Guitar Instructors Central Falls RI

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.

Brown University
(401) 863-1000
Providence RI
Providence, RI

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Brown University (Department of Music)
(401) 863-3234
1 Young Orchard Avenue
Providence, RI
 
Al Drew's Music Ctr
(401) 769-3552
842 Newport Ave
Pawtucket, RI

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Votta Music
(401) 353-2111
59C Putnam Pike
Johnston, RI

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Music Academy
(781) 784-9079
112 N Main St
Sharon, MA

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Music School of The Rhode Island Philharmonic
(401) 272-9877
Providence RI
Providence, RI

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Wheaton College (Wheaton College Music Department)
(508) 286-3592
26 East Main Street
Norton, MA
 
Melissa's Piano Studio
(508) 336-3656
56 Olney St
Seekonk, MA

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The Guitar Studio, Inc.
(401) 615-1755
475 Tiogue Avenue, Unit 3
Coventry, RI

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University of Rhode Island
(401) 874-7100
Kingston RI
Kingston, RI

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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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