root (b 3rd,4th,Sth,bl and root).

Ex.

{)

Five Perpendicular Fingerings (5th Fret)AmiT

t

@

wo. Z

5fr.433344

211122

4fr.

mAI

F#mi7

d ltfrrF11 EF1-'1-'

- tfrr - "I la

ffi W -''frl,1

-r'l l=-

=-+-+++l-.L------= ffi

,'

l-l-J-JE

tE

E1t6-ta-

ea-

444344

tDtotsawt-v

rrata-'

EmiT

4fr.

ffia)E

ffiL 'At-aE vv-,

'

I

L_t_l

I

Wl-rE-rE a{rual

ttttlttt

444444

AE

I

vwar-a, l-r-z

v=s-sr

E

111121

5fr.

443344

BmiT

2nd time only

ri

221122

444444

6

min0r seventh pent0t0nic / perpendiculorxercise 2 is the same as Ex. 1 but moved up a minor third. You might try some other locations on the fretboard with this same concept.

Ex.2 A Five Perpendicular FingeringsCmiT 111111b

(8th Fret) +

@

wo.

f

8fra)!

Dbl. x on rpt.

LI

I

I

e

433344

,l E'

AmiT

211122

7fr.

Q) JtI

-

'

-

-lltt

L))-t6 | la rv= ta ' I la '

444344

AlJ a ra ' 'v .^= la ' q la

'v

'

'

GmiT

222122

7fr.

444444

FmiT1',1

1121

443344

DmiT

2nd X only

ri-

221122

7fr.

a)

t_L,Arv

I

?'--4,r0-,lnoI

6v ,A l

6la

444444

,I I

rv

l

t

aA aA

,

1

'-

'

ln

=

'

la

=

7

minor seventh pentotonic

/ loterol-

ou might feel somewhat more comfortable with minor seventh pentatonic fingerings if you practiced Ex. 1 & 2 assiduously. But you might have noticed that these pattems don't always flow easily on the guitar fretboard. However, the following lateral (physically side-to-side) exercises should sound smooth and fluid if played correctly. You could try sliding down or up to different notes, alldown-strokes or anything else to smooth out the line.Lateral fingerings

Ex. 3

)

GmiT pentatonic lateral PatternG mi7 Pull-off

t

@

wo.

I

d -lEaEaE.,AVorv-EFT6FOE'l E

, + \__- J bt -._,vovv-EE6E'\EO

E'

/:\

a

v minor seventh pentotonic / Ioterol

w/Ex. 4

\S/:\

ome variations on the pattern.

3 Variation #1 on GmiT pentatonic pattern + @ ruo. S

G mi7

a .rEa6

e,E6qEE6vw6F9v EA

AEo.)E Ft lJ

a6^G

Ex. 5 A

Variation #2 on GmiT pentatonic patternG mi7

+@

wo.

O

o JJI +_;T

\__- .JlJ

e,.l E6E

\-,IE,E I,EAE

Al,JaDvv6a .E6E

I

minor seventh pentotonic / loterol-

Ex- 6

)

Variation #3 on GmiT pentatonic pattern

'

@ ruo. Z

v minor seventh pentotonic /

usoge

hat should give you some ideas for smoothing out minor seventh pentatonics. You might like to play these pattems in other keys. But let's get to some specific uses for this scale.

chordCMaj7CMajT#11

best choice ma7 pentatonicsAmi7, EmiTBmiT

interval from chord

+

M6th, MSrd

O mi2nd

CmiTCmi7b5

Cmi7, Gmi7, DmiTFmi7Gmi7, AmiT

9

Roof,P4th

C7 CTalt

Ehmi7

t t i

t P1th, M2nd

P'th, M6th mi3rd

tI

f-lakingL_l

the chords one at a time, the relationship of the pentatonics to the chords works this way

Cmaj7 = AmiT pentatonic

Cmaj7 = EmiT pentatonic

6th root gth 3rd sth

3rd sth 6th 7th

gth

Cmaj7#l1 = BmiT pentatonic

CmiT = CmiT pentatonic

7th

gth

3rd fi11th 6th= GmiT

CmiT

pentatonic

CmiT = DmiT pentatonic

CmiTbS = FmiT pentatonic

C7= GmiT pentatonic

C7= AmiT pentatonic

C7alt.= Ebmi7 pentatonic

11

minor seventh pentotonics v

Ex.7

3 Patterns oyer CmiT chord (Cmi7, Gmi7, DmiT pentatonics) r @ ruo. aCmiT

Study No. { ACD No.9 times:01 Slow 1:05 Fast

C minor blues

+@CmiT

ruo. e

tr

C mi7

C mi7

CTalt

y.,s.

12

v minor seventh pentotonrcsStudy No.FmiT,rhrrh, -3-

{ (continued)FmiTC mi7

CmiT

-B-

-3-

-3I

drlCmiT pentatonicE

GmiT pentatonicE

o

roo

a

EA E6

E

l\Vr6-6

tr

pr;7(b5) -

GTalt

GTalt

El criz-3-

C mi7

CmiT

CTaltl-

r3-

22t

FmiT

FmiT

C mi7

C mi7

gr;7(b5)

GTalt

C mi7

GTalt

C mi7

Bh

mi7 pentatonic

13

mrn0r seventh Pentotonic vUsing specific his next exercise is good for practicing pentatonics on ii-v7-I-VI(7) progressions. 7 chords end up chord/scale combinations the chord qualities get slightly modified. The dominant below. as 7a1t. chords and the I chord is Maj7(fi11). Please look at the chord/scale combinations exercises. Notice that the pentatonic scales are moving up by half-steps. See Ex. 10 for practice GTalt

DmiTAmiT pentatonic

6Ms7(il11)BmiT pentatonic

ATaltCmiT pentatonic

@

B[mi7 pentatonic

5b7 R I

11

3

fi11

13

fig b5 b13 b7

b9

the basic pattern he next exercise is designed to incorporate melodic voice leading by continuing introduced in this chapter through differing scales and chord changes'

D mi7AmiT pentatonic

GTaltBb

g6s7(fr11)BmiT pentatonic

ATalt

mi7 pentatonic

v-- v

v

CmiT pentatonic

v

Ex. 8

, @ ruo. loDmiT

)

Ascending hatf-step mi7 pentatonic using melodic voice leading

GTalt

6M;7(fi11)

ATalt

aIAE'

t+,JAmi? Pentatonic--l

BbmiT Pentatonico

BmiT Pentatonic

CmiT Pentatonic

---oE-oE

aa o

4n o

DmiT

GTalt

6ffi17(fr'11)

ATalt

DmiT

TOw'AmiT PentatonicAlEEBb

mi7 Pentatonic

TI

llllL---J._ L--J=CmiT Pentatonic

BmiT Pentatonic

66 aa AE -

0 ,no 'ln

E'

aco

ao

o

,14

v minor seventh pentolonic Ex.9 )ii-V-l-VlDmiT

key

of C maior, 1/2 sfep sca/e movementGTalt

+@

wo.

ll

C MAJT(il'l

1)..r** oru*10

DmiT

GTalt

6ys;7(fl1)

ATalt

uP

DmiT

G

Talt.onr,lu.

Pa$ern

r

rAJT(frl

1)

ATalt

DmiT

ffi ovAmiT Pentatonic

Bt mi7 PentatonicE''

a

I

BmiT Pentatonic1 ft

CmiT Pentatonica

,

AE'

I

8.,

Ex. { O ) ii-V-t-Vt key of FGmiT-T

maior, 1/2 sfep sca/e movementpy1.17(fl1)

'

@

wo. tZDTalt

aJ'IlEaE2

WE

CTalt

DmiT Pentatonic

EbmiT Pentatonic

L

I

I

J

*FmiT Pentatonic6

EmiT Pentatonic,na,il

anenEoO

eo-eo

aao

a

E

6

o

GmiT

CTalt

ps.1T(il'l1)

DTalt

GmiT

dI

DmiT Pentatonic4A

S mi7 Pentatonic

rlEmiT PentatonicJ

FmiT Pentatonicq

D

15

minor seventh Pentotonlc vtudy No. 2 uses the chord changes to "Autumn Leaves" to explore the sound of the minor seventh pentatonic moving in 112 steps on a ii-V-I(MAJ7fi 11) progression.

Study No. 2CD No. 13 times:01 Slow 1:34

3

"Autttmn Leaves" changes and mi7 pentatonics6 y67(fi11)

'

@ wo' tf6iltas7(fl11)

Fast

AmiT

DTalt

pXr;7(b5)

BTalt

EmiT

ETalt

d

- ' JarAmiT pentatonicDmiT pentatonicA o

aBmiT pentatonicI E6O

GmiT pentatonic

+ TEf.fvoEo

u'rE

AmiT

DTalt

6 Mtu7

(fi11)

6MAJ7(#11)

d7\!ua

l-JEmiT pentatonic

I

srrlTFflmi7 pentatonic?,AE AE

FmiT pentatonic

BmiT pentatonict^t

ffiIA ,a,

E'

pXr;7(b5)

BTaltI

EmiT----L-

Emr',

lUttlltl-.1AmiT pentatonicE

DmiT pentatonictEO

BmiT pentatonicq a AA E ',

EO

6--8--H

.,

AauED

,t6

v minor seventh pentotonic

Study No. 2

continuedBTalt EmiT ETalt

pXr;7(b5)

AmiT

DTalt

6 y4;7

(il11)

6Mtu7(fi11)

lte, l--rTE

I__T--.t_.1 t_tFmiT pentatonic

tTt\JFfimi7 pentatonic BmiT pentatonic

I

I

EmiT pentatonic

Atr,

I

,l

atAE

9a^60 6^

r

oa

cz-

?1I

pp*;7(b5)

Db7

EmiT

pent.

BbmiT pent.

AmiT

pent.

B6mi7 Pent.

Curu 7

p4r;7(b5)

BTatt

EmiT

EmiT

a)-

HAmiT pentatonicDmiT pentatonic

o^EAJta

AE

,

E'

17

minor seventh pentotonic exercise v(up or down by n exercise 11 the idea is to use the half-notes as starting notes for a four-note pattern one. stepwise movement). Use all the fingerings that you have been learning throughout Chapter Exercise 12 is minor ii-V-I-(VI) harmonic movement using four-note pattems up and down.

E)c

{{

3 PRACTIGE STARTTNG NOTES Four-nofe sfepwrse patterns IAmiT DTalt

o

No' 14

6ys;7(fri1)

ETalt

EmiT Pentatonic

FmiT Pentatonic

F#mi7 Pentatonic

GmiT Pentatonic

AmiT

DTalt

66-17(fi'l1)

ETalt

EmiT Pentatonic

FmiT Pentatonic

Fflmi7 Pentatbnic

GmiT Pentatonic

Q

lmiT

DTalt

66.17(fi1)

CTalt

EmiT Pentatonic

FmiT Pentatonic

mi7 Pentatonicg6im.J7($,11)

EbmiT Pentatonic

FmiT

BbTalt

CTalt

CmiT Pentatonic

DbmiT Pentatonic

DmiT Pentatonic 56y1.17(fr11)

EbmiT

4 r^i7CmiT Pentatonic

BbTalt

CTalt

DhmiT Pentatonic

i7 Pentatonic5611m.J7($'11)

EbmiT Pentatonic

FmiT

BbTalt

GTalt

CmiT Pentatonic

DbmiT Pentatonic

DmiT Pentatonic

BImi7 Pentatonic

A cmiT!GmiT Pentatonic

FTalt

36617(fi|1)

GTalt

AbmiT Pentatonic

AmiT Pentatonic

BbmiT Pentatonic

cmiT

F7 alt

96y1.17(fi'l1)

GTalt

GmiT Pentatonic

AbmiT Pentatonic

AmiT Pentatonic

4 c*i'

FTalt

g6M1s7(fl1)

{a

v minor seventh pentotonicEx. 12

exercise

3

PRAGTIGE STARTING NOTES

Four-nofe stepws

e

pattems

,

@ ruo. tS

gr;7(b5)

GTalt

CmiT

ATalt

GmiT Pentatonic

CmiT

BbmiT Pentatonic

, ETaltba-

Pentatonic

GmiT Pentatonic

EmiT Pentatodic

!

gr;7(bs)

ETalt

AmiT

EmiT Pentatonic

GmiT Pentatonic

EmiT Pentatonic

FmiT Pentatodic

6r;7(b5)

CTalt

FmiT

DTalt

CmiT Pentatonic

FmiT

ho

/

CmiT Pentatonic

EbmiT Pentatonic

CmiT Pentatonic

^ .t9

chapter two: minor seventh flat 5 pentatoniche minor seventh flat 5 pentatonic is exactly that: take a minor seventh pentatonic from Chapter One and flat the fifth. The specific notes are: root, b3rd,4th,b5 andbl.

root

b

gro

b

sttr

h

zth

Ami7b5 Pentatonic =he mi7h5 pentatonic creates some complicated fingerings due to the major third interval between the b5 andbT but leads to some very interesting sounds, as you will soon learn. If you practice the fingerings on the next page you will feel more comfortable with this scale. But first, look at some of the uses of this scale.

interval from chordCMajT#11

F#mi7(b5)AmiT (b 5) CmiT (h 5)

Cmi6CmiT (b 5)

C7CTalt

Emi7(b 5)Bhmi7(h 5) GmiT(b 5)

CTsusb9 (Phrygian)

O Tritone O Maj 6th + Roof O Maj 3rd + Maj 2nd O Pertect Sth

Cmaj7fill = F#mi7(h|) pentatonic

Cmi6 = AmiT(h5) pentatonic

Cmi7b| = CmiT(h|) pentatonic

C7= EmiT(b5) pentatonic

sth 13th bZtttC7altr Bbmi7(b5)Clsusbg= GmiT(h5)

20

v mi7b5 pentotonicEx. 13

3

Five perpendicular fingerings

mi7h5 pentatonic 4th to 8th fret

| @ruo. lo4*;7(!5)T--

ffTIlO5fr.

tllrtt.tA 9,EUE

H#

c)

Dbl. x 2nd x

rr

I I LI I

I

. J"-

- J4 J

c'-aE

pgrl7(b5)

m*"

o ltI

ffi

+ - t+I

ffiI

ffiffi''tEre-

[-lJE E1 vt-9 e='

AA1C

9Ero'a6

E6r;7(b5)

E*;7(b5)

gr;7(b5)

21

mi7b5 penlotonic v

Ex, 14

3 Patternsp*;7(b5)

over changes minor ii-V-i's + @GTalt

wo.

lzCmi6

Cmi6

pr;7(b5)

GTaltL'rrl_Lll

Cmi6

Cmi6

d--A6eao^

Dmi7b5 pent. .,

rttlFmi7L5 oent.a6A,E-1E J

1,

Ami7,5 oent.E

AE'

e

pr;7(b5)

GTalt

Cmi6

Cmi6

p,r;7(h5)

GTalt

Cmi6

GTalt

p*i7(b5)

Cmi6

22

v mi7h5 pentotonicEx. 15

|

3 Minor ii-V-i@rVo.

with delayed application of new mi7b5 on VT chords

ta

gr;7(bs)

GTalt \ , ,_b* 9'P:EA

Scale chanoes here

/.

a)FlmiTL E aan+

Fmi7b5 pent. .

Ami7b5 pent.

A vEO

P,r;7(h5)

BbTalt

Scale changes

here

Ebmi6

\

t-b* .pr-bAb miTb 5

/

D

Fmi7b5 pent.6

pent.

Cmi7b5 pent.a6a

gr;7(bs)

F7 alt

nEtc.

>

gr17(b5) DTalt

Gmi6

rJnI

Ami7b5

pent.

lJ

CmiT

6

pent.

EmiTb 5 pent.

t6

6E

pgr;7(b5)

BTalt

Emi6

___#FUAF# miTb 5

/AnticipatedmiTb5

pent,

tttll -!?l E -^-4

Cfl miTb 5 pent.

fr

[,6r;7(b5)

23

mi7b5 pentotonic

17

n Study No. 3 I've tried to again delay the mi7h5 pentatonic used on the V7alt. chord (indicated by previous page. You could also try delaying the resolution | trl ) , a technique we explored briefly on the LJ of the i chord by playing the V7alt. scale into the next measure.

I |

Study No. 3CD No. '19 times:01 Slow 1:18 Fast

3

"What /s

fhis Thing Called Love?" changes and mi7b5 pentatonic

+ @ruo. ls

EI

e ,n17(b5)

CTalt

FmiT

priT(bs)

GTalt

0l r-1 I l FmiT[5 nant

6 y117(fl1)

/

u'fA66

L__LDmi7b5 pent.6aD

t

Fil

mi7b5 oent-

A I

EI

6ri7(b5)

r

CTalt

FmiT

b

p*;7(b5)

GTalt

6ys7(fl11);4Fmi7h5 pent.6

/

uI

orizbspent.E

[--.---lJEA

L--J-L)EA

Ffl1

mi7b5 pent.aA ' U aA

AF6-p^ F A

24

v mi7b5 pentotonicStudyNo.3ScontinuedCmiT

p7

0

gpysT

(#1 1)

/t-

Amt/Dc pent.

T AvtsFt

oE

Eb miTL

5 nenfa6

Emi7b5 oent. a6'E

-

AE

aDt9v

wv_-

'a

Bmi7b5 pent.

EIlgr;z(bs)

p*;7(b5)GTalt6ya.17(#11)

/.

aAI

DmiTb 5 pent..A A )'

r-rll(t0eFmiT[ 5 ncnt6

H

miTu

s!.nt. 'Et-E

25

mi7h5 pentotonic v

Ex,

{6 3

Detayed applications

t

@

ruo'

ZO

n*i7(h5)

6ri7(b5)

priT(b5)

BbTalt

EbmiT

6ri7(b5)

GmiT

v mi7b5 pentoloniche 7susb9 chord can be confusing. It often functions as something other than a dominant chord. This chord is often notated as 7susb9 (eg. CTsusbg), Phrygian (e.g. C Phryg.) or sometimes as a Maj7fil1 chord over the seventh (e.g. DbMajlfil1/C). It is a popular choice for modern jazz composers such as Kenny Wheeler, Richie Beirach, John Abercrombie, John Scofield, et. al. The ml7b5 pentatonic scale a perfect fifth away sounds nice with this chord.

Ex.

{7 3

Tsusbg

(Phrygian)' @ wo. Zl

47rrr(b9)

@I

gTrrr(be) gmrrsp""al

67rrr(b9)

67rrr(b9)

.)rI

llllL-]-J-je

ao

IIe^t^ Evv

E1 gt

EA a-

Fivcl-

^6waa-

pTrrr(b9)

367rm(b9)

n67rrr(b9)

g67rrr(b9)

btt-,

6p7rrr(b9)

gTrrr(b9)

g7.rr(b9)

[@

""]I

he next pentatonic scale we'Il explore is the (major) dominant seventh pentatonic. A variation on the major pentatonic, it's specific notes are: root, 9th (2nd), 3rd (major), 5th andb7. (This scale could also be considered the Gmi6 pentatonic). In the key of C those notes would be:Notice that

G domT Pentatonic

CMajT(i11) and

C7(i11) use thesame pentatonic sca/e. Ihat rs because the scale used fhis way does not produce a 7th.

chord(CMajT#11

domT pentatonicDdomT CdomT DdomT

interval from chord

Notice that CTalt

c7c7#11

and CmiT(b1) use

the samepentatonic scale. That is because the scale used this

way does notproduce a 3rd.

F

CTalt Cmi6Cmi7h5

Gbdom7 and Abdom7FdomT

Abdom7GdomT

Cmi(MajT)

tr Maj 2nd + Roof O Maj 2nd O Tritone, t min 6 O Perfect 4th O min 6th O Pertect 5thas

Taking the chords listed above one at a time, the relationship of the pentatonics to the chords is follows:

Cmaj7ill = Ddom7 pentatonic

CT = Cdom7 pentatonic

9th 3rd sth C1ill= Ddom7 pentatonic

bTth

C7alt = Ghdom7 pentatonic (tritone best)

CTalt = AbdomT pentatonic (not best)

Cmi6 = Fdom7 pentatonic

Cmi7b|

=

Abdom7 pentatonic

Cmi(Mai7) = Gdom7 Pentatonic

b

13th

btu

roor # gth

b

sttr

Check out the sound of this scale on the original studies later in the chapter.

2A

v dominont seventh pentotonic

Ex. {8

H

ere is an exercise for the G dominant seventh pentatonic scale. Ex. 17 is a combination of lateral and perpendicular fi ngerings.

3 GdomT pentatonic + @ ruo. ZZFMaj\(i11), G7, F7#11, Db7(h9b13), 87(#9b13), Dmi6, BmiT(b5) & Cmi(Mai7)

trs7d JtJ -ltI

J.aarv-z--

'6qE

aq AE w9 I q t'

a^6^ Lnt

,lE.?-sese

-/b9\ pl Dh/\.s/

--1 !=)1.'

ffiL-J-*to I

m'-

d., Eta,

6

aAtv an

o-

an

a t

o

lA

1 '

Ai

ai

z

ln

=

la

tra)-I

Dmi6

l

l

r

!

aq

rw

ai

ai

'u

A4

ri

'-

,t.t

AE'

,lA '-

lq

AA tL

AA rv

ra

la

lIA ,-

tq

ln

'-

ao

'-

ra

aa

a!

'-

la

.L

ntrt

G7

a)

I-^-

AatAtrtL

-

P

l4

ai

-

lq

r,i

'-

,tt

.^

at-aA

29

dominont seventh Pentotonic vhe next two exercises use only dominant seventh pentatonic scales over major and minor ii-V-I progressions. I've used only the tritone application on the alt. dominant chords G7alt.=Db7 pent.) for it's stronger sound. Another (weaker) choice would be the dom. seventh pentatonic built on the b6. (G7a1t .=Eb7 pent.).

Ex. { 9

)

Maior ii-V-t

seguences' @

wo. Zf

[ffi

tr

DmiT

GTalt

gyasT(fri1)

4ya,17(#'11)

DbTalt

666s7(fri1)

p6.17($11)

EI

CTalt

EIdn

EmiT

ATalt

96a.17(Sll)I

l-1A dom.7 pent.

F..-T-.-r__r -TEb

-11---'---.--7-.4)t

zt=-a_:-:dom. 7 pent.

l-+JE dom. 7 oent.a

,E 1

n

ae

3()

v dominont seventh pentotonEx. 20

c

3

Minor ii-V-iseguences

'

@

wo.

el

DmiT(b5)

EI 6';7(bs)Ab dom. 7 pent.

F7 alt

EI

36,;7(b5)

Eb7 alt

Abm

i6

/L

Gb dom. 7 pent.

h:n

aorlt.nt.E

Db dom. 7 pent.

a

-a

c o,+D

,Em

AAo

EI

P6r;7(b5)

BTalt

i6

pl GmizustEb

CTalt

Fm

i6

b-.dom. 7 pent.Bb dom. 7 pent.

/

El 6';7(b5)Bb dom. 7 pent.

31

dominont seventh pentotonic v

f-_]he following studys use only dominant seventh pentatonic scales, harmonic anticipation (@), I I delayed scale application (f) & resolution to chord tones (x).

TJ

l

Study No. 4

| @ wo,zsp7

)

F major blues w/ anticipations, delay and chord-tone resolution

FTalt

&rt '{-

Bb7

I Z"l

@3Lt'lF dom.'7

GmiT

CTalt

3'2oent. ^

xl 3lF

dom.7

pent.ft

r.i.

FTalt

DTalt

Ab

dom. 7 pent.

GmiT

CTalt

CTalt

32

v domiont seventh pentotonic

Study No. 5

3 C minor blues (same deal) t @ rrto. ZOCmiT CmiT

tr

cmiT

Gb

dom. 7 pent.

FmiT

CmiT

CmiT

pr17(b5)

GTalt

El c,i7

CTalt

FmiT

FmiT

33

dominont seventh Pentotonic v Study No. 6 A "solarize"CD No.27 times:01 SIow :56 Fast

changes and dom. seventh pentatonic

+@

wo. ZZ

611i(MAJ7)

GmiT

CTalt

pyssT(fi11)

FmiT

E66s7(fl11)

RfOo*.7

Ddom.TPent.

3ri7(b5)

pl Cmi(unrz1Db

6'n;(MAJ7)

Bbdom.

T

dom.7

pyasT(il11)

FmiT

BbTalt

AbTalt

pr;7(b5)

GTatt

66i(MAJ7)

611;(MAj7)

Ab dom.

7

D dom. 7

Bbdom.7 Dbdom.

y

penatonicscale1,2,3,5,6 (eg.CMajorpentatonic=C.D,E,G,A)andflatthesixth(e.g.CMajb6 pentatonic = C, D, E, G, Ab).

his is an interesting and useful pentatonic scale. Again, the name is a description. Thke a major

G Maior bG Pentatonic

chordCMaj7fi5

Major b6 Pent.E D

interva! from chord

Majh6 Majh6

c7i11Cmi(Maj7)

G MajhOB

Cmi9h5 c7i9b1s

hMajhO

AbMajb6

O Maj 3rd O Maj 2nd O Pertect 5th + Maj 2nd O min 6th

Remember:the notations above the notes below (such as 3rd, g11-, etc.) apply to the key of C. For instance, the first note in the DMajbO scale (D) is the gth of Ctill.

CMajTiS

--

EMajb6 pentatonicroot

= D Majb6

3rd #11th #S 7th

h11 13rh bTth

Cmi(Mai7) = GMajbO pentatonic

Cmi9(b1) = BhMajh6 pentatonic

C7i9b13 = AhMajb6 pentato

{-b13th i 7th

root # gttr

Enharmonically, Fh is El, the major 3rd of C.3rd

The use of this scale can be seen in the original studies later in the chapter.

35

Mojor b0

pentotonic ,

he use of skips in pentatonic scales can give an interesting sound to an improvised line, especailly in conjunction with a broken rhythmic pattern. We won't be exploring rhythmic concepts in this volume but what follows are some skipping patterns you can study.

E)