As soon as Cmaj7 to Dbmaj7 was played I heard the intro to Bowie's 'Changes', and the Ebmaj7 on the piano is a dead ringer for the beginning of Smokey and the Miracles' "More Love".
We can also use the minor pentatonic starting from the 7th. For example, in Cmaj7 it would be B minor pentatonic (D major pentatonic) and we would get a cool sound. Cmaj7 -> B - D - E - F# - A Cmaj7 -> B (M7) - D (9th) - E(M3rd) - F#(#11) - A(13th)
The fun thing about this is that the minor pentatonic you're using is one fifth away from the usual. (Em pent instead of Am pent on Cmaj7). It's a step in the bright-wards direction on the circle of fifths. If you go the other way (Dm pentatonic on Cmaj7) you get the 9, nat 11 (spicy for a major chord), fifth, sixth, and root. If you go one brighter from Em pent you get B pent which is the maj7th, 9th, 3rd, #11, and 13th/sixth which gives a lydian sound that I'm a big fan of! You can keep going one more to get some Jacob Collier esque superlydian sounds F#m pent over Cmaj7 gives you the #11, 13th, maj7th, #15th! and 3rd. Extra spicy but still sounds inside to me (especially if you're in a higher register). Cheers as usual for the video.
I love your videos. As a guitarist Ive always been blown away by jazz saxophonist shredders. Seeing those shapes and lines analyzed and with sheet music is soooo helpful in translating into my own practice/playing. Thanks for spreading the gnar🤘
Been playing guitars and keyboards for personal enjoyment about sixty years now. This video makes certain relationships that I had semi-grasped into a much more explicit and usable form. Thanks.
By playing the mediant minor pentatonic scale over the tonic root, you are essentially building a fifth chord structure which is the basis for Pythagorean tuning (I think?). In any event, stacking perfect fifths produces richly resonating harmony that is a departure from the mundane tertiary harmony upon which the major and minor triad is built. So, starting with root C and progressing a perfect fifth upward we arrive at G, then D, then A then E, then B. And lo and behold we have the Eminor pentatonic, which is also the G major pentatonic. If you continued stacking another 5th from B, you arrive at F#, the augmented 4th degree in C which sounds very beautiful and exotic. If you stop there, you end up with the G major scale, which shares all the notes in C, save one, the F#. Stack another 5th from F# and you get C#. Although a seemingly harsh dissonance with the tonic root, the wide separation and the upper register of its position actually make it quite workable. A Thelonius Monk would gladly take that C# and plunk it down in the middle register and play it loud and proud on strong beats.It also works well as a leading or passing tone. Going up further to G# and D# and you’ve begun flirting with the imposition of minor tonality on top of what has been major tonality which is something Stravinsky liked to do.
Ian Sutherlin - Definitely up my alley. Thank you for mentioning George and the Lydian Chromatic Concept for Tonal Organization. I had to read the Wikipedia article to find out he was among the inner circle of Jazz luminaries in the mid to late 1950’s which is probably my favorite period. I’m looking forward to reading his treatise.
Such good music theory all packed into a short clip. These breakdowns explain the foundation of so many jazz improvisational techniques I've heard over the years
This master class has changed my life! I bought the combo and I’ve been doing the exercises. The MP3s backing tracks are like a meditation. I can practice for hours. Nick you’re the best.
Beautiful information that in my case goes way beyond useful.I'm a guitarist and can sight read tab,and use notation only for the rhythm,so my real hack will be to eventually forget the Damned tablature even though it is great for positions even when you start going beyond amateur. I have this habit of playing blue notes in my pentatonic scales so with some of these examples I will have to look out and sometimes drop this habit making them "avoid" notes rather than blue. Thank you very much for this orecious information.
How can someone dislike this ??? What's wrong with the people ??? I'm guitarist and this is by far the best YT channel I've come across !!! Keep up the good work Jazz Duets \m/
@@JBrooksNYS i think it´s not fair with that guy who studied several years to present us with this amazing video. this is not easy listening music, so if it is so hard to you understand, i suggest you start to study musical theory in order to realize how beautiful it is. this guy don´t deserve dislikes at all.
Discussing sublime ideas with some people is like playing chess with a pigeon. It doesn't matter how good a player you are; the pigeon will knock over the pieces, take a dump on the board, and strut around like it already won the game.
The organization and presentation of this complex material is the best I've seen. Its so good that I was compelled to buy your products in order to support your great work!
Awesome content! You can also start on the 7th of a major7 chord with the minor pentatonic, giving you the 7th, 2nd, 3rd, #4, and 6th. This gives a lydian feel, due to the #4 :)
That's something I've done for a while, seeing it suggested in a book a long time ago. It's great to have the options available. I like starting a minor pentatonic off the b7 of a dominant chord which I got from the same book, you get the flat 9 and a sharp 5 so I guess it's an altered dominant.
Dear Nick, I bought a PDF (cantaloupe Island) a few days ago and am very satisfied with the content and having a lot fun with the exercises. I think the odd note Groupings are especially nice and I would be really interested in a video about the rich rhythmic varieties one can do with them and how to practice these rhythms!! Thank you so far for your Content Jack
I always thought of it by using the pentatonic a fifth up from the major 7 chord. Like fmaj 7 with a c major pentatonic. Makes it easy to grab it quick
Wow! Delicious stuff! I have always been a fan of your videos and work. Finally today, I purchased the Pentatonic bundle. I even got a discount. I cannot explain how excited I feel. I just can't thank you enough. This is very valuable to me. Thank you!
Or you can just think up a 5th, play the Major Pentatonic of that note & come up with the same Sounds. That is, over a C Major 7th, I would think up a 5th to G & play a G Major Pentatonic (knowing that it is also an E Relative Minor Pentatonic) resulting in what I call a "Major Lydian Pentatonic" sound (w/ a "raised" 4th in it). Since a Minor Pentatonic based on the third of a Major 7th chord is also a Relative Major Pentatonic (i.e. E Minor Pentatonic = G Relative Major Pentatonic), either approach is correct. However, if you Specifically wish to start your Scale Run on the 3rd of the Major 7th chord, then the above approach would seem the most desirable. Nice video - beautiful Sounds. TYVM
I've been playing around with arpeggios and multiple scales. They sound great. This video underlined, that playing music doesn't have to be all that complicated. Just as long as you know what you're doing.
Excellent video! Superimposing pentatonics, triad pairs, and arpeggios are some of my favorite things to do and topics in general. One of my favorite sounds is playing a minor7b5 arpeggio over a different chord. So for a I-IV-V in D major, for example, on the IV chord (Gmaj.), I'll play Emi7b5, and on the V chord (Amaj.) I'll play Gmi7b5. Thank you for sharing your knowledge with us. Cheers!
Nick.... I love the tone and mood of this sound. I downloaded these exercises late last year and appreciate the free updates you provide. So simple to remember this. Start on the 3rd of the major chord and play the minor pentatonic. Great improvisational opportunities with this. Thanks for the exceptional way you present the material.
Man, I just figured out this "hack" some months ago... it's incrdible how it works in my guitarclasses, my students became much more musical than never! Once again: Congratulations and thanks for your channel, dude!
Hello and thank you for this powerfull exercise. I'm a litle bit confused @ 3:13 to 3:14 and the notation. did you miss to put a flat on A and E or my reading is wrong since I'm not very good at it? thank you
Instead of playing the minor pentatonic of the third, It would make more sense to explain it as the major pentatonic scale a 5th up. I say this because it also draws connections to neighboring 5ths in the circle of 5ths, and their relationships with each other.
Love this and bought your PDF. Just wondering do you have any advices on how to practice these on piano i.e. hand position/fingerings? I notice a lot of broken 4th patterns and I struggle to unbreak my own inbuilt patterns :D. Much appreciated!
![Quando Rondo - Life Goes On [Official Music Video]](http://i.ytimg.com/vi/eIf3fhMXAow/mqdefault.jpg)
Bass player here: astonishingly effective hack, thank you!
Andrea Franco Colombo same!
As soon as Cmaj7 to Dbmaj7 was played I heard the intro to Bowie's 'Changes', and the Ebmaj7 on the piano is a dead ringer for the beginning of Smokey and the Miracles' "More Love".
Tony Bates I heard changes too! lol
This is the exact musical concept that has intrigued me and had me itching to learn. And I love dodecahedrons so this was just over all pleasant.
We can also use the minor pentatonic starting from the 7th. For example, in Cmaj7 it would be B minor pentatonic (D major pentatonic) and we would get a cool sound.
Cmaj7 -> B - D - E - F# - A
Cmaj7 -> B (M7) - D (9th) - E(M3rd) - F#(#11) - A(13th)
yes, I am finishing this video right now. part 2 lydian
Thank you a lot! I've been looking for your explanation👏
The fun thing about this is that the minor pentatonic you're using is one fifth away from the usual. (Em pent instead of Am pent on Cmaj7).
It's a step in the bright-wards direction on the circle of fifths.
If you go the other way (Dm pentatonic on Cmaj7) you get the 9, nat 11 (spicy for a major chord), fifth, sixth, and root.
If you go one brighter from Em pent you get B pent which is the maj7th, 9th, 3rd, #11, and 13th/sixth which gives a lydian sound that I'm a big fan of!
You can keep going one more to get some Jacob Collier esque superlydian sounds
F#m pent over Cmaj7 gives you the #11, 13th, maj7th, #15th! and 3rd. Extra spicy but still sounds inside to me (especially if you're in a higher register).
Cheers as usual for the video.
legit this is the coolest YT comment I've ever seen. Thank you sir.
Luke, I have to ponder your awesome comment, but it reminds me of this NewJazz video:
ruclips.net/video/KiEoJjWlGMY/видео.html&
I just took a screenshot of your comment so I can study them later
@@xyzct Just watched that video. It's great!
Very useful comment, thanks!
I love your videos. As a guitarist Ive always been blown away by jazz saxophonist shredders. Seeing those shapes and lines analyzed and with sheet music is soooo helpful in translating into my own practice/playing. Thanks for spreading the gnar🤘
Something so simple, yet so complex in sound, still remains a calm sound.
Been playing guitars and keyboards for personal enjoyment about sixty years now. This video makes certain relationships that I had semi-grasped into a much more explicit and usable form. Thanks.
It could also be looked at as the Major Pentatonic starting on the 5th of the Maj7 Chord. (G Major Pentatonic over C Maj7}
Brilliant
Thinking about it as the dominant pentatonic is going to help a lot instead of a minor based on the third. Thank you!
@Sibiljazzpiano good point
But it's way easier to think of a minor pentatonic. At least it is on the guitar. Everyone knows a minor pentatonic
@@cochi256 major pentatonic is just the 2nd mode of minor pentatonic
By playing the mediant minor pentatonic scale over the tonic root, you are essentially building a fifth chord structure which is the basis for Pythagorean tuning (I think?). In any event, stacking perfect fifths produces richly resonating harmony that is a departure from the mundane tertiary harmony upon which the major and minor triad is built. So, starting with root C and progressing a perfect fifth upward we arrive at G, then D, then A then E, then B. And lo and behold we have the Eminor pentatonic, which is also the G major pentatonic. If you continued stacking another 5th from B, you arrive at F#, the augmented 4th degree in C which sounds very beautiful and exotic. If you stop there, you end up with the G major scale, which shares all the notes in C, save one, the F#. Stack another 5th from F# and you get C#. Although a seemingly harsh dissonance with the tonic root, the wide separation and the upper register of its position actually make it quite workable. A Thelonius Monk would gladly take that C# and plunk it down in the middle register and play it loud and proud on strong beats.It also works well as a leading or passing tone. Going up further to G# and D# and you’ve begun flirting with the imposition of minor tonality on top of what has been major tonality which is something Stravinsky liked to do.
robbes7rh wow !!!!! I love this !!!!
This is also similar to George Russell's lydian chromatic stuff.
Damn man you know your shit
r/iamverysmart
Ian Sutherlin - Definitely up my alley. Thank you for mentioning George and the Lydian Chromatic Concept for Tonal Organization. I had to read the Wikipedia article to find out he was among the inner circle of Jazz luminaries in the mid to late 1950’s which is probably my favorite period. I’m looking forward to reading his treatise.
Such good music theory all packed into a short clip. These breakdowns explain the foundation of so many jazz improvisational techniques I've heard over the years
This master class has changed my life! I bought the combo and I’ve been doing the exercises. The MP3s backing tracks are like a meditation. I can practice for hours. Nick you’re the best.
Beautiful information that in my case goes way beyond useful.I'm a guitarist and can sight read tab,and use notation only for the rhythm,so my real hack will be to eventually forget the Damned tablature even though it is great for positions even when you start going beyond amateur.
I have this habit of playing blue notes in my pentatonic scales so with some of these examples I will have to look out and sometimes drop this habit making them "avoid" notes rather than blue.
Thank you very much for this orecious information.
This is just the thing I needed to get started with more jazz composing as a classical musician. Thank you so so much
It's like when binky puts on the headphones and experiences the fractal
Andrew Santopietro 😐....what???
How can someone dislike this ??? What's wrong with the people ???
I'm guitarist and this is by far the best YT channel I've come across !!!
Keep up the good work Jazz Duets \m/
I agree, Ronald. What could be the reason to dislike. Truly an awesome video!
I'm not very good at theory and I couldn't understand it, so I disliked it.
@@JBrooksNYS i think it´s not fair with that guy who studied several years to present us with this amazing video. this is not easy listening music, so if it is so hard to you understand, i suggest you start to study musical theory in order to realize how beautiful it is. this guy don´t deserve dislikes at all.
@@3lc_1_0. I just dislike your comment
Discussing sublime ideas with some people is like playing chess with a pigeon. It doesn't matter how good a player you are; the pigeon will knock over the pieces, take a dump on the board, and strut around like it already won the game.
The organization and presentation of this complex material is the best I've seen. Its so good that I was compelled to buy your products in order to support your great work!
I just love your unique style of presentation and, of course, the content too.
Thanks so much for openly sharing your knowledge! It sounds like a good way to move away from standard chords and expand my sound palette!
I've seen this presented before but this explanation made WAY more sense. Thanks.
Thanks! I'm so excited to try this out in practice. Love the colour of that intro.
Awesome content! You can also start on the 7th of a major7 chord with the minor pentatonic, giving you the 7th, 2nd, 3rd, #4, and 6th. This gives a lydian feel, due to the #4 :)
That's something I've done for a while, seeing it suggested in a book a long time ago. It's great to have the options available. I like starting a minor pentatonic off the b7 of a dominant chord which I got from the same book, you get the flat 9 and a sharp 5 so I guess it's an altered dominant.
@@loulasher I'll have to try that out!
Dear Nick, I bought a PDF (cantaloupe Island) a few days ago and am very satisfied with the content and having a lot fun with the exercises. I think the odd note Groupings are especially nice and I would be really interested in a video about the rich rhythmic varieties one can do with them and how to practice these rhythms!!
Thank you so far for your Content
Jack
It was/is on the list! And now even more. Thanks
Thanks for this incredible lesson! Folks may also enjoy Rick Beato's "Multiple Pentatonics over chords"
I always thought of it by using the pentatonic a fifth up from the major 7 chord. Like fmaj 7 with a c major pentatonic. Makes it easy to grab it quick
Wow! Delicious stuff! I have always been a fan of your videos and work. Finally today, I purchased the Pentatonic bundle. I even got a discount. I cannot explain how excited I feel. I just can't thank you enough. This is very valuable to me. Thank you!
People who use "delicious" in contexts unrelated to food need to be exiled from society.
@@DiogenesNephew Ok Dio-genes Nep-hew. You do sound like an ex-pert
@@triclone123 I think something is wrong with your keyboard.
Or you can just think up a 5th, play the Major Pentatonic of that note & come up with the same Sounds. That is, over a C Major 7th, I would think up a 5th to G & play a G Major Pentatonic (knowing that it is also an E Relative Minor Pentatonic) resulting in what I call a "Major Lydian Pentatonic" sound (w/ a "raised" 4th in it). Since a Minor Pentatonic based on the third of a Major 7th chord is also a Relative Major Pentatonic (i.e. E Minor Pentatonic = G Relative Major Pentatonic), either approach is correct. However, if you Specifically wish to start your Scale Run on the 3rd of the Major 7th chord, then the above approach would seem the most desirable. Nice video - beautiful Sounds. TYVM
I've been playing around with arpeggios and multiple scales. They sound great. This video underlined, that playing music doesn't have to be all that complicated. Just as long as you know what you're doing.
and as long as you're having fun :^)
Man, your soprano tone is unreal
wow thanks, this will really help with my drumming
life changing.
third mode pentatonic as target chord is implied 1.
Highlights all the tension notes and leaves out the salad.
Love your tutorials and your books and PDFs.
Excellent video! Superimposing pentatonics, triad pairs, and arpeggios are some of my favorite things to do and topics in general. One of my favorite sounds is playing a minor7b5 arpeggio over a different chord. So for a I-IV-V in D major, for example, on the IV chord (Gmaj.), I'll play Emi7b5, and on the V chord (Amaj.) I'll play Gmi7b5.
Thank you for sharing your knowledge with us. Cheers!
Another fantastic and mind-opening lesson! Thanks, Jazz Duets!
Nick.... I love the tone and mood of this sound. I downloaded these exercises late last year and appreciate the free updates you provide. So simple to remember this. Start on the 3rd of the major chord and play the minor pentatonic. Great improvisational opportunities with this. Thanks for the exceptional way you present the material.
Thanks! Working on part 2 today!!!
Beautiful sounds. Thank you!
As a sax player, this is DOPE! I'm going to invest in these exercises.
the early intro licks is wonderful
Saw it and immediately subscribed and buy the pdf. Great video, dude!!
Great lesson thank you!
Great video! Thanks.
What a wonderful lesson and sound...! Thank You!
Interesting. This will definitely help me imagine more when i practice.
this has pure eargasmpotential thank you so much I even had the hair in my back rising
This channel is simply awesome!
Thanks Nick for yet another great video presentation. So well presented, and compelling viewing.
Wow! Such jazz bliss from such simple ideas!! I'm in lurve!!😍🤝
This is really helpful, thank you! Well explained and visualized.
Nice exercise!!!! thank you!
Beautiful! Extremely helpful! Mega thanks.
This really opens up many possibilities of pentatonic scale! Thanks!
This is so brilliant! Inspiring as always.
More brilliant content, Nick! Love how you tie the music theory to the SOUND! #ForwardMotion ♥
That’s a really useful lesson thanks for the effort you put in👍
Just love the amazing condiment metaphor, will have great use of it ^^
Another great video! Thanks.
Wow! Great lesson
Love these lessons
This sounds so beautiful 😍
very well explained, sounds great.
Great tip. Thank you very much
awesome video man!! thank you so much for your constatly great content!
Great lesson...wonderful!!!!
what a beautiful sound
I LOVE THESE HARMONIES, CHROMATICISMS AND SCALES!!!! 😁😁😁😁😁😁😁😁😁😁👍👍👍👍
Amazing work! Loved it
Amazing video!! Thank you!!!!
I wish you have guitar taps for all your lessons.We guitarist could learn a lot from your lessons.
Super interesting, thanks for the video!
Awesome video. Love the hack
Man, I just figured out this "hack" some months ago... it's incrdible how it works in my guitarclasses, my students became much more musical than never! Once again: Congratulations and thanks for your channel, dude!
VERY NICE.
As always thank you
amazing channel.
@Jazz Duets How do you make simple backing tracks with strings holding the chord? It sounds so pleasing to do these exercises on.
❤❤❤love it mucho!!
Thanks, useful!
Hello and thank you for this powerfull exercise. I'm a litle bit confused @ 3:13 to 3:14 and the notation. did you miss to put a flat on A and E or my reading is wrong since I'm not very good at it? thank you
Amazing!
Thanks for showing the degrees!
Bravo, thanks man!! Really cool!! Muy buen trabajo
I do this the other way round. e.g play a CMaj7 arpeggio over an Em chord which gives you a b6. Also a GMaj7 arp which gives you Em9.
yes, and A7 , C#-7b5 as well F#7 for a Satie Sound, the possibilities are limitless.....
I use A7, C#m7b5, Em and GMaj7 arps over an A dominant chord for sure
@@stevepovey2489 over E minor
I'll try that. I guess they are all diatonic to the E Dorian scale. Thanks for your great work btw
@@stevepovey2489 the satie one is not
Magnificent!!! 👏👏👏👏
Instead of playing the minor pentatonic of the third, It would make more sense to explain it as the major pentatonic scale a 5th up. I say this because it also draws connections to neighboring 5ths in the circle of 5ths, and their relationships with each other.
Excelente!. Saludos mr. Nick!.
Really enjoyed that...
Cool lesson.😎
Absolutely phantastic❤
Very good, as always...
That was a VERY pretty sound
Dude, you're awesome...
Thanks for opening a new door in play music. Not only it was informative but also the way you explained it was very easy to understand.
Great lesson thanks
Very interesting, thank you.
Awesome!!!
I really enjoy your channel. How are your superimposing your grafix on the video?
Dude this is sick
I would think of this more as the major pentatonic scale starting on the fifth
Me too ! Well said.
Hola Nick , como estás?
Tenés toda esta info en español ? Gracias !
Love this and bought your PDF. Just wondering do you have any advices on how to practice these on piano i.e. hand position/fingerings? I notice a lot of broken 4th patterns and I struggle to unbreak my own inbuilt patterns :D. Much appreciated!
I am starting work on a piano book for non pianists!