Guitar Instructors Bennington VT

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.

Bennington College
(800) 833-6845
Bennington VT
Bennington, VT

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North Adams State College (MCLA, College of Liberal Arts)
(413) 662-5000
375 Church Street
North Adams, MA
 
Bennington College
(800) 833-6845
Bennington VT
Bennington, VT

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Yellow Barn Young Artist Program
63 Main Street
Putney, VT
 
Music School of the Brattleboro Music Center
38 Walnut St.
Battleboro, VT
 
Williams College (Music at Williams College)
(413) 597-2415
54 Chapin Hall Drive
Williamstown, MA
 
Music School of the Brattleboro Music Center
(802) 257-4523
Battleboro VT
Battleboro, VT

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University of Vermont
(802) 656-3040
Burlington VT
Burlington, VT

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Killington Music Festival
PO Box 386
Rutland, VT
 
Yellow Barn Young Artist Program
800.639.3819 x101
Putney VT
Putney, VT

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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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