Another way to look at the first example is to realize that the minor pentatonic is its relative major pentatonic when started on its second note (the 2nd note being the minor 3rd is the root of the relative major pentatonic scale). The major pentatoni scale is actually the major 69 arpeggio. So for any ii V I, you start with major pentatonic on the b7 over ii, major pentatonic over natural 7 (tritone of V) on to major pentatonic over the I chord.
This is a great breakdown of the solo - so helpful with the printed music underneath and your identification of the call and response and rest patterns. It's so amazing how Miles is such a genius with the absolute simplest of phrases! It's really uncanny how he does that. Thanks Richie!
As always, a great video from Ritchie! One of the great things about using pentatonics in this way is that motifs are really easy to come up with due to their "box" shape. Thanks Ritchie!
Absolutely! You can use many of your blues motifs and even throw in some string bends for a fusion vibe! Oops...the purists are going to hate me for saying that...😂
I was in the middle of practicing, and stumbled onto this video. Great stuff! It'll take awhile to assimilate, but you've got some very useful materials in here.
New to your channel but I love it. Is reading music mandatory to jazz? I’m new to the genre and have played a lot of other styles without reading music. We know where the notes are at on the neck
Thanks! Reading music is not a must in order to be an improviser. However, understanding theory is! So even if you can't sightread, both knowing the notes on the staff and learning how to read rhythms are crucial skills if you want to learn the theory properly. Reading and writing music are communication and learning resources without which you will be limited in the sophisticated world of jazz. As limiting as not knowing how to read and write in our world of spoken words.
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Nice lesson! From a fellow jazz student
A rock guitarist subscribed 🤘
Another way to look at the first example is to realize that the minor pentatonic is its relative major pentatonic when started on its second note (the 2nd note being the minor 3rd is the root of the relative major pentatonic scale). The major pentatoni scale is actually the major 69 arpeggio. So for any ii V I, you start with major pentatonic on the b7 over ii, major pentatonic over natural 7 (tritone of V) on to major pentatonic over the I chord.
Thanks Richie! What I've been looking for.
This is a great breakdown of the solo - so helpful with the printed music underneath and your identification of the call and response and rest patterns. It's so amazing how Miles is such a genius with the absolute simplest of phrases! It's really uncanny how he does that. Thanks Richie!
Thanks Rick, Glad you enjoyed it!
As always, a great video from Ritchie!
One of the great things about using pentatonics in this way is that motifs are really easy to come up with due to their "box" shape.
Thanks Ritchie!
Absolutely! You can use many of your blues motifs and even throw in some string bends for a fusion vibe! Oops...the purists are going to hate me for saying that...😂
Very good, thanks!
EXACTLY what I need. I think You just unlocked for me huge part of what I love about Coltrane sound: "the unbleasly blues" I may call it. Huge thanks!
You're very welcome!😊
Fantastic teacher!
Thanks 😊
Great lesson, Ritchie! Thanks
This is exactly what I want to learn.
great content. Thanks.
I always play my favorite rock tune next to my typewriter too.
Love your stuff!
I was in the middle of practicing, and stumbled onto this video. Great stuff! It'll take awhile to assimilate, but you've got some very useful materials in here.
Thanks Sam!
Thanks, very interesting
This is so awesome!!! Thank you!
Glad you enjoyed it Jason!
That demo at 1:50 is smokin'!! That's what I want to sound like.
New to your channel but I love it. Is reading music mandatory to jazz? I’m new to the genre and have played a lot of other styles without reading music. We know where the notes are at on the neck
Thanks! Reading music is not a must in order to be an improviser. However, understanding theory is! So even if you can't sightread, both knowing the notes on the staff and learning how to read rhythms are crucial skills if you want to learn the theory properly. Reading and writing music are communication and learning resources without which you will be limited in the sophisticated world of jazz. As limiting as not knowing how to read and write in our world of spoken words.
@@RichieZellon how would u teach someone to read music like u would teach someone to read spoken words? What are the a,b,c's of reading music?
@@MAP448The abc's of reading music are the notes on the staff and the rhythms!
👍👍👍
Maj7#11?, Wow I just know this could work.
Maj9#11?
Yes! Why?
@@RichieZellon I was confused because you kept saying Maj7#11, and I kept hearing that 9 😄
What’s with the hat my dude?
Matches the guitar & shirt dude.😅
Yeah dude!
I don't get it, sorry