@@SteveAllsworth Just found your channel. Great lessons and information presented in an easy to understand format. Maybe some lessons on playing rhythmically would be an idea for a lesson (single note lead lines as in this lesson, not rhythm guitar)
I havent felt this excited about learning something in so long. I cant wait to apply all this. I have been learning to play through changes after unknowingly superimposing the root pentatonic over the whole progression. But this has opened up so many doors on how different scales and modes could possibly be super imposed on each other. Thank you for this absolute gem of a video
Very useful stuff. Brings to mind the times I've tried to play along with a song without knowing its key. If you just start guessing and playing minor pentatonic runs, some of them will sound good even though you're not actually playing in the right key. You've just given me a systematic explanation of why that happens. Some of the substitutions included here I've never heard of, and I've been playing for quite a few years.
One of the best lessons ever on the internet. I've gone from rock and country to a jazz player in one lesson. Beyond awesome. Thank you sooo much Steve.
Now these are the kind of lessons that I like. For those of us that have some knowledge of scales these lessons are great “secret code breakers”. I don’t understand why you don’t have more subscribers. This is VERY useful stuff. THANK YOU!
Great pentatonic lesson. Even though i’m aware of all of this, your production, playing and delivery of the content is just brilliant. And you managed to do it all without talking about parent keys, how the pentatonics are derived, modal harmony etc. Useful if you like this stuff (I love it) but immediately useable and practical applications. Kudos to you!!! 👏👏👏
Absolutely one of THE BEST guitar lessons I've ever had the algorithm serve up to me! Not just all the new Pentatonic tricks, but a way to get a 2 5 1 solo under my fingers? outstanding! Thanks, Liked and subbed.
I think this is one of the finest, most insightful explanation/demonstrations I have seen in quite some time. Proof I suppose that math is indeed art. Again, brilliant work Steve. Cheers!
I was so taken by the glorious tone of this guitar that I didn't hear the first part of this lesson!! 😅SO thankful I subscribed, Steve. Great stuff for miles! Especially the "Tackling a ii-V-I with the minor pentatonic" part. Okay that was some insight I've always wanted to know about those really hip outside tones over the altered V. You are my hero!!! ♥
brilliant stuff, as always! I really like the content of your channel. I’m familiar with parts of this, but it really will take a while for me to work this in, so that it becomes second nature. Thanks a lot for your effort!
Thank you Steve! I've just discovered you on YT and I was super impressed on how clearly you explain complex music issues and how to go about them... I was a teacher myself (another subject, though) and I can recognize a good one straight away and, let me tell you, you're one one at the top!
Excellent post Steve. Just what I've been looking for. I was watching "Add Soul to Your Piano Chords by Changing One Note" which suggests reharmonising simple melodies by using the 7th of a Maj7add9 as the melody with the 3rd as the root. I've just done this with the intro to Oranges and Lemons and have been thinking hard about how to approach soloing over the changes. Pat Metheny is right that there is just something about pentatonics that the human ear loves. Many thanks!
@@SteveAllsworth Just a quick comment. When learning these types of sub scales and modes, the most challenging part about learning them is "when do I apply these?" Playing them against a static chord (or two) is fine for practice. But in a live situation, you typically have a bass player and another guitarist or keyboard player. If they don't understand the "feel" you want to convey, all this stuff tends to fall apart. I once wanted to try a lydian dominant jam with some friends (decent players btw), but the bass player played more mixolydian, bluesy stuff, and it clashed with what I wanted to play... esp that 4th that he played and the #4 that I played. Any suggestions?
@@frankgreco bass players always ruin it! 😂 Joking aside, the 4th should only be considered a passing tone so as long as your bassist doesn't stray from guide tones (1 3 7) and maybe 5ths you should be ok! Big keys extended chords can also kill it.... It can also work as a 'key centre' approach, so e g. Em pentatonic happily floats over all chords from C major etc...
Just came into my feed - and watched. Channel is new to me, but SUBBED immediately as this was excellent. One of the best theory tutorials for a newbie. Brilliant stuff!
@@SteveAllsworth The D minor examples are either straight D minor soloing or D dorian. Same with the Cmaj7, it's either c major scale or C Lydian. Yeah?
@@Franky-zc3xx I guess you could think of it like that - I tend to think of those option 2 examples as adding extra 'colour' notes which aren't present in the standard minor pent or major pent (but are from the natural minor/major scale as you mention). To my ears they do sound quite a bit different to straight minor or major scales however :)
This is great. A real eye-opener. Thank you so much. I have a query, though, about the text, relating to Option 3, please correct me if I'm wrong, but I read it as (9 11 5 13 1) In summary we'll have these choices: m7 Option 1 = starting on root (1 b3 4 5 b7) Option 2 = starting on 5th (5 b7 1 9 11) Option 3 = starting on major 2nd (9 11 5 b7 13) Only just discovered your channel. Wishing you all the best. So pleased to have subscribed
That's a typo! 😱 Well spotted - all corrected now. Fortunately it's fine in the video as I can't change that now 😂 So yes, option 3 is (9 11 5 13 1). Thanks for the feedback Peter - glad you're enjoying the channel!
This is effectively the best and easily explanation concerning the possibilities of use of alternate pentatonic that I found for years on the web. Thank's a lot !.. However the big problem for me being french ... the prononciation (accent) of the instructor is difficult although generally, my english proficiency is good enough ?.
Over a half diminished chord I play an altered blues scale (1, b3, 4, b5, b7). Over the V chord I play the exact same lick up a minor third. So, for example, over a D-7b5 I play D, F, G, Ab, C. Over a G7alt I move this up a minor third which gives me F, Ab, Bb, B, Eb. This gives me the b7, b9, #9, 3, and b13 over that dominant chord. The first chord doesn't have to be a half finished. This altered blues scale heightens the bluesy depth and sounds great even over a major 7 chord.
@@SteveAllsworth Quite possible to play this altered blues scale starting on the root of the chord and resolve to the major scale. Might be funky to use with the other 2 aforementioned applications. I do use this scale over the I chord sometimes, resolving to the major scale is key.
Steve amazing resource, thanks! So useful, pro quality and clear. A minor doubt, on the Dom7 Option 1 = start on major 6th (6 1 2 3 5 6), I think the notes are actually (6 1 2 4 5 6), meaning e.g. Bm penta over D7, has a G not a F#. Is my assumption correct? One more thing, what about, still DOm7, starting from the 4th (=Gm)? It gives you only sharp alteration, but less "too much of everything like a superlocrian" like using the one on the minor 3rd (=Fm)? Sorry to ask, was just experimenting while watching the video (which means you REALLY inspired me!).
Great questions, and glad to have inspired! Starting on the 6th is basically the same as playing the major pentatonic, Bm Pent is B D E F# A B (DMajP is D E F# A B D). You could indeed play from the 4th, and although it's less 'altered', for me it's not quite as strong as it doesn't hit the major 3rd (#9 in the altered pent) so you'd probably want to do the old blues trick of bending up out of the m3rd - hope that helps! 🙏🏼
Well technically you could play any minor pentatonic over any degree of any chord - it's just some will sound much better than others! Some will be really 'out there' - but give it a try!
Awsome video. Please. What is the kind of sound you use as a backing track ? Some kind of string / keys ? Can't find thoose kind of patch in my banks...
Great lesson, Steve! Question: when playing (for ex.) the Em pentatonic over Cmaj7, are you thinking Em or C? When playing any given scale, I try to always be aware of the root, third and fifth of that scale. But thinking of a different root, third and fifth than those of the scale one is playing seems like a somewhat of a cognitive challenge. How do you deal with it? Thanks.
@wonder6789 Thanks! I definitely think in relation to C here - the Em pent shape is just to get you 'in' quickly to a well-known shape, but I'd think of this as an extended C69 sound and try to be aware of the intervals related to C. Thinking of it purely as an Em scale with its own 1 b3 5 would make my brain hurt!! 🤯
Ufff yeah maybe a bit spicy! 😂 The maj6 tends to work better over a m7 for me, but technically yes, you're just adding the b6 note from natural minor - Ritchie Blackmore used to do this all the time!
Many thanks for this video. Regarding the use of the lydian pentatonic over a maj7 chord, it fits when the maj7 is the one created on the fourth degree of the major scale. For instance in C major I may use the E lydian pentatonic over Fmaj7. Is it right?
Thanks for the question Alessio - I think you mean Em pentatonic over Fmaj7 (this is a lydian sound, but the Lydian pentatonic is a different scale). Technically you can use this down a semitone trick on any maj7 chord, not just the IV as you say - but your example would sound great! Cheers 🎸
@@SteveAllsworth Yes I meant Em pentatonic over Fmaj7. Many thanks. Playing the minor pentatonic built on the 3rd degree of Maj7 chord is excellent advice, it sounds very very good, and reminds me some ideas from the super arpeggio of Larry Carlton. I really like your channel
I was studying this. Then you showed up. And I have to say..I like that you are a feeling jazz man! Which is what I want!! Cause I listened to other concepts and I was about to say fuck this jazz shit!! Sounding flat and dead.. While I am a soul musician
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
Easily the best explanation of pentatonics I’ve seen online. You are a gifted instructor!
Thanks Michael! 🙌🏼🙏🏼🎸
I agree. Great simple and clear video!
true
Hey Steve, your feel for time is awesome and you just groove! 🤘🤘🤘
Woowee! Many thanks Tobi - very generous! 🎸🤘🏻🤘🏻🤘🏻🎸
@@SteveAllsworth Just found your channel. Great lessons and information presented in an easy to understand format. Maybe some lessons on playing rhythmically would be an idea for a lesson (single note lead lines as in this lesson, not rhythm guitar)
@@peterkelly8357 thanks a lot - yeah I've been mulling this over for a while, I'm sure I'll do something on it in future!
I havent felt this excited about learning something in so long. I cant wait to apply all this. I have been learning to play through changes after unknowingly superimposing the root pentatonic over the whole progression. But this has opened up so many doors on how different scales and modes could possibly be super imposed on each other. Thank you for this absolute gem of a video
That's genuinely brilliant to hear Hisham! Really glad to have inspired you 🙌🏼
You are the coolest! So relaxed in your comprehensive teaching which makes it effortless to learn! 🙏
Wow, thank you Gerard! 💪🏼🎸
Absolute gold! In nearly 40 years of playing guitar, I've never seen pentatonics explained better. Thanks Steve!
Wow, thanks! 🙌🏼🎸🙏🏼
分かりやすい、いいね
Glad you liked it! Cheers 🎸
Very useful stuff. Brings to mind the times I've tried to play along with a song without knowing its key. If you just start guessing and playing minor pentatonic runs, some of them will sound good even though you're not actually playing in the right key. You've just given me a systematic explanation of why that happens. Some of the substitutions included here I've never heard of, and I've been playing for quite a few years.
Fantastic - great to hear it's given some help and new info! 🙌🏼
One of the best lessons ever on the internet. I've gone from rock and country to a jazz player in one lesson. Beyond awesome. Thank you sooo much Steve.
Thanks so much @shane3261 - so glad you got a lot from the lesson! 🎸
And the scales fell from my eyes. Very nice lesson Steve
Thanks Tim! 🙌🏼
Now these are the kind of lessons that I like. For those of us that have some knowledge of scales these lessons are great “secret code breakers”. I don’t understand why you don’t have more subscribers. This is VERY useful stuff. THANK YOU!
Glad it was helpful - I'm working on it! 💪🏼 Cheers!
To me this lesson is gold just to be able to hear the relationships in sound thank you very much
That's fantastic Thomas - really glad you got a lot from it! 🙌🏼
That was GREAT!
Thanks David! 🙌🏼🙏🏼🎸
Mind expanding lesson Steve! Thanks for sharing it so clearly. 🤯
Glad you enjoyed it! 🙌🏼🎸
Thanks!
Woohoo thanks!! 🙏🏼🙏🏼🙏🏼
Damn That’s some amazing practical theory. And it sounds cool over the Latin Groove
Thanks a lot! 🙌🏼🎸
a new sound of the pentatonic to my ears
Jazzy .
Hope you enjoy! Cheers 🎸
This lesson just blew my mind! 😵💫. In a very good way!
Yes Richy!! Always glad to blow a few brain cells!! 🤯
Great pentatonic lesson. Even though i’m aware of all of this, your production, playing and delivery of the content is just brilliant. And you managed to do it all without talking about parent keys, how the pentatonics are derived, modal harmony etc. Useful if you like this stuff (I love it) but immediately useable and practical applications. Kudos to you!!! 👏👏👏
Thanks very much Andrew! Yeah I'm very mindful that it's easy to get lost in the theory 😅 Appreciate the comment 🙏🏼🙏🏼
Great video! Those pentatonics are definitely an amazing tool to create phrases in a modal jazz context!
Thanks! Yeah they're very versatile! 💪🏻🎸
Really cool concept.
Cheers Tom! 👍🏼🙌🏼
Gifted musician and educator.
Many thanks 🙏🏼🙏🏼🙏🏼
Absolutely one of THE BEST guitar lessons I've ever had the algorithm serve up to me! Not just all the new Pentatonic tricks, but a way to get a 2 5 1 solo under my fingers? outstanding! Thanks, Liked and subbed.
@MindsEyeVisualGuitarMethods hey thanks so much - that means a lot, and welcome aboard!
This is the bomb
Obrigado
That’s great! 😁
I think this is one of the finest, most insightful explanation/demonstrations I have seen in quite some time. Proof I suppose that math is indeed art. Again, brilliant work Steve. Cheers!
Thanks Alan - very kind words 😅🙌🏼
Totally agree with you Alan. This is a fantastic insight, indeed!!
I was so taken by the glorious tone of this guitar that I didn't hear the first part of this lesson!! 😅SO thankful I subscribed, Steve. Great stuff for miles! Especially the "Tackling a ii-V-I with the minor pentatonic" part. Okay that was some insight I've always wanted to know about those really hip outside tones over the altered V. You are my hero!!! ♥
Fantastic stuff - very glad to have helped (even if the intro was a bit distracting) 😅😅
Steve - ive been playing for many years and havent seen this presented so clearly and usefully. Good job Sir, keep up the good work! 👍😁🎸Jim
Many thanks Jim! Glad you enjoyed it 🎸🙌🏼
Great creative lesson!
Thank you! 😃
brilliant stuff, as always! I really like the content of your channel. I’m familiar with parts of this, but it really will take a while for me to work this in, so that it becomes second nature. Thanks a lot for your effort!
Cheers Cal! 🙏🏼
This opens up ALOT of doors and is making me think of even more ways to try. Thank you
Cheers Monty - glad it was helpful!
WoW ! A lot to digest ! Thanks
I know - I tried to keep it small - honest! 😅😅
Brilliant, I feel like this has completely given me a new perspective on the guitar. Thank you so much Steve. Bloody star
@chrisrobertmellors5566 that's so frikkin' awesome Chris! Glad to have helped!
I really found this quite enjoyable AND informative. Thank you very much!
Awesome! Glad it was helpful! 🎸
this is absolutely mind blowing, I've been looking for this kind of sound, love it...
That's fantastic - glad to have opened it up! 🙌🏼
I've studied these concepts before, but not in context of progressions. Great lesson, thank you! 👍👍👍
You're very welcome! 🙌🏼
This is excellent. Just shared this to my private fb guitar group. Fantastic presentation
@JimmyGallowayGuitar glad you enjoyed it - thanks so much for the support! 🙌🏼
Wow! That's a terrific load of concepts which I've used to good effect straight away 🤩🤩🤩
That's fantastic David - great to hear!
Thank you Steve! I've just discovered you on YT and I was super impressed on how clearly you explain complex music issues and how to go about them... I was a teacher myself (another subject, though) and I can recognize a good one straight away and, let me tell you, you're one one at the top!
Hey thanks Mario - that means a lot 😊
Ace, some lovely examples. I think I asked for this video in a comment somewhere else so thanks, great service! 😅
Thanks - I aim to please! 😂💪🏻
You are such a good teacher!
@debjeetbasu7116 thanks for the kind words! 🙏🏼
Obvious and simple topic, but very cool and precise explanation. Precious examples. Best wishes!
Many thanks! 🙌🏼🎸
Brilliant video Steve!
Feel like I’m back in your classroom!
🤘🏻🙌🏻🎸
Yes Nathan! Glad you like it! Though far less swearing I'm sure 😂😂😂
@@SteveAllsworth The only part I was missing!🤣🤣
@@nathancannonmusic19 I might do a special membership tier for that 😂
Opens up a lot! Thanks and your tone is killer with that 335!
Thank you kindly! 🎸🙏🏼
Excellent post Steve. Just what I've been looking for. I was watching "Add Soul to Your Piano Chords by Changing One Note" which suggests reharmonising simple melodies by using the 7th of a Maj7add9 as the melody with the 3rd as the root. I've just done this with the intro to Oranges and Lemons and have been thinking hard about how to approach soloing over the changes. Pat Metheny is right that there is just something about pentatonics that the human ear loves. Many thanks!
Great observation - thanks for watching and taking the time to comment! 🎸
Great vid Steve! Great explanation.
Cheers Frank! 🙌🏼🙌🏼🎸
@@SteveAllsworth Just a quick comment. When learning these types of sub scales and modes, the most challenging part about learning them is "when do I apply these?" Playing them against a static chord (or two) is fine for practice. But in a live situation, you typically have a bass player and another guitarist or keyboard player. If they don't understand the "feel" you want to convey, all this stuff tends to fall apart. I once wanted to try a lydian dominant jam with some friends (decent players btw), but the bass player played more mixolydian, bluesy stuff, and it clashed with what I wanted to play... esp that 4th that he played and the #4 that I played. Any suggestions?
@@frankgreco bass players always ruin it! 😂 Joking aside, the 4th should only be considered a passing tone so as long as your bassist doesn't stray from guide tones (1 3 7) and maybe 5ths you should be ok! Big keys extended chords can also kill it.... It can also work as a 'key centre' approach, so e g. Em pentatonic happily floats over all chords from C major etc...
great lesson here! 🔥
Thanks! 🙌🏼
Great job Steve. Thanks for sharing
You bet! 🙌🏼🙌🏼
Just came into my feed - and watched. Channel is new to me, but SUBBED immediately as this was excellent. One of the best theory tutorials for a newbie. Brilliant stuff!
Cheers Nigel - welcome aboard! 🎸🙌🏼
Amazing, I've heard some of these concepts, but how to understand them, never!! Thanks so much, looking forward to more!!
Love it! Glad to have helped! 💪🏻
That lesson was fantastic. Thank you!
Glad you liked it - cheers! 🙌🏼🎸
@@SteveAllsworth The D minor examples are either straight D minor soloing or D dorian. Same with the Cmaj7, it's either c major scale or C Lydian. Yeah?
@@Franky-zc3xx I guess you could think of it like that - I tend to think of those option 2 examples as adding extra 'colour' notes which aren't present in the standard minor pent or major pent (but are from the natural minor/major scale as you mention). To my ears they do sound quite a bit different to straight minor or major scales however :)
Very interesting. This makes a lot of sense. Thanks
Glad it was helpful!
Wonderful video, your content is just awesome 👍🎸 best to you!!
Thank you very much! 🙌🏼🎸🙏🏼
Best lesson ever nice n easy to digest thank you
You're very welcome Tom!
Great super useful lesson
Thank you! 😃
Very cool ideas sounds really good
@ngeljayvier thanks - glad you enjoyed the vid! 🎸
I think Scott Henderson uses a lot of these tricks.
That box is full of tricks 📦
Great lesson.
Totally! Thanks for the kind words 😄
@@SteveAllsworth just noticed you have a video about Scott Henderson haha
Awesome!perfect teaching, you rock
Thank you! 😃
Super erklärt. Danke.
Pleasure! 🎸🙏🏼
Beautiful! Thank you.
Cheers Michael! 🙏🏼
Great lesson!
Thanks! 😃🎸🙌🏼
Excellent stuff as always!
Thank you! 🙏🏼🎸🎸
Way cool Steve!
Thanks Tom! 🙌🏼🙏🏼🎸
Super cool!! i also enjoyed your vdo of how to play like Scott Henderson
That's great - glad you enjoyed them! 🙌🏼
very very nice video man
Thanks very much! 🎸🙏🏼
Thank you!
You're welcome!
I'd like to see more discussion about the plectrum technique being used. Is there another video that discusses this?
I haven't done one - at least not yet...
Very nice❤
Thanks! 🙏🏼
This is great. A real eye-opener. Thank you so much. I have a query, though, about the text, relating to Option 3, please correct me if I'm wrong, but I read it as (9 11 5 13 1)
In summary we'll have these choices:
m7 Option 1 = starting on root (1 b3 4 5 b7)
Option 2 = starting on 5th (5 b7 1 9 11)
Option 3 = starting on major 2nd (9 11 5 b7 13)
Only just discovered your channel. Wishing you all the best. So pleased to have subscribed
That's a typo! 😱 Well spotted - all corrected now. Fortunately it's fine in the video as I can't change that now 😂 So yes, option 3 is (9 11 5 13 1). Thanks for the feedback Peter - glad you're enjoying the channel!
Loving your stuff Steve, can you possibly rock it up a bit in a fusion style?
Cheers Joshua - you're right, there's a distinct lack of distortion on my channel! It's in the pipeline! 🎸🤘🏻
wow. really great! thank you!!
You're very welcome Tim! 🎸
Very Nice! Thank You!
Welcome! 🙏🏼
🎯💯🎯University-level Video Content.🎯💯🎯
Cheers Ernie! 🏆
Good stuff!
Thanks! 🙏🏼
What a brilliant video.
Do you have a book available on your concepts?
Thank you - I'm working on it!
Ive seen Frank Gambale teach this but this is even better.
High praise indeed! Thanks 🙌🏼
This is effectively the best and easily explanation concerning the possibilities of use of alternate pentatonic that I found for years on the web. Thank's a lot !..
However the big problem for me being french ... the prononciation (accent) of the instructor is difficult although generally, my english proficiency is good enough ?.
Thank you Sam, much appreciated! I thought my pronunciation was good 🤣 Oh well, I hope the captions help! 🎸
Over a half diminished chord I play an altered blues scale (1, b3, 4, b5, b7). Over the V chord I play the exact same lick up a minor third.
So, for example, over a D-7b5 I play D, F, G, Ab, C. Over a G7alt I move this up a minor third which gives me F, Ab, Bb, B, Eb. This gives me the b7, b9, #9, 3, and b13 over that dominant chord.
The first chord doesn't have to be a half finished. This altered blues scale heightens the bluesy depth and sounds great even over a major 7 chord.
Nice! Doesn't the b7 sound a bit funky over the M7 chord? I'm def with you on the other two 🎸
@@SteveAllsworth Quite possible to play this altered blues scale starting on the root of the chord and resolve to the major scale. Might be funky to use with the other 2 aforementioned applications. I do use this scale over the I chord sometimes, resolving to the major scale is key.
Ah yes that makes sense - even Clapton used to use a Maj 7 interval in a minor blues, so anything is possible if it resolves properly!
Steve amazing resource, thanks! So useful, pro quality and clear. A minor doubt, on the
Dom7 Option 1 = start on major 6th (6 1 2 3 5 6), I think the notes are actually (6 1 2 4 5 6), meaning e.g. Bm penta over D7, has a G not a F#. Is my assumption correct?
One more thing, what about, still DOm7, starting from the 4th (=Gm)? It gives you only sharp alteration, but less "too much of everything like a superlocrian" like using the one on the minor 3rd (=Fm)? Sorry to ask, was just experimenting while watching the video (which means you REALLY inspired me!).
Great questions, and glad to have inspired! Starting on the 6th is basically the same as playing the major pentatonic, Bm Pent is B D E F# A B (DMajP is D E F# A B D). You could indeed play from the 4th, and although it's less 'altered', for me it's not quite as strong as it doesn't hit the major 3rd (#9 in the altered pent) so you'd probably want to do the old blues trick of bending up out of the m3rd - hope that helps! 🙏🏼
nice job , i learned all this 20 years ago and nothing is ever under my fingers i play the same as I did when I was 19 and im 64
Thanks Rick - I hope some of this is sticking! I'm planning on a 'how to practice' video at some point which might help. All the best
Great explanation! I was just wondering what would happen if I were to superimpose on chord degrees I’m not supposed to to?
Well technically you could play any minor pentatonic over any degree of any chord - it's just some will sound much better than others! Some will be really 'out there' - but give it a try!
Awsome video. Please. What is the kind of sound you use as a backing track ? Some kind of string / keys ? Can't find thoose kind of patch in my banks...
Cosmic Strings (ES2) 🙌🏼
@@SteveAllsworth Thank you ! :)
suuuper,thank you very much......uffff....
Welcome 😊
Great lesson, Steve! Question: when playing (for ex.) the Em pentatonic over Cmaj7, are you thinking Em or C? When playing any given scale, I try to always be aware of the root, third and fifth of that scale. But thinking of a different root, third and fifth than those of the scale one is playing seems like a somewhat of a cognitive challenge. How do you deal with it? Thanks.
@wonder6789 Thanks! I definitely think in relation to C here - the Em pent shape is just to get you 'in' quickly to a well-known shape, but I'd think of this as an extended C69 sound and try to be aware of the intervals related to C. Thinking of it purely as an Em scale with its own 1 b3 5 would make my brain hurt!! 🤯
@@SteveAllsworth Many thanks!
What about playing the minor pentatonic off the 4th for a min7 type chord? It introduces a 6b... Too spicy?
Ufff yeah maybe a bit spicy! 😂 The maj6 tends to work better over a m7 for me, but technically yes, you're just adding the b6 note from natural minor - Ritchie Blackmore used to do this all the time!
Many thanks for this video. Regarding the use of the lydian pentatonic over a maj7 chord, it fits when the maj7 is the one created on the fourth degree of the major scale. For instance in C major I may use the E lydian pentatonic over Fmaj7. Is it right?
Thanks for the question Alessio - I think you mean Em pentatonic over Fmaj7 (this is a lydian sound, but the Lydian pentatonic is a different scale). Technically you can use this down a semitone trick on any maj7 chord, not just the IV as you say - but your example would sound great! Cheers 🎸
@@SteveAllsworth Yes I meant Em pentatonic over Fmaj7. Many thanks. Playing the minor pentatonic built on the 3rd degree of Maj7 chord is excellent advice, it sounds very very good, and reminds me some ideas from the super arpeggio of Larry Carlton. I really like your channel
@@alessiograziani6355 yeah that's a good one for sure! Thanks - big Larry fan here 🎸🙌🏼
you're quite the musician as well...
Thanks again 😊
👋👍👌
🙌🏼🙏🏼🎸
.... 👌👌👌
🙏🏼🙏🏼🙏🏼
Hip!!!
Cheers! 🙌🏼
I was studying this. Then you showed up. And I have to say..I like that you are a feeling jazz man! Which is what I want!! Cause I listened to other concepts and I was about to say fuck this jazz shit!! Sounding flat and dead.. While I am a soul musician
No worries, glad you enjoyed it my friend 🙏🏼🎸
That kids is how you make 'elevator music'.
🤔
Thanks!
Welcome! 🙏🏼
Thanks!
Amazing - cheers Matthias! 🙏🏼🙏🏼🙏🏼