Ideas Swap - Share pentatonic ideas over major

[Mateo150]

Chris J just recently posted that article on using pentatonics over major chords.

Well, lets share what we know. If I can use nothing but pentatonics over any type of progression, cool.... I'll be happy with that.
anyway.

here's one in Amaj.... the first part is a pentatonic based on Db pentatonic.

I'll post more if I can remember them, I mean, I never thought of this particular lick in this way, I'm pretty sure I use pentatonics quite a bit over major, just have to go name them now.

[Poparad]

Try G# minor pentatonic on A major; it yeilds some tasty notes.

[cardello]

that sounds like it was ripped straight off of divided sky :(

:edit: never sacrifice authenticity - be genuine with your ideas and what you play, and music THAT good will follow

[Dominic Wyeth]

this is all from Mark Levine Jazz Theory - awesome book

Pentatonic and hexatonic



- 1-2-3-5-6

- The major scale without the 4th and 7th

- Intervalically, it is whole step, whole step, minor 3rd, whole step.



Pentatonic has modes based on the starting note of the scale. The 5th mode is called the minor pentatonic scale (related to the blues). 3 pentatonic scales occur in every major key. In C they are C,F & G. I, IV & V.



On a ii chord (D-7) the V pentatonic scaled is more interesting as it contains the 6th and 9th. On a V chord the V pentatonic sounds best as the other two have avoid notes and it contains the 9th and 13th. On a I chord Playing a V pentatonic scales works and it has the 7th and 9th, a I pentatonic scale also works.



II Chord

- play the I, IV and V scale



V Chord

- play the V scale



I Chord

- play the I and V scale



II-V-I

- play the V scale



You can play the 5 pentatonic scale over any chord in the major key. I∆, ii-7, IIIsusb9, IV∆ #4 , V7, Visus, Vii¿.

Because each pentatonic scale belongs to three different major keys you can often play it over successive chords in different keys.



e.g. I pentatonic scale is I in I major, IV in V major, and V in IV major

or C pentatonic scale is I in C major, IV in G major, and V in F major



playing a II pentatonic scale on a major 7th chord. Changes it from major to Lydian.



Tritone substitution



If on V chord play Tritone pentatonic scale.



In-Sen pentatonic scale, ½ step, major 3rd, whole step, minor 3rd.



Or E, F, A, B, D often played on sus9 chords.

based on that I did this piece

[Mateo150]

Cool tip Dom, will try it later.

To clarify, you say play the V scale over the V chord... you mean the scale you wrote out (maj scale minus the 4 and 7th) starting on the fifth right?

Dave: yep, straight from where you say. But 99.9999% of my stuff is copied. Only thing original or "mine" is possibly some blues noodling, stuff I can play as I hum it, even then, I'm pretty sure Its subconciously copied. I was playing that song and realized, hey, this is what that article was talking about.

As for the scales, I mean, yeah, but... ermmm. Its like when you learn how to use the pentatonic scale, I came up with crap until I had a few examples to extend from. I played 2 or 3 notes back and forth, etcc.... I was hoping for real examples of scale applications.

[Dominic Wyeth]

wouldnt mind getting some thoughts on this one if anyone is bored and wants to pull it apart?

[Sir Speedy]

i work it this way , if i see a Maj7th chord ill play the minor Pent box starting a 1/2 step below the Chords root , then one starting a maj 3ed above the root and one starting a 6th above .

in A maj that would simply be G# C# and F# Minor Pentatonic Blues , over A major .

and you may knowtice if you go a 1/2 step behind the root of your AM7 Chord ,provided it's a 5th or 6th string rooter, you'll see G# , go {up} a Perfect 4th > C# [up} another P4 > F# , Those are the Pents that allways work .

Why you ask ?? well i'll tell ya ...
THEORY:
You can use the Minor ii iii and vi Pentatonics derived from the Major Chord scale .or ii iii iv from the key the major chord is the IV chord of .
ANALYSIS :

in A maj you have

A B C# D E F# G# the iii and vi Pents allways sound good , as a rule of Thumb , the ii minor Pent never sounds good over Maj7

Now if A maj was the IV of a key it would be the IV of E , so we get ...

E F# G# A B C# D# the iii is G# minor pent , it sounds good , we'll use it .

C# F# and G# minor pentatonic blues , sound good over A Major 7 .

C# and F# minor pentatonic Blues , sound good over ii V I in A maj ,


This method is great for staying in key , when keys change on a Chart your playing , because you have narrowed playing "in Key" down to 2 Pentatonic blues scales , and it gives you the frame work to add to with your other scales and Arps .

The Frank gambale Technique Book" has many examples of this type of thing .