I know that rick Beato did but to chord to chord can you make pentatonic scales of melodic minor or hexatonic and symmetrical scales in jazz improvising.
Love your channel! The progression of learning for me (and most people I would guess): Learn pentatonic scales -> Learn modes / major scales -> Learn harmonic minor, melodic minor scales -> learn symmetric scales: i.e., augmented, diminished and whole tone -> realize you barely scratched the surface on pentatonic scales
i personally use the blues Variation 3 ( 3 -ea passing notes) R.............b3..x..4...x....5..............b7...x R Major R...x...2...x..3...............5...x...6...............R DOMINANT pentatonic R..x...2...x..3...............5............b7...x....R I dont play it only in boxes either...the entire neck is a box to me.lol any ways..... Pushing down from C Major towards C minor b6 = Harmonic MAJOR b3 = Melodic min b3, b6 = Harmonic min b3, b6, b7 = Natural min b2, b3 or b2, b3, b6 ( N6) Melodic min b2 or Harmonic min 2 b3, b5 or b3, b5, b6 Melodic min b5 Harmonic min b5 b3, #4 or B3, #4, b6 melodic min #4 Harmonic min #4 You can reverse the process...push UP from A min toward A major G7 into C MAJOR or C min E7 into A Major or A min The FULL dimnished will OVER LAP D, F, Ab, B ( C Harmonic MAJOR or min B, D, F G# ( A harmonic MAJOR or min example A harmonic min........... A min D min/dim E7 A harmonic MAJOR A Major D min/dim E7 The ( N6)..the Bb note...you can make that Maj. dominant. dim or Aug.. Bb lydia ish to D min/F MAJOR ( lydia b3, lydian #2..ect) Bb ion to G min/Bb Major Bb mix to C min Eb MAJOR......Bb7 into Eb...right>>> right if you Play the A lydian b3 it's B mix b2 ( B7 into E or E harmonic MAJOR G# phrygian b4 into C# min...... once in C# minor/ E MAJOR.. C# min ( N6)..right???>>>> right D Maj E7 F# min A MAJOR D7 E7 F# aeo b5 A melodic min D maj7 B minor....right??? right or from A min (N6) A min Bb AUg....... G Meldoc min...right??? Bb dim into B min... A min.....D min E min F#7 into B min......right? right B harmonic min b2.....= C MAJOR/A min.....right ? A min B dim......C# dim in to D min ( dorian with a LEADING tone_ E min F# G# dim into A min.....Whalla A melodic min from E minor YOu know modes....yes?? The DOMINANT ish....Modes.. NICE to KNOW DOMINANT pentatonic...right???? right G, B, D, F, = G7 or B dim/G....extented..G, B, D F, Ab ( mix b2) Mix #2 Mix #4 Mix #2, #4 mix b2 Mix b6 Mix b2, b6 Mix b2, #4 phrygian b4 loc b4 I dont have a problem playing maj7....from b7....you?? Lets just kill to 2-3 birds in one stone...( still lots more to learn...just saying) You dont have a problem playing maj7 from b7 ...did you??? Didnt think so.... aeo maj7 Harmonic min dor maj7 Melodic min phry Maj7 Harmonic min b2 loc maj7 ...Mix #2 ( works for me.....you?) dor b2 maj7 dor b5 maj7 dor #4 Maj7.........right...??? right aeo b5 Maj7 Aeo #4 Maj7 Mix Maj7 Mix b6 maj7 ( Harmonic MAJOR)
That is all really cool however, how do you use those techniques and play the changes? For instance if all I do is use A minor pent over the one. D minor pent over the four and E minor pent over the five in a simple 145 then ---- what do I now do differently? .
Hey there! The short answer is, you don't want to improvise that way. Scales should be viewed more as pitch collections: a way to map out note choices and conceptualize things. Just because you can play pentatonics over everything doesn't mean you should. If you want to play changes think about the important notes like 3rds and 7ths that define those chords, and of course learn some language from recordings as well.
Good with some inspiration! Just a guitar a piano, roof over my head, some food, and I’ll be good to go! Yep and the woman I fancy. But that is a given
Great lesson. Thank you. At 6:06 you talk about the IV chord of the relative major, in this example the FM7. We can always use the minor pentatonic scale over a M7 chord if we "start" with the relative minor of the M7's third. In your example, the third is "A", so the A minor pentatonic sounds good. If the chord was AM7, then I'd use the C# minor pentatonic, and so on. Am I correct? It seems to work fine.
How about a minor pentatonic up a minor third from a Dom7 for an ambiguously outside sound? For example a Bb pentatonic over G7. A super hip 2-5-1 in C could then use pentatonic scales a half steps: Am, Bbm, Bm over Dm, G7, C.
A meldoc min = A min B min D7 E7 F# aeo b5 You can play D DOMINANT and E DOMINANT PENTATONIC R...x...2....x..3..............5...........b7...x...R And B min Pentonic min ( B dorian b2) And still be within all the NOTES of A melodic minor The C Harmonic MAJOR.......C Maj F min G7 into C D, F, Ab,B.....are the posible FULL diminised... If you extend to G mix b2.... 3, 5, b7, b9.......you can start a FULL dimished run from any of those appegios..... Notice the F# aeo b5....with a leading tone it's F Harmonic min b5 or D HUNGARIAN MAJOR... you can see it as....Mix #2, #4 or Lydian dominant #2... it's so you'll associate with A min D7.....E7 The D lydian dominant.... we play Min b5 ( Blues variation 1)..all day long anyways it's just modulating to F# min....in different ways from A min A min D min/ dim E7 ( Mix b2, b6) A Harmonic Minor A MAJ D min/dim E7 ( Mix b2) A Harmonic MAJOR F# min/A MAJOR.....yes??? oh let say I was in A min.....Vamp the A lydian b3 ( melodic min #4) it's possible FULL dimished...too or min B7 into E Major or Minor.... I could easily play A dorian #4 ( full diminished into the E minor chord) or A melodic min ....A min D7 E7 I could just go. ....A min D7 into G Major or G minor..... The Harmonic min b2 or melodic min b2 ( N6) I could go A dim Bb maj.....G min...or G min A min Bb aug..( G melodic min) Or Bb7 C7 into F Major or F melodic min or A min D min E min F#7 into B min Bb dim/augmented into B minor....whatever... or Bb dim C dim into C# meldoc min ( C# min/E Major) E harmonic MAJOR = G# phrygian b4 ( Maj, min7 . dominant or aug) G#7 into C# min.....B7 into E MAJOR... Once in C# min/E MAJOR C# melodic min b2..ect C# D maj E7 F# min A MAJOR C# D7 E7 into A melodic C# D dim E7 into A Harmonic min D Maj7 to B minor.... Bb dim /F#7 into B minor..... You guess it... B Harmonic min b2......C Maj7/ A minor.
Really great overview of using the Pentatonic scale. Finally making sense to this old sax player. We come at the music from a linear direction. Chords are not part of the training, but are so important.
Excellent Brent. Often I just resort to a blues scale for those tunes but this gets me thinking more in terms of coloring the solo with pentatonics. on the fly my way of remembering these is for minors you are adding the 4th to the chord tones and for majors you eliminate the 4th and play the root/2nd/3rd thru 6th. BTW...what brand and model is your mic?
Hi Larry! I suppose you could call it 5th position. Although I believe, I play a few different voicings. But the root starting on the 6th fret. Sorry, I'm seeing that my fretboard isn't visible on the video for all the guitar players!
First off going to try it over a ii-V-I as it brings in a couple examples you presented and #8 the half step down over a static funk progression. Good stuff Brent!
Incredible Lesson. I have already started using these ideas in my solos. Really Love the B flat major 7 flat five sound and playing up a third over Minor flat five. All great ideas. Thank you.
Rather than memorizing "grips", I would prefer to see the notes as expressed relative to the root, so what scale degrees do you get (or not get) when you play a pentatonic (e.g., several of these do not have a root note - that's not bad or good, but it's of more interest to me).
Brent, This is an off the wall question but it's relevant to me. I noticed how easily you folded your pinky and ring finger down to the palm and how straight up the other fingers were. Did you work at stretching to be able to do that? My fingers seem to be permanently curved from decades of physical work and I suspect it is detrimental to my playing Saxophone. Just last night I started stretching my fingers to loosen up everything. Maybe you can shed some light on the issue.
Hey Joel! I think I'm not quite following what you mean with the pinky and ring finger. Is this something you're seeing when I'm playing? Happy to elaborate otherwise.
How to spot an American? Well, they always start by saying "Whats up" 🙄 whatever happened to good old Hello over there? but the vid is good thankyou 😎👍
Which one of these do you find most interesting and want to give a try?
I know that rick Beato did but to chord to chord can you make pentatonic scales of melodic minor or hexatonic and symmetrical scales in jazz improvising.
I found your solution to play A minor pentatonic over Bb ma7 (b5) helpful. Felt stuck on a lydian mode there before. Thanks mate!
I love the pentatonic over the half-diminished chord, but this is all useful. Great Video!
Solid stuff Brent! 🙂
Thanks Jens!
Love your channel! The progression of learning for me (and most people I would guess): Learn pentatonic scales -> Learn modes / major scales -> Learn harmonic minor, melodic minor scales -> learn symmetric scales: i.e., augmented, diminished and whole tone -> realize you barely scratched the surface on pentatonic scales
i personally use the blues Variation 3 ( 3 -ea passing notes)
R.............b3..x..4...x....5..............b7...x R
Major
R...x...2...x..3...............5...x...6...............R
DOMINANT pentatonic
R..x...2...x..3...............5............b7...x....R
I dont play it only in boxes either...the entire neck is a box to me.lol
any ways.....
Pushing down from C Major towards C minor
b6 = Harmonic MAJOR
b3 = Melodic min
b3, b6 = Harmonic min
b3, b6, b7 = Natural min
b2, b3 or b2, b3, b6 ( N6) Melodic min b2 or Harmonic min 2
b3, b5 or b3, b5, b6 Melodic min b5 Harmonic min b5
b3, #4 or B3, #4, b6 melodic min #4 Harmonic min #4
You can reverse the process...push UP from A min toward A major
G7 into C MAJOR or C min
E7 into A Major or A min
The FULL dimnished will OVER LAP
D, F, Ab, B ( C Harmonic MAJOR or min
B, D, F G# ( A harmonic MAJOR or min
example
A harmonic min........... A min D min/dim E7
A harmonic MAJOR A Major D min/dim E7
The ( N6)..the Bb note...you can make that Maj. dominant. dim or Aug..
Bb lydia ish to D min/F MAJOR ( lydia b3, lydian #2..ect)
Bb ion to G min/Bb Major
Bb mix to C min Eb MAJOR......Bb7 into Eb...right>>> right
if you Play the A lydian b3 it's B mix b2 ( B7 into E or E harmonic MAJOR
G# phrygian b4 into C# min......
once in C# minor/ E MAJOR..
C# min ( N6)..right???>>>> right
D Maj E7 F# min A MAJOR
D7 E7 F# aeo b5 A melodic min
D maj7 B minor....right??? right
or from A min (N6)
A min Bb AUg....... G Meldoc min...right???
Bb dim into B min...
A min.....D min E min F#7 into B min......right? right
B harmonic min b2.....= C MAJOR/A min.....right ?
A min B dim......C# dim in to D min ( dorian with a LEADING tone_
E min F# G# dim into A min.....Whalla A melodic min from E minor
YOu know modes....yes??
The DOMINANT ish....Modes..
NICE to KNOW DOMINANT pentatonic...right???? right
G, B, D, F, = G7 or B dim/G....extented..G, B, D F, Ab ( mix b2)
Mix #2
Mix #4
Mix #2, #4
mix b2
Mix b6
Mix b2, b6
Mix b2, #4
phrygian b4
loc b4
I dont have a problem playing maj7....from b7....you??
Lets just kill to 2-3 birds in one stone...( still lots more to learn...just saying)
You dont have a problem playing maj7 from b7 ...did you???
Didnt think so....
aeo maj7 Harmonic min
dor maj7 Melodic min
phry Maj7 Harmonic min b2
loc maj7 ...Mix #2 ( works for me.....you?)
dor b2 maj7
dor b5 maj7
dor #4 Maj7.........right...??? right
aeo b5 Maj7
Aeo #4 Maj7
Mix Maj7
Mix b6 maj7 ( Harmonic MAJOR)
Man if I only knew that you could play a minor pentatonic over a half diminished chord!!! Such a great help!! Thank you
Glad to help out!
I finish to see the enforcment of the Bbmaj7(b5) in Brigth size life. A very interesting application with a easy tool. Thanks again!!
Indeed, Francisco! Thanks for watching.
That is all really cool however, how do you use those techniques and play the changes? For instance if all I do is use A minor pent over the one. D minor pent over the four and E minor pent over the five in a simple 145 then ---- what do I now do differently?
.
Hey there! The short answer is, you don't want to improvise that way. Scales should be viewed more as pitch collections: a way to map out note choices and conceptualize things. Just because you can play pentatonics over everything doesn't mean you should. If you want to play changes think about the important notes like 3rds and 7ths that define those chords, and of course learn some language from recordings as well.
Good with some inspiration!
Just a guitar a piano, roof over my head, some food, and I’ll be good to go!
Yep and the woman I fancy. But that is a given
Great lesson. Thank you. At 6:06 you talk about the IV chord of the relative major, in this example the FM7. We can always use the minor pentatonic scale over a M7 chord if we "start" with the relative minor of the M7's third. In your example, the third is "A", so the A minor pentatonic sounds good. If the chord was AM7, then I'd use the C# minor pentatonic, and so on. Am I correct? It seems to work fine.
Also worth checking out altered pentatonic scales - G pentatonic with a b2 over G13 b9. Or G pent with b2 and b6 for G7alt.
Awesome, thanks for sharing!
Pity you didn't habe the camera aimed at your left hand otherwise good vid
How about a minor pentatonic up a minor third from a Dom7 for an ambiguously outside sound? For example a Bb pentatonic over G7. A super hip 2-5-1 in C could then use pentatonic scales a half steps: Am, Bbm, Bm over Dm, G7, C.
A meldoc min = A min B min D7 E7 F# aeo b5
You can play D DOMINANT and E DOMINANT PENTATONIC
R...x...2....x..3..............5...........b7...x...R
And B min Pentonic min ( B dorian b2)
And still be within all the NOTES of A melodic minor
The C Harmonic MAJOR.......C Maj F min G7 into C
D, F, Ab,B.....are the posible FULL diminised...
If you extend to G mix b2....
3, 5, b7, b9.......you can start a FULL dimished run
from any of those appegios.....
Notice the F# aeo b5....with a leading tone
it's F Harmonic min b5 or D HUNGARIAN MAJOR...
you can see it as....Mix #2, #4 or Lydian dominant #2...
it's so you'll associate with A min D7.....E7
The D lydian dominant....
we play Min b5 ( Blues variation 1)..all day long anyways
it's just modulating to F# min....in different ways from A min
A min D min/ dim E7 ( Mix b2, b6) A Harmonic Minor
A MAJ D min/dim E7 ( Mix b2) A Harmonic MAJOR
F# min/A MAJOR.....yes???
oh let say I was in A min.....Vamp the A lydian b3 ( melodic min #4)
it's possible FULL dimished...too or min
B7 into E Major or Minor....
I could easily play A dorian #4 ( full diminished into the E minor chord)
or A melodic min ....A min D7 E7
I could just go. ....A min D7 into G Major or G minor.....
The Harmonic min b2 or melodic min b2 ( N6)
I could go A dim Bb maj.....G min...or G min A min Bb aug..( G melodic min)
Or Bb7 C7 into F Major or F melodic min
or
A min D min E min F#7 into B min
Bb dim/augmented into B minor....whatever...
or Bb dim C dim into C# meldoc min ( C# min/E Major)
E harmonic MAJOR = G# phrygian b4 ( Maj, min7 . dominant or aug)
G#7 into C# min.....B7 into E MAJOR...
Once in C# min/E MAJOR
C# melodic min b2..ect
C# D maj E7 F# min A MAJOR
C# D7 E7 into A melodic
C# D dim E7 into A Harmonic min
D Maj7 to B minor....
Bb dim /F#7 into B minor.....
You guess it...
B Harmonic min b2......C Maj7/ A minor.
Really great overview of using the Pentatonic scale. Finally making sense to this old sax player. We come at the music from a linear direction. Chords are not part of the training, but are so important.
Glad to help Len!
I totally agree-practicing with my guitar buddy, he was searching for different things than me the trumpeter.
Maj7 #4 a more apt chord name.... Lydian
Excellent Brent. Often I just resort to a blues scale for those tunes but this gets me thinking more in terms of coloring the solo with pentatonics. on the fly my way of remembering these is for minors you are adding the 4th to the chord tones and for majors you eliminate the 4th and play the root/2nd/3rd thru 6th. BTW...what brand and model is your mic?
Glad to help Larry! My mic is a Heil PR-40.
Liked the Dm pentatonic over Bm7b5. Brent, Which position were you playing
the Bb maj7b5 . I'm guess Bb D E A in 5th position -- If not where?
Hi Larry! I suppose you could call it 5th position. Although I believe, I play a few different voicings. But the root starting on the 6th fret. Sorry, I'm seeing that my fretboard isn't visible on the video for all the guitar players!
@@Learnjazzstandards Thanks Brent I compared the sounds and I thought that is where you played the chord If not where?
Excellent!!!
Thank you!!!!
First off going to try it over a ii-V-I as it brings in a couple examples you presented and #8 the half step down over a static funk progression. Good stuff Brent!
Awesome Jeff! Thanks!
Incredible Lesson. I have already started using these ideas in my solos. Really Love the B flat major 7 flat five sound and playing up a third over Minor flat five. All great ideas. Thank you.
Glad to help, Al!
great site- subscribed. do you use Tab in the videos - I'm so used to reading guitar tab
Hey Andrew, thanks for subscribing! Because we're geared towards all instruments we don't do tab. Sorry about that!
Awesome
My favourite by far was the last one. Lovely sound (lydiany or lydianish :o) ). Can you give an example jazz piece where the M7b5 is used?
Thx. Another great tutorial!
My pleasure!
the last "way" (the ∆b5) fits perfectly on any Lydian chord too, whether it's an i∆#11 or just an IV. nice video, congrats.
This approach is the same as if you were thinking ionian mode in different spots on any given chord in a tune 🙂
I don even play guitar 😂 but i will definetly apply this to my piano playing! Thank you bro
Great lesson and great tone! what guitar are you playing there, and with what amp and strings? Thanks in advance.
Excellent lesson , really like the last one , very cool 😎. Will pass that on to my guitar students .
would love to see more of the guitar playing. not just your pretty face :)
This was great. I will practice all these chords vs pentatonic scales. You really covered it all here. Thank you.
Glad it was helpful!
Rather than memorizing "grips", I would prefer to see the notes as expressed relative to the root, so what scale degrees do you get (or not get) when you play a pentatonic (e.g., several of these do not have a root note - that's not bad or good, but it's of more interest to me).
Hey Jim, when applicable I often do start on the root note, however, not all of the examples include the root note in the pentatonic
Great as always thanks so much!!
Great lesson
7th on root minor
Who else liked the blip?
Brent, This is an off the wall question but it's relevant to me. I noticed how easily you folded your pinky and ring finger down to the palm and how straight up the other fingers were. Did you work at stretching to be able to do that? My fingers seem to be permanently curved from decades of physical work and I suspect it is detrimental to my playing Saxophone. Just last night I started stretching my fingers to loosen up everything. Maybe you can shed some light on the issue.
Hey Joel! I think I'm not quite following what you mean with the pinky and ring finger. Is this something you're seeing when I'm playing? Happy to elaborate otherwise.
Well possibly a result just from playing for a while, but nothing I've intentionally tried to develop.
How to spot an American? Well, they always start by saying "Whats up" 🙄 whatever happened to good old Hello over there? but the vid is good thankyou 😎👍
Answer; All of them!!! Great lesson. 😊
Nice! Glad to help