Thank you for explaining when in a 1-4-5 it makes sense to play which Pentatonic scale. I’ve played over 40 years and swapping to the minor over the four always sounded like a great time to switch. However, this video is the first time I’ve ever heard it so clearly explained. Clearly, we can go way beyond that simple playing strategy. But man, is that a great way to open the door. Great job! You’re the man!
When I think of mixing major and minor pentatonic, I just think of Mixolydian and I levy the freedom of using a flat 3rd, major 3rd or that yank between the two. Throw in the 6th to sweeten and of course the b7. Over the blues I just switch between 3 different Mixolydian scales.
That's a good approach. I think it's difficult for beginners to not just run scales, and thinking of major and minor helps them add bigger intervalic jumps that make things more interesting interesting/listenable, and eventually it just turns into mixo licks.
is it productive to think of those modified pentatonics in level 3 as mixolydian pentatonic (1-2-3-5-b7) and dorian pentatonic (1-b3-4-5-6)? or is that crazy talk
IMO, it's unfortunate that playing fingering exercises doesn't translate into improvisation. in fact, it inhibits it. it's great if you've already become proficient at improvisation and technique needs improvement, but otherwise it's a hinderance. (BTW this is not a criticism of this video under any circumstances). best to play the melody straight up and slowly and incrementally, add half steps at the appropriate moment here an there, then scaler approaches to notes that land on the beat and eventually add notes that imply chord substitutions, etc. experimentation and evaluation of results by one's ear is of primary importance. critical in fact. because if playing arpeggios and mentally understanding the underlying harmony would lead to acceptable improvisation, every member of every professional orchestra in America from cellists to concert masters, bassists to bassoonists, would be interviewed in Downbeat every other month. because believe you me, they know their arpeggios. :)
Tone for days!! Jack could be teaching how to boil water, and you know the pots and pans would ring like a bell!! What a gift!!!
Start a cooking channel! 🧑🍳
Jack always delivers… The best RUclips guitar instructor
Thank you for explaining when in a 1-4-5 it makes sense to play which Pentatonic scale. I’ve played over 40 years and swapping to the minor over the four always sounded like a great time to switch. However, this video is the first time I’ve ever heard it so clearly explained.
Clearly, we can go way beyond that simple playing strategy. But man, is that a great way to open the door.
Great job! You’re the man!
The phrasing and tones are just so good.
I always learn new things from your videos, adding the 6th to get the third of the fourth, nice!
Breaking it down into simple terms and staying creative…Gracias, Professor Ruch!
I know you love mellow jazz but you are one of my favorite players when things get funky and a little more upbeat
perfect feeling and perfect tone!
Very clear. Thanks from France
What a great lesson Jack !!!!
The best! Your explainions help so much! Thanks
Just brilliant teaching
Fantastic... great lesson!
You have such a lovely light touch with both hands .. I'm working on that!
Man oh man you've got great phrasing!
When I think of mixing major and minor pentatonic, I just think of Mixolydian and I levy the freedom of using a flat 3rd, major 3rd or that yank between the two. Throw in the 6th to sweeten and of course the b7. Over the blues I just switch between 3 different Mixolydian scales.
That's a good approach. I think it's difficult for beginners to not just run scales, and thinking of major and minor helps them add bigger intervalic jumps that make things more interesting interesting/listenable, and eventually it just turns into mixo licks.
Awesome as always Jack, thank you for sharing.
I love it Jack!
Thank you very much Jack!
What a fantastic video from my favorite youtuber have a wonderful day Jack ❤😊
Excellent material as a❤❤❤
Thanks!
4:15 just came back to watching Jack after a few months and I forgot how SAUCY he is 😫
very good, thank you
Very nice.
Genial como siempre, maestro!! saludos desde Argentina!!
4:14
amazing
@jackruch could you at some point do a video on some of the techniques you use, like pulloffs, slurs and slides?
You never said what you used over the 5 chord in the last example
is it productive to think of those modified pentatonics in level 3 as mixolydian pentatonic (1-2-3-5-b7) and dorian pentatonic (1-b3-4-5-6)? or is that crazy talk
I think this actually makes a lot of sense, I play a lot of modal-jam heavy styles and that’s a perfectly natural way for me to think about these
9:08 you said major third is that right?
Interesting, I can hear you breathe and are holding your breath, til the root.
IMO, it's unfortunate that playing fingering exercises doesn't translate into improvisation. in fact, it inhibits it. it's great if you've already become proficient at improvisation and technique needs improvement, but otherwise it's a hinderance. (BTW this is not a criticism of this video under any circumstances).
best to play the melody straight up and slowly and incrementally, add half steps at the appropriate moment here an there, then scaler approaches to notes that land on the beat and eventually add notes that imply chord substitutions, etc. experimentation and evaluation of results by one's ear is of primary importance. critical in fact.
because if playing arpeggios and mentally understanding the underlying harmony would lead to acceptable improvisation, every member of every professional orchestra in America from cellists to concert masters, bassists to bassoonists, would be interviewed in Downbeat every other month. because believe you me, they know their arpeggios. :)