Guitar Instructors Odenton MD

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.

National Orchestral Institute
(301) 405-2317
College Park MD
College Park, MD

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Heifetz International Music Institute
(410) 480-8007
Ellicott City MD
Ellicott City, MD

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The Community College of Baltimore County
(410) 455-4109
Baltimore MD
Baltimore, MD

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Anne Arundel Community College (Anne Arundel Community College - Music)
(410) 777-2222
101 College Parkway
Arnold, MD
 
Columbia Union College (CUC Music Department)
(301) 891-4000
7600 Flower Avenue
Takoma Park, MD
 
University of Maryland
(301) 405-5549
College Park MD
College Park, MD

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Peabody Conservatory of Music
(800) 368-2521
Baltimore MD
Baltimore, MD

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Washington Bible College (Washington Bible College - Department of Music )
(301) 552-1400
6511 Princess Garden Parkway
Lanham, MD
 
University of Maryland (Clarice Smith Performing Arts Cente)
(301) 405-1313
2110 Clarice Smith Performing Arts Center
College Park, MD
 
College of Notre Dame of Maryland (College of Notre Dame - Music Department)
(410) 435-0100
4701 North Charles Street
Baltimore, MD
 
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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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