Musica-Pentatonic Khancepts-Steve Khan PDF [PDF]

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I'entatontc KHANCEPTS

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HANCEPTS O 2oo2WARNER BROS. PUBLTCATTONS All RightsReserved A n yd u p l i c a t i o na ,d a p t a t i o o nr a r r a n g e m eo n ft t h e c o m p o s i t i o n s c o n t a i n e idn t h i s c o l l e c t i orne q u i r etsh e w r i t t e nc o n s e not f t h e p u b l i s h e r . N o p a n o f t h i s b o o k m a yb e p h o t o c o p i eodr r e p r o d u c eidn a n y w a y w i t h o u tp e r m i s s i o n . i a u t h o r i z euds e sa r ea n i n f r i n g e m e o n ft t h e U . S .C o p y r i g hAtc t a n d a r e p u n i s h a b lbev l a w

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i.;ttlti v WARNERBFOS. PUBLICATIONS

W.d.r M!.b cro@ An AOLTth.W.h.rOnp.ny USA| 15800 NW 48th Avenue, Miami, FL 33014

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IMERIATIOMI MUSCPUBLEATIOilS LI'trED ENGUND:GFTFF]N HOUSE 161NAMMENSMITH FOADLONMNW6sBS

II\ IHUUUUI IUI\ fhis bOOl trasteenintheworksformanyyears.lt wasalways myintention thatit would serveasthelinearadiuncr ro S0tTEltP0mny E[onDIHtilgtpIS andthatthesetwobooks wouldften be able t0 functionbeautifully togetherLikethe aforementioned book, ,If[IltlG lllltctFls shar€s withyoua particular philosophy theorerical tharis designed to givevarietyandflowto yourimpruvisations. Thereis certainlynothingnewabout pent€tonic impruvising. perhaps However, it hasiust neveT beenprcsented in quitethis formandthismanner. Oneearlychapter inthebookis dedicated to making certalnthatyou clearlyunderstand thedistinction between whatmakesa pentatonic linedifferent froma line. Once that hasbeenaccomplished, thefocusof thebooknarrows. ia2z Tle materials ar€organized in a manner thatshowsyouhowto employ themquickly and witi resultsyoucanhearimmediately. Inpresenting thematerials fof thisbook,I'vetried t0 keeptiingsassimpleaspossible andt makecertain thattheteminology andlanguage fle crFistentwifi rry chordalpublication. As wi*r GllltBDlflllilGtpls, myhopeis that the sophistication 0f thejdeaswillappeal to players in allgennes: notbeing'overthehead'of thosewttomightnotbeinterEsted inthespecifics of musictheoryandnotseeming to ,talk doum'tothosewhomighthavealr€ady attained a highlevelof sophistication wheremusic tieory is concenned. Sincethe publication of GllOB0 lfil IC[pIS,I havereceived manv encouraging lett€rsfmmthosewhohaveusedthebookandgained fromit. I canonlyhope thatthesuccessful communication of ideaswillbemuchthesamefor thisbook. I believe thereareaspects to theunderstanding of musicandmusictheorythatinvolve n0 "r.dc.' I thinkthat,at onetimeor another, all of uswouldhavebelieved thateverything weheardandsawir musicwasbornof ,,magic." However, thefurtherwetakeoufindividualstudies, wefindthatthereis a verymathematical logict0 much0f it. The,,magic" elementliesintheirbrastiorofthepeople making themusic.But,in almostallcases,there arer€asons whymusicsounds good,andoftenthoseTeasons arebonnof soundtheory. InthisbookI havetriedto 0rganize thosetheories thatI verymuchwantto sharewithyou t0 appearin simplecharisaid tablessoyoucanaccesstheinformation quickly andwith greataccuracy. Thetheories, likethosein math,shouldholdfirmandtrueandnotlet you donn.Withsomehardwo* 0nyourpart,somememorization of thefonmulas, vouwillbe capable 0f somenewmusical ideassoon.0f thisI amcertain. Since thisbookwasgoingt0 betotallyfocused onlinesandlinean concepts, I knewtJrattJn play-along CDwouldhaveto be apprcached differently. Forthefonmerbook,whidrdealt withchofusandchordal youweresupplied harmony, withplay-along tnacks tiat, in alnnst youwithonlybassandpercussion. allcases,supplied Hereyouwillfindthatyuj willstill havethebassandpercussion, butto giveyoue harmonic cushion, someharmonic sfpot, youwillheafstdngpadsin the background on all the newtracks.lhis willgivelul tJE chance to hearyournewlyformedlinesagainstsomething harmonically solid.And,in tlc end,knowing whatyounowsoundlikewillgiveyouthat all-important senseof selfgf, dencefof playing yourlinesin anycontext. Youwillfindonthe CDa balance between recorded demonstfations of thewritten@nplesandmanyimprovisataons, whichattemptto present thelinearconcepts astey cuff beusedin realplaying situations. Usually tfredemonstration trackis immediately frrllocd bytie sametrackminusmyguitar. CtIIIInmf,Y 8H0R0 tllltG$fs showsyoua comptete anddetailed description of my equipment ontheTechnical page{page GuitarInformation" 74).Thene wasalsoa w*[E d "Engineering Intotie recording pmcesswithMalcolm PollacKs Notes"lpage7S).ForfE recording of lt fi lillGIllltGIFlS, noneof myguitarequipment reallychanged, fld I still usednryGibson ES-335fB2,film the Heritage Senies] fof everything. However, d.c to a problem lwas havtng withoneof myspeakers lbutit couldhavebeensomefring dsel],re decided to mixhe recording usingonlyonesideof mystereosoundisotheguitr, as yui no^,hearit, appears in thecenter. 0n theengineering side,muchof ourrecording 6:m remained thesameaswell;though Malcolm hadto improvise a bit sincesomesf tfE o.tgearfr€verb boardpmcessing anddelay units]inAlGorgoni's studio hadchanged. Stnddyur care!o r€adaboutmyequipment in grcaterdetail,please feelfr€eto visitthefollowing Wbb page:rrrsterullu[cony'equipmenthtn. I am hopefulthat oneof thesebflo sorces r'l ansu,er mostof yourquestions aboutmymusical equipment andtherecording itself.

lntroduction Fonmost0f thetracksonthe CD,I putto useoneverysimpleyetsolideveneighf}flote groovewith a Latinflavotwhichalwaysappearsat the moderate nhythmic tempoof = J 122.Though thegroove mayseemsimilarfromtfackto traek,theharmonic challenges I'vecometo beliewtld arealways diffenent. oversomethirtyyearsof privateteaching, play-along withplayens fi'omall genrcs,ad this kindof feelis the bestwayto connect that'sa goalfonthisbook. Forthose0f youwhohavealways beenjazzplayers, beingforcedto cometo termswith playing overeveneighth-note feelscanbe6 greatthing.Forme,it remains difficult to get sequencers to feellikethebrilliantplaying of drummers suchas ElvinJones,RoyHaynes, PhillyJoeJones,andcountless others.0n "Hippity Hopto the Bebop JackDeJohnette, Irach 3 and4 ontheCD,I decided t0 avoidtheseproblems andpresentmyverShop," hip-hop shuffle beatthatwouldallowthewrittenpassages to swing sionofa contemporary a bit.Thetempofor thesetracksis ) = 72. I amhopeful thatthis,in smallpart,willsatelseaswell. rsfysomeof youfromtheiazzcampandinspirceveryone Though I am repeatrng myself,I can'tstressenough that, in the longvieu the liner presented in this bo0kshouldworkbeautifully withthe chordalandharmonic approach 0f music,in y approach in G0ilIEMP0R[BY GH0B0 lfililGEFIS.Duringthepenfonmance genre,yourplaying shouldalways bea balance of allthatyou've experienced andlearned sothat it'snot one-dimensional. lf youallowyounself to doiustthementalportionof tiis worksobeautifully, I canguarsF effoft,leaming theformulas asto whythesepentatonics resultsfar fasterthanif youspendtimefesisting thisaspectand teethatyouwll achieve justrelying 0nyourears.Tfue,intheend,everyihing willcomedownto yourear,yourabiF ity t0 hearsomething,, but it's so important to understand whythingsdo soundgood.To thatgoal,I hopeI cancontdbute something of lastingvalueto yourmusic. Staysafeandbewell, Sterelhan ewlbrl Gitl,0ctobcr2001

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0rigin.l t!tr ..d hl lt J!|F irld tolon. Sirln b stero .r . gift for . loltible rotghool col!. in 1900, Ilir l|nicrhr a|rrin! Enind. u. ol folon'r ldnlinq for th! tittbrt! LDrollr |tor 'tt.

Al Gorgonr: Aar.onStang;Mike Selver.ne; StevenLaitmon;ChristineMar.tin; MalcolmPollack: Rob Mounsev; FeliciaMichael; Ned Shaw;BlaineFallis;RonAslon; Christran Pacher;OscanHernandez; ManoloBadnena; MarcOuifrones; Bub6nRodriguez; wrllreBobo,PietMondrian;i/ikeLandy;KennyInaoka: patriziochiozza;Fneddy zernin; Rrchand Larrd:RobWallis;ColinSchofield; L. JohnHar.ris; DennisChamber.s; Anthony Jackson: SteveJondanAdamGor.goni; ClareFischer"; DonSebesky; Naokisawaoka; Nadine 'or.tiz; DeMarco;Davesamuels;RafaerGreco;AlvanoFalc6n:Daniel Ang6lica Lamanca Caneldn: DougWest,Jean-Michel Folon;Heathprice_Khan; andto Car.idad Canel6n.

Acknowledgments Grbson Guitans tJimmyArchey, LouVito,andDanr.ell Gilber.tl; DeanMar.kley Str.ings lDeveLrenhard): Sadowsky GuitarstBogerSadowsky); WaltenWoodsAmps tWalter. yamahaGuitar.itshigenobu Woodsl Korgy'lrr,tarshail tMirchCotby); Miyake); lbanez(John Lomas;LPAatrn Pencussion tMartinCohenl; DannyK. MusiiSer"vices; andDr.eamhir.e.

Dedication The wonkconlained withinthis bookis dedicated with loveano nespectm 0lI ltl'lt[, oneof my deanesJ friendssincejunion highschool, whor.ecently passedaway hon. lungcancer. pLEASE lf youanethinking aboutsmoking, don'teverstar.tllf yo, ar. i smokernow PLEASE do everything withinyourpowerto stopNOW|

Conrespondence Pleasefeerhee to visitmy Web site:hftp//www.steuekhan.com. Andrf youlike,wrireto me anytime viathe c0tTlgr srtuEpageat the site

Cnedits ProicctXaneger:Aar-onStang Xrsic [rgrrring rnd Bool layout/ltesign: MankBur.gess 0rigiml Gcer 0esign:H6teneCote Becl Gorerllh:tration: NedShaw Boottrt LeyoutRobertRamsay Ptotoof stere rhrn lpageil: chnistianpacher,Ingolstadt, Genmany tMay31, j gg3l G0BacordingInformation: Produced by: SteveKhan Associate Pnoducens: pollack Al Gor"goni & Malcolm Prrgnammed & Sequenced by; S[eveKhan& Al Gor.goni Addrtional Sequencing: SteveKhan& RobMounsey Reconded at: Lightstneam Studios, N.yC.,Ny _October A0_A1,A001 Recorded pollack andMixedby: Malcolm Pos[-Pnoductjon: RobMounsey @ Flying Monkev Studios

IABLEOFCONTENTS UNITONE:Pentatonic Scales: WhatAneThey? pentatonic Example 1: Minor Fingenings .. Example pentatonic 2: DominantTth Fingerings. .

I 10 .,2 1 1. . . ?

uNlrrwO:Rerationship oftheMinorpentatonic to theBrues scare. Example 3

12

pentatonic UNITTHREE: Linesvs.JazzLines Example 4: Hippity Hopto theBebop Shop

13 . 1 3. . 3 / 4

UNITFOUR: Application of pentatonic Theory

17

UNITFIVE: MajorChords Example 5: EzarajT

19 20 . .5/6

UNITSIX:MinorChonds Example 6: Em7

22 23..7/B

UNITSEVEN: Dominanr 7rhChonds Example 7: A7 UNITEIGHT. Minor7tvil Chords ExamplA e 8m: 7 t b .5.l.

.25 .26..9/10 ."'

UNITNINE: Altered Dominanr 7rhChords. . . g: Fnontien Example Justice, CTtaltenedl ......

uNlrrEN:Pentatonic rmprovising Overcadences: ii-v-r_tV rn . . . . Examples 10A-H:ii-V-l t1OE-G notrecor.ded]

Example 101:SolMotion Example 10J:Charanga C.C.

uNlr ELEVEN: Pentatonic lmprovising 0verCadences: iimTtbsl-v7tatr.l-im7 Example 11: iimTtbsl-V-i Example 12: Clane as Day.

2B 29 .11/12 31 . 34 . 13/14 36 39 .15/16 4 1 .. . 2 1 41...22

44 . 1 7 / 1 8 45 . 19/20

TabhofConmtg PageTD=ffi[ UNITTWELVE: Pentatonics in Sequence Exercises Examples 13A-J:Pentatonic Sequences tii-V-ll.. . . t13E-JnotrecordedJ Examples 14A-J:Pentatonic Sequences [iim7tb5]-V-il \ E-J notrecorded]

. . 4E . .48 . 1sl16 . . . . .49 .17/18

UNITTHIRTEEN: Pentatonics Around and"Outside" theConsonan[, Example1s..

. . . S0 ....52.29/24

UNITFOUBTEEN: Pentatonic StretchFingenings . Example16......i E x a m p l1e6s4 - 8

. . , 5g ....54 . . .56.. .p4

UNITFIFIEEN: String-Skipping Exercises Examples 17A17Dtii-V-l) Examples 18A-18DtiimTtbsl-V-il

...

TheDoubled-Note UNITSIXTEEN: Effecr Example 19 UNITSEVENT VE e lEoNc :i t y E x e r c i s e s . . Example 20: MinorPentatonic. .. Example 21: Dominant 7th Pentatonic E x a m p l e 2C2l a: s s i c L i n e / P a t b e n n Example 23: Ascending andDescending MinorandDominantTthPentatonic... Example 24A:Ascending andDescending MinorPentatonic ... Example 248:Ascending andDescending Dominant 7th Pentatonic Example 25: Dominant 7th Velocity Study Example 26: Combinations: MinorandDominant 7th Pentatonic. .. UNITEIGHTEEN: lmprovising Over"Standard" Changes Example?T:Denzal6n.. E x a m p2l8e:K h a l a t m o . Example 29:A Shade ofTjade Example 30: MadBumpyville Example 31:BigKayak Example 32: OffthePath

57 58 15/16 59 1 7/ 1 8

60 60 .....61 . . . 61 . . . . 6A ....63 ...64 . . . 6b . . 65 . , G6 67 . .2/24 . . . 68 .....69.25/ZE ..70...27 . .72. , . AB . . .74 . Agl80 . . .76 .31/gP . . . . .77 .33/34

UNIT ONE Pentatonic $cales: WhatAreThey? Thedefinitionof a pentatonicsGsl€accordins totheHARVARD DrcroNAFy 0FMUSIC is thefollowino:

A scaleoffh,ediffere pitches. Oneformcanbe played bysounding sixsucces_ siveblackkeysof thepianotthesixthconstitutes anoctaveof thelirst anddoes notcountasa diffenent pitchj.Thepentatonic scaleis commonly foundworldwide, including indigenous Amenican music,Eastern Europe, tnerar East,andAfrica. Vafiations ofthepentatonic scalearealsofoundin Uiactgospei musicanOrhythm andblues. Inthewo|ldof improvised popurar music,I believe thatthepentatonic scare hasbecome synonymous wtthanygrouping offivenotes.Andthosenotes,asa unjt,donothaveto have anything to dowitha particuraf chond sound or name. As*., .Li.J.-n-. therecanbe some.vefy exotic andunusual pentatonic scales. Withthispointinmjnd,let,sbegin explor_ ,ngthisconcept. For.improvised music,weare'loingto useonlytwopentatonjc confjgurations, Bothcanbe derived fnomanymajofkey,though theywouldbeginfromOiiterent siartingnotes(pitches, tones, degfees, orvoices). InthekeyofFmajor, forexample, theDonian mode is buihupon thesec.nddegree, which wourd giveusG Dorian te, n dl c, o,l, rJ.rn" modeis m.st commonly used.for extended improvlsations yams] [solos, overaGniTch0r00nperhaps the closelynelated c7 chord.Forthe minofpentatonic, *a *orn rrtr*i tive0f the seven mod€lnotes.Inthissample key,wewouldomitthenotesE andA, WearethenIeftwith the basicminorpontat'nic, whichwo_uld-always contain the -ot inl;-.ino,.thirdlm'rdl; fourthltltht;fiftht5tht;andsevenrh ltthl degnees. You.mav.bg familiar withthis grouping of note€buthavebeenthjnking ot it as the maior pentatonic butbuiltfromtherelative malorof G minor, which, in this"case, woutd be B, majorpentatonic. A basrcmajorpentatonic presents always uswiththe no0ttnt, second t2ndl,thirdtSrdl'fifthtithr,andsixtht6thrdegneer. rn..J.*., irr. i-egrees remain the same;it'sjusta matterof consolidating yourpointsot orientaiion. ie1 ttrecnartuetow,

Asyoucansee,thenotesareinfactthesame. So,I amhopjng thatwhilewonkrng through nr:.telials inrhebook,youwi buyjntomyconcept, mypoi;t;t orj.ni.trn, andchoose :fe t0 rerateto everything byusingeitherthe min0rpentatonic or a second pentatonic I am aboutto intfoduce.

UnitOne In the example keyof F major,theJvixolydtan modeis builtuponthe bth degree, wtridr wouldgiveus C l\4ixolydian tC, D, E,F,G,A, B!1.Generally speaktng, andhomthe perspective 0f theroot,thismodeis usedforextended improvisattns ovir stationary tstaticl doninsnt lth chords,in thiscaseC7.Toarriveat the basicdominant 7th pentat0nic, u,e wouldagainputto usefive0f thesevenmodalnotes,hereleaving outonlyF andA. This gives_ls-configuration usingrher.ot lH, second Pndl,thir.dllrdl, fifrh(Etht,andsev_ 9 enthl?thl.

Theharmonic nelationship between Gm7andc7 as a iimT-v7shourd beobvious, andthe pentatonics, whichwe'vederived, arejustasclosely nelated. Infact,ofthefivenotesused foneach' fourareexactry thesame.Theonrydifference is thattheGminorpentatonic uses an_F andtheC dominant 7th pentatonic usesanE. Intheflowof moving ttnes,thissmall difference canproveto bea greataddition.to the soundandshapeof yourlines.As full modes, G Dorian tGmT) andC Mixolydian tCTlc.ntainexactly thesameseven notes,all derived fnomthekeyof F maion js notsomething Thedominant 7thpentatonic ldiscovered through mycollege musicstud_ ies,private teachens, or evenshaned exchanges ofinformation witi othermusicians. r came uponit thnough mystudiesof pianistMcCoy Tyner,s improvisations, especially thosefound 0n his recordings as part of JohnColtmne's legendary quartet(Coltrane, Tyner, bassist JimmyGarnison, anddrummer ElvinJoneslfor lmpulse Flecords duringthemid_,60s. Due to theclosenelationship between theminorpentatonic andthebluesscile,rt wasfelatively easyt0 detectMccoy's usageoftheminorpentatonjc, butthemoreI listened, I kepthearinganother c.nfigurati.n of n'tes.Aftermanymorehours0f sittingin fr'nt of thestereo, I wasfinally ableto define thisfive-note grouping andrealized thati; t00,c'ntormed to the diatonic structurcs, butthatit began0nthe Sthdegnee of themajorscaletthisbeingthe degreeof the dominant 7th).so, fromthat pointforward,I havearways refemed to this scaleasthedominant 7th pentatonic,

.->

UnitOne GD:'nceyou,ve been abre r0se*hefo'owins finserrnos r0a neasonabre

j::t,'mr:ru:*t#u*r ;ilj.X1i,1iyl,i.",+iil I$:in:,1.:.T"{tlJ ruii ;:t[ jlf ,'$::it rg,mjm.lx*1r,.il...",*T.:iilffiiii{,!:T".H::J#ifl l,lfll9"l,lJ

lust whatbotha G minonpentatonic

:BT[1;::#;$ilil:T::J$:i: ;,.X*tnUn:li[*iix:iT;^'I#ffi Pentatonic rinserinss (s) trff,' F.i:frfr !l |' Keyof:F Maior

Mode: G Dorian

UnitOne USlltlE TllE Gll: Justaswiththeprevious minorpenraronic fingerings, onceyou'\,e be€rl

6blet0 getthe dominant 7th pentatonic to a reasonable level0f readiness, try to appty playing themby themslowlyoverlrack2 0ntheCD.Youcanalsopractice theC dominat 7th pentatonic oveflracl24, a simpleGpedal,whichwouldallowyouto hearhowit migtt soundovera G minofsononity.

Example 2:Dominant 7thPentatonic Fingerings Example: C7' Keyof:F Major Mode: C Mixolvdian 4

b-

1 e

,:. L

1 e

4 =

UNIT TWO Belationship of theMinorpentatonic

to theBluesScale

principal_r.eaSons e forpresenring themateriats andconceprs inrhis .0!: book.is toW helpall players

finda closerconnection between the bluesandmoresophisticat€dformsof hamony.0ftentimeswhena playeris conhonteA bya cnord,otherthana d'minant7thonminor7thchord,anyreiation to th. blrrs o,.to u [inAot ,,Urrsiness,, can seemmtherfor€ignwhen,in fact,it couldbe fightat hisor her nng.rtipr.pefiapsthe first stepto br€aking downthesebarriersis ti examine fl't, r.aitnrnip of the minor pentatonic to thebluesscaleof thesameroor. lhis example shoesGastheroot: t r.rrr frtttoric Ellcs rcele

B G I

n3d

Ith

a,

c

mSrd

3rd* {th B C

Bb tblue note)

5rh D birh

Unb

hlLEr:otel

5th D

tth F

7rh F

! llb fbl car apperrrs a ni$otone betreonl! ald Bl.

Uponclosen inspection, it becomes clearth8tthefeis essentially a one-note, one_and_a_ half-note, or two-note diffurence betiween theserwo.r.frr. io* ioul-P.rnto usetheblue notesandthat subtremicrctone wifl.realykeepyourimprovisaiionl' ctosety tiedto the mots,thecommon youwillbeableto dothisby gmund_theblues! simply adding thenotes ft'om.the bluesscaleto theminorpentatonic youchose to employ overJnyoneotthechond tumilies discussed. 'nce you,femastereO ttretireories Ueni;i;r1rg;r-;,r0. pentatonics, youcanbeginto addthebluesscaleandallof its nuances, whichinly theguitarseemst0 offun

Example3: G MinorPentatonic

.

l

l

j

l I

I l I

UNIT THREE

Pentatonic linesus.Jazzlines

[Of thOSe Of yOUwtroarenewto improvising rhnough complex sersof chordchanges frommusical experiences in rock,R&8,oncountry, I feelthat it wouldonlybefairto provideanexample ofiazz-oriented lines.lt'simpontant to dothissoyoucanseeandheanthe significant differences intheshapes andsounds oftheselinesas0pposed to thepentatonic linesfromwhichthisbookdrawsits focus. Jazzlinesnotonly0bserve thebasicprinclples of sounding outa scaleor modepereach chordfamilyand change,but also,withinthe numberof beatsallowed,the basic modal/scale tonescanbe,andare,embellished bytheusageof uppen andlowerneighbors [bothchromatic passing andconsonant), chrcmatic tones,simpleanpeggios, andoccasionalidiosyncfatic groupings. rhythmic Even withalloftheseelements adding to thequality andchanacter of the lines,therestill existsa decidedly qualityto the scale-oriented shapeof the lines.In otherwords,onenotefollows the nextin relatively closeproximity. jazzhasits ownlanguage, Likeanygenne, andto playit in a recognizable wayrequifes that youlearnto speakthislanguage. Usingpentat0nic scalesinyourimprovising vocabulary, whilednopping onlytwonotesfmm thediatonic scales or modes, willgiveyourlinesa decidedly moreangul€r sound, look, snd feel.But, penhaps morethanthis, by truly underctanding andheaning the relationship between theminonpentatonic andthebluesscale,as pneviously addressed, it willaddan earthiness to yourplaying that penhaps hadbeenmissing. In a strangeway,whatI have bemostlyaddnessed to thoseofyouwhoarealready competent iustsaidcouldneally iazz players. As a listenef in recentyears,I findthatthisquality is sadlymissing fnommany youngandverysophisticated players. Bythesametoken,thereanemanynock-fusion playgiftsI couldonlyhopeto achieve erc-with technical someday-who have,in theifway, already mastefed theart of flyingaround thefingerboard in pentatonic flurries,butthose players seemto havemissedthe soulful element wherethe bluesis connected t0 everything,lt's mysincere putforthin thesepages,willhelp hopethatsomeof theconcepts, andinspireplayers fromallstylesto heargreatthings. Manyyearsago,long,LoNGbef0fethebirthofthesmooth lazzgenre,whenI waspartof theBrecker Brcs.Band,wehadarguably thegneatest smallhonnsection inexistence, with Handy Bnecken [trumpet), Michael Brecker ltenonsax],andDavidSanborn lalto sax]. And. inthoseyears,the'70s,allofusinthebandwereconstantly amazed at how,afterthebrilliantandcomplex impfovisations of bothHandy andl\4ichael, DaveSanborn couldplayover thesamechordchanges andcapiune something soverydifferent. Hecouldsomehow hear thnough all the complex chordchanges fespecially thosein the compositions of Randy Breckenl andgo immediately to wherethebluesiness existed. Hedidthisnomattenlpn sophisticated anindividual chordor seriesofchor.d changes mighthavebeen.lt wasa gr"at lesson for usall.Thisis to saythatyoucouldstillbedeeply committed to oneparticular style0f playing, notloseanyof that,butaddsomedegreeof depthandsophistication to younplaying. Forothefs,youmightneedto realize that,at times,simplcis best.

UnitThree Erample 4: "Hippity Hopto theBebop $hop"tii-U-l-Ull, in tbt USlilE THE G0! presentedovefa contemporary hip-hopshutftegroove,.,Hippity Hop t0 the Beb0pSh0p"presents a mini-compendium of jazzlinesandjazzmannerisms. I don'tbelieve thatanyone wouldeverplaysucha thingin the .ontrit of. neattmprovisa_ tion0nsolo,but again,for the purposes ot thisbook,I am simplytfyingt0 shareas muchas i c6nin the spacegiven.So,youcanwatchtxample 4 go byandlistento Tracl 3 andyouwillthenheana ful 32 barsof linesplayedin u irettfrajitionat lazzstyle.At har33 andthfoughthe fade,youwillthenhearthat I switched'to a pentatontc styleof playing,andit is my feeringthat you'[be struckbythe radicardifference betweenthe two approaches. Youshouldheafthatthe pentatonic linessoundmuchmoreangulan anddisjointedthanthejazzlines.At leastthiswasmy intent. Alsoof special noteis thetime feelfor playing eitherstyleof ljnewhereswingis perhaps morelmportant thanthe notes. Youwill hearthat I playedwith a ratherlazy0r laid_back time feelon purpose,tryingt0 playa bit behind the beatandthen,withoutmakingit ioo noticeable, catDhing up ttthe pulse.Pleasemakean effortto givethis a try too. lt canmakesuch a hugedifference in howyoufplaying is perceived andfelt by othefs.lt hasmucht0 d0 withdeveloping a high levelof rhythmicself-confidence. Whenyoufuelreadyt0 playthe w tten example or to aft€mptyourownimpr0visations, useTrack4,

Example4:"HippityHoptothe BebopShop,, @ t-m/

tm/

@

Bb7(alt.)

Bb7(alt.)

e

Bb7(alt.)

C7(alt.)

E majT

c7(att.)

UnitThree C7(alt.)

Bt7(alt.)

Bb7(alt.)

@ rmz

Bb7(alt.)

EbmajT

C7(alt.)

UnitThree @rrz

Bb7(alt.)

Bb7(alt.)

C7(alt)

Bb7(alt.)

Bb7(alt)

C7(alt)

UNIT FOUR Application of Pentatonic lheory This is whgre thetheoreticar and/ormathematicar-oniented section of thisworkrearly beginswhat I triedto doformyserf manyyea.r.go *."io-find ;way ro pursomekind 0f .rdent0 how,where,andwhenI coutoappty res.'e t*o tunaur*t,| pentat.nac scales [theminorandthedominant 7th pentatonics] t0 mostof thecommonly usedchordforms [0f chord famiries asI riketo ca'|them)thatweencounter on. o.irvlr,, inthemusic we plav. lbeganby takingthe threemostbasicchordfonmsandfamiries_MrJon, MrtI0B,and 00M|il[ilT-andsoughtt0 appry those, twopentatonics ;; ;G wharI courdcomeup with rnaddirion, I nearized thatrhemllb5tchordtorr, rinc. ir i. puri0f rhediar.nicfamily of scales,wasa possibirity too.Andfinafly, to be abreto ur. ir.,... pentatonic scares oventhesophistication of artered dominant 7t'hchordsastn.yr..otu. to maj'r andminof would beaninvaluabie tool. Theunitsthatfollowaddress eachofthesechond fonmsandfamjlies andprcsentonesam_ plechordformin onekey.lt willsupply youwitnatttnepentatonic poJriOiliriu, andin some cases make suggestions, frommyexperience, justwhjch oneswillsound bestandinwhich contexts or genres. T0communicate theseoptions to youin the mosteffjcient manner, I haveusedgridsor y?uthe.oprions youmighrhaveANDjusrwhjchcotl. tonestheypnoduce :._l,,:jT!,tur agarnst the givench.rdform youmaysimpry findthattheysoundgood,andtfiai wiflbe enough. Youtruill goonandapplythemasyouchoose. Aut,om. oiyou'r,ghtwantto undef_ standlust whatit is you're doing andwhyit mlghtsound goodind s0appeattng so-.nJprr.ented to youn ears.-'Eithen way,thematefials, thetools,arcih.r. fol.yo, in a very clear andefficient mannen whenviewing anyofthesegnids, youwillfindthatto theimmediate rightofeachpentatonic listedyouarepresented withthenotesinthatparticuraf minoror doriinant 7thpentatonic. Above eachofthosenotesis thescaredegree thatthatnotepnoouces retative t0 theroot ofthechodfonmbeingdiscussed in thatuniychapter. ff.,i,..r. prin.ipf.of prcsentation apprres t0 arrthechordfamiries thatfolow.with a cunsory rook,youcanimmediatery see whlchpentatonics aregivingy.u themostcol.rtones-thosenoiesabove the noot, 3rd, andSth. Beyond ell thetheory,the math,andthe memorization, whatis mostimpontant for your growtiis developing a personal andemotional relationshjp withthe-noles you cnoose to play-Someof themoregiftedamong youwillsimptyhear. tliirg. .rJWir beguided by thar instinct. Othercwiflhaveto searchandwor]< veryr',ara at finoiigit. | ;uggestthefo|owing approach whenyoubeginto imprcvise ovefthepiay-along tnacts-tor eacrr ottnechordfam_ tlres. BeforeI getto thespecifics, I thinkthatthisis theappnopriate moment to mention somethingdirectlyrclatedto theguitanAs guitarists, weshould r..rrrl.r. in., *n.n play, we 'naked' we areplaying one0f the mostvisually instnuments. Thatis to say,peopte who cometo hearusplayoftentimesareunfoftunately listening witi ih; eyes,n.t withrheir earc.Wewantpeople t0 hearthemusic.Butwetivein a visuatag;, ;n-og.ttingpeople t0 heafthemusicis hardto d0.Ontheguitafit is oUvious wirenwe"g;ip or downtheneck; wtrena particurar motifgoesup of downin sequence, irb appaneitro the audience. ultimately, beyond one'stechnicar abirities andspeed, wrratauofrices trurynemember ane m'mentsof grcatryficism, grcatimprovised melodies, andthe interylay withthe other musicians. Pleasestrivefontheseelements perhapsmorethanbecoming the world,s greatest virtuoso. It is nota calling fonman\/l

UnitFoun First,alwaysbegi[byplaying slow'. Anelementthat,might helpgiveyoua groundtng before

r'no..'o.iuig;[','.'ti'Jr"iit'. *.rr*,tr,in ;tiXff[','.IiJT'i]'lT,Y,::'i"t::'':l,]lo tn...

'j*ft!',''ld';''ll+#ff'.'M trx#t',f*,n:.J,ffi ffiill:rlilr.ffi ffir#f?ff#};s[::ixiFi#fl"T;#;il};r.'[iil:T:#;H^,*ffi \Menyoufuelready to jmprovise lin

j;3tt-tril.,}'ffi rTil,i:ffi ffL.ilttrt,+#..J#iltr1i{g#': itri

romake rhe that othJriwo *, *,0., ffi..Jfl:1,#r:i,ji,:r,,i,?:roo.jil,X.#1,,,n

'.Tl ffi ,q"#[F::,Htilitfti;il1;1.,,,::ulsl#ffi irI'J:Hilffi ;i# ;ffi : :";'iiT$'l il?.??;.'i,ii ;i:,T% :iT'J:i i,l"J; l'ff fi:illfiJt,rul,f

v'umust a'ow flj|"trJ::tr'TilT v.urce i'JHi'J:'::TlT'rlld

s:frfl ;ililffi #,#J.;i# ttilft.J:id.r;:xlir*ilifii,,i.f.*il,,ffi

f.U::*min.;*; SlJ..eTil.T:'T;:yJ;#il:J::,#:::l.,ll..lXill,,lili?1i1ff With thls said,let'smoveon t0

the fivechordfamiliesoffered. I

'18

FIVE UNIT MaiorEhords illJ0[ $10[05:0n anymaionchord,the playermayappbninor lcolatolhr buik uponthe3rd,6th,or 7thdeg|tosof the lonianmodelthemaiorscale]or Lydian hlih theminofpentatonic mightinclude in certaincontexts mode.otheroptions builtupontheznddeg{ee7th pentatonic andthedominant uponthe2nddegr€e use: ouerEbmaiT lor erample, Gminor pentatonic

3r'd G

5rh Bb

6th C

maiTth D

srh

0 minor pentatonic

majTth D

grh F

3rd G

il4 A

6th C

Gminor pentatonic

6rh C

IR]

9rh F

3rd G

5rh Bb

F minof pen[a[0nrc

2nd F

l4thl Ab

5rh Bb

6rh C

lRl

F dom.7th pentatonic

2nd .F

3rd G

*4 A

6rh C

tRl Eb

E'

F

3theroptions: E'

Mill|N GHI|BOS fusion],I necommend music[iazzandiazz-rock instrumental Inthecontextof prognessive maj0rscale[lonian 0f the the 7th degrees pentatonics the 3rd and built upon theminon of the In addition, because lones. 0f color nicest selection afford the they modelbecause notes in how the pentatonic, a subtlety therc exists minor in any ofthetones configurations and its sound. thechord fallagainst of the shafpjourth(*4)in majorchofdstendto the beauties discovening Often,players lineunveils as the improvised it to happen that noteratherthanallowing ovenemphasize (the inroduces tf|is majorTthl' it builtuponthe7th itself.Byusingtheminorpentatonic 0f subtlety. it withsomedegnee toneandpresents B & B, andfolkstyles,theminorpent€tonic in nock,country, Withmajorchordsappeafing players andlisteners builtuponthe 6th degrcecan,anddoes,soundfine.Tohard-cone complalnt. whichis a common too jazzy, of sounding no danger alike,thefeis usually music,you'llfindthatyouhaveto bea littlemonecareful withmorciazz-based However. 0f theroot[H]thatcancausea kindof fiiclt'sthepresence whenusingthispentatonic. You'll themajor7thwithinthechord. it canrubagainst because tion.evena dissonance, plusallof thoseinfluenced by Benson, andGeorge likeWesMontgomery findthatplayers just or by by skating over give flavor pentatonic lines a bluesy to their this min0r them,use pnonounced They also do this in the line. s0 degree appear W not making that noot and the pentatonic 6th degree built upon the the minon blues scale to fr"om the adding tones theorychart listedin thepentatonic twootherpentatonics l'dberemissif I didn'tpresent theyalso but t0 my eans pentatonics n0tes' coTnect thetechnically contain These section. givpentatonic znd degree, built upon the problems. is theminon Oneoption canpresent glh; inclupnoblems of the arise because The can 4th;sth;6thiandlRl. ingyouthezndon theroot.Letthestyle0f musicandtur and,of course, sionof the4th tthesuspensionl to usea pentatonic mightbe for you lt's alsopossible this earsdictateiusthowusable gth; produces znd or 3rd: the which builtuponthe2nddegnee, 7th pentatonic dominant presence Also. ofthe rootlR! 0fthe occurs because a problem t4th;6th;andIF).Again, will feeling, this pentatonic of the {4th,whichgivesit a Lydian of the presence because jazz-oriented probably settings. bestin more sound

UnitFive

En0Rll

iltt0R Pfilr.tSdt

MITOR pttT. I6tht

Mtil0B MINOR Dotv. 7 PTilT.ITThI PENI[2ndl PENT. I2ndl

CmaiT

t

A

B

D

D

DbmaiT

t

Bb

G

c,

E'

DmajT

fl

B

G{

E

E

EbmaiT

t

C

0

F

F

EmajT

EI

0*

Fil

Fil

F maiT

I

D

I

G

G

GbmaiT

Bb

Eb

t

Ab

Ab

GmaiT

B

E

r*

A

A

AbmaiT

G

F

I

Bb

Bb

AmaiT

EI

Fil

G*

B

B

BbmaiT

D

G

T

C

BmajT

D{

GI

[il

c c{

C{

USlilG TllI G0: Yo, ..n heafthe performedversionof Example 5 byplayingTrack5 on the CD.With allthe examples I performed fonthe individual ltried to first chordfamjlies, playsomethingthat puts me in the rhythmicgrooveof the tfack; then the improvisation pentatonics. beginssimplyusing,in varying ways,manyof the available In addition, I try to usethe blueslanguage as wells0 that we are nevertoo faf removedffom that. Whenyou ar€ readyto attemptyounownimprovisations, useTraclS.

(Ebmai7, Example 5:OnMajor Chords @

@

UnitFive

UNIT SIX MinorChords

for eranple,orer[nI use:

t|1il088fl0R0s 0f arrthechordfamiries addnessed in thisbook,theminofchofdfamrry is the.ne that alr€ady existsin minonSo,,there's noneedto convert thethinking pal because youwould simplyusetheDorianmodebuirtfromthenoot.Inthe.*urprr'oi Eri wewourdusethe E Dofianmode.Theuseof thethreeminorpentatonics i, u.iy ,ir.ightfor*ardandshould comedownto a simplematteroftaste.youwouldusejustthose c#ainrngnotesyoureal_ t[::, inmy0pinion, going arc to sound terriiic. ttre pentatonrcs mlnor buittupon ll||Tl therootandsth degrces onlydifferinthattheonebuiltftomthe5thdegree ooes notuse them3rd.and thercfore offersgreaten subtlety. lt als.add;tf',e.o[. to* ottnegth,which somefindto bea veryprettynote.Theminonpentat'nicouitt upon-irre znddegnee ars' givesyouthegth,and,in addition ro that,presents thecolortoneoflhe gti: lt, too,is a pf€ttynote,butnotoneto beovenused. youshould always feelfneeto try to useallofthese pentatonics because experience willtell youwhichonesfit intoyourpeisonet style. However, thisis anexcellent placeto beginto getaccustomed to usingthedominant 7th pentatonic. Withtheexample of Em7,themodalorjentatjon beingE Do"rian, we are in the keyof D majoxso Em7is a ii chord,and47 wouldne a VZ cnJnJ. ff,e A dominant 7th pentatonic is buirtfn.mthe4th degnee 0f E D.rian,andit onryJitr.., t.o.nthe E minor pent€tonic in that it hasa cr (6thor '13thrinstead of D ttheith). whiregettingfamiriar with this s.und,try interchanging the E minorpentatonic urJ ir,. a dominant 7th pentatonic^to heafthecolorchange created bythisone_note diffenence whenyouptayalong witi thecD. In[rampre6 youshourd payaft;ntionto barsz+-ziano ?g-g0offeredasa poiniof reference.

UnitSix MIIIORCIOND NTftBEITEE GHIBT Elt0Bll

MIIIUB PTIIT. MIIIUF PTITT.

MIIIUB PTIIT.

utM. lllt Pti[

IRI

l2ndl

ISrht

Itrht

Cm7

C

D

G

F

DrmT

Db

Eb

Ab

Dm7

D

E

Lbm/

EO

F

B'

Ab

Em7

E

Fil

B

A

Fm7

F

G

C

Bb

G*/Ab

ct/Db

BlCb

F*m7 l9bm7

F+/Gb

G

Gm7

G

A

D

C

Abm/

Ab

Bb

Eb

DI

Am7

A

B

E

D

tJrm/

,Bb

c

F

Eb'

Bm7

B

F{

E

simplygoto TrackI on the cD. The USlltlG lllt G0: to neantrample6 penformed, approach is muchthesameasit wasfor[hemajorchordfamilysection inllnit ]ire.Wtpn you'refeadyt0 beginto experiment withyourownimprovisations, useTrack 8,whichomrts myguitar.

(Em7) Example 6:OnMinor Chords

@

@

UnitSix

SEVEN UNIT Ghords Seuenth llominant 7th chord,the playernry dominant 0n anystationary 00llllllill TIll Gll0B0S: builtuponthe2nd,5th'and8thdegEes0ftheMixolydian applU minor[entat0nics ?thpentatonics builtup0ntherootandzndd8grtes' modeanddominem

use: ouerA7(91 lor example, I minor Fentatonic

5th E

7th G

R A

9rh B

4th D

[f minor pe atonic

6rh FI

H A

9th B

3r"d

5rh E

B minor pentatonic

grh B

4rh D

5rh E

6th F*

R A

A dom.7th pentatonic

R A

9rh B

3rd

5th E

7rh G

B dom.7th nentatonic

9rh B

3rd Cil

b5rh DI

6rh FI

R A

OOMIITAIIT 7THGIIOBOS dominant7th chofd,whichis not goingto rcsolvet0 eithera I maiofona Fora stationany oriin my minor{Dorian) However, i minorchod, the cofnectmodeto useis Mixolydian. Mixolydian mode 0f the up0n the 5th degree theDorianm0debuilt I wouldemploy entation, to thisas E Dorian Inthe example of A9, the 5th degreeis E, so I wouldbe relating builtuponthe nootoffers 7th pentatonic the dominant options, Looking at the pentatonic the builtuponthe sth degreeextends onlyonecolortone,the gth.Theminorpentatonic 'l hanmony fufihenby havingthe 9th andaddingthe 4th 0r 1th lthe suspension]ln some by thosegenfes'the R&Bandgospelmusic,as wellas jazz,whichhasbeeninfluenced in a most subtleway. builtuponthe 6th degreeoffersa bluesiness minorpentatonic the dominant youc0uldemploy theA bluesscaleif that'swhatyouheard.Finally, Obviously the furthestas it intf0duces builtuponthe znd degreeextendsthe hanmony 7th pentatonic if them00dsrikes,I justplaythebluesscale Sometimes, scheme. the{4 on15to thecolot" onewholestep abovethe ro0t t0 accenlualethis feeling.In Immple7, youwouldwantto listento h s 23-24 and2t-30.

UnitSeven CHABT 7IH EIIOBI| RE]EBTIIIET OOMINANT Millt0R Millt0B CHOBO MilU0R Pflitl.tSrht PHIT.tSrhl PtlIT.l2ndl C7

G

Db7

00M.,Tll pEtul.rH

D0M.7il1 PEllT.I2ndl

A

D

C

D

Bb

Eb

Db

t

D7

A

D

E

D

E

Eb7

Bb

C

F

Eb

F

E7

B

a{

F+

E

Fil

F7

C

D

G

F

G

D{iEb

G*/A,

F*lcb

G*/Ab

D

E

A

G

A

Eb

F

Bb

Alb

Bb

A7

E

T{

B

A

B

Bb7

F

G

C

Bb

C

Etl

GI

B

Cil

F+7 /Gb7 CVDb G7

87

playTraek I ontheCD.whenvou're I penformed, USINGTHEGll:to h..r"Example pentatonics whatyouhear,useTracl10. andbeginto expefience readyto usethesuggested

(A7) 7thGhords 7: 0n Dominant Example A7(9)

/-ctr\

//d'\

| ll'Dx I

lll'd

\L./

\10-,/

I

(1sttime only)

UnitSeven

EIGHT UNIT Ghords Minor7tb5lor Half-diminshed anvminon7tb5](akahalFdiminMIil0nt$5t or llltf-0liltllllSHlll Cll0RltS:0n builtuponthem3rd,4th,0r ishedchond) the ployefnayappf rninorpentltooics 7thpentatonic builtuponthe ?thdegrees of the Locrian modeandthedominant 6thdegree. use: Ior erample, overAmTlbEl E minor pentatonic

m3rd C

b3 .D

6rh F

7rh G

2nd Bb

ll minor pentatonic

4rh D

6th F

7tn G

R A

m3rd C

S minor pentaionic

7th G

2nd Bb

m3rd C

4tn D

6rh F

t dom,7ih pentatonic

6rh F

7th G

B A

m3rd C

b3 c,

Mril0R r(b5tclt0B0s 7th chondlcan apoearto be andevensoundlikea Theminor7(b5l tonhalf-diminished scale,butit is, in fact,the scaledegree0f themajon7th andsugstranger t0 the diat0nic I geststhe Locfianmode,whichis oneof the sevendiatonicmodes.In my orientation, mode,a minonSrd tm3rdlabovethe r00i. So,herein cho0se t0 viewthis as the Donian As it turnsout,myfavonile mlnol ofAm7{b51, I wouldthink0f thisas C Dorian! ourexample pentatonic t0 use 0venm7tb5lchordsis built from the min0n3rd as well,C mnor pentatonic. chofd, builtfnomthe 7th degfee.Forouf example 0f special noteis the minorpentatonic function of them7tbSl, Wefeweto lookat thelong-range thatwouldbeG minorpentatonic. - VTtalt.l- im7 prognession. So,a fullyreawe wouldseeit as thefifst pertof a iimTtb5J AmTtb5l DTtalt.l- Gm7.Often,in bluesgroups izedcadence in this kevwouldbecome drums),you'llhear biuesgroupsflikethe classrc organtrio:organ-guitar andiazz-Oriented thnough this entifebluescadence usingthe bluesscaleof the fooi. the soloistsplaying our G minorpentatonic, becomes our Here,the G bluesscale,whichcloselyresembles cans0und F0rthesesamereasons, thisis thewayinwhichthispentatonic option0fch0ice. goodovera m7(b5lchordwhenit is isolated andnot functioning as a part 0f a cadential progression.

UnitEi CHANI BETIITIIGT MIIIOR'tbst CHOBI| GHORII CmTtbSl ubm/ tbSl

Dm7{b5l

MIIIOR MIITOB Pt T.lmgrdl pt r. I4rhl E9

F

MIITOR PEitr.lTrhl

'TH DOM. PEltT.t6rhl

a2

Ab A

E/Fb F

G

EbmTtb5)

C

Bb

Db

B

Em7(b5l

G

A

D

C

Fm/ tbcJ

Ab

Bb

EO

Db

B/Cb

cl f0

D

F*m7tb5l/Gbm7(b5l NBbb

F

Gm7tb5]

Bb

C

AbmT(b5l

B/Cb

Db

AmTtb5l

C

D

G

BFmTtb5l

D'

Eb

Ab

Bm7{b5l

D

E

A

Eb E F

G

1l' when 8, plavTrack ofIxample version U$llUGTHEGll:to ttar therecofded uselracl12. t0 improvise, feelfeady

8:onm7(bs)chords @ @

UnitEi

NINE UNIT Altered 0ominant 7thGhords AITERID DoMlilAilI7THGH0[0S:0n 7th chofd,the almostanyaltereddominant playern8yapplyminorFentatodcs builtuponthef9 or 7thdegrees ofthealtered dominant scale[Super Locnian mode]anddominant tth pentatonics builtuponthe bEor15. lor erample oler G7[alt,luse:

*s EO

b5 Gb

Ab

7th Bb

b9 Db

Eb don. lth pentatonic

Gb

Ab

7rh Bb

b9 Ub

3rd Fb

Abdom.7th Ientatonic

Ab

DO

R C

{9 Eb

b5 Gb

7th Bb

b9 Db

*9 Eb

I4thI F

Ab

[b minor Ientatonic

7th

Ithef options: bb mtnoT

penrarcnrc

nlltBE000M[uAtuT TTltclt0[0s dominant 7th chordis the As I initially learned it, the corrcctscalet0 applyto anyaltened altereddominant scale,whichis madeup of: root [R],b9,f9, 3rd, b5,ilS,7th. lt contains modernimprovising sys allfounof the possible altened tonestbs,*5, b9,f9]. Withtoday's temsandstrategies, manyplayerschooseto callthesesamepitchesthe SuperLocrian of it ss themel0dic minor mode.0thers,likeme,enduprelating to thisproblem bythinking scaleonehalfstepabove 0f C7{alt.l,youmightchoose to think ther00t.S0,intheexample of this as Dbmelodic minonlf you'rehaving a problemseeingthis,justspellout allihree scales[modes]andyoushouldfindthat theyhavethe samenotes,thoughsomemaybe enharmonically spelled.

Galtered dominant

R C

b9 Db

*9 Eb

3rd

t

b5 Gb

il5 cf

7th Bb

Dbmelodic minor

C

Db

Eb

rb

Gb

Ab

Bb

whenyouareconfronted Theuseof the altereddominant scalemightonlybe problematic witha dominant 7th chordwiththenatunal 1Sth,whichalsocontains alterations. Usingthe example chordof C7[alt.],theformI amspeaking of wouldbeC13tb9l.Whenyouarefaced witha 13{b9lchod,this is oneof the fewtimeswhenthe half-tone/whole-tone diminished scalelfnomthe root]shouldbe usedsinceit givesyouboththe natural6th/13thandthe b9. 0f the founpentatonics otfened, the onebuiltuponthe 19 is the onlyonethat contains all founaltened tones[b5,$5,b9,*9] and,for obvious reasons, it shouldbe oneof yourfirst 7th pentaionics builtup andbestchoices. I believe thatyou'llalsofindthe iwo dominant from the b5 andthe [5 to be veryusefulsincelhey containthree0f the four alteredtones each.0flenwe heanplayers employ a Phrygian soundoverthe altereddominant 7th chord by simplyplaying the Dorianmodeonewholestepbelowthe root.Here,overa C7[alt.] chord,BbDorianwouldbe played andwouldgiveyouthe C Phrygian mode. Galtered dominant

Bb0orian/ GPhrygian

C C

Db

Eb

E

Eb

4th IF]

Bb

5rh IG]

Ab

o0

UnitNine F'f th0seofyouwitha background inclassical music hafmony andtheory, whatreally takes place whenyouemploy thisdevice is thecreation ofa plagal cadence, sometimes referned to as the "Amen" cadence, lv-l and/orlvll.Usingthe example chordas partof a full youcouldderive cadence, something likethis: Gml G Dorian Gml G Donian

GTlaliererllC altened dominant BbnllE ub uoflan

ImaiT F majon/Lydian lmajl

F maiorAydian

Breaking it downinthismanner foranalysis makes sense, butyourearsandmusical sen_ sibilities mustmaketherealchoices. Carrying thisoutevenfunther byusingtheminor pentatonic builiuponthe7thdegrce, presented asan0pti0n, youcouldusetheBbminon pentatonic. lt offerc,to myears,onepnoblem note_the4th,thesuspension_which, when played against analtered dominant 7thchord, doesn0tcreate enough tension, andthe4th canaciually soundlikea wrongnote.However, if youskiflfuly yourwayamundtnat wonkonenote,thisminorpentatonjc cansound fine.

unlikethepreceding chor"d families addnessed in llnitsE-9,to sustain analtened dominant 7thchond for a prolonged amount of time,twot0 threeminutes, is justnotpractical or realistic Doing s0wourd seniousry testsomeofmyfundamentar berief; about themake-up of goodmusic. Thatis to say,in themaking of goodmusic, lll youcan,tneally iusthave everything sound consonant; otheMise, it willgetvery,veny boring. Likewise, l2l youcan,t havealltension justastedious. because thatcanbecome so,aswithmany thingsInrife, onemustachieve a balance, leading t0 thecneation oftension andthenitseventual nelease uponresolution. Allgneat musichastheseelements intheifownpadicular balance. During myimpnovised example, lrack13,'Frontier Justjce,'and theplay_along, Irackll, thatfollows, youaregiven eightbafsof ounexample chord,C7talt.j, which thenresolves to six[6) different chordal afeas.Thisgivesyoutheopp'ftunity to createpentatonic rines overvarious altered dominant sonorities, supplied bythestning pads,andthenyouare asked to res'lvethoselinesto different hanmonic areas.Those areasincrude boththe expected andtheunexpected. Theexpected aferesolutions to FmajTtg), thelmajTchord, seeninthe3rdending, andto Fmg,theimgch.fd,seeninthe4thending, youilso must negotiate a resoluti.n t0 a Bmajgchordinthe2ndending, whichmeans thecTtalt.lhas functioned as if it werethe ,5 substitute for Gb7(alt.l. Hereyoushouldlistencarefully because thefg [D*/Eb] is sustained andsimpry becomes the3d tD#rofBmaj7. Then there aredeceptive or falsecadences based uponthesamekindof c0mm0n tonevoice_leading. Fonexample, because wemighthaveEblDlontop of withintheC70glvoicing, that note thenbecomes the9thof Dbmaj9, seeninthe1stending. Thatsamenotebecomes thebth ofanAbm9chond, seeninthesthending 0fthechaft.Finally, inthe6thending, it becomes themajof7th of anEmajgchond. I felt it wouldmakethingimorejntefesting if I sentyou t0 theseharmonic areas, andagain, I feelthatha ngeightbansoftheprulonged tension is really morethanenough to accomplish getting these.new,, sounds iny.unearsandunder younfingens. Youmightfindit instructive to listent0 iusthowI usedtheLt minorpentatonrc .vef the c7falt] chordandhowthat samemin.npentatonic thensounded beautifur over theBmaig.chond {thefe asD{minorpentatonicl; oven theEmajg chofdtagain asa D{minor pentatonicl; andfinally .vertheArmgchordtthtstimeplayed asanEbminorpentatonic). TheEbminon.pentatonic cansimply bemoved up a wholjstept0 F minorpentatontc t0 nesolve beautifully t0 theDbmaig chord;upa halfstepto E minofpentatonic to nesolve to theFmaj9 chord; andagain upa simple whole stepto Fminorpentatonic t0 resolve to Fmg, Giveall0ftheseoptions a try whenyoubegin younimpnovisations.

UnitNine against thistype0f someof thepeniatonics Another device I likeverymuchwhenplaying performed exemple, majon 3rd as well. In my the altereddominant 7th chordis to include you youwillhearthaton occasion listening to the recorded I haveusedan E!,When are pnecede the that example, Track13, payspecialattentionto thoseeight-bafsections EmajT chord t6th andlaterthe the Fm7chord[4th ending], BmajTchord[2ndending), priofio thatlastresoending). Youshould alsobeableto heanthattheEq,thatappeared you 7th pentatonic, andwhen dothis,theEhtFb)is simlutionwaspartof a Gbdominant plya built-incomponent Fof Therefore, it'sg0ingto bethercnaturally. of thatpentatonic. between the Ebsandthe Els sinceit me,I likeit bestwhenI canusea littlecn0ss-play Though onealmostnever thetwomuchmoTepronounced. makesthedifference between theEh,il dominant 7th chot'd for as longas eightbars,whenyouemploy seesanaltened youareplaying chordal sound. And,to my thebluesoventhisaltened cansoundasthough 14 and a goodthinglGiveit a try whenyouplayoverTrack wayof thinking, this is always headed forthereskeepin mindiustwhereyouareeventually seewhatyouthink.Always olution!

AtIrntDD0ililllAllT7ilt GllonoREttntilcfcHlBr cH0Bll C7(alt.)

a0

Dbtalt.l Dtalt,)

ltoM.trh PEilT. t{5t

MINOR PENT.I7th1

Gb

Ab

Bb

G

A

Ab

Bb

C

A

B

Db

MIilONPEilI. lt0M.trh DHII.tb5t til9l

F

Ebtalt,l Etalt.l

G

Bb

C

D

Ftalt.l

Ab

B

cil

EO

NBbb

c

D

Et ro

Gtalt.l

Bb

D'

Eb

F

Abtalt.)

Blcb

D

E

Atalt.l

C

E'

F

G

Bb(alt.l

Db

E

F{

Ab

Btalt.)

D

F

G

A

F*talt.l/Gb(alt.l

UnitNine youwitthean USIIUG THEGll: tntniscase, myimpfovisarion overrhechor"d changes andtheformfrom[xample I byplaying Track 13,Whenyou'rereadyt0 try to improvise youwould 0verthisexencise, play simply Track !4,

Example 9: Frontier Justice(Justicia deFrontera)/Gt\ rrd

/c\ \19,/ \!1/

t

C7(alt.)

Mode/Scale Options: C altered dominanU Db melodic minor

(c, Db,Eb,E,Gt,At,Br) PentatgnicOptionsi ELminor pentatonic (Eb,G', A', Bt, D4 Gl dominant7th pentatonic (Gb,Ab,Bb,Dt, Ft) A, domlnant7th pentatonic

(Ar,Br,c, Et,Gr)

l.

ormaiz(B) Modey'Scale Options: DbmajorAdian (Db,Er, F, GtG, At, Bb,C) PentalonicOptions: F minor pentatonic (E Ab,Bb,C, E') C minor pentatonic (c, Eb,F,G, B') B, minor penlatonic (B', Dt, El, E Ab)

am"iz(g)

B maior/Lydian (B, Ct, D[, EiE{,Fi, c{, AD PentatonicOptions: Dl minor pentatonic (D$,F[, Gt,A{, CD A{ minor pentatonic

(Al,cl, Dl,E+, cD Gf minor pentatonic (Gl,B, C{,Dl, FD

I (tFcr l

UnitNine F maiT

Mode/ScaleOptionsr F maior/Lydian (F,G,A, BrB, C, D, E) PentatonicOptions: A minor pentatonlc (A,C, D, E, G) E minor pentatonlc (E,G,A, B, D) D minor pentatonic (D,F,G,A, C)

Fm7(e )

Mode/ScaleOptio||si F Dorian (E G,At, Bt, C, D, Eb) PentatonlcOplions: F minor pentatonic (F,At, Bb,C, Et) C minor pentatonic (c, Er, F, G, Bb) G minor pentatonic (G, Bt, C, D, F) Bbdominant 7th pentaionic (Bb,c, D, F,Ab)

ModerscaleOptions: A! Dorlan (At, Bb,ct, Db,El, F, Gb) Pentatonlc Options: At mlnor penlatonic (At, cb, Dt, E , Gb) E, minor pentatonic (E , Gt, At, Bt, Dt) Bbminor pentatonlc (Bb,Dt, E , F,At) Dbdominant 7lh peniatonlc (Db,Eb,F,Ab,Ct)

16. EmajT(3

Mode/ScaleOptions: E maror/Lydian (E, Ff, G{,Al/A,B, C{, Dl) PentatonicOptions: Gl minor pentatonlc (G$,B, Cl, D*,Ft) IX minor pentatonic (D{,Ff, Gl, Al, CD Cl mlnor pentatonic

UNIT TEN Pentatonic lmprouising

|luerCadences

Pentatonic lmprouising for iimT-Ultalt.l-lmai7-lUlltalt.D Forthose0f youmostinierestedin applying theseconceptsto jazzandjazz-related music, therecan be littledoubtthat learning t0 negotiate cadences t0 bothmaiofandminon chordswillserveas the bestpnoofof the usefulness of pentatonics in "real"music.By,,neal" music,or "neal" tunes,I am refenning to standafds bothfromthe w0fldof po0ularmusic andthe |azzwonldas well. l've pfesentedthe examplesso that they functionwithinthe samekey[Bt]sinceBbmajorandG minorarerelatives of oneanothen andhavethe same keysignatufes.I havegoneto greatlengthsto presentthesematerialsso that, at leastin thiskey,allof youroptionsappeafnightbefone you. Finstyouanegiventhe chordprognession as it appeans on the play-along CD.Belowthe progression, each0f the chondswithinits chordfamilyis presentedin its owncompaft_ ment.Belowthe chordname,I haveattemptedt0 nemind youof the ,,formula,, for whichthe minoranddominant pentatonics 7th couldbe applied withineachchordfamily. Then,below that,eachpossibility is provided in detaij.Thenotesthatsoundwithineachminonanddominant7th pentatonic aregiven, andjustabove themis thescaledegfeetheywouldpnoduce nelative to the rootof the chord.lf yourecall,in earlierchapters I triedto presentmypersonalchoicesfor the bestsounding pentatonics pef chofdfamilywith someallowances for the style of music.As a reminderof the pentatonics that I felt containeda questionable note,I haveplacedthatscaledegreewithinbrackets tt l). lt is my h0pethat if something djdsoundstnange t0 youreans,thatthesebracketed notesmighthelpexplain thatfeeling. Then,in the end,youwouldhaveto decideif that padiculafpentatonic is everappropriate for youruse-the wayyouhearthingsl Thereis a senseto this kindof presentation that you couldmix-and-match youroptions, choosing oneboxin a columnandthenjumping overt0 anyboxin the nextcolumn. There jn the endVoufearwouldbethe wouldbe nothing wrongwithsuchan approach, because bestiudgeof whatis musical andeffective. If youtry thisout,andI thinkyoushould, tnyt0 fingereachpentatonic inthe sameposition, of as closeto it as youcanc0nstruct it. lf thjs causesdiffrculty whenplaying alongwiththe CD,thentry to breakit down,fingering the peniatonics as slowlyas needed untjlyouhavecreateda senseof melodic flow. Howmanytimeshaveyoulistenedt0 oneof yourfavoriteimpr0visers andheardthemplay a motif{a phfase,a lick,etc,landthentheyseemt0 playit up ondowna halfstep?Was thatlusta device, something theylearned froma recordor fnoma frjend? 0r is it possible principle thata l0gical harmonic wasbeingemployed? Well,pnobably allof thesecasesare tfue in degnees, but lw0uldliketo believe thatyou'llcomet0 feelas I dothatthe latteris rcallythe case.Thereere soundhanmonic pnincjples at playwhenthlsdeviceis employed pnopenly. lf youcanunderstand thisandseethatthereis an almostmathematical logicat play,thenlearnt0 employihe conceptovercadences t0 maionandminonchords_it will younappfoach broaden to playing on standands as wellas yourfreerplaying pedals over andvamps.Let'stakea lookat some0f the concepts that couldbe applted,

T0illustnate this point,I havea particularfavoritepentatonic strategythat is drawndirectly fromthe boxes.I'veusedthis oneexample in my pnivate teaching as wellas at all of my clinics, seminars, andmasterclEsses. lt involves, in my opinion, the mostcolorful options ovefeach0f the threechords.I choseG minorpentatonic tthemlnofpentatonic builtfrom the srh) t0 playoverthe Cm7chord;At minorpentatonjc {themjn0rpentatonic builtupon the {9 to playoverthe FTtalt.lchond; andA minonpentatonic ttheminonpentat0nic built fr"0mthe majorTthJto playovefthe BrmaJT chond.S0, if youbreakdownthe movement, youafe goingfromG minofpentatonic uponehalfstepto A, minorpentatonic andthenup onehalfstepto an A minorpentatonic. lf thisprogression wast0 loopitselfaroundagain byadding a VlTtalt.ichond[thatbeingGTlalt.]inthiskeyl,thenyouwouldsimplygo upyet anothen halfstep,applying BLminofpentatonic. So,youhavejust goneup wjth parallel minofpentatonics andstillplayed thf0ughwhathasto be considered the mostbasicand impodantpnogression in Westernmusic.Forsome,this canbe the m0stdifficulthurdle t0 crosswhenleaming to playthr"ough changes.

UnitTen Evenif y'u chosen.t t0 Dlavthr.ughthewnitten examples,

try usingthe G min0fpentatonic fingering rharfeets themolt.orio,tunr. to.vo,_,, .ri oi.u'J#lii,rg, anwhing, y'uhear overthe Cm7 chordjthen movl

y.re$ $;t,;#ff H:1"i1'Hil'iilxi ::jlil:J;J;ffi J;:J:illff ifii?ilffi..'#ili,.ii,i,:.?T,il',ll;JJil;.,?.J: guitar|vetriedto givemywfittenexampres simpriclty whirestiriottering a sense

development of anideathrough thechanges.

of the

Give,the examples a try andthenmapoutsomepentatonic chojces homthe boxesthst tooktkerhey'dsoundgood,one-s thai might.r, dr.r* iri.f,1lliieringprobtems at the 'utset.Perhaps try listeninq t0 D min.fpentatonic overtheCm7chofd,E,pentat.nic over the FTtalt.ltjustbe carefulwith th.eBui,andif,r. n*t O.*. . i.ir *.0 ,o the D minon pentatonic, thisrjmeoverBbma17. Allyouvehadm O"L -how g. ;p on;;atfstepandrhenback downonehalfstep.lt lookssjmpleenough onpaper,but doesit sound t0 yo[?

';ffi ::#fiil,ii:Jiil' l,ffi ''inT Hi.::T?::';ni,:iiTT: l,Ti::: pnacrrce andexperimentation regrmen. Intryingto offercor...r.rp,r. thatkeepthelet_ tef nsmesof the pentatonics a "'J,'# penrar.nic over rn,i c,z.n,,.0, ir,!f:;:iT1,:',]I ;[t Ai,','#n:'Jri

Eli:nn3JJ:

andthenD min'f pentatonic 'ver theBtmajTcnoro.onie vouveoec*ioeo thatthisoffersa goodsoundandinteresting rineafshapes, irv rt.riirg ;r'-D' ri# pentatonic in each0f thefrvebasicfrngering positions andthenmovethemiver to *,, .to..rt andmostr'gicar rrngering f'r theD, dominant 7th pentatonic scare. with . totoicoic.ntr.trd workspent 0nthisaspect, it should bea far lessfrightening prrprJ io u..lie onceforeign domi_ nant7th pentatonic. WhenI wasintnoducing theoriqins0fthe,mjnof pentatonic, I pointed outthatsomeof you mighthavealready learned rhiJbd rhoughr ot ir.. tf',.,rf.iii. ma'1lrpenmtonrc tn, ano, 3rd,srh,and6rh).lf youhaveretained-this ori,n*li.n,lrr'..r'riiif .pp,vr andcreare someothefrineafrerationships withgreatprcxjmityfu. ri.rpr., iilou wereto tnint ot e mrnor pentatonic asitsrelative majof, Btmajor peniatonic, and'then piaymatovertheCm7 chord,as,youm.vedro neg'tiarerheFTtat;.1 chordusirigifr. S;#*, 7rhpenrat'nic, youwoutd seethatyouareonlvooing upbyonehaffstepagar.;iv; jt a try.Howabout thinking of C minorpentabonic is itsretative rn.ior,tlrniior"prntiion,.,unothenplaying ir ovefrheCm7chord? Then,as*re rzar I cnorifi;;;,;Jili;";rmpry rry prayins the Et minorpentatonic. Hereyou'vejust gonefrom the majorpentatonic to the minor pentatonic 0fthesametonalcentenSoundieasy_now s.a fro*ii*rrO.f perhaps it won,t sound asgoodasjt looks to beeasy. Before wecontinue anddiscuss the0ptions forcadences resolving to a minorchordlim7], y.u mustarways rcmember tharuirtuatyat options .." poJii.""n . ulrart.rchordwhen it res.lvesroa maiorchordtmaiTl-'rorl optionr .orr'o-ol, iriirr. ir"*o *rinanr scare, which hasrhesamenotesaslal thesup.r't_oc.an moJ,;il;i;;;;,r* nores as*l themelodic mjnorscaleonehalfstepabovethe noot;f4l th; J^ni.'f,.0 scale:halfstep alrernaring fnomrhenoor;llf tm wf'rof._tone,c.f.,'ii,,n. :req Dorian mode burtt upon "aT-whote the7thdegree oftheV7chord producing a pfl.vgi.n ,or;,lil ,nd it,s posalso sibleto iusrplaythemaiorscateofthe lmqTcf.l.,,"0 inr.Jffirn*t i.g'nV"uavoidplaying themajor7th degree overtheVlTl

overthe GTrartrih;: Ao;,;#;:';l,,lilli.i,,1Ti,.lil;f,j;iiL,j..;il,X

usins rhe o'ino'. p.ntiioni.i,.,.,r.'..*i,., p'nogressio i.iliilTli'J;i:^liJitvsimPry I alsohastento addthat beinqableto play throughcadences usingthesetechniques and nor.necessarjly

make,y-ou a greatjazzptayen Jazzlorienteo 5.:tll=.y,ll rheir tinesrhrough ownshapes and linear metojic ,onti6rruti.nr. lgurn, :TT::-i,lr: tjke anyorher musrcar styre or genne, iazzhasitsownlanguage, andto .6.tty,.[. .o"rrtnrng sound like speak rhetanguage property. Essentially. ti,ut tungr.g, h;. f.z.^z-l::,must developed in the lwentreth

lftancelts

centuny, andmost0f jt, as i[ hasbeenpassedalong, coirestromthe bjgband efa andtaterthe smallerbebopandhandbopgroups tf]ut..ri. on,ilng durrngthe late

UnitTen '40s and'50s,andwhichcontinue t0 thisda\/.

lf yOuare alreadya flUentjazZplaye4rhese penraronic sysrems wiil, wirhour

question, addanangular quality to yourlines,andtheywillhelpremove.s0me tracesot the scale-oriented quality t0 th'se samerinesif that is 0neof yourmajorserf-cfiticisms. rf you comefroma rock,blues,or iazz-rock fusionbackground andhavea deepdesireto feelmore at easein handling thesekindsof pnogressions with0utsounding t00jazzy, thenthesecon_ ceptsshouldkeepyoucloseenough to younrockandbluesrootswhilesupplyjng thetools fonplaying overmoTes0phjsticated chordchanges.

Beyond the recordedexampres pfesented in this b00k,if youwouldliker0 srent0 an extended imprcvisation usingthesepentatonics overthe doubre timefeerrExampre r0-Jt, then you wouldfirst g0 ro Track15 fnomcD #2, the REoclr, in c0irTtMp0RARy cH0B0 l0lAlllCIPTS. Thispaftjculaf improvisation, overa classicturnarcund, alsorepnesents how I approach creating tensionandrerease byventuring outsidethe m.re c0nsonant aspects of the chordchanges. Because thetextune is so open{rememben thereis 0ntva bassand percussion sccompanimentl, don'tbe fooledbysome0f the lines,whichmtgntseemt0 be "out"sounding. Manysuchrinesare actualyjustthosethat havebecome perfectry normal to my eanswhencreatingcadences fromanyaltereddominani7th to bothm6jonandminor "in"0f "out,"is donewitha linearpurpose chords.However, everything, as the linesseeka gnaceful resolutionThefundamentars 0f this appfoach t0 improvising are addressed in gneatdetailin llnit 13 of this publication. what I improvised on the afirementioned Track 15 becamethe shellfor my tune,"Chananga Si Si.',whichwas latenreconded by the Garibbean JazzProjecton llllw ll0Bll0 s tconcordpicantel.Thecompletereadsheetscan be accessedbyvisitingthe rHA 's mn lg 2 pageat www.stevekhar.c0m/k0rnerz.htm. PtlllTAT0NlC lMPR0U|S ltGt0B: iimT_ Uttatt.l_ tmaiT_ IUt att.tl l;ml

tttalt.l

Bbmajl

Gttalt.l

usemrnorpentatonic useminonpentatonic useminoTpentatonic useminorpentatonic builtfnomRoot,2nd, builtfrom fg anddomi-builtffom3fd, majTth,builtffom{g anddomi6ndSthandthedomi- n6nt7th pentatonic and6th nant7th pentatonics nant7thpentatonic builtfrom b5 6nd{5 builtfuomt5 andf5 builtfromthe4th Cminorlent. R mSrd4th 5th 7th c 2b t G Bb

Al minor pent. Dminorpent. Bbminorpent. b5 {9 *5 rrh bs 3nd5th 6thmaiTgth {s b5 *5 7rh t9 Ab cb ob Eb Eb l | T GA C Bb0b rt f Ab

Dminorpent. grh4th 5th 6rh B llf GA C

B don.7thpent. pert. A minor llbdom.lth pent. b5 f5 7th b9 3rd maiTgth3rd #4 6th b5 $5 tth bg 3rd BC* 0* tf r AC ll E O 0brb tAbEb

I minorlent. Dbdon.7thlcnt. pcnt. Gminor Ib dom.lth pent. 5rhtth B grh 4th il5 rth B ilg b5 6thlRl gth3rd sth $5 7th B d9 b5 GBb C 0 t 0b t, tArCt GB' C Il T tbr G Bb lt, ; dom.lth pent. 4th 5th 6th B m3nd jb rG AC

UnitTen /6\ {}d Examples iim-V-l 10:Pentatonic Example 1!!,/ Ex.104 Cm7

/6-\ \Y

) t}d

I

BbmajT

F7 (alt)

(G mi.pent")

(A mi. pent.)

(Abmi. pent.)

BbmaiT

F7 (alt) 11

Er.10C Cm7

BbmajT

F7 (alt)

F7 (alt.)

(D mi.pent.)

34331

l1

(Dbdom.7thpent.)

BbmajT

(D mi.pent.)

UnitTen Ex.10E

Ex.10F

Ex.10c

Cm7

F7 (alt.)

(D mi.pent.)

(D, dom.7th pent.)

Cm7

Cm7

F7 (alt.)

F7 (alt.)

(G mi.pent.)

Ex.10H Cm7

(F dom.7thpent.)

(D mi.pent.)

(B dom.7thpent.)

BbmajT

(A mi.pent.)

F7 (alt.)

(Dt dom.Zthpent.)

gDiTo,hear.rxamptes.toFl00 performed, ptay Track 18.wharyouwitl !|Jfll!"Tl! nearrsthateachexampre, a four-bar phrase,

is performed twicebefore I moved 0nt0 the nextone.whenyou. feelreadyt0 try playing alongwithttreexampteslourserf 0r justwant using, thesenewconceprs, playalongwithfracfft. it yoriarefeadyro impro_ l_.-1,p-rl:. vrseoverthe fullchordprogression that_adds thtVlTtah.l chord, thenusetrack21,which is n0wtitled,"sorrvrotion." "charanga c.c."presents ther*. r,'.r*." ,n.tenges onryin double-time. T0improvise p2. overthis,useTrack 40

UnitTen /?\ tTndt, 101: SolMotionIii-V7(alt.)-l-Vl7(alt,)]

\4/ F7(alt)

Cm7

G7 (alt)

BbmajT

Mode/ScaleOptions:

Modelscaleoplions:

Mode/ScaleOptions:

Mode/ScaleOptions:

C Dorian/FMixolydian (c, D, Eb,F, G,A, Bt)

F altereddominanv Gbmelodicminor (F,cr, Ab,A, B/Ct,C{/Dt,Eb) F half-tone/whole-tone diminishedscale (F,Gt, At, A, B, C, D, Et) F whole.tone scale (F,G, A, B, C{, Er)

Bt maior/Lydian (Bb,c, D, EtE, F, G,A)

G altereddomlnanu Abmelodicminor (G,Ar, B!, B, Dt, Eb,F) C harmonicminor (c, D, Er, E G,At, B)

PentatonicOptions: G minor pentatonic (c, Bb,c, D, F) C mlnor penlatonlc (c, Et, F,G, Bt) D minor pentatonic (D,F,G,A, C) F dominant7th pentatonic (F,G, A, C, Et)

PentatonicOptions:

PentatonlcOptions: D minor pentatonlc (D,F,G,A, C) A minor pentatonic (A,C, D, E, G) G minor pentatonic (G,Bt, C, D, F)

Abminor pentatonic (At, cr, Db,Eb,Gb) B dominant7th pentatonic (8, Cl, Dl, F*,A) D! dominant7th pentatonic (Dt, Et, F,At, cb)

10J:Charanga C.C. Example [ii-V7(alt')-Fvl7(alt.)] @) v cm7

C Dorian/FMixolydian (c, D, E , F, G,A, Bt) PenlatonicOptions: G minor pentatonic (G, Bb,C, D, F) C mlnor penlatonlc (c,E,EG,Bl) D minor pentatonic (D,F,G,A, C) F dominant7th pentatonic (F,G, A, C, Eb)

BbmajT

PentatonicOptions: Bt minor pentatonic (Bt, Db,Eb,E Ab) Dbdominant7lh pentatonic (Db,E , F,Ab,Cb) Ebdominant7lh pentaionic (Eb,F, G, Br, Db)

F7

F altereddominanv Gbmelodicminor (E Gr,Ab,A, B/Cr,CVD',Et) F half-ton€/whole.tone diminishedscale (F,Gb,At, A, B, C, D, Et) F whole-tonescale (E G,A, B, C$,Eb) PentatonicOptions: Abminor pentatgnic (Ab,ct, Dr, Et, Gt) B dominant7ih pentatonic (8, C*, D*,Fl, A) Dt dominani7th penlatonic (Dt, Et, F,Ab,Ct)

G7 (alt)

l|ode/ScaleOptions:

Mod€/ScaleOptions:

Bbmaio/Lydian (Bb,c, D, EtE, F,G, A)

G altereddominanv Ai melodicminor (c, Ab,Bt, B, Dr, Eb,F) C harmonicminor (c, D, Et, F,G,Ab,B)

PentatonicOptlons: O minor peniatonlc (D,F,G,A, C) A minol pentatonic (A,C, D, E, G) G minor pentalonic (G,B', C, D, F)

PentatonicOptions: Bbminor pentatonic (Bb,Dt, Er, t Ab) Dbdomlnant7th pentatonic

(Db, Er,F,Ar,c,) Ebdomlnant7th pentatonic (Et,F,G, 8,, Dr)

I

ELEVEN UNIT Pentatonic lmprouising iimltbEl-Ullalt.l-iml AsI triedto pointoutinthepriorchapter, youcanuseallofyourscale options whennegotiatinga cadence to a majorchor"d. However, whenthe nesolution of the caoence ts ro a minon chord, someoftheseoptions areiustnotgoing t0 sound as900d. Withthisinmind, youn options mightnowbethefollowing: lll thealtered dominant scale. whichhasthesamenotesas: I2l theSuper Locnian mode, stillthesamenotesas: l3l themelodic minorscaleonehalfstepabove ther00t: l4l theharmonic minorscale0ftheim7chord; I5l theD0dan modebuiltfnomthe7thdegree oftheV7[alt.] chord. playing Thereason lwouldnotrecommend thediminshed scaleovera V7 {alt.lchofdthat is headed towands a im7is that,0n its 7th degrce,it is producing thenatufal13tht6th degreel, which could rubagainst thebbor [5 weretheyto beusedbyanaccompanist, but thatnoteis alsowhatwouldbethemajor3|d 0fthenextchond youarcmoving towand and thatchond is a minorchordl So,youwould havet0 beverycareful in using thediminished scale, Theuseofthewhole-tone scalepnesents otherproblems since its2nddegree tsthe gth,which natural could fubagainsi thebSor {9 if theywerepresent intheVTtalt.l chord structure. Again,youwouldh€veto exenclse greatcare.Though I'vementioned thisin the earlier section dealing withthem7{b5l chordfamily, it beans nepeating thatyoucanplay blues-based materialbuilt frcm the root of the im7 chordthfoughthe entire progression. iimTtbb)-V7talt.l-im7 youwould Intheexample, linesacross iustplayGblues pnogression. theentine Herc'smysuggesti0n forthebestplaceto startwhencommitting youfself to thediscipline ofusing 0nlypentatonics whileplaying through thesecadences. you Keep inmindthatwhen playing afe neally youwouldprobably withothefmusicians, notplaysomething so regimented andwould beusingallof yourlinear options. Those options, intheend,should be solely based uponwhatyoureallyheanl Tonegotiate them7tb5l*V7talt.l chords, I would always beginby usingthetwo bestsounding pentatonic or can't-miss choices! Forthe m7{b51, I wouldstantby usingthe minorpentatonic builtfrcmthe m3rd,andfor the pentatonic VTtalt.l chordI would usetheminon builtfnom the{9. Intheexample, using the keyof Gminor,try usingC minorpentatonic overtheAmTtb5lchordandFmin0fpentatonic overtheD7[alt.] chord. Asyouarrive at theim7chord, g00d, alloftheoptions willsound s0try to choose onethathappens to fingerneafestto whercyouare0nthefingenboard. Themoreyouputthist0 use,themone thefingerboad 0ftheguitar willbegin t0 lookmuch morelikewhatthekeyboard looksliketo a pianist. Thenesultis thatyourplaying willtake ona gneater economy 0fmovement andyourimprovisations willbemuchmoreefficient and theneforc moremelodic. Again,takesomechances younself byforcing to putihe dominant 7thpentatonic youcanbecause to usewhenevef it willaddmuchmofecolorto yours0l0s. youwiththechance Though lrack1l pnovides to playoverthebasiciimTtbs)-V7talt.l-im7 prognession, I alsoprovided oneexample whichaddssomevarietyandhelpstunnaround this simplecadence. Youcanviewtheseextended cadences in Example 12 whene it becomes a little16-bar tune,whichI havetitled"Clane asDay." ln thefourthbarof each phrase, youa slightly four-bar I havegiven diffenent challenge. ln ban4, webegin bystayingon our im7chord.In ban8, we go up to a BbmT-Eb7 movement. Tonegotiate this change, simplybeginbytryingto useBbminorpentat0nic, onF minorpentatonic, always twoof youreasiest andbestoptions. Then,in bar12,youaregiven a CTtg)chord, and though thebassnoteis changing, youarereallynemaining in thesamemode,G Dorian. Thatis to say,youdon'thaveto change youaredoingeventhoughihe chordis anything "changing" below.Finally, in bars15-16,youseethat youaregiven,fontwo beatseach, Gm7-C7for a barandthenFm7-Bb7 for a banDuringthat lastbaf,simplytry to useF pentatonic minon or C minorpentatonic andseehowthosesounds work.Thegreatthing aboutusingtheC minorpentatonic ls thatit canbecontinued fighi intoharI of theprogressjon oven theAm7tb5] chordbecause it is yourbestsounding option! This,of course, givesthepotential for greatmelodic continuity.

UnitEleven

pEllIlT0NlC t0n: iim?lr5l-Utlalt.l-im? lMPB0UIS|lllG I0ptional Ghangesl Em7 07lalt.l lmTlb5l pentatonrcs BLmT-Eb7 pentatonic minon use minor pentatonrcs use usemrnon builtfrcmm3rd,4th, builtfrom#9;andthe buihfromRoot,2nd,and cilst Sth;andthedominant tm7-Bl7 7thpentatonics 7th;andthedominantdominant built from and bb {5 7thpentatonic built built 7th pentatonic fnom the 4th fromthe6th Gminorpent. I mirorpent, t minor nent. m3rdb56th7th9th fs t5 il5 trh b9 R m3rdlth5th ?th G BbG l| T t Ab8b G tb C EbT6Bb 0 minorpent. ttth 6thlth tm 3rd ll l G I G

Aminor 7thpent. Abdom. lenl. !5 iln tth b9 3rd 3rh 4rh5thErh B I Glt E I NbBbGEIGb

I minorpent, srh trh gthmSrd4th G 0b G 0 I

0 minorpent. Bbdom. 7thnent. 5th 7th R gth 4th n b5 *5 7rh *g T A b 1l ]GAC BbG I

t dom.tth pent. 6th tth n m3rdb5 T B A G Eb

Cdom.7thpent. 4th 5th6th Rm3rd C l|E GBb

playTnacll7. Whatvouwill ltl-0 performed, USlltlG llll Gll: Toheantxamples on phrase, twicebeforeI moved is performed e fout'-bar againhearis thateachexample, younself 0r iustwant theseexamples to thenextone.Whenyoufeelreadyto try playing playalongwithlrack18.Toheanmyimpnovised usingthesenewconcepts, to improvise 12' playTract19.Topracyou've within Example pieceoverthechanges beenprovided usethelracl 20 play-along ovenihesechanges, ticeimprovising

E,D

5 t" t/.

0 gin.l lon rnd int b JerFMichsl;0l0r' Gtulr t0 Ste{ear a gift lor a po.rihlelonli0ol cor€.ir 1900. 't8. Iftit lrauin! i. IlniDircrnt ol f0lon't p.it ing for lh. Gorer0t rts t !e ltt ll tron

UnitEleven Example 11:Pentatonic iimT(b5)-V-im (inGm)/c-\ Examples I Iird( J Ex.l1A Am7(b5)

(C mi.pent.)

\lt-l

/r^

[ ]'rc* ,

\19.,/

D7(att.)

(F mi.pent.)

(G mi.pent.)

D7(alt.)

(C mi.pent.)

(D mi.pent.)

(A mi.pent.)

(Abdom.7th pent.)

( F d o m .7 t h p e n t . )

(Bbdom.7thpent.)

(F dom.7thpent.)

(Bbdom.7th pent.)

(G mi.pent.)

(D mi.pent.)

(C dom.7th pent.)

Example 12:Clare asDay[iim7(bsfV-i(in Gm)] @

UnitEleven

@

D7(alt.)

Am7(b5)

Gm7

Mode/Scale Options:

Mode/ScaleOptions:

Mode/ScaleOptions:

A Locrian/CDorian (c, D, Eb,F,G,A, Bb)

D altereddominanv Ebmelodlcminor (D, Eb,F, F[/Gt,Ab,Bt, C) G harmonicminor (D,Eb,Ff, G,A, Bb,C)

G Dorian (G,A, Bb,C, D, E, F)

PentatonicOptions: C minor pentatonic (c, Et, F, G, B!) D minor pentatonic (D,E G,A, C) G minor pentatonic (G, Bb,C, D, F) F dominant7|h pentatonic {F,G,A, C, Er)

PentatonicOptlons:

G minor pentalonic (G,Bb,C, D, F) PentatonicOptions: D minor pentatonic F minor pentatonic (D, F, G,A, C) (F,Ab,Bt, C, Er) Al dominant7th pentatonic A minor pentatonic (A,C, D, E, G) (Ab,Bb,c, Eb,cb) Bbdominant7th pentatonic C dominant7th pentatonic (Bb,c, D, F,Ar) (c, D, E, G, Bt)

A m7(b5)

D7(alt.)

Mode/Scale Options:

Modey'Scale Options:

Mode/ScaleOptions:

Modey'Scale Options:

A Locrian/CDorian (c, D, Er, F,G,A, Bt)

D altereddominanu Ebmelodicminor (D,Eb,F, FyGr,Ar, Bb,C) G harmonicminor (D,Eb,Ft, G,A, Bt, C)

G Dorian (G,A, Br,C, D, E, F)

BbDorian (B',C, Dt, El, E G,Ab)

PentatonicOptions: C minor pentatonic (c, Eb,F,G, Bb) D minor pentatonlc (0, F,G,A, C) G minor pentatonic (G,Br,C, D, F) F dominant7th pentatonic (F,G,A, C, Et)

PentatonlcOpiions: F minor pentatonic (E Ar, Br,C, Et) Abdominant7th pentatonic (Ab,Bt, c, E,, Gt) Bbdominant7|h pentatonic (Bb,c, D, F,At)

Gm7

PentatonicOptions:

PentatonlcOptions:

G minor pentatonic (G,Br,C, D, F) D minor pentatonic (D,t G,A, C) A minor pentatonic (A,C, D, E, G) C dominant7th pentalonic (c, D, E, G, Br)

Bt mingr pentatonic (Bb,Dr, E', F,A') F minor pentatonic (F,Ab,Bb,C, Eb) C minor pentatonic (c, Fr, F,G, Bb) Ebdominant7th pentatonic (Er,E G, Bb,Db)

Am7(b5)

D7(alt.)

Mode/ScaleOptionsi

Mode/ScaleOptions:

Mode/ScaleOptions:

A Locrian/CDorian (c, D, Et, F,G,A, Bt)

D altereddominaov Ebmelodicmlnor (D, Eb,F, Fvcb,At, Bt, C) G harmonicminor (D,Et, Fl, G,A, Br,C)

G Dorian (G,A, Bt,C, D, E, F)

PentatonicOptions: C minor pentatonic (c, Eb,E G, Bt) D minor pentatonic (D,F,G,A, C) G minor pentatonic (G,Br,C, D, F) F dominant7th pentatonic (E G,A, C, Et)

Am7(b5)

PentatonicOptions: F mlnor pentatonic (F,Ar, Br, C, Eb) Al dominant7th pentatonic (Ar,Bb,c, Et, Gb) Bt dominanl7th pentatonic (Bb,c, D, F,Ab)

D7(alt.)

L7ml

PentatonicOptions: G minor pentatonic (G,Br,C, D, F) D minor pentatonic (D,F, G,A, C) A minor pentatonic (A,C, D, E, G) C dominant7th pentatonic (c, D, E, G, Br)

Gm7

C7

Fml

867

Mode/Scale Options:

Modey'Scale Oplions:

Modey'Scale Options:

Mode/Scale Options:

A Locrian/C Oorian

D altereddgminanv Ebmelodicminol (D,Eb,E FVG',At, Bt, C) G harmonicminot (D,Eb,F{,c, A, Bt, C)

G Dorian (G,A, Bb,C, D, E, F)

F Dorian (E G,Ab,B', C, D, E')

PentalonicOptions:

PentalonicOptions:

G minor pentatonic (G,Bb,C, D, F) D minor pentatonic (D,E G,A, C) A minor pentatonic (A,C, D, E, G) C dominant7lh pentatonic {c, D, E, G, Bb)

F minor pentatonic (F,At, Bb,C, Eb) C minor pentatonic (c, Eb,E G, Bb) G minor penlatonic (G,Bb,C, D, F) Bbdominant7th pentatonic

(c, D, Er, F,G, A, Bt) PentatonicOplions: C minor pentatonic (c, E , F, G, Bt) D minor pentatonic (D,F,G, A, C) G minor pentatonic (G,Bb,C, D, F) F dominanl7th pentatonic (F,G,A, C, Er)

PentatonicOptions: F minor pentatonic (F,Ab,Bb,C, Eb) Al dominant7th pentatonic (Ab,Bb,c, Eb,cr) Bbdominant7th pentatonic (Br,c, D, F,At)

(Br,c, D,F,Ar)

TWELVE UNIT Exercises in Sequence Pentatonics yourimprovindeveloping andmusical devices Oneof the most important,useful, bea brieftimeor what uponit forwhatDould skillsis takingan ideaandexpanding isati0nal series0f of anentiresoloon anygivennight.Thefoll0wing the"theme" mightevenbecome inthefonm to bothmajorandminor,arepresented overcadences whichappean exercises, up the fingerwhiletnaveling musicalideasthat movethfoughthe changes of sequential In minorpentatonics. use the thrce ascending board.Noticethat the first examples l3u and l4B-ll, I haveattemptedto forceyou t0 use the dominant7th Examples pental,onic lessandlessof a stranger s0 that it willbecome I'veiakena different im7progression, offened overthe iimT(b5l-V7(alr.l Forthe examples ideas the eighth-note put Like sixteenth-note subdivisions. and intouse appnoach nhythmic piichil is a sequence as presented, yOucanseeihat the sequence much a nhythmic is as 0ne. ontente0

13A-0,go t0A-D'To hearExamples USING TllE G0: tract 15 beginswith Examples past Examples 104-0 {1:04 into the trackl;youwill heara four-barvampfollowedby Again'youwillhear on the necording). 13E-Jarc not included l3A-0 tExamples Examples was performedtwicebeforeI movedon t0 the nextone.When that eachfouf-barexample usingthese younself or just wantto imprcvise youfeelreadyto try playing the examples playalongwithTrack16. newconcepts,

(ii-V-l) 13:Pentatonic Sequences Example @ Ex.13A Cm7

Ex.138

F7 (alt.)

@ BbmajT

F7 lalt.) 4

(A mi.pent.)

UnitTwelve Ex.13C Cm7

(G mi. pent.)

EI.13D Cm7

F7(alt.)

(Abmi. pent.)

F7 (alt)

(A mi. pent.)

BbmajT 143

4

(G mi. pent.)

(Abmi. pent.)

(A mi. pent.)

F7(alt.)

(G mi. pent.)

(Abmi. pent.)

F7(alt.)

(D mi.pent.)

(Dbdom.7thpent.)

(A mi. pent.)

BbmajT

(D mi.pent.)

UnitTwelve Ex.13G Cm7

(D mi.pent.)

Ex.13H um/

(D mi.pent.)

Ex.131 Cm7

(Dmi.pent.)

(Dt dom.7thpent.)

(D mi.pent.)

F7 (alt.)

(Dbdom.7thpent.)

F7 (alt.)

(D mi.pent.)

BbmajT

(Dbdom.7thpent.)

(D mi.pent.)

(Dbdom.7thpent.)

(Dmi.pent.)

Ex.13J Cm7

(D mi.pent.)

UnitTwelve 144-140go 114-0.Tohear[xamples usllllG IHt Glt: tract fi besinswirhEmmples by fo|lowed vamp tlA-D (1:04intothe track],youwi||hear"a four-bar oastExamlles t0 want yourself' 0f iust ihe examples to try playing whenyoufeelneady [i.iGi'll-0. playalongwithTracllS' usingthesenewconcepts, improvise

(iim7bs-V-i) @ Sequences 14:Pentatonic Erample @ Gm7 4

Ex.148 Am7(b5)

Gm7

D7(alt.) 331

1

(G mi.pent.)

(F mi. pent.)

(C mi. pent.)

(C mi. pent.)

Ex.14C A m7(b5)

(C mi. pent.)

4

2

(Bbdom.7th pent.)

D7(alt.)

1

(A mi. pent.)

14

(Abdom.7th Pent.)

(C mi. pent.)

Ex.14D Am7(b5) 4

(F dom.7th Pent.)

(F mi.pent.)

(G mi.pent.)

ut\il

Intnttrtrt\

Pentatonics Around and0utside theGonsonant Thoughthe pniorbookis deuotedto chords,somewhere towad rheendof

thatspectrum should bea sensibility about th0sechords andtheparttheyplaywhenlines reachoutside thetnaditional boundaries of scales andmodes. Inthisonesection dedicatedto theshape ofyourlines, I offermyanalysis forventuring beyond thetfadjttonal_the consonant-when approaching anyofthethreemainchordfamilies: dominant, minor, and majorThistopjccouldcertainly bethewo|kof another bookentirely. However, sinceI am oftenaskedaboutthis,andsincethepentatonics canplaysuchanimportant rote,I want_ edto include a discussion ofthetopicin thisbook.I havedecided to confine thisdiscussron,however, to onlythe domjnant 7th chordfamily,My hopeis that the suggestions denived frommyworkwillgiveyouthecourage to explone theseharmonic concepts.

I

Fonthepurpose of thisstudy,wewillbeginbyusingG7as ourcenter, ourhomebaseso !o speak.Taken at facevalue,the modemostllkelyt0 be associated wth dominant 7th chofdstfeateddiatonically is theMixolydian mode;its sevennotesin thiskeyafeawould be G,A, B, C, D, E, andF As jt's known andcommonly accepted, theneareonlytwelve tonesin .uf well-tempered system.sincethemodegivesussevenofthosepitches within theharmony, weareleftwithlustfivemoretonest0 examine. lf youwerct0 addintothis mixthelanguage oftheblues, ground, out"common wecouldaddthebluenotesj$2nd0f b3rdandtheb5.Intheareaof theG7,ourexample tonalcenter, wewouldbespeaking of BbandDf. S0,withthisnoti0naccepted, wehavenowusednine0f thetwetve tones. Whatnowfemains wouldbetheAbtthebgl;D* trhe{Sl; andF$tthemaiTthl.Inthewonld of iazz,thesounds of thetg andthe{5 arenotallthatforeign to ourears.Inthepopulaf music0f the post-Beatles era,suchsounds anereadilyfoundin the mustcof artistslike Steely Dan,Sting,andmanyothersioonumerous t0 mention. So,couldthesepitches neaf ly bethatout0r thatwrong? 0nlythemajTthtF*lseemst0 beoutof placehene. Perhaps whatmakessomething soundoutsidewouldbe the gnouping of the notesin a phrasemone thananyoneisolated pitch.I believe thattheconcept should nevefbeabout playing something s0outrcgeous thatyoudrawtoomuchattention youplay t0 it. Whatevef should function withinthenatunal flowof yourimprovisation andthe musicas a whole. Sometimes making toomuchofonediss0nant notecanreally behea|dandfeltaslustplain irritating morethanbeing"farout"or evenintefesting sounding. During whatI suppose couldbe calledtheir greatmiddleyearsof reconding, the mid_,60s, MilesDavis tColumbia/Sony MusiclandJohnC0ltrane {lmpulse!} impr"ovised, at times,ovefoneisolat_ edchordchange. lf yougobackto theserecondings and,whileyou,ne listening, analyze the ton8lcentersandchordfamily;then,whenyouhearanypitcvnoteto whichyouhavean emotional response, stopthercconding, locatethatnote,andseehowit doesondoesnot fit withinthe fmmework 0f yourinitialmodalanalysis, onceyouhavelabeled its scale degree felative to thefoot,try to transcdbe thefewpitches thatprecede onfollowit. These pitches together mightsuggest a thoughtor hanmonic process beingemployed byoneof thesegneat mastens. Thislustmightgiveyoua keyt0 whatkind0f n0teypjtches andlines lou heaf. Inanypnofession, yourimagination is of vitalimportance. Let,saccept, fontheouroose of thisdiscussion, thatmuchoftheoutside hanmonic worldhassomekind0fdominant functronbecause wearetryingto createthetension thatmustbereleased. Thenwiththedom_ inant7th chordfamily, we mightimagine that,overa pedal{inthiscasea G pedal), we couldcneate tension byintrcducing theVTtalt.l chordsounds of D7talt,l. Inthediagram, outside oufhomebasebox,I havewnjtten outallthepossible D7altenations fonthecrc, ationofthistension. Basically, all of theseoptions can,in pant,be derived fnomthe altered dominant scale lSupen Lomian mode0r melodic minorscale a halfstepabove thercotofthedominant]. In ounexample here,thatwould betheEbmelodic minon tEb,F,Gb,At, Bb,C,andD).Inany case,theseven justat timesenharmonicallv tonesareexactly thesame, spelled. Fnom mylistening, especially to Coltrane andMcCoy Tynen, oursametwobasjcpentatonic scaleformations wefevitalt0 theirwork0fthatpefiod-theminofpentat0nic tFloot, m3rd, 4th,5th,bTthlandwhatl'vecometo label asthedominant 7thpentatonic tRoot, Znd,3rd, sth,bTth). Myownformulas fof crcating thealtered sounds, usingthesetwopentatonic

untt Intrteen and builtfnomthefg andthe 7th degrees wouldbeto applyminonpentatonics fonmations, we noot, as our t0 D builtfnomthe b5 and{5 S0,relative 7th pentatonics the dominant 7th Ab dominant ttheTthl; ithe {91;C minorpentatonic couldapplyF minofpentat0nic [fie {5] 7th pentaionlc pentatonic tiheb5l;andB! dominant 15, youcanseethat, in somecases'I chaft,Example the lines0n the provided Following m0des. seven-tone gfoupings theirfullyrealized into pentatonic ihese havesimplyextended become C Dorian peniatonic has minof and C Dorian, F pentatonic become has F minor you something forcing are though feeling as without this anea Howdo youbestventureinto happenthat is iust not neadyt0 hapto happ;n?Peftapsyouare tfyingt0 makesomething tonesas a musical using the common I suggest wonks best. pen?Again,a simplJconcept playing andseeingjusl these Tny world. harmonic fromwhicht0 ententhis outef urindow howihev soundto you. Onebasic analyticalfirst step wouldbe to iust find the commontonesbetweenihe G thosetoneswouldbe D. scale.At a glance, modl andthe D altereddominant Mixolydian an opiion Now,try t0 the bluenoies,andBblA*becomes f, ani C. Then,try examining pitches t0 Attempt usethat pitch/noteas an ideathat focuses0n one0f those impnovise a oivotintothe D7 altercdd0minantareaeventhoughG is still yourharmoniccenter-your p.d.l ton.. Seehowthis soundst0 youlNext,tfy to crcatea smallmoiifusingjust the to tfavelt0 otherareas0f makeit easien doingthiswillactually notesD, F,andC; perhaps Tracl23,youcanheafthatthiswaswhatI tried example, Inthereconded harmony. implied to do withina verybriefamountof time. take ThisDould aIIthepossibilities. expIored Untilyou,Ve thisp|tocess Next,y0UcouIdextend your sugI also timel take simply and patient aspects, with all the be quiteiometime.Just lower neighborc and uppen playing chromatic from derived gesi the usageof srnallmotih tonesandhearwheretheycouldtakeyou io the modalor blues-based vampis t0 imaginethat the G7 chord overan extended Anothen0ptionfor experimentation for a Db7 couldbe goingt0 a c majoror c minorchord.lt couldevenbe a b5 substitute as a functioning all really it's this is that or Gbm7.Thekeyto andbe he;deafor a GbmajT everything analysis sake of for the but nesolve, actually it willneven because falsecadence 7th,whichgivesyoumany of G altereddominant to therightof homebaseis the0lteration helpyouget started,so will alteredandoutsideoptions.I reallyhopethis morepoiential to be a comwas example intended Again,my improvised a poin!0f depafture. it becomes techniques. positeof some0f the suggested

of onechord thusfar in thisunitis reallythe simpleinse|ltion what I havebeenpresenting youcan your imagination, with Howeven, music wfitten in the exist it doesn't where change t.kr ihi. ida. severalstepsfurtherandput into use a seniesof chordchangesthat could eithentakeyoufnomharmonicPointAt0PointBorfrcmPointAbacktoPoint on a G pedal,whichwe anesaylngls a we arejustvamping hefein ourexample instance. GTchord.But,instead0fiustthinkingofgoingtoanouterareaofDTtaltl'wh What if youwenta inserteda b5 substituteii-v with yourlinesandalludedt0 EbmT-Ab7? Youwould Fm7-Bb7? ii-V, another" change, chond placed, of that in ffont stepfufther and G7 0nyoumight -Ebn7-Ab7, back at landing before each two beats all thenhaveFm7-Bb7 ' want t0 g0 the other way anoundby playinglinesthat suggested8bm-Eb7-Ebm7-Ab7 t0 G7. fesolving before played beats for" two probably be again,eaih chondchangewould 7th chords,making Youcouldalsotakethisverysameideaanduseonlyaltereddominant t0 G7,or it couldbe back and EbTtalt.l-ALTtalt.l Thiswouldlooklike it a V-of-vsiruarion. The key thingto rememG7. back to and to FTtali.)-BbTtalt.l-EbTtalt.l-Ab7(alt.) extended you only because changes-but chord these linesthat suggest ber is that youare playing way Try you a in such your line directs of andthe will heanthemwkh younimagination, in that forget Neven like what it sounds andsee theseveryideasusingyourpentat0nics king! your is imagination possible because is music,anything thisareaof making

lftancelts

51

UnitThinteen plav 23'First'',ouwillheal Track impr'visati.n' USltllcTHEGll:Ton.u.mvexample t0 00 as

thatwe werein the areaof G7'WhatI thenattempled that I sougntto establish in the theseouterareas'suggested wasto go to several.0f developed in.-hp..tit*i* centonal the from t0 and t0 move as my windows o.lr t5",'rl^s thenotesC D and! lmpmvlslng' t0 pafticular approach withthis rer of G. Whenyoufeelreadyto experiment GlloBoKHANGEpTS [D ffom G0ITITEMP0BABY g0 B[Ut the t0 also you could uselrack 24.But feelsandtempos and26'Thiswillgiveyoutwodiffercnt f6' 20=, ..0 tf.v.i.g -iri' Tracks

theGonsonant andOutside 15:Around Example @ @

imTtcmll GaltereddominanU minot Abmelodic Eb,F) rG,Ab,Bb,B/cb,Db, minor Charmonic IC,D.Eb,N G,Ab,B]

U7[alt.l IlTtalt.l 0 altereddominanv ninor [b melodic ID,E', F,FVG',Ai, Bb,C]

0theroFtions: 0 hrlf-tone/whole'tone scale diminished F , b ,A , B , C ] E , , iD, E #A 0 whole-tonc

IO,E,F+,G*,AI,C] .---

f minorPentatonic

(EAb,8,, C,E' .-- GminorPentatonic tC,Eb,F,G,Bb] tth Pentatonic Abdominant (Ab,Bb,C,Eb,G' tth Pentatoric Bbdorninant Ab] D, F, IB',C,

IullModes: L-;-- t Dorian/E Phrygian i IE G,A,,Bb,C,D,E' L-- GDorian ([lagalcadence! IC,D,Eb,F,G,A, Bb]

GaltereddoninanU minor Abmelodic (G,Ab.Bb,B/C',Db,E', F]

tt I

iuTtalt.l

G7 Fr GqH:8Idd:P, BlueNotes IBbl tDbl

0 nelodicminor t G ,A , B , C * , D , E , F ] 7th Pentatonic A dominant IA,B, CI,E,G]

Bl minorpentatonic (Bb,D,, Eb,F,Ab] t minorFentatonic (F,A,, Bb,C, Eb] 7th Pentatonic 0bdominant tD', Eb,F,Ab,Cb] lth Pentatonic tb dominant IEb,F,G, 8,, Db] 0theroptiotls: Ghalf-tone,/whole'tone scale diminished i G ,A b ,B b ,B , C { ,D , E ,F ] Gwhole-tone I G ,A , B , C { ,D { ,F ]

UNITFOURTEE Pentatonic Stretch Fingerings

IhOugh I WaS n0t bleSSed wirhparricutafty targehandsor spindty fingefs,I fett that it wasessential that | offenan alternative t0 the basjcpentatonic fingerings thatalign themselves t0 the moneelementary conceptof one-finger-per-fret, Duringthe early,70s, just aftef I hadmovedto NewYorkandbegant0 takestudents,a youngguitaristwalked, in andshowedme somepentatonic finger"ings that seemedto be of his own invention, because he hada hugeset 0f handsandcouldplayacrossanyonestringwithease.Since thatiime,I haveperiodically madethe effontt0 learnt0 pl€yljkethis,buttherearefinger ingspnesented hercthat I simplycannotplayin the lowerpositions because the stretches between the fingersare simplyt00 grcat.S0,for thoseof youwithsmallhands,don,tbe discour"6ged. Tryt0 playwhatyoucanplaycomfortably; andwiththosefingerings thatseem t0 havet00 greata gap,try to alterone0f thosetonest0 anothen correctmodalnote.The following is an example of howl'vetfiedto solvethis kindof problem. Noticein our example of G7, looking at the dominant 7th pentat0nic fingenings, at least oncein each0f the fivefingerings a linebeginswiththe third:B. Thismeansthat across that stfingas B goesto D andthengoest0 E eachone0f thoseintervals is a minor3rd andwill havetwo frets betweeneachnote.lt's a hugestnetchfr0myounfirst fingerto youf pinkyto coverallof it. Fonmeto makeuseof thisin a realplaying situation, I wouldchange eachB to a C s0, for that moment,I am usinga finger"ing for onestringdefivedfromthe minon7th pentatonic fingering. Intheend,youwouldwantto d0 something likethist0 keep y0uflinesfnomsounding too homogeneous. Here'sanexplanati0n of myhanmonic thinking as it relatesto thispresentation. l'vechosen the dominant7th chondas the staftingpoint.As I havestatedthroughout this text, I have adopted a minororientation [usingthe Dorianmodeandthe melodic minorscales) t0 iust ab0uteverything ldo as it appliesto improvising. Wherea dominant 7th chordis con cerned,if youweret0 start building up the hafmony in thirdsfromthe 5th degnee, you wouldautomatically be addingvirtually all the consonant colontonesr7th, gth, 11th,and 1Sth.S0,in ounexample of G7,if I leavethe bassnote,the r"oottRl,t0 the bassistand playeitherDm7t9lchordsor lineswith a Dm7 tDorianlorientation, I wouldalneadv be extending the soundof the existingharmony. Thisis whyeachsectionbegins withthed0minant 7th pentatonic linesandis thenfollowed bythe m7 linesderived frcmthe ii chordof the majorkeyonbuiltfromthe bth degreeof the lvlixolydian mode.Again,if ourexample is a G7chord,we aneinthe keyof C majoland the ii chordwouldbe Dm7.G7wouldproduce theG lVlixolydian mode,andDm7wouldpro ducetheD Dorianmode.And,sincetheyarcinthesamekey,theystillhavethesameseven notes,justdifferent startingpointsso thatthe crucialhalfstepsfallin different places. Inthisapplication, byusingtheD min0fpentatonic overtheG7,theonlynoteyou'readding t0 the G dominant 7th pentatonic is C [the4th of 1'lth].lt neplaces the B, the Brdof the chofd,andseruesto createa moreopensenseof hanmony. presentIn the finalgrouping ed,whatI'veofferedis nota pentatonic scale;at times,it'sneally likeplaying the Lydian f7 scaleacrcssthe stfings,whichin my 0 entationis likeplaying the melodic minor.In this case,thatwouldbe D melodic minor[D,E,F,G,A, B, CfJ.In other" words,the G Lydian b7 scaleis the sameas D melodicminor.Now,the C, whichwas introduced withthe minor pentatonic, becomesC* (thebsl andfuftherservest0 extendthe hanmony. As youbecome moreandmorccomfortable withthetechnical aspects0f thisconcept bornof anexercise, try thento putit t0 usein thecontextof themusicyouhavebeenplaying. Seeif it cantnuly workfof you.Thisconcept becomes a way0f takingthe ordinany aspectsof the pentaton, ics andturningthemintosomething extraordinary whileagainteaching y0urearsto heaf thingsthnough yourhands.Just giveit a try andseehowit sounds to you.

UnitFounteen

Stretch fingerings 16:Pentatonic lxample lThreeacrossa stringl

aDom.7th(131s)

UnitFourteen Don.Tlh(9

oon.7lh(V)

UnitFounteen sowhenyoufeellikepracticing notperformed, wene USINGTHEGll: nese examples youcanalsouse andwitha tonalcenter,uselrack24' Howevef, rhythmic to something GH0R0 Tracts20 and26 fnomthe BUIECllthat comeswilhthe prionbook,G0ilTEMp0BABY bebecause whichis asit should AllofthesetracksuseGasthetonalcenter, lolAIlGEpTS. anea. withG7asthebasichafmonic wereallwritten theexamples

exercises Fingering Stretch 16:Pentatonic Example @ Ex.16A

(G mi. pent.)

Ex.168

(C dom.7th pent.)

FIFTETN UNIT Exercises String-SkipPing is noi style0f impfovising pentatonic in a one-dimensional As statgd hefofe, playing unique is of language the iazz that Remembef toundtikea-"1a2.'plaver' ;;;.;;;;.6, because However' youmustmasterthenuances fluenily' fn*ori.tto tp..n tf,atlanguage lines the c'ncept' mode-orientedJ lor ;; nlginto imp.ouit.tnoma icile-oriented il;;f closely' grouped together be t0 tend notes The similafinchanacten il6;ffi;t;lltoo weareadding to ourplaying' pentatonic concepts .n-.-r.iJ*io. i*t*allic leapsByadding employrng now we arc part' because is in tirenotesThis, spacebetween ;;;;;;li, of sevenl fivenotesinstead qualities in thewaythe of someof thespecial Thisis wherewe cannowtakeadvantage a seriesot designed guibar'.l've of the layoutontheingerboar"d notesof thepentatonics ':f9:r",ltt*t' iumpsand t0 hishlisht ;;;pi, ;r;':;;; usinsa string-skippins-discipline theseconcepis' ofempl6ylng Fofthepunposes to yourdexterity. .iro to g*. ur . atallenge prcsression l-lmai as tiev mishtbe usedoverboththe iimT-vTtalt I;;il;;;;p1.. pnsression IAmTtb5l-D7talt.l-Gm7l. andrheiimTtb5l-V7tatt.]-im7 ii.ijiturrigl.uiTl eighth-notes' running 0f consecutive allusea stneam Fofthe mostpart,theseexamples feallyhopI am What concept this using improvise butthisis nothowyouwouldnofmally yourownrelationship youwillbe ableto develop thesepentatonics, ingi, tf,rt, byusing -pluy 'romance' withthesenoies you create That family unychord ouur. *itn t..n ^.tL yo, lt shouldneverbe you to choose play, when ql9Y.1! and youthoo., to iim .tr..tt prcexamples the With one! "ri.t this as such iliJ;;;.;;;ilse voumishrhaveleafned, and theD-st ngandB-stfingandtheG-string between alternating .;rt.d, ;. ;;. usually cneated sounds to include concept this i-rt.ins. i; **H .rrt.inly *int t0 extend aswellastheA-stringandtheG-slringlchose andtheD-stning [*.rn rf.,.lowE-string sothatthe noteswouldspeakwellwhenplayed onthehigherstringsio t .p tf.rusounds CD. theplay-along against is t0 keepthesuccessive t0 asa discipline I'vetriedto adhefe aspect Theothertechnical alisn s0thatthesounds as.ispossible' hsethefonthefinserboard ;;;;;;ir;;;;ir;e 'looxiofhowtheyane'played. guitan fingenboard your in concept, Again, ir..r.ir.r *i6rtr,. lt wouldmakeyourfingefboard 6o tpianist. lo;k mighi t€yboand way a the resemble should conciselt shouldteelas ;akingyourmovements seem,at times,to be verycompact, 0f draat alltimes'andthatradical' youriingers ;h*;; #;o,,. arefight'underneath found be would time'suchmovements over" Perhaps, r.Ui .t**a.tt areriotrequined. to bemostlyunnecessary.

,15 space fout"-bar 17A-DappeafonTrack aftcrthe second uslluc IHE Gltt Examptes you (2:16intotherfackl.Again, will 134-0wereperformed Examp'les ;#il.-11 il.fr* onto thenextone' twicebefofeI moved eiamplewasperformed f'ru. tf,.t Lu.nfour-ban uslng just to imprcvlse want yourself ot" playing examples the t0 try Whenyoufeelneady 16' playalongwithlrack thesenewconcepts,

UnitFifteen /ct\ \!./

/G\ \T-l

(ii-V-l)t | I i l t l t l d r l Exercises 17:String-Skipping Example Ex.17A Cm7

F7 (alt.)

(G mi.pent.)

(Abmi. pent.)

BbmajT JJ'-

(A mi. pent.)

Ex.17C Cm7

(Dl dom.7th pent.)

BbmajTj

F7(alt.)

(G mi. pent.)

Ex.17D cm7

(G mi.pent.)

(D mi.pent.)

(B dom.7th pent.)

F7(alt.)

(Abmi.pent.)

(A mi. pent.)

UnitFifteen that{Dllows vamp 17afterrhefour"-bar onTrack rgHt appear usllIG THEGD: rxampbo playing examples the try to whenyoufeelready 1{l-0 t2:25intothetnackl. tramples 18' Track play with thesenewconcepts, along using younself orjustwantto improvise

(iim7(b5Fv-i) Exercises 18:String-Skipping Example @ Ex.18A Am7(b5)

@ Gm7

D7(alt.)

11

(D mi. pent.)

(F mi. pent.)

(F dom.7th Pent.)

Ex.t8B Am7(b5)

D7(alt) 131

(C mi. pent.)

Ex.18C Am7(b5)

(G mi. pent.)

Ex.180

Am7(b5)

(C mi. pent-)

(Bt dom.7th Pent.)

Gm7

D7(alt.)

341

(Abdom-7th Pent.)

D7 (alt)

(Bbdom.7th Pent.)

(A mi. pent.)

Gm7

(D mi.pent.)

SIXTEEN UNIT Effect Ihe lloubled-Note we fingedngs stretch ofthepentatonic What could be considereda by-product

this that,as guitarists, effect.I believe in Unit15 is whatI callthe doubled-note examined with saxophonists soundsthat mightbe mostass0ciated of approximating is 0uf meLhod this effectgetsput to use the course0f an impfovisation, andtrumpetplayers.Duning whena playenis ridingonenote oversevenalbars with accentsandallowingthe nhylhm Whenthis effectis notated,we usually the feelingunderneath. sectionto reallyintensify notes;oneof themwouldbe heardas sounding the altennating usethe plussign[+] above andtr0mjustslightlydifferent. andflutes)andbrass(tnumpet [saxophones Onwoodwind playing the samenote by the effectis accomplished as withthe guitan, bonelinstruments, fingefing. withan altefnate the samenoteon both by playing this effectis mosteasilyaccomplished Forguitanists, yourB stringandG string.Forexample,playthe noteD on yourB stringwithyounfirst finger on the 3rd fr"et,andthen reachout with yourpinkyor third fingerandplaythe noteD thesenotes try alternating on younG string.Oncethis is underyourfingerscomfoftably, noteof blue adding the then try undenstood, safely With this up velocity. whiiebuilding you had the D your fret below [one of G string 6th fret 0n the DblC{,whichwouldappear just played you had what to playingl. some bluesiness Thisshouldadd been fof putsets0f strings,youroppoftunities several acToss BVusingthe stretchfingenings youcan fingerings offened, lf youl00kat m0stof the tingthiseffectintousearc increased. the firct becomes string cleanlyseethat the noteuponwhichyouendon anyconsecutive play you these kinds As learnto anddescending noteon the nextstring,bothascending subincneasingly notebecomes withgreaterspeed,the effectof lhe doubled of finger"ings giveit a tfy! tle, Please

Etfect 19:Doubled-Note Example D MinorPentatonic

UNITSEVENTE Uelocig Exencise

Euefygenefationof playefs hassome pneoccupari0n withvirtuosrtv, rhedevetopment0f grcaten facility-theabilityto execute musical ideaswithspeed,complete fluidity,andconfidence. Therefore, the following examples anesuggesti0ns fonsomeverybasic velocity exencises to aidin the development of yourspeedandfacility. Executing runsand flurriesof noteswithgoodtimeandspeedcanbeveryimpfessive-but neverlosesight0f howmuchmoreeffectivetheyaneif youcanendwith a beautifulsounding note. Toconserve spacebecause of the tab f0rmat,many0f the exencise suggesti0ns are offened in partialform, leavingthemto be completedby you,Also,theyaneofferedonlyin oneof the fivepositions. So,this is wherethe sincety andwillof youreffortsis goingt0 come intoplay.lt willnotserveyouwellt0 bea "master" in onlyoneposition. Youmustmakethe effontt0 takethe basicconceptffom onepositionandthenapplyit to the otherfounlf you makethat etfoft,youwill,withoutquestion,be faf the betterfonit. It is alsocrucialt0 makethe effortnot onlyto learnandmasterall thjngsrelatedt0 the usageandemployment of the minorpentatonicbut alsoto applythe sameeffoftsto the dominant 7lh pentatonic. ln addition t0 theseessentials, the bluesscaleshouldbe examinedandapplied so that it mightbe connected to bothof our mainpentatonics. Whilethis bookstfivest0 pfovideyouwith an angulan optiont0 yourimprovised lines,it is alsomy goalto bringyouclosen please to the earthiness andsoulfulness of the blueslanguage. don'tlosesiqhtof this.

Ill Groupings of Sixlllotes(Ascending and0escendingl Youmayaheady beveryfamilian withfingering the minorpentatonics because of ourexpeniences in nock,heavymetal,andiazz-rock fusion,but if thjs matenial is newt0 you,I've triedto pTesent somevenysimpleandfundamental velocity exercises lintended to devel0p speedandfacility) withboththe minoranddominant 7th pentatonics. Theexamples ane presented usingonlythe first positi0ntthe positionloweston the neckj,so if youbecome inspired to do so, expand eachonet0 the otherfourpositions as theywenepnesented in Unit1.

20:G MinorPentatonic Erample EI.2OA F

etc.

Er.208

lv etc.

UnitSeventeen Ex.20C

Ex.20D

7thPentatonic 21:C Dominant Example

UnitSeventeen

Line/Pattern 22:Classic

(G mi.pent.)

(C dom.7th Pent.)

UnitSeventeen onTwoStrings and0escending I2l Ascending so that youwill neverlosesightof the horizonial exencises aTepnesented Thefollowing presented in up anddownthe neckl.l\ilost0f the matenials aspectsof the guitaf(playing it offefs the playing since across the strings, put appnoach, use the veftical book t0 this yourlinesare going however, of motion,In the coufseof realimprovising, mosteconomv journeys pnepared you fonthat as well ll's you and must be 0n s0me unexpected to take playing you music. principle playing you the as opposed to music of the the sake, usingonlythe G stringandB stringfonsimplicity's anepresented Theseexamples pentatonic fingerpass we throughall five the fingerboard, but as we ascendor descend 7th f0rms.Theseall couldbe playedby usingaltefingsfor boththe minoranddominant guntype0f attack0f byonlylightlystfikingthe for a monemachine techniques natepicking whichwouldgivea the secondnoteas a hammer-on, first n0teon eachsiringandplaying io yourlines. m0relegat0feeling decidedlV

Descending: Ex.23C

Ex.23D

UnitSeventeen SixStrings llotesAcross I3l Sixteenth foryoult willbepeffect practicing, thisexercise ofdisciplined lf youjustcan'tgetenough you thal t0 negotiate pentatonic fonces and of the five notes the thrcugh moves sequentially shiftgain this by most from probably the can guitar You strings. six all acnoss sequence notesthatfollow ofeachquarternotet0 any0fthesixteenth frumthedownbeats inotheaccents

Notes in Sixteenth Velocity 24:MinorPentaionic Example Ex.24A

(G mi. pent.)

Notes in Sixteenth 7thVelocity Dominant Ex.24B

(C dom.7th pent.)

UnitSeventeen 7th I4l llominant of pfesenting as muchmaterial that,for thepurpose seriesof exercises Thisis a special groupings 0f theguitanlf you in thisbook,spanonlythetoptwothree-stfing as possible playing acrossyourA youcouldexpand to include theexercise thisfunther, wantto pursue your low E thrcugh D strings. and, finally, G stnings through as a pivottoneandthenrotatis usingone0f thepitches ideat0 explore Oneinteresting you pitch. wefeto lookat thefirstC7posiForexample, around that ingthepentatonics if youwouldgo downfromBb-G-E-C andthenBt again.But if youwentfrom tionpnesented, of a Gbgchord.lf youthentnied wouldhaveoutlinedthe upperextensions Bb-Ab-Fb-Db-Cb, you andback, wouldhaveoutlineda Bb9.Again,givethis ideaa try to gofromBF-A!-F-D-C andseewhatyoucomeupwith. ft"om coming 7th chod is almostalways However, the realissuehercis that a dominant as well-a lmajTor im7.lf somewhere iimTor ll7 chord-andis headed somewhere-a 7thchords, is usedoveraltered dominant youre-examine 7thpentatonic howthedominant youwouldrecallthatit couldeitherbetheb5or *5 ofthatroot.So,aswe'reusingC domit is headwhichmeans it wouldbe!5 of GblF*7(ah.l, asourexample, inant7thoentatonic whichmeans it is headed alsobethei5 of ETtalt.], or Bm7.lt would edtoward a BmaiT that youare studies, thesevelocity t0 AmaiTor Am7.So,whenpraciicing iust imagine if thepossibilRememben, thepr0per resolutions. headed t0 oneofthoseareasandmake cometo mind,makethe effortandwriteoutyourowncharts. itiesdo not immediately That'sthebestwavto learn,

Velocity Study 7thPentatonic 25:Dominant Example

(C dom.7th pent.)

UnitSeventee

I5l Gombinations: Minorpentatonic andDominant rth pentat'nic As I mentioned in theIntnoduction, I usedto spendhourslistening to MccoyTyner,s solos whenhewaspant0f Johncoltrane's greatquartetfromthemid-'-60s. I wasfascinated by howhewourdintenmingre thetwopentatonics withinhisrines.Thefolowing exampres are iust.suggestions forhowyoumightbegin to explore theusage ofboththeminoranddom_ Inan[/m pentat.nics inc.mbination s0thattheydontarways function asseparate entities withinyourlines.Youcancertainry hea.thesedevices anoconriguratio; intheguitarrines -Mahavishnu of JohnMclaughlin whenheperformed andrccofded withhis orchestna and latefwithShakti. USlltlG IHE GD: Sincea rhe prcsented vetocityexamples use etrhenG minor pentatonic and/orC dominant 7th pentatonic, youshould playthemovera C pedalona G pedalt0 getthefullestsenseof howtheysoundin context. do,useTnacts 2 or 24.

Example 26:Combinations: MinorandDominant 7thpentatonics

,/G-\

//6t\

fvw

EIGHTEEN UNIT Ghanges 0ver"$tandard" lmprouising when you are presented witha newpieceof musicandyouaretoldthat someyouwillhavei0 takea solo,first try to geta bfiefoverview wherewiihintheco;position things: Lookarthesimple asa whole. ofthecomposition ll

Howlongis ifl HowmanY Pages?

anddoesthatmattei? 2l ls it in anykindol a ley ll||./akeysignature!, tecti0nsdocsit Gontain? 3l Howmany 4l WheredoesyoursoloaPPeaP youmustplag? 5l Arethereanl melodies takea longeflookat io youfsatisfaction, thesebasicquestions onceyouhaveanswered youmay you to negotiate, just will have chords how many upon youn Depending soloseciion. paN youn on hints helpful some down wdting by analysis more detailed .u.n *.nt to doa of beingableto hcar speedup the pnocess this canneally lf therearea lot of chonds, andassignit a mode chord individual at each a look First take sooner. thcchanges through familyof thercotl chord tthe color" and chord name the letter or rcil. nat, bJsedupon Dofianmode0f the lo either them some of convert lf youwantto takethatevenfurther, abouteverythat your s0 ofientation you have altered lust minonscalesince thl melodic me. withlhose successfulJor proved simple and t0 be Thishas 0finminor. thingisthought pospentatonic 7th and dominant minor of the andaddin all ,t.pi tuk n,lo . stepfurthen and another to one chords of the thefelati.nships lookthrough that'sdone, Once sibilities. common and tones common for by looking !o hearthroughthem try t0 prepafeyourself to a close helpandcankeepyounimprovisations which canreally pentatonii relationships, 'blues-based a take will soon we in hand' now Withthesesuggestions andfeeling. sound 32 31, and 27, 30, in Immples shown tunes lookat thefourimprovised cl0sefanalytical possibilities. andpentalonic andviewtheirlinear andthe chofdfamilies lookat themostimpontant wetookanin-depth chapters, Inprevious 7th d0minant at thealtened looking Thisincluded impnovising. possibilities for pentatonic Weexamined Fina||y, destinations' of chonda| to anynumber chordandhowit res0|ves pnepafed mostmusii0 atiack you be should sense, minor. ln a and maion to both cadences calsituationsWiththesenewimprovisationaItooIs.WhiIepreparingthemateria|sfonthis and a woft that is inclusive to cneate andI thoughtit wasimportant book,my publishen jazz and musician a as genre. I am known Though player any iazz or any shut out doesnoi of nock,pop' ffomthewonlds to makemusicians guitast, I didn'twantthat designation usefulherefonthemThe musicfeelthattheneis nothing andcountry 6lues,H&8,hip-hop, canfit in anyone information how much publication is space-iust any difficultthingwith as nott0 excluoe progressions, s0 blues two pieces including music, of book.lusedfive jazz players aswell of all levels to challenge complexities andyetoffertheharmonic anyone goal. this in accomplishing I hopeI succeeded CDareintended trackshomtheplay-along andthecorfesponding examples Themusical easierwhat considerably situation youwiththeskillst0 makeanyimprovising t0 pfovide problems underhaving do if lwere is whatlwould going you're to seeinalltheexamples I For clarity s010. to might have 'ver whichI juit howto approach a progression stanOirig your able just being I hope that myself. intogrcatefdetailthanI wouldhavefor havego-ne t0 helpyoursimilar youto dothesamething0f something willenable to viewthisprocess self. a standafd anynewpieceofmusicor toldthatwemightbeplaying WhenI amfinsthanded out everwhing Write neat|y | often with, Unfami|iar total|y |,m it's something if 0f somesort, whatl've like very much a worksheet cneating is what I'm doing In a sense, myself. againfor eachof the Underneath examples dine for you,at leastin pant,in eachof the following chordchanges,lwniieouta|lmyimpr"ovisingpossibi|ities.First'Ia|waysbeginbymaking certainthai the corrcctmodeonscalec'rresp.ndswiththe chordsymb.l.Whaty.u is that,genClloR0KIIAIIGEPTS fromthis bookandfromG0tllItMPof,ABY shouldremember t0 minonl thenuseeitherthe withfewexceptions, I convefteverything, erallyspeaking,

unirEi I alwaysfirst labelthe modein terms minorscale.However, Dorianmodeor the melodic lt is alwaysimportantto first underctand 0f howit appliesto the root name0f the chofd your ownsystem0f musicalonganiza t0 any0f them beforeconverting ihesenelationships justbelow,usually tnypossibilities pentatonic iion.oncethat is done,lthen list all 0f my best' ingt0 go in orderof the onesthat I feelmightsound underThenextandfinalstepis to beginto seethe piece0f musicas a wholeWe wantto this In doing howtheymovein andout of oneanother standthe flow0f the chot"dchanges, between if any' toncsare' I first lookt0 seejust whatthe common pa|t 0f my preparotion, t0 willgivecontinuity tones the comm6n 6ne because next the in and I am ihe mode/scale will perspective this ' a rhythmic Fr"om disc0nnected the linesandkeepthemfromsounding being not and bar lines the orer flowing were if they as sound your" to lines enable harmonwithinits ownsmall wasopenating chordchange as if eachindividual approac'hed offered Fagen years ago'Donald many Dan fof Steely performing solo a ior. wf,if. lwas " time' I had to me At that "somecriticismbysaying: "Steve, the solosoundskindof boxey come before,andin truth, I haven'theardit since But I have neverheardthis expnession exactlywhat he meant He was askingme t0 llal overlhe har lines and to understand hanthem as if theywereeachin individual throughthe changesnathenthan apprcaching its and the tune with and comfontable getting familiar monic-boxes.ThoughI was iust somethlng solo ovef pneparing to when sometimes helpful wasvery hisdirection changes, seenbefore,I will evengo so far as to useas manyas fivecoloredhighlightel l,ven-ever the common markingpensto maketheseharmonicimagesevenmonevisualby coloringin l'vecreated' pentatonic options various all the mn... bn., I d0 this, I thenlookthrough pentatonics thal any there questions: are lll t0 answera couple0f fundamenial searching pentatonics that any therc, Efe l2l And the next? staythe;ame from onechordchangeto examinwe were When othef? each from are onlya halfstep,or evena wholestep away in llnits11 and12, I wouldhavemadetheseexact ingp"niatoni.trprouising0uerGadences So,in a sense,evenif lhis is all newmaterialt0 you'by nowyoushould sa'mesuggestions. be a bit morefamilianwith someof theseoptions examples. Now,lel'stakea lookat the musical

DEilZAt6il

backagain'is min!^r-and ff0mmai01t0 thesimplemovement whichemploys Thisexample, Veryimpo|tant.WhatwearedoinghereinthispoftionofPlllTAl0l||GKH *orfh.nOl"hunawithallyoumighthavegainedfromyourwonkinlln aboutjusthowfan-feaching ffiilletp$. lf youaresrillwondering Ctt0nD COnffUpORlRV rcvisitthat your impnovisations' canbefor yourabilityt0 betterheaf thistypeof exercise frcmtheearlierbook. chapten youforimpr0vis' here,I havetakenstepsto prepane sincethisis thefirstsongexample

ingovensuchchofdalmovements,movementsthatoccu|"incount|es youwillseeyoufmodaloplions trim *re popandiazzrepertoireBeloweachchordchange' 0f initheamount punpose is to alleviate The pnesented clearly. 0ptions andyourpentatonic without, freely t0 improvise you begin to to enable and tiui ir,rti;]s youmighthavet0 do sogood-whichis somethlng sounds whyyourplaying exactly per"haps, frillyunderitanding point forwa|d from this andunderctand Voumustatlemptio explore

UnitEi 27,playlracl ovenErample USIIUGlllt Gll: Whenyouwantto heafmyimprovisation progression, use lracl26. this sample you improvising over ready to try are 25.When

/6-\

/6\

Example27:Denzal6n \!)l \E AmajT(9)

Mode/scale Options: A malorrLydian (A, B, Cl, D/D*,E, F{, Gl} Pentatonic Optlons: C{ minor Pentatonlc (cl, E, Ffi,Gl, B) G, minor pentatonic (Gl, B, C{, Dl, FD Fl minor pentatonic (Ff,A, B, Cl, E)

Am7(9)

Mode/ScaleOptiona: A Dorlan (A, B, C, D, E, Fl, G) Ponlatonic Opllona: A minor pentatonic (A,C, D, E, G) B minor pgntalonlc (B, D, E, Fl, A) E minor pentatonic (E, G, A, B, D) D domlnant 7th pentatonic (D,E, Fl, A, C)

IfiA1AIMO Though it'snot 7thch0fds. offersa simplebutterrificw0*outoverdominant Thisexamole the 0f all stylesbecause for playens to providea challenge a blues,it's closeenough youonlyhaveto dealwiththe17andlV7 manner. Essentially, fallin aninteresting changes chords,andthisis wh6tkeepsit relatedto thebluesfueling. lf youviewyour17 tF7)chordas the modebaseduponthe Poot,youwouldhaveF youwouldsimplychange the andthenasthat chofdmovesto the lV7 tBbTJ' Mixolydian, you've note,'A has become one simply changed tndoings0, to F Dorian. modalreference 'Ab.'Other thesame,whatcouldbemoresimple? thanstaying 8s they yourabilityto heafthe usage0f pentatonics Oneplaceto beginin improving fbaseduponthe ii "extend" wouldbe t0 simplyapplythe minorpent€tonic the harmony intothefollowing: 7th chord.Thissimplytranslat€s chordlfor eachdominant pentatonic, and useCmtii-type] I1l for F7 [V-type) t2t for Bb7tv-typeluseFmtii-typelpentatonic,

0ntheguitanlt willbe in thesameposition Whendoingthis,try t0 keepbolhpentatonics fightbeneath what is really you hearing giving sense of the long tenm, in the thebestthing GH0R0 movementlf you studiedC0ilftMP0BARY your fingenswithoutunnecessary the voicings above iimT applying we were because sound familiar will all this I(HNICIPTS, youf it can and lines, With harmonies. and extended lush more rootof theV7 to cneate thesamething. should beabsolutelv

possibilities, I alsoseethateachchodalareaofferstheuse thepentatonic ln examining soyouwouldwanti0 wonktheusage0fthesepenof bothGminorandC minofpentatonic, jusr !0 see whattheysoundlike l alsoseethat,if youwere intoyoufimpnovising tatonics overtheF7chord,youcouldthengodowna wholestepanduse to useD minorpentatonic thatwouldaddananguovertheB!7 chofd.lt'sa simplemovement theCminorpentatonic physical to movementmakeasthesethings andgiveyouaneasy t0 youn soloing larquality yourears teaching youn areyetagain fingers it'sasif Ina sense, layoutonthefingefboard, thechanges. howto hearthrough

goto CD#2, theBE0G0'fromCllORo example, lf youwantor needto hearmyperformed andlistento lrack13. KHAIIGTPTS book,theblanktrack thisis a tnackthatwasusedin thepnior" USIIUGTHE Gll: Though In suggested play the concepts using To along format. herein an abbreviated aoDears play lrack27. 28, fxample

26'116.1.rto Example @) F7

F Mixolydiar/CDorian (F,G,A, Bt, C, D, Et)

Bl MixolydiarvFDorlan (Br,c, D, Et, E G,At)

PentatonicOplions:

PentatonicOptions:

C minor pentatonic (c, Et, t G, Bt) G minor pentalonic (G,Bt, C, D, F) D minor pentatonic (D,F,G,A, C) F dominant7th pentatonic (E G,A, C, Eb) G dominant7th Peniatonic (G,A, B, D, F)

F minor pentatonic (F,Ab,Bb,C, Eb) C minor pentatonic (c, Et, F,G, Bb) G minor pentatonic (G,Bt, C, D, F) Bbdominanl7th pentatonlc (Bl, c, D, F,Ar) C dominant7th penlatonic (c, D, E, G, Bb)

Bt Mixolydian/FDorian (Bt, c, D, Et, F,G, Ab)

F MixolydiarvcDorian (F,G, A, Bb,C, D, Eb)

PentatonicOptions:

PentatonicOptions:

F minor pentatonic (F,At, Bb,c, Et) C minor pentatonic (c, Eb,E G, B') G minor pentatonic (G,Br,C, D, F) Bbdominant7th Pentatonic (Bb,c, D, F,Ab) C dominant7th pentatonic (c, D, E, G, Br)

C minor pentatonic (c, Et, F, G, Bb) G mlnor pentatonic (G,Bt, C, D, F) D minor pentatonic (D, F,G, A, C) F dominant7th pentatonic (F,G,A, C, Et) G dominant7ih Pentatonic (G,A, B, D, F)

0l TJAllttBluesin Gl A SHA0E to be themoresimandit is intended bluesprognessions, Thisis thefirst of two example areasotfer7th chordal you'redealing withonlythreedominant pleof thetwo.Essentially, in the priof I mentioned what Much 0f change chord each you plenty t0 explore 0f time ing fromG7 t0 C7 is the holdstnuehereas well'sincethe relationship eximple,"Khalatmo," just step wh0le up a the ideas moving You are t0 Bb7. from F7 sameas it is whichwill extend yourabilityto hearthe usage0f thesepentat0nics, Tobeginexpanding fnr eachdominant pentatonic ii chord 0f the minor simplyapplythe youTsenseof hanmony, intothe following: Thissimplytranslates 7th chond. pentatonic useDmtii-typel lll ForGTtV+ypel. pentatonic useGm{ii-type) t2l ForCTtV-typel, pentatonic useAm[ii-type] l3l ForDTtV-type), 0nthe guitar'lt will in thesamep0sition Whendoingthis,try to keepallthreepentatonics is reallyrightbeneath what the senseof hearing be the besithingin the longtefm, giving movement. yourfingerswithoutunnecessary to s0undgood,heTearc s0me theonies the following youdo not havet0 observe Though m.st crucialbarsin anyblues of the 4 is one bar Since can expl.re. addittnil ideasV'u yourl7 chOrd tfulybecomes ban where possibillties, fon it is the great progression, it offers t0 increase so, lv7 chord. t0 the pushes rcsolution a towards as it chord 7th a dominant the G altered use lll simply ideas: following 0f the two y0uf elther lines, try thetensionin would then that tension harmonic cfeate the t0 t0 somel minor scaletAbmelodic d0minant (At half step one Dofianl play Donisn mode the l2l and resolution, upon be rcleased JUSI whene ab0ve a half step [Db Mixolydian] mode Mixolydian you or the abovewhere anetGTl whercbyyourlinescan youare headedtC7).By doingthis, youcfeatea circumstance ottenassoclatThis is a device downward. half step one almosteffortlessly, easily, nesolve though example this f0llows tune that ln the Coltfane John ed withthe greatsaxophonlst Here, howevhar 4' at the changes into wfitten ideais actually it'sa bluesin Bb,thisver"y your lines even of thnust and the shape makes it actually en,as in mostcases,it is not.And greater. is resoluti0n the needfof because moreimportani youwillnoticethatif youusetheAb a carefulstudyof all0f these0ptions, lf you'remaking the dif"c'rnect" AbDorian, n.tes Butif you'reemploying m;l.dicmin.r,-itwillhaveallthe "wrong" peOm0st by n0te a theGboccuris huge-it wouldbeconsidered 0f having fefence of a G7 chordl fnrm themaior7th tF*],whichdoesnotexistin any plebecause it iJactually with S0,be careful rf it'stuckedwithinyourline,it canpassbyalmostunnoticed However', it andwhereit fallsrhythmically. USING IHE GII: Thistrackwas alsousedin the prionb00k;the blanktrackappears In suggested format.Toplayalong,usingthe D0ncepts here,againin a moreabbreviated 28. 29, useTracl Example

UnitErghteen ofTjade Example 29:A Shade

opt. l G 7( a l t . ) l

Mode/Scale Opiions:

Mode/ScaleOptions:

Mode/ScaleOptions:

G Mixolydian/DDorian (G,A, B, C, D, E, F)

G altereddominanu Abmelodicminor (G,At, Bt, B/CL, D', E', F)

At Dolian/DtMixolydian (Ar,Bt,cr, Dt, Eb,F,lcbl)

PeniatonicOptions:

ALminor pentatonic (At,ct, Dt, Eb,IGbl) Ebminor pentatonic (Et,lGLl,Ab,Bb,Dh) Bt minor pentalonic (Bb,Dt, Er, F,Ab) Dt dominanl7th pentatonic (Dr,Et, F,A', Cb)

PenlatonicOptions: D minor pentatonic (D,F,G,A, C) A minor pentatonic (A,C, D, E, G) E minor peniatonic (E,G,A, B, D) G dominant7th pentatonic (G,A, B, D, F) A dominant7th pentatonic (A,B, Ct, E, G)

Bbminor pentatonic (Bb,Dr, Eb,F,Ab) Dbdominant7th pentaionic (Db,Et, E Ab,C') Et dominant7th pentatonic (Et,F,G, Bb,Db)

Options: Mode/Scale

Mode/ScaleOptions:

C Mixolydian/GDorian (c, D, E, F,G,A, Bb)

G Mixolydian/DDorian (G,A, B, C, D, E, F)

PentatonicOptions:

PentatonicOptions: '

D minor pentatonic (D,E G,A, C) A minor pentatonic (A,C, D, E, G) E minor pentatonic (E,G,A, B, D) G dominant7th pentatonic (G,A, B, D, F) A dominant7th pentatonic (A,B, Ct, E, G)

G minor pentatonic (G,Bb,C, D, F) D minorpentatonic (D,E G,A, C) A minor pentatonic (A,C, D, E, G) C dominant7th pentatonic (c, D, E, G, Bb) D dominant7th pentatonic (D,E, F[,A, C)

D7

Options: Mode/Scale

Mode/ScaleOptions:

Mode/ScaleOptions:

D MixolydiarvADorian (D,E, F$,G,A, B, C)

C Mixolydian/GDorian (c, D, E, E G,A, Bb)

G Mixolydian/DDorian (G,A, B, C, D, E, F)

PentatonicOpiions:

PentatonicOptions:

PentatonicOptions:

A minor pentatonic (A,C, D, E, G) E minor pentatonic (E,G,A, B, D) B minorpentatonic (8, D, E, Ft,A) D dominant7th pentatonic (D,E, Fl,A, C) E dominant7th pentatonic (E,F$,G{,B, D)

G minor pentatonic (G,B', C, D, F) D minor peniaionic (D,F,G,A, C) A minor pentatonic {A,C, D, E, G) C dominant7th pentatonic (c, D, E, G, Bb) D dominani7th penlatonic (D,E, Fl,A, C)

D minor pentatonic (D,E G,A, C) A minor pentatonic (A,C, D, E, G) E minor pentatonic (E,G,A, B, D) G dominant7th pentatonic (G,A, B, D, F) A dominant7th pentatonic (A,B, Cl, E, G)

PentatonicOptions:

;

(Blues in Bbl MAIIBUMPYUIIIE heneAnd'intruth'aswasmen0fthetwobluestracksto bepresented Thisis thesecond othefthanthatthis ofthepfiortune,theonlyrcaldiffenence' tt'. discusslon tion.JOuring writteninto iimT-ll7tBmt-E7lis actually p".r l. . O"lrtt-itgU,is tf'at tf'e il substitute fof Bt7.So'inbar4, youwill thatE7is theb5substitu[e at barA.Remember ihechanges thebass withtwobeatseachfor Bm7andET Since no* r.r if'ut rf',.barhasbeendivided suggestI've everlthing and great difference, a youshould hear i, ,.ting tL..r changes, clariiy grcaier hanmonic to playwillhave edthaty:oumightchoose upon in a bluessuchasthisis bar8' Depending spoifor explonation intefesiing 'h*;;r;;;;;;., Another a Bb7 on case this in stavnightwherevou.are' youcouldobviouslv you headed are where about 0f ihinking y6ucouldalsotaketheapproach ;;;i. il*.t fon thatin-thisbluesweaneheaded t mean By iirat your accordingly. lines aCiust anatnen The answer V chord? of the whatis theV7 theV7chord,F7.So,youcouldsaytb younself, lines bet0 insent youmighttry wguld idea one sont.'So, some of chord a CTialt.i nereis is else no one th0ugh even lhisbafasa V7 ofV7' thatyouareapproaching thatindicate the appr6aching We're 0r, youmighttry this: at thatmJment. lo'kingat it in thisfashion in thatkeyanea'lhat is t0 say'C Dorian' chord iimT of the mode the from fi tvTl cfrora o r C m T N o w ' y o u ' d a s k , W h a t i s t h e V T c h o r d o f C m T ? | t ' s G 7 ( a |cho' t']'So,youa|somighttry thefirstthree 30,duning Track .lit;; t0 theV7 of the iimT Onplav-along il;;;.; hereis thetexture withthisdeviceBecause youcanbestexperiment rrset.i tfit blues, klndof this for suppoft,it crcatesa lot of space padsfor chondal ,. rp*, *itf, nostring -what what underctanding your havingpfoblems lf you'ne happens. See .*pr-rin'unrution tunes'and I offerior CTtaltl onGTtaltl onothersample opiion.tigl''t 0., usetheoptions put thatwonk to moment Thisis thepenfect writeinthoseoptions' il-r; L.."; t. actually ideaslikethisrequifes is thatemploying to use!Theotherkeyihingt0 nemember irethod io hearlines'linesthat to learn. youhaveto begin imagination, tneuseof yourhanmonic onthe areasevenif iheydon'texistaspantofthech.ndchanges, hafmonic centain indicate inthiscase chordchange performed example, 9ot0 80#2,theBto G0,andlislf vouwantor needto hearanother ir is essenritted"sticeville," was rune rhe i.l . ririrrr. rnoughfor clt0 l KHAGEpIS, playing thesubbass the have no! I did that Youwillnotice piece if music. ;iU;h;;. change' Bm7-E7 ii'.the t0 I alluded youcanhearthat at har4. However, stitutechanges howI able t0 heaf ar9 Vou glso *it"f',t\/ fi.... O*|. thecourseof thislongimpnovisation' consonanr expected the of outside that aresometimes lineconfigurations iit