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New Ways to Use Pentatonic Scales
(05 Apr 05)
Minor pentatonic scales over altered dominant chords
Applying the minor pentatonic scale to altered dominant chords - Next we are going to do the same thing but this time we'll be using minor pentatonic scales to improvise over altered dominant chords. The formula to learn:
Over an altered dominant chord, you can play a minor pentatonic scale based on the b3rd, 4th and b7th of the chord.
1. Minor pentatonic played on the b3rd degree of the chord - The flat 3rd or #9th of C is Eb so that is the minor pentatonic scale we will play here. Check out what we will get:
What more could you ask for here? You get all four of the altered extensions (b5,#5,b9,#9).
2. Minor pentatonic played on the 4th degree of the chord - In the case of C7(alt), a F minor pentatonic scale:
Maybe not the best choice for a 7(b9,b5) chord but a great match for a C7(#5,#9) chord. You will have to be a little careful in your handling of the natural 4th but because the pentatonic scales have so many perfect 4th intervals anyway, it doesn't seem to bother the ear too much.
3. Minor pentatonic played on the b7th degree of the chord - In the case of C7(alt), a Bb minor pentatonic scale:
As with the previous example, you'll need to exercise a little caution with the 4th but other than the b5 you get all the other extensions for the altered dominant chord (#5, b9, #9).
Once again the formula chart, this time for applying the minor pentatonic scale to altered dominant chords:
Putting it into practice
Putting it into practice - Let's finish by using what we have learned over a ii-V-I chord progression. As I mentioned in the previous examples, I tend to look for the scales that are a half step apart. Out of the three pentatonic choices we get for each chord, these are probably the scales I would pick:
Record the changes and experiment:
Notice how in this example I simply move the pentatonic scale up half steps to accommodate each chord:
Using the same pentatonic scales over a two chord per measure ii - V - I chord progression:
In this example I use the same intervalic motif as our first example but this time starting on an E minor pentatonic scale, moving up a half step for the G7(alt) chord and resolving it by moving back to the E minor pentatonic scale:
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It is still important to learn all your scales and arpeggios but the various applications of the minor pentatonic scale we covered in this lesson are just one improvisational tool that you can keep up your sleeve. Until next time...
Published January 10th, 2005. © Chris Juergensen/chrisjuergensen.com. All Rights Reserved.
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Native New Yorker, long time studio musician and session guitarist Chris Juergensen is in constant demand as a sideman, front man and clinician. After teaching guitar for six years at the prestigious Musicians Institute in Los Angeles, Chris left the states to become the Director of Education at Tokyo School of Music in Japan where he still resides. Visit Chris's website
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