Very useful information ! and very nice and inspired playing too ! Over the B half diminished chord we can also think of the D altered pentatonic scale as the B blues scale without the perfect fifth.
Guitar player here.... Awesome video! I love how you give an example of playing over the chord with the scale you are just altered. And your playing is so tasteful! It highlights the note that is alerted perfectly. I can use this in my guitar solos to create some splash. Thank you!
I love the economical way of playing only one altered pentatonic scale over a minor II V I ! It enables you to really play more melodically, as if you were on a modal tune for three measures.
This material is well presented and clear, it's a good introduction. In the mid 70s, while playing with Hal Galper, Brecker was fond of going out over 7th cords using a major pentatonic a tritone above the root, it's similar to the minor pentatonic a semitone above, presented here, but includes the b5.
I had a question from a viewer about keys, and why I didn't keep the scale in the same key. The comment has disappeared, but it was a good question, and may be helpful for others, so here's my response: Thanks for the comment. It's important to know the scale in all keys , and in jazz, keys or chords often do change without rhyme or reason, so yes the choice to jump around in key was intentional. Also, if I want to demonstrate how this scale works over different chords, I will have to change either the chord or the key at some point, it's impossible not to. If you watch right before each playing example (pause video if you need to), I show the chord and scale I'm working with (for C, Bb and Eb transpositions) so you can learn it. The whole point is to be able to apply one scale to a variety of chords and keys, not just one key. If you need help practicing the scale, try thinking of the scale in terms of degrees (as I say in the video). If you know all 12 major scales, Start in C major and play 1, 2, b3, 5 6 (C D Eb G A). Then go up a half step and play the same pattern (Db, Eb, E, Ab, Bb)... Then, when you are practicing the scale with specific chords, concern yourself with the function and sound of the chord of the moment. Don't worry about the original key of the scale so much. That will hang you up. For example, with the minor ii V i progression, I'm playing a D altered pentatonic over the Bmin7(b5), but the progression is in A minor, so I'm going to voice lead and phrase with that in mind. You have to think about where you are and where you're going harmonically. The scale will take on a whole new meaning over each new chord. If you DO want to keep the scale only in the key of C, the chords would be (1)Cmin6, (2) F7, (3)12 bar Blues in C, (4) Amin7(b5) (5) Ebmaj7#11 (6) G7alt - Cmin. But, as my former theory teacher used to tell us in class, "you can't graduate in C Major!"
Just to be clear, for a dominant 7th chord, you recommend using the altered pentatonic starting on the 5th scale degree. Example: for A7, play the E altered pentatonic. I understand the notes' functionality will be different.
there are a ton of approaches to this, but normally when I'm trying to play an altered sound over a dominant 7th I just think Coltrane pentatonic a half step up. Playing the root is optional. So for A7 it'd be Bb, C, Db, F, G
The best video on improvisation I've seen on RUclips. Great teaching!
Very useful information ! and very nice and inspired playing too ! Over the B half diminished chord we can also think of the D altered pentatonic scale as the B blues scale without the perfect fifth.
@@pierrepineau5988 very true
Guitar player here.... Awesome video! I love how you give an example of playing over the chord with the scale you are just altered. And your playing is so tasteful! It highlights the note that is alerted perfectly. I can use this in my guitar solos to create some splash. Thank you!
Glad to have some guitar players here.
The conclusion if pure gold !
I love the economical way of playing only one altered pentatonic scale over a minor II V I ! It enables you to really play more melodically, as if you were on a modal tune for three measures.
I agree!
This material is well presented and clear, it's a good introduction. In the mid 70s, while playing with Hal Galper, Brecker was fond of going out over 7th cords using a major pentatonic a tritone above the root, it's similar to the minor pentatonic a semitone above, presented here, but includes the b5.
I had a question from a viewer about keys, and why I didn't keep the scale in the same key. The comment has disappeared, but it was a good question, and may be helpful for others, so here's my response:
Thanks for the comment. It's important to know the scale in all keys , and in jazz, keys or chords often do change without rhyme or reason, so yes the choice to jump around in key was intentional. Also, if I want to demonstrate how this scale works over different chords, I will have to change either the chord or the key at some point, it's impossible not to. If you watch right before each playing example (pause video if you need to), I show the chord and scale I'm working with (for C, Bb and Eb transpositions) so you can learn it. The whole point is to be able to apply one scale to a variety of chords and keys, not just one key. If you need help practicing the scale, try thinking of the scale in terms of degrees (as I say in the video). If you know all 12 major scales, Start in C major and play 1, 2, b3, 5 6 (C D Eb G A). Then go up a half step and play the same pattern (Db, Eb, E, Ab, Bb)... Then, when you are practicing the scale with specific chords, concern yourself with the function and sound of the chord of the moment. Don't worry about the original key of the scale so much. That will hang you up. For example, with the minor ii V i progression, I'm playing a D altered pentatonic over the Bmin7(b5), but the progression is in A minor, so I'm going to voice lead and phrase with that in mind. You have to think about where you are and where you're going harmonically. The scale will take on a whole new meaning over each new chord. If you DO want to keep the scale only in the key of C, the chords would be (1)Cmin6, (2) F7, (3)12 bar Blues in C, (4) Amin7(b5) (5) Ebmaj7#11 (6) G7alt - Cmin. But, as my former theory teacher used to tell us in class, "you can't graduate in C Major!"
I thought If you play C altered pentatonic then your minor ii V i chords would have to be Amin7(b5)-D7(b9)-Gmin7?
@ good catch, that’s true
Although the alt. C pent would work well at the arrival of the Cmin.
Cool! Tks for sharing!
You made my day, now I'll go on my bari and go crazy, thanks for sharing.
Do it! Go crazy.
Damn! This is useful, thank you. Gonna try this stuff out.
Thanks!
Amazing video, Zack!
Thanks Doc!
Great
Good stuff!
Thanks Lee!
Just to be clear, for a dominant 7th chord, you recommend using the altered pentatonic starting on the 5th scale degree. Example: for A7, play the E altered pentatonic. I understand the notes' functionality will be different.
@@donl9571 you got it!
there are a ton of approaches to this, but normally when I'm trying to play an altered sound over a dominant 7th I just think Coltrane pentatonic a half step up. Playing the root is optional. So for A7 it'd be Bb, C, Db, F, G
It’s a minor 6 pentatonic.