Guitar Instructors Bowling Green KY

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.

Western Kentucky University (The Department of Music at Western Kentucky University)
(270) 745-3751
1 Big Red Way
Bowling Green, KY
 
University of Louisville
(502) 852-6907
Louisville KY
Louisville, KY

Data Provided by:
Campbellsville University (School of Music)
(800) 264-6014
1 University Drive
Campbellsville, KY
 
Georgetown College (Georgetown College Department of Music)
(502) 863-8100
400 East College Street
Georgetown, KY
 
Eastern Kentucky University (Department of Music)
(859) 622-1000
521 Lancaster Avenue
Richmond, KY
 
Morehead State University
(606) 783-2198
Morehead KY
Morehead, KY

Data Provided by:
Music Institute of Lexington
(859) 273-9991
Lexington KY
Lexington, KY

Data Provided by:
Western Kentucky University (The Department of Music at Western Kentucky University)
(270) 745-3751
1 Big Red Way
Bowling Green, KY
 
Kentucky State University (Kentucky State University - Division of Fine Arts)
(502) 597-6000
400 East Main Street
Frankfort, KY
 
Murray State University (Department of Music - Murray State University)
(270) 809-4288
504 Fine Arts Building
Murray, KY
 
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