Guitar Instructors Birmingham AL

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.

Samford University
(800) 888-7218
Birmingham AL
Birmingham, AL

Data Provided by:
Birmingham-Southern College
(205) 226-4960
Birmingham AL
Birmingham, AL

Data Provided by:
Samford University (Samford University Division of Music)
(205) 726-2011
800 Lakeshore Drive
Birmingham, AL
 
Jefferson State Community College (Jefferson State Community College music program)
(205) 856-7900
Bethune DeRamus Room 219
Birmingham, AL
 
Birmingham-Southern College
(205) 226-4960
Birmingham AL
Birmingham, AL

Data Provided by:
Herlaxton International Chamber Music Festival
(205) 726-2778
Birmingham AL
Birmingham, AL

Data Provided by:
University of Alabama-Birmingham (UAB Department of Music)
231 Hulsey Center 950 - 13th Street South
Birmingham, AL
 
Birmingham-Southern College (Birmingham-Southern College Music Department)
(205) 226-4952
900 Arkadelphia Road
Birmingham, AL
 
Kindermusik At The Pink House
(205) 591-6683
817 39th St S Ste B
Birmingham, AL

Data Provided by:
Calhoun Community College
(256) 306-2500
Decatur AL
Decatur, AL

Data Provided by:
Data Provided by:

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!

Click here to read the rest of the article from Guitar Player


Guitar Player is a trademark of New Bay Media, LLC. All material published on www.guitarplayer.com is copyrighted @2009 by New Bay Media, LLC. All rights reserved