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Study No. 6 (pg. 34)
Ex.2l
(pg. 36)
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Ex.22 (pg.31)Study No. 7 (pg. 38-39)
ls (pg.23)16 (pg. 26)
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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)
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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)