Guitar Instructors Anthony NM

Playing the exact same scale over different chords creates a whole new sonicpalette without stepping too much outsidefunk or R&B and into jazz. Read on and get more information.

University of Texas - El Paso (UTEP Department of Music)
(915) 747-5606
500 West University Avenue
El Paso, TX
University of New Mexico
(800) 225-5866
Albuquerque NM
Albuquerque, NM

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San Juan College (San Juan College - Music Department)
(505) 326-3311
4601 College Boulevard
Farmington, NM
Eastern New Mexico University (Eastern New Mexico University - Department of Music)
(505) 562-2373
ENMU Station 16
Portales, NM
New Mexico Military Institute (NMMI Music Department)
(505) 622-6250
101 W. College Blvd.
Roswell, NM
Santa Fe Youth Symphony
(505) 982-8483
Santa Fe NM
Santa Fe, NM

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New Mexico Highlands University (New Mexico Highlands University - Music program)
(505) 454-3243
PO Box 9000
Las Vegas, NM
New Mexico Junior College (New Mexico Junior College - Music)
(505) 392-4510
5317 Lovington Highway
Hobbs, NM
New Mexico Tech (NMT Music Program)
(505) 835-5200
801 Leroy Place
Socorro, NM
New Mexico State University (NMSU: Department of Music)
(505) 646-2421
Box 30001 MSC 3F
Las Cruces, NM
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Expanded Harmony with Pentatonics

In Ex. 1, we play a minor pentatonic scaleover a minor 7th chord, both with the sameroot: a G minor pentatonic scale over a Gm7chord. This works because the scale veryclosely resembles the arpeggio of a minor7th chord.

Ex. 2 deals with Bbmaj7, the relativemajor, which is three frets or a minor third above. One way to think of this is, if yousee a major 7th chord, play a minor pentatonicscale based on a root a minor thirdbelow the written chord’s root. Same scale,different setting.

Now let’s look at some less common,yet simple and creative ways to use thisscale, five positions of which are shown inFig. 1. Playing the exact same scale over differen tchords creates a whole new sonicpalette without stepping too much outsidefunk or R&B and into jazz. The simplicity of the minor pentatonic scale ensures anaccessibility to the listener, even when it isused to create varied altered tensions. Allof the following examples use the G minor pentatonic scale, superimposing it over other chords. Notice how the function ofeach scale degree changes depending onthe chord underneath. To truly appreciatethese new colors and flavors, you’ll wantto record or have a friend strum the underlying chords as you play over them.

Ex. 3: G minor pentatonic scale over aCm7 chord

The easiest way to think of this techniqueis to play a minor pentatonic up aperfect fifth (or seven frets) from the root of a minor 7th chord.

Ex. 4: G minor pentatonic scale over anFm7 chord

Think of this one as a minor pentatonicstarting a major second (two frets) up fromthe root of a minor 7th chord. Used in thisway, the sound created works well overDorian harmonic content, because eventhough there is no 3, we do get the Dorianapproved6th degree.

Next month we’ll explore even morecolorful ways to employ our old five-notefriend. Stay tuned!

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