TRA CKs 19-21

Guitar Techniques - - Play: Pentatonic -

Jazz Ex 16 For this II-V- I in Bb ma­jor, we are us­ing C mi­nor pen­ta­tonic for the Cm7 chord (IIm7) and then think­ing ‘D mi­nor pen­ta­tonic’ for the F9 ( V9) and Bb­maj7 (Imaj7) chords. See how this pro­duces colourful ex­tended chord tones on the Bb­maj7 - C (ma­jor 9th), A (ma­jor 7th) and 5th (F) and 3rd (D).

Jazz Ex 17 This is an ex­am­ple of mo­dal jazz, as you would find on the largely static chord pro­gres­sions of Miles Davis and John Coltrane. We are ac­tu­ally in a D Do­rian mode con­text; but in­side ev­ery Do­rian mode are three dif­fer­ent mi­nor pen­ta­tonic scales that can be ap­plied to great ef­fect. In this case, we al­ter­nate be­tween D mi­nor pen­ta­tonic and E mi­nor pen­ta­tonic for the first two bars; then, think­ing ‘A mi­nor pen­ta­tonic’ for the end phrase, pro­duc­ing some nice colourful runs, while stay­ing within the orig­i­nal har­monic con­text.

Jazz Ex 18 In this D ma­jor based ex­am­ple we are fur­ther de­vel­op­ing the prin­ci­ple of pick­ing out mi­nor pen­ta­tonic scales in­her­ent in the ma­jor scale struc­ture. For the Dmaj7 and Eb­maj7 chords we are think­ing ‘F# mi­nor pen­ta­tonic’ and ‘G mi­nor pen­ta­tonic’ re­spec­tively. Us­ing the mi­nor pen­ta­tonic start­ing from the 3rd of a ma­jor chord is a com­mon prin­ci­ple well worth notic­ing. This was the trick we used in Ex­am­ple 16, us­ing D mi­nor pen­ta­tonic over a Bb chord. Play­ing over a Ly­dian type chord such as Dmaj7#11 gives us a new set of mi­nor pen­ta­tonic scales to play with, and one that cre­ates max­i­mum colour is the mi­nor pen­ta­tonic start­ing a semi­tone away from any given Imaj7#11 chord. So we are play­ing C# mi­nor pen­ta­tonic over the Dmaj7#11 here, em­pha­sis­ing some of the key colour notes of the chord in the process.

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