I studied this today. I understand it. I practiced it now I have to do it in all the keys and get my mind to get accustomed to it like if it's a simple C Major scale. I also started recording myself as I practice soloing and i'm sounding like I am learning the theory. My playing is coming along slowly but my solos are making sense and they have structure. Not like before when I was all over the place. Thank you so much Oliver always. Blessings to you.
I have studied theory most of my life and sometimes reach a plateau in learning where I lose direction and interest, but this has sparked my imagination in a new way. Thank you and keep up the fine work you are doing.
very cool sound! i love how techno!?! your ending composition sounded. with the spastic drums and the drastic changes i thought i was at a rave!! so exciting
You help me make sense of jazz chording and improv. No one's cleared it up for me quite the way your videos do. Thank you! This will greatly enhance my tool kit and confidence.
Oliver! Thank you so much! Personally, this is the best music on your channel. Love your teaching. Please keep making tutorial + jam videos like this. Thank you, thank you, thank you! Love from India :)
Can you please elaborate on how you create your horizontal scale runs? Watching the video, you switch keys and scales very fast and smoothly. Even though I know these three scales, playing them out side by side on the keyboard doesnt seem to gel very well; it sounds like three disconnected pentatonic scales when I do it. Not sure what I am missing here.
Outstanding value. Exceptionally well explained. Great logical build. Innovative but understandable way to get "that sound". Is there any "target note" thinking or structure going on regarding what notes to lead toward on certain beats? Like for example targeting chord tones on 1 &/or 3 in jazz, anything like that? Thanks man.
Hi and thanks a lot :) I do not "think" any target note when playing this song - if I do, then it is subconscious. When I rehearse I often just fool around with a certain sequence or pattern discarding the things I don't like and keeping the things I like - making the pattern sound good. So in that way I develop a certain way of playing unaware what exactly does it. I hope you can use this answer :) Kind regards Oliver
Great content as in all your lessons! I 'd like to ask if we could make changes in a way to still have all the notes in 3 pentatonics but have another "symmetric" structure than the recommended? Also more pentatonics/positions would mess it up (even if it was well structured)?
Yes indeed you can do that!!! For example in this lesson (not in the start but later on in the lesson) we order the pentatonics in fifths to play all the Church Modes (Major Modes): ruclips.net/video/61bI3dgdXMo/видео.html Best regards from Oliver
No 1 has ever breakdown jazz before ever like this.... jazz great!!!! Thank you bro. Oliver... I've been struggling with how to jazz up my gospel music for years.searching you tube etc... but you stunt me bro. Do you have some gospel stuff...?? Please help
Thanks :) I do not know so much about gospel - though I love Gospel Music :) Anyway, the next lesson will be about improvising on a 12 bar blues - maybe it will be useful to you - a couple of weeks and I will be done :) Best regards Oliver
Hi Thanks for showing us how to use pentatonic to create an improvisation. Could you please explain to us how we could use these grips to solo over chord changes???
Thanks. It would be great to learn how to apply these concepts to improvise over standards chord changes like Satin Doll. It would be great if you could create a lesson on improvisation over Satin Doll chord changes. Cheers
Truly Amazing Lessons and I Love the Pentatonic approach I’ve discovered thus far. It has totally changed the way I play and sound. Could you share in your lesson description the keyboard you use and the voice(s) you select in your songs? Thank you again for the amazing life changing lessons!
Hi and thank you so much. The sounds in this rather old lesson I made by combining two keyboard sounds. Unfortunately I don't have these very old keyboards anymore...
great lesson, thank you so much - did not see that info any where else so far.. very billy cobham-esque sound :) can one use this technique also do some degree in jazz standards? over 2-5-1s? if so, what root note could one pick for this? I will get to the piano later to see it in anyway..
+J. Charles Hi Charles and thanks a lot :) And very good and interesting question about the 2-5-1. I will try to give my comment on that in the weekend in a few days. I hope that's ok :)
+J. Charles Here is my comments to the 2-5-1 question. And thanks for your patience :) Lets look at the straight sequence Gm-Bm-Ebm pentatonic. The result from this sequence is the chromatic scale: all 12 notes are represented. It is clear that this sequence does not fit into any traditional harmonic structure or movement like the 2-5-1 in jazz standards. But you may benefit from the sequence anyway inside the 2-5-1 movement and use the sequence as a method of playing IN & OUT. If the 2-5-1 movement is Gm7-C7-Fmaj7 then the Gm-pentatonic from the sequence fits nicely all the way through the 2-5-1 movement. But if you dare, and you move your fingers to the Bm and Ebm pentatonic you are fare away from the harmonic material - you are playing OUT. When you have been there too long and everybody is holding there ears, you can then go back to the safe Gm-pentatonic. The advantage of playing OUT using an ordered sequence is that you are not just playing OUT to mess up - actually you are making another layer of structure (not harmonic) and with a little luck, the solo player can add some depth and originality to the sound-landscape. When the solo player is playing OUT the listener will here something well defined and autonomic (the ordered sequence) breaking free from the traditional harmonic 2-5-1 sound. Well this is only talk - it also have to work in practice :) But I think your question is very interesting! Cheers from Oliver Prehn
Really awesome, kind of has that miles davis sound to my inexperienced ears..... quick question, maybe I missed it, but why Bm and E flat pentatonic over the G?
Hi and thanks :) I make a structure: from Gmi penta I go up a Major third to Bmi penta and a Major third to Ebmi penta and then a Major third up to Gmi penta and we start all over again. This well ordered structure makes our sound - rather than a certain tonality as we are used to in traditional tonal music.
Man kan lave flere sjove ting med de skaler der hedder the modes of limited transposition og hans special akkorder fra klassik komponist Olivier Messiaen
Hi Johan. I really like your videos and guitar-play on RUclips... wow!!! I have checked out Olivier Messiaen. Really exiting reading about his modes and transpositions. Messiaen's theory is based on scales/modes. From the modes he forms the interval groups and symmetry. The theory in this lesson2 is more based on the very handgrips on the piano which movements in straight sequences forms the music and sound-landscape, without thinking on any particularly mode or scale. Thanks for bringing up this French composer. I was not aware of him before now :)
Oliver very important video, thank you very much. I want to take this opportunity to ask you if you can orient me on the recommended fingering for the first mode of the pentatonic scale of Db, F #, Bb, Ab? Thank you very much!
When improvising you can actually benefit from using the exact same piano fingering no matter the tonality, in this way you can easily repeat patterns and melodies different places on the keys. At 25min27sek in this video ruclips.net/video/61bI3dgdXMo/видео.htmlm27s we do the exercises 2.1 playing Fmi pentatonic to Cmi pentatonic to Gmi pentatonic. At 28min20sek we transpose the whole thing up with a half step and we use the exact same piano fingering.
Hi Oliver, Here we are. These days I took a step back, after the first lesson, I attacked the second lesson, I am having a lot of fun, but most importantly, improvisations make me easier. I use in my DAV the sounds of "Scarbee Vintage Keys" Library for "Kontakt 5" setting with "Scarbee Mark I" with the Preset "Dinner 4-2". And this sounds good for Bm penta - Ebm penta - Gm penta, it looks like those you used. But those for the second group are different. It looks like a distorted guitar. Can you tell me please what sounds you used ? Thank you Vittorio
I was using the sounds from an old Korg Keyboard, and that keyboard died last year, so we cant recreate the sounds from this video - sorry. The second group of pentatonic scales are by the way Cm-Em-Abm. The same as the first group Bm-Ebm-Gm, just transposed. The idea is that each pentatonic scale is spaced with a Major third. Regards Oliver
It’s plain to see using this technique you can play the mix of altered, iolian and aeolian scales without thinking bout it. That’s fantastic. But this example shows us only the bass accompaniment without minor or major tonality of G. Can we use it with the major or minor if it’s playing?
Well - This song is way beyond traditional Major/minor music!!! But anyway the bass actually plays in G minor. In the right hand solo we play both Major and minor. I think the technique shown in this lesson is mostly for playing modal and freestyle - we just go crazy without thinking too much about theory and tonalities... Best regards from Oliver
+James Robinson Hi James :) The sequence of the pentatonic tonalities (Gm-Bm-Ebm and Cm-Em-Abm) is suppose to give the music structure and logic - alone. Well, I don't know if I manage that - haha :) But that is the idea. So I'm not thinking of 'target notes' when playing this example. Actually I sometime circulate around the most dissonant notes derived from the pentatonic sequence - maybe because I'm trying to distance away from the traditional harmonic music. Cheers Oliver Prehn
NewJazz Thank you for your response! I'm a guitar player & I'm always looking for fresh ideas. I get the concept of playing a minor pentatonic a major 3rd up from the root of each pentatonic scale. I'm just trying to walk before I run. It's a great tutorial & a really cool way to play outside. You've definitely mastered it!
Thanks :) And great that you will try the technique on the guitar too :) Remember there is many other types of sequences in this world. For instance, try MINOR 3rd up from the root, this will give a completely other kind of sound - and so on. As you express it: "always looking for new ideas (or sounds)". Good luck with everything :) Cheers Oliver
NewJazz I'm going to try this with m7b5 arpeggios as the b5 is the only difference from a m7 arpeggio & the m7 arpeggio is basically a minor pentatonic without the perfect 4th.
+James Robinson YES, try that! I think I will try that too ;) No one says that it has to be pentatonic handgrips. The idea is to make a sequence using some notes - it could be the m7b5 notes, the pentatonic notes or any other notes. So you make a structure/system to play inside avoiding the traditional diatonic scales. There are millions of sound-landscapes to explore. Have fun :)
Hi, I also answered this question for you in the comments at another video, but here it comes again, just in case: There are no particular order to learn the scales, I think - but you could start up with the Dorian scale as in this video: ruclips.net/video/EJaG-rmHzB8/видео.html The Dorian scale is very uncomplicated and can be used in many contexts. Kind regards Oliver
Hi and thanks a lot 😊 Well, the music in this lesson is not minor/major music - so it doesn't matter. We got both the minor and the major step when improvising. Actually we have all 12 steps; the chromatic scale. So this is a "Non Diatonic" approach. But we do not hear the solo as a big mess because we have made structure and order to our sound by using pentatonic grips.
@@NewJazz Thanks, Maestro. Does the same approach apply with Major, Minor, Diminished and Augmented Chords, since it is 12 Tone, and covers all? Please correct me if I am wrong. Thanks again, Maestro Oliver.
Yes and no. Yes, because we cover all notes as you say, and anything is possible when playing Music. No, because it would not be a traditional solution when playing for example an old jazz standard if that's what you have in mind. Warm regards from Oliver
I have made this video about the church modes: ruclips.net/video/v5cw-WYNBgI/видео.html And here is a video about making the circle of church modes: ruclips.net/video/MJz9NFfWN-I/видео.html I hope these two videos will help you :) There are also other scales/modes than the church modes, but I have not yet made videos about those scales. But they will come...
Many times I just play the minor pentatonic scale or the blues scale in the bass. By the way, in this lesson we learn to play a simple walking bass over the 2-5-1 progression: ruclips.net/video/cvfN8tG1RwU/видео.html Best regards Oliver
Hook up with Jean Luc Ponty. He would really dig your music!!! His Electric Violin to your music??? Music Beyond...........................................................
Hi and thanks a lot :) I'm sorry but I don't give private lessons these days. I try to use all my efforts on the videos here on YT - so I hope you will stay tuned - more lessons will come (approximately every third week). Best regards Oliver
I studied this today. I understand it. I practiced it now I have to do it in all the keys and get my mind to get accustomed to it like if it's a simple C Major scale. I also started recording myself as I practice soloing and i'm sounding like I am learning the theory. My playing is coming along slowly but my solos are making sense and they have structure. Not like before when I was all over the place. Thank you so much Oliver always. Blessings to you.
Oh, my, if I had only seen something like this 30 years ago. Suddenly the music from the 70s/80s makes sense! Thank you!
This is the most important video on RUclips.
Martín Morales I totally agree, this was intense :) After a moment they were just enjoying the detox and I forgot that it was a tutorial.
This is by far the most informative video I have ever seen. This is likely the most important thing I’ve run across on jazz soloing!
Oliver is the best in tutorials
I have studied theory most of my life and sometimes reach a plateau in learning where I lose direction and interest, but this has sparked my imagination in a new way. Thank you and keep up the fine work you are doing.
very cool sound! i love how techno!?! your ending composition sounded. with the spastic drums and the drastic changes i thought i was at a rave!! so exciting
I like a lot the way he explain the things and the calm he passes with your hypnotizing voice
Great teacher!
Another great video and nice jam at the end.
Brilliant information!
A complex sound using a simple concept. Great vid!!! Thanks for sharing!!!
The Funky Notes are cool
Oliver, I'm trying to go thru all your tutorials. You are A M A Z I N G, you provide a lot of precious knowledge in the simples way. Thank you!
You help me make sense of jazz chording and improv. No one's cleared it up for me quite the way your videos do. Thank you! This will greatly enhance my tool kit and confidence.
Very cool sounds you are getting from that synth!
Thanks for sharing your knowledge dear Oliver !!!
Awesome, awesome lesson. And I love the song Chromatic Detox!
Oliver! Thank you so much! Personally, this is the best music on your channel. Love your teaching. Please keep making tutorial + jam videos like this. Thank you, thank you, thank you! Love from India :)
nice sharing thx Oliver :)
great lesson. I'm happy to donate. keep on the good work
Thank you so much. But you don’t have to donate anything. A really nice comment like yours is all the support I need :) Warm regards from Oliver
Great thx
Very intelligent & generous pedagogic system.
Another solid video. I love this stuff! Keep them coming!
Brilliant.The Best Discovery.So many may not know what they are missing .
Amazing connectivity.....great lesson.
Thanks so much,clear and straight to the point,i love the chromatic chaos part😂🙏
Very cool sound, Oliver. Thank you for these videos.
Thanks you very much. I love your style of teaching !
Wow Oliver that is simply awesome thankyou 👍❤😎👍👍👍
Thanks so much for sharing these lessons - it is refreshing and provide unique inside to the solo dilemma! so clearly explained!!
You are the Best teacher !
The channel I was looking to learn the chords and use the scales of uses. Thanks and people like you benefit us in this world of music
great teacher,thanks for share your talent
You are great teacher and Artist ,
Maravilloso sonido....gracias master
Wow! Great lesson. This sounds really cool.
Thanks Jason :) I'm really glad that you like the unique and kind of odd sound landscape :)
Just amazing. Love the explanation.
great lesson
You are an excellent musician and teacher. Your videos are very good. I greet you from Argentina. Thank you very much, and sorry for my poor English.
You write perfect English :) It's probably better than mine ;)
Fantastic explanation, subscribed! Thanks for effort!
Really interesting concept! Thank you.
Minha nossa! que riqueza de harmonia! Exelente 👏👏👏
I swear that's more than 88 keys! Your keyboard is huge!
lol :)
It's actually two keyboards. Bass and solo is recorded separately and then I glued the two recordings together :)
Thank you very much for sharing!
OMFG. Such a good lesson!!!
Can you please elaborate on how you create your horizontal scale runs? Watching the video, you switch keys and scales very fast and smoothly. Even though I know these three scales, playing them out side by side on the keyboard doesnt seem to gel very well; it sounds like three disconnected pentatonic scales when I do it. Not sure what I am missing here.
I really love the Over and Out (Vital Information) Jam towards the end. Always wondered what Tom Coster was doing.
great,just great
Halou.... is like count dracula. Explaing....jeje.... amazing....looking for this informationfor years ,thank you
Hi Oliver, you are a Grand Master, Tank you. Fron Caracas, Venezuela.
Genius, thanks
We can’t thank you enough!
fantastic
Great explanation. Able to gig along with the vid.
OMG..... Thank you.
Just wow Oliver Phren.
Great lesson! Giant Steps!
And great band you have: The Funk Perpetrators. I'm following your site on faceb. :)
Ah your just being nice lol love the lesson thx Frank
So amazingly explained!!
Great :) And good luck with your music :)
Great lesson Man thank you
Thanks - glad you can use the ideas :)
Thank you for this!
Thank u for this lesson😋😋
I luv these very helpful
Really helpful thanks
Very nicely done and interesting.
Thx Jake, DrDee and Chat Bass. I'm really glad you can find this nerdy lesson useful!!!
Incredible video
Another great lesson. Thank you.
Outstanding value. Exceptionally well explained. Great logical build. Innovative but understandable way to get "that sound".
Is there any "target note" thinking or structure going on regarding what notes to lead toward on certain beats? Like for example targeting chord tones on 1 &/or 3 in jazz, anything like that? Thanks man.
Hi and thanks a lot :) I do not "think" any target note when playing this song - if I do, then it is subconscious. When I rehearse I often just fool around with a certain sequence or pattern discarding the things I don't like and keeping the things I like - making the pattern sound good. So in that way I develop a certain way of playing unaware what exactly does it. I hope you can use this answer :) Kind regards Oliver
Thank you very much. I great you form VietNam.Thanks.
Great content as in all your lessons! I 'd like to ask if we could make changes in a way to still have all the notes in 3 pentatonics but have another "symmetric" structure than the recommended? Also more pentatonics/positions would mess it up (even if it was well structured)?
Yes indeed you can do that!!! For example in this lesson (not in the start but later on in the lesson) we order the pentatonics in fifths to play all the Church Modes (Major Modes): ruclips.net/video/61bI3dgdXMo/видео.html
Best regards from Oliver
спасибо большое, все так обьяснено.
thanks so much for explaining the theory behind this. The song sounds like Tribal Tech stuff which I always wondered what the heck was going on.
No 1 has ever breakdown jazz before ever like this.... jazz great!!!! Thank you bro. Oliver... I've been struggling with how to jazz up my gospel music for years.searching you tube etc... but you stunt me bro. Do you have some gospel stuff...?? Please help
Thanks :) I do not know so much about gospel - though I love Gospel Music :) Anyway, the next lesson will be about improvising on a 12 bar blues - maybe it will be useful to you - a couple of weeks and I will be done :) Best regards Oliver
good video ! keep going !
Thx. A new video is coming soon playing in and out A-dorian on the old Korg Organ :)
like a giant steps!!!
I like yours vidéo ...
muito bommm
you're a genius
Fine and you like the blues
This playing style reminds me Bill Wurtz style of playing :P
thank you
ZAWINUL!? ahhh brilliant
Verg helpfull lesson. I like to know what keyboard you play on?
Thanks a lot :) I mixed some of the sounds from a Rhodes mk80 and a Korg X50. Two very old keyboards - I don't have them any more...
It appears to me as "allan holdsworth" way....
One of them...
Merci
Hi Thanks for showing us how to use pentatonic to create an improvisation. Could you please explain to us how we could use these grips to solo over chord changes???
We will come to the chord progressions later - still we need some other videos/lessons first. I hope you can wait. Best regards Oliver
Thanks. It would be great to learn how to apply these concepts to improvise over standards chord changes like Satin Doll. It would be great if you could create a lesson on improvisation over Satin Doll chord changes. Cheers
Thank You Sir may I have another?
YES :) :)
Truly Amazing Lessons and I Love the Pentatonic approach I’ve discovered thus far. It has totally changed the way I play and sound. Could you share in your lesson description the keyboard you use and the voice(s) you select in your songs? Thank you again for the amazing life changing lessons!
Hi and thank you so much. The sounds in this rather old lesson I made by combining two keyboard sounds. Unfortunately I don't have these very old keyboards anymore...
@@NewJazz do you know their names though? love the bass sound!
@@rafalvarezsevilla Hi :) It was a Korg X50 and Roland Rhodes MK80
@@NewJazz thank you very much! your lessons are a big inspiration!! :)
great lesson, thank you so much - did not see that info any where else so far.. very billy cobham-esque sound :)
can one use this technique also do some degree in jazz standards? over 2-5-1s? if so, what root note could one pick for this? I will get to the piano later to see it in anyway..
+J. Charles
Hi Charles and thanks a lot :)
And very good and interesting question about the 2-5-1. I will try to give my comment on that in the weekend in a few days. I hope that's ok :)
Sure, thx, looking forward to that!
+J. Charles
Here is my comments to the 2-5-1 question. And thanks for your patience :)
Lets look at the straight sequence Gm-Bm-Ebm pentatonic. The result from this sequence is the chromatic scale: all 12 notes are represented. It is clear that this sequence does not fit into any traditional harmonic structure or movement like the 2-5-1 in jazz standards. But you may benefit from the sequence anyway inside the 2-5-1 movement and use the sequence as a method of playing IN & OUT.
If the 2-5-1 movement is Gm7-C7-Fmaj7 then the Gm-pentatonic from the sequence fits nicely all the way through the 2-5-1 movement. But if you dare, and you move your fingers to the Bm and Ebm pentatonic you are fare away from the harmonic material - you are playing OUT. When you have been there too long and everybody is holding there ears, you can then go back to the safe Gm-pentatonic.
The advantage of playing OUT using an ordered sequence is that you are not just playing OUT to mess up - actually you are making another layer of structure (not harmonic) and with a little luck, the solo player can add some depth and originality to the sound-landscape. When the solo player is playing OUT the listener will here something well defined and autonomic (the ordered sequence) breaking free from the traditional harmonic 2-5-1 sound.
Well this is only talk - it also have to work in practice :)
But I think your question is very interesting!
Cheers from Oliver Prehn
Uh jeg har ledt alt for længe efter det her!
Really awesome, kind of has that miles davis sound to my inexperienced ears..... quick question, maybe I missed it, but why Bm and E flat pentatonic over the G?
Hi and thanks :) I make a structure: from Gmi penta I go up a Major third to Bmi penta and a Major third to Ebmi penta and then a Major third up to Gmi penta and we start all over again. This well ordered structure makes our sound - rather than a certain tonality as we are used to in traditional tonal music.
Man kan lave flere sjove ting med de skaler der hedder the modes of limited transposition og hans special akkorder fra klassik komponist Olivier Messiaen
Hi Johan. I really like your videos and guitar-play on RUclips... wow!!!
I have checked out Olivier Messiaen. Really exiting reading about his modes and transpositions. Messiaen's theory is based on scales/modes. From the modes he forms the interval groups and symmetry.
The theory in this lesson2 is more based on the very handgrips on the piano which movements in straight sequences forms the music and sound-landscape, without thinking on any particularly mode or scale.
Thanks for bringing up this French composer. I was not aware of him before now :)
Podia ter em português!!
Hi 😊 All subtitles and descriptions are open for translation... We hope somebody will help translating 😉
yes
Oliver very important video, thank you very much. I want to take this opportunity to ask you if you can orient me on the recommended fingering for the first mode of the pentatonic scale of Db, F #, Bb, Ab? Thank you very much!
Hi and thanks :) Can you elaborate the question a little - I'm not totally sure about what you mean...
NewJazz Hi Oliver, Ok. My question is: Which finger of the right hand can I use in the pentatonics scales of Db, F# and Ab? Thank you
I get it now 😉 I’m at work right now. I will answer you tomorrow :)
When improvising you can actually benefit from using the exact same piano fingering no matter the tonality, in this way you can easily repeat patterns and melodies different places on the keys. At 25min27sek in this video ruclips.net/video/61bI3dgdXMo/видео.htmlm27s we do the exercises 2.1 playing Fmi pentatonic to Cmi pentatonic to Gmi pentatonic. At 28min20sek we transpose the whole thing up with a half step and we use the exact same piano fingering.
Hi Oliver, EXCELLENT! Thanks for the guidance! I'm going to check. bye
Hi Oliver,
Here we are. These days I took a step back, after the first lesson, I attacked the second lesson, I am having a lot of fun, but most importantly, improvisations make me easier.
I use in my DAV the sounds of "Scarbee Vintage Keys" Library for "Kontakt 5" setting with "Scarbee Mark I" with the Preset "Dinner 4-2". And this sounds good for Bm penta - Ebm penta - Gm penta, it looks like those you used.
But those for the second group are different. It looks like a distorted guitar.
Can you tell me please what sounds you used ?
Thank you
Vittorio
I was using the sounds from an old Korg Keyboard, and that keyboard died last year, so we cant recreate the sounds from this video - sorry. The second group of pentatonic scales are by the way Cm-Em-Abm. The same as the first group Bm-Ebm-Gm, just transposed. The idea is that each pentatonic scale is spaced with a Major third.
Regards Oliver
It’s plain to see using this technique you can play the mix of altered, iolian and aeolian scales without thinking bout it. That’s fantastic. But this example shows us only the bass accompaniment without minor or major tonality of G. Can we use it with the major or minor if it’s playing?
Well - This song is way beyond traditional Major/minor music!!! But anyway the bass actually plays in G minor. In the right hand solo we play both Major and minor. I think the technique shown in this lesson is mostly for playing modal and freestyle - we just go crazy without thinking too much about theory and tonalities... Best regards from Oliver
When he holds down every note in the chromatic scale while speaking with his French accent, I genuinely thought I was in the haunted mansion.
Hahaha... sorry about my accent... cheers from Oliver
Do you like Billy Cobham's Stratus ? The only other disk I know in this gender
Yes! He's a really good inspiration!!! Cheers from Oliver
Are the 'traditional rules' of using target notes to land on, applied in this method?
+James Robinson
Hi James :) The sequence of the pentatonic tonalities (Gm-Bm-Ebm and Cm-Em-Abm) is suppose to give the music structure and logic - alone.
Well, I don't know if I manage that - haha :) But that is the idea. So I'm not thinking of 'target notes' when playing this example. Actually I sometime circulate around the most dissonant notes derived from the pentatonic sequence - maybe because I'm trying to distance away from the traditional harmonic music.
Cheers Oliver Prehn
NewJazz Thank you for your response! I'm a guitar player & I'm always looking for fresh ideas. I get the concept of playing a minor pentatonic a major 3rd up from the root of each pentatonic scale. I'm just trying to walk before I run. It's a great tutorial & a really cool way to play outside. You've definitely mastered it!
Thanks :) And great that you will try the technique on the guitar too :) Remember there is many other types of sequences in this world. For instance, try MINOR 3rd up from the root, this will give a completely other kind of sound - and so on. As you express it: "always looking for new ideas (or sounds)". Good luck with everything :) Cheers Oliver
NewJazz I'm going to try this with m7b5 arpeggios as the b5 is the only difference from a m7 arpeggio & the m7 arpeggio is basically a minor pentatonic without the perfect 4th.
+James Robinson YES, try that! I think I will try that too ;) No one says that it has to be pentatonic handgrips. The idea is to make a sequence using some notes - it could be the m7b5 notes, the pentatonic notes or any other notes. So you make a structure/system to play inside avoiding the traditional diatonic scales. There are millions of sound-landscapes to explore. Have fun :)
Hi is there a preferred order should i learn these scales in? Thanks
Hi, I also answered this question for you in the comments at another video, but here it comes again, just in case: There are no particular order to learn the scales, I think - but you could start up with the Dorian scale as in this video: ruclips.net/video/EJaG-rmHzB8/видео.html
The Dorian scale is very uncomplicated and can be used in many contexts. Kind regards Oliver
Thanks, Maestro Oliver.
Does it matter if the Tonic (G and C) is Major Or Minor?
Please advise.
Thank you in advance and more power to you..
Hi and thanks a lot 😊 Well, the music in this lesson is not minor/major music - so it doesn't matter. We got both the minor and the major step when improvising. Actually we have all 12 steps; the chromatic scale. So this is a "Non Diatonic" approach. But we do not hear the solo as a big mess because we have made structure and order to our sound by using pentatonic grips.
@@NewJazz Thanks, Maestro.
Does the same approach apply with Major, Minor, Diminished and Augmented Chords, since it is 12 Tone, and covers all?
Please correct me if I am wrong.
Thanks again, Maestro Oliver.
Yes and no. Yes, because we cover all notes as you say, and anything is possible when playing Music. No, because it would not be a traditional solution when playing for example an old jazz standard if that's what you have in mind. Warm regards from Oliver
Thanks for the enlightenment, Maestro Oliver.
what are the mode scales or how do i figured them out thank you?
I have made this video about the church modes: ruclips.net/video/v5cw-WYNBgI/видео.html
And here is a video about making the circle of church modes: ruclips.net/video/MJz9NFfWN-I/видео.html
I hope these two videos will help you :)
There are also other scales/modes than the church modes, but I have not yet made videos about those scales. But they will come...
sir some lesson on bassline please !!!
Many times I just play the minor pentatonic scale or the blues scale in the bass. By the way, in this lesson we learn to play a simple walking bass over the 2-5-1 progression: ruclips.net/video/cvfN8tG1RwU/видео.html
Best regards Oliver
Hook up with Jean Luc Ponty. He would really dig your music!!! His Electric Violin to your music??? Music Beyond...........................................................
Que alguien haga los subtitulos al español por favor!
Astounding teacher Oliver do you teach on skype
Hi and thanks a lot :)
I'm sorry but I don't give private lessons these days. I try to use all my efforts on the videos here on YT - so I hope you will stay tuned - more lessons will come (approximately every third week). Best regards Oliver
where is lessen1😂