/Filter /FlateDecode Check out how he employs this technique in the line below: On both dominant chords he uses a minor pentatonic scale built on the 5th – Bb minor pentatonic over the Eb7 and an F minor pentatonic over the Bb7: But wait a second, why does this work? Copyright ©2020 Jazzadvice, All rights reserved, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-3.m4a, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-4.m4a, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-5.m4a, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-1.m4a, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-7.m4a, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-8.m4a, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-9.m4a, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-10.m4a, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-6.m4a, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-12.m4a, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-11.m4a, https://www.jazzadvice.com/wp-content/uploads/2016/06/McCoy-Tyner-Blues-On-The-Corner-13.m4a, 5 Secrets for Mastering the Altered Scale. In this exercise we play our major pentatonic scale over the entire range of our instrument up and back down again. /Type /ExtGState
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McCoy often plays the root and 5th of a chord in his left hand, creating a pedal point for his 4th voicings and improvised lines.
The Dorian Mode is a minor type of scale.
Check out how McCoy plays a quartal pattern based on the Bb minor pentatonic scale: And study how he uses scale patterns, fragments, shapes, and sequences to create melodic interest with the pentatonic scale.
Here’s another example that starts on the 5th note of the Bb minor pentatonic scale: The second way McCoy uses the pentatonic scale in this solo is from the 5th of the V7 chord. /AIS false /Width 625
The Grimoirium contains over 700 pentatonic note sequences based off of the major pentatonic scale and its four associated modes. And one distinctive element of his approach to improvising is his creative use of the pentatonic scale. It goes like this: 123,234,345,456,567,678. Sequences are created by playing a certain number of notes before moving to another scale degree.
After he hits the open 5th in the bass he is free to any number of harmonic colors or movement with the 4th voicings: The cool thing about using pentatonic scales and patterns in your musical approach is discovering the different intervallic possibilities within those 5 notes….
One reason why McCoy has so much harmonic freedom on a simple blues is that he justifies the lines in the right hand with the voicings in his left. This PDF contains the diagrams for all the Major and minor Pentatonic scales in all keys for guitar in standard tuning. %PDF-1.4
Start by taking one fragment into the practice room and exploring the different possibilities in all 12 keys.
/SMask /None>> The movements on the fingering hand are limited, most of the speed is achieved using the right hand. Without the harmonic pull of leading tones or the rigid structure of tertian harmony, every note is essentially equal in relation to the harmony.
Here he uses a pattern of ascending 4ths, similar to the 3rd and 4th bars of the melody: Finally he uses pentatonic motifs/shapes to navigate quickly moving chord progressions. It goes up and down the scale. Want to Master Rhythm Changes? Your email address will not be published.
Be sure to check out my scale patterns guide to make your own sequences. McCoy Tyner was a master of creating harmonic tension and release within his own solos and the harmonic textures he provided behind other soloists. 1 0 obj
The example shown above is just a glimpse of what you can do with sequencing. Pentatonic Patterns for Improvisation Sample Preparatory exercises Below is an example of what I call Pentatonic Exercise 1 in the key of C major.
It’s an A minor pentatonic scale sequence using both hammer-ons and […], Your email address will not be published. Learn your major pentatonic scale and practice Pentatonic Exercise 1 in all 12 keys.
3 0 obj The movements on the fingering hand are limited, most of the speed is achieved using the right hand.
�Z�+��rI��4���n�������=�S�j�Zg�@R ��QΆL��ۦ�������S�����K���3qK����C�3��g/���'���k��>�I�E��+�{����)��Fs���/Ė- �=��I���7I �{g�خ��(�9`�������S���I��#�ǖGPRO��+���{��\_��wW��4W�Z�=���#ן�-���? /Producer (�� Q t 4 . In In the line below, McCoy uses a Bb minor pentatonic over Bb7, take a listen: Notice how this scale emphasizes the b3, b7 and 11th of the Bb7 chord in a way that is very similar to traditional blues language or the blues scale. If you do please let me know and I might add it do this post. 7) >> https://guitarendeavor.com/wp-content/uploads/2016/11/Example-1-groups-of-three.wav, https://guitarendeavor.com/wp-content/uploads/2016/11/Example-2-groups-of-four.wav, https://guitarendeavor.com/wp-content/uploads/2016/11/3.mp3. /CA 1.0 Major Pentatonic Scale - 14 Position System; Major Scale 14 Position System - MultiScales.pdf; Important Scale Sequences ; C Major 3 note Scale Sequences - Notation & TAB; G Major 4 note Scale Sequences - Notation & TAB; G Major Scale - Scale Sequences 1 - Grids; G Major Scale - Scale Sequences 2 - Grids ; Melodic Minor 14 Position System /ca 1.0 Most importantly, they are very useful when improvising and give you a more diversified vocabulary than simply picking from your good old “bag of licks”. /Creator (�� w k h t m l t o p d f 0 . This book is intended to serve as a poin t of departure for the study of pentatonic scales.
This one is a great workout for the picking hand since it is responsible for most of the work. For example, F-7 Bb7 over Bb7. (�f�y�$ ����؍v��3����S}B�2E�����َ_>������.S, �'��5ܠo���������}��ز�y���������� ����Ǻ�G���l�a���|��-�/ ����B����QR3��)���H&�ƃ�s��.��_�l�&bS�#/�/^��� �|a����ܚ�����TR��,54�Oj��аS��N- �\�\����GRX�����G������r]=��i$ 溻w����ZM[�X�H�J_i��!TaOi�0��W��06E��rc 7|U%���b~8zJ��7�T ���v�������K������OŻ|I�NO:�"���gI]��̇�*^��� @�-�5m>l~=U4!�fO�ﵽ�w賔��ٛ�/�?�L���'W��ӣ�_��Ln�eU�HER `�����p�WL�=�k}m���������=���w�s����]�֨�]. endobj The more time you take to ingrain and master this material, the more progress you’ll see in performance. 8 .
/ColorSpace /DeviceRGB The second example is II v I in Major G. Here I use Am pentatonic over Am7 and Fm (or Ab major) pentatonic over D7alt. <<
Well, this concept goes back to the bebop reharmonization technique of approaching the V7 chord as the related minor ii chord, for example thinking F- over Bb7: You can also think of that static dominant chord as the related ii-V7. /SM 0.02 >> ~��-����J�Eu�*=�Q6�(�2�]ҜSz�����K��u7�z�L#f+��y�W$ �F����a���X6�ٸ�7~ˏ 4��F�k�o��M��W���(ů_?�)w�_�>�U�z�j���J�^�6��k2�R[�rX�T �%u�4r�����m��8���6^��1�����*�}���\����ź㏽�x��_E��E�������O�jN�����X�����{KCR �o4g�Z�}���WZ����p@��~��T�T�%}��P6^q��]���g�,��#�Yq|y�"4";4"'4"�g���X������k��h�����l_�l�n�T ��5�����]Qۼ7�9�`o���S_I}9㑈�+"��""cyĩЈ,��e�yl������)�d��Ta���^���{�z�ℤ �=bU��驾Ҹ��vKZߛ�X�=�JR��2Y~|y��#�K���]S�پ���à�f��*m��6�?0:b��LV�T �w�,J�������]'Z�N�v��GR�'u���a��O.�'uIX���W�R��;�?�6��%�v�]�g��������9��� �,(aC�Wn���>:ud*ST�Yj�3��ԟ��� Take a listen to McCoy Tyners’ solo on Blues on the Corner from the album The Real McCoy: The Blues is a form that every improviser must learn and master if they want to become a proficient player. � �l%����� �W��H* �=BR d�J:::�� �$ @H* �,�T Y � �@R d�� �I ��
But as you can see, in the hands of a musical master the sky’s the limit.
However, one scale that many players don’t think about on V7 chords is the minor pentatonic scale. But also in a lot of blues solos, usually played with hammer-ons and pull-offs. Once I knew what I triplet really was I noticed them in many other rock and metal songs. For example, over Eb7 he will play Db, G, C and then switch to 4th’s built on the root (Eb, Ab, Db): The tritone interval in the augmented 4th (Db to G) creates more tension while the perfect 4ths are an open sound that don’t require resolution.
In this lesson on the pentatonic scale you will learn about patterns and their importance as you continue on the path to learn guitar.
A-minor pentatonic is a reasonable starting place with the minor pentatonic scale and has the 5th, 7th, 9th, 12th, and 14th fret respectively as the first fret on the different positions. As you’ll soon learn below, the pentatonic scale can add a wealth of harmonic and melodic possibilities to your solos.
Here are Six Solos that You Should Know... How to Play the Blues Like a Pro: A Lesson with Wynton Kelly, The Secret to Unlocking the Lydian Sound: From Boring Modes to Killing Solos, How One Note Can Change Your Ears and Spark Your Creativity, Turn on a play-a-long and practice applying these scales over the dominant chords in your solo, Go to the piano/keyboard and practice these different, Take a pentatonic scale and play every other note (like a major scale in 3rds) noticing the inherent intervallic structure, for instance with the, Try different groupings and changing direction, Or find a pattern that McCoy uses and start by imitating it, learning it in.
I would highly recommend that you practice both the major, minor and pentatonic. /Title (�� P e n t a t o n i c a r p e g g i o s p d f) You can approach it with blues language, bebop, or even modern and outside approaches – it all comes together in the blues. Make sure that the notes don’t sound layered on top of one another. I use the phrase “potentially
How to play the minor pentatonic scale on guitar? This one is great to understand sequences.
I find it helps memorize any scale pattern faster. endobj that I first played Db's main triad in sequence followed by Bb's minor triad before he tackles the fifth (G) cmaj7.
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