pentatonic sequences pdf
>> In In the blues this happens between the 4th and 5th bar of the progression as the I chord moves to the IV7 chord: Take a listen to how McCoy creates harmonic tension at this spot as Bb7 resolves to Eb7: McCoy creates this effect by utilizing the minor pentatonic from the root, shifting up a half-step to a B minor pentatonic, and resolving the line through standard ii-V motion: Another example of this technique occurs in the last two bars of the form leading to the start of another chorus. Required fields are marked *, Join to get my latest content delivered to your inbox, Copyright 2017 - All Rights Reserved to Guitar Endeavor. The first scale sequence I learned without being aware of it was the “pentatonic triplet sequence”. The movements on the fingering hand are limited, most of the speed is achieved using the right hand. endobj Throughout his solo on Blues on the Corner, he utilizes harmonic tension at pivotal points in the progression to create interest in his musical phrases. Practicing using scales sequencing is a must and can help whatever level of guitar playing you have. Those iconic 4th and 5th voicings that you hear are perfectly suited for the pentatonic and intervallic lines he plays on top. Do you have any preferred scale sequences? This example is funkier and “breaks” that linear sound of the scale. Here is an example of this one using the A minor pentatonic. Get your hands on as many McCoy solos as you can and see what discoveries you can make on your own! stream 50+ videos Play all Mix - Combining The Pentatonic Scale 3 Licks ( WITH TAB PDF ) YouTube LESSON Minor Pentatonic Scale | all 5 positions - Duration: 12:26. Once I knew what I triplet really was I noticed them in many other rock and metal songs. For the purpose of this lesson, all examples below use the pentatonic scale (because it’s so popular). >> Sequences are created by playing a certain number of notes before moving to another scale degree. /Length 7 0 R x����_w��q����h���zΞ=u۪@/����t-�崮gw�=�����RK�Rl�¶Z����@�(� �E @�B.�����|�0�L� ��~>��>�L&C}��;3���lV�U���t:�V{ |�\R4)�P�����ݻw鋑�������: ���JeU��������F��8 �D��hR:YU)�v��&����) ��P:YU)�4Q��t�5�v�� `���RF)�4Qe�#a� The example shown above is just a glimpse of what you can do with sequencing. Be sure to check out my scale patterns guide to make your own sequences. Learn your major pentatonic scale and practice Pentatonic Exercise 1 in all 12 keys. 1 0 obj The signature “McCoy Tyner sound” hinges on one thing – his left hand. For example, you can play mainly fourth intervals by skipping one note every time before going back on it (13,24,35,46). 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 In his solo on Blues on the Corner, McCoy Tyner uses the minor pentatonic scale over dominant chords in two specific ways: (1) from the root of the chord and (2) from the 5th of the chord. ~��-����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����[email protected]��~��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��� In the excerpt below, study how he navigates the chromatic ii-V’s with pentatonic material: To navigate this quickly moving chromatic ii-V he utilizes pentatonic movement along with ii-V7 motion: Practice this technique in your own solos: For many players, the pentatonic scale has become predictable…even boring. This book is intended to serve as a poin t of departure for the study of pentatonic scales. � �l%��Ž��� �W��H* �=BR d�J:::�� �$ @H* �,�T Y � �@R d�� �I �� /Width 625 1 2 . Pentatonic scale patterns, sometimes referred to as sequences, are one of the best things you can practice to gain more command of the pentatonic scale. If you’ve listened to the classic Coltrane Quartet or any of McCoy’s extensive discography you’ve heard this sound: Augmented 4ths and perfect 4ths voicings: Throughout this solo McCoy voices dominant chords in stacked 4ths – either from the root of the chord or the 7th of the chord. 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. 3 0 obj $ @H* �,�T Y � �@R d�� ���{���ؘ]>cNwy���M� 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. /ColorSpace /DeviceRGB /AIS false They can be applied to all types of scales. 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. /Type /XObject It goes like this: 123,234,345,456,567,678. And you probably have a few tricks up your own sleeve when it comes to creating solos over this sound…. It consists of playing a group of three notes before moving to the next scale degree. The movements on the fingering hand are limited, most of the speed is achieved using the right hand. Pentatonic Patterns for Improvisation Sample Preparatory exercises Below is an example of what I call Pentatonic Exercise 1 in the key of C major. Without the harmonic pull of leading tones or the rigid structure of tertian harmony, every note is essentially equal in relation to the harmony. However, one scale that many players don’t think about on V7 chords is the minor pentatonic scale. /Subtype /Image �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�-���? McCoy Tyner was a master of creating harmonic tension and release within his own solos and the harmonic textures he provided behind other soloists. /BitsPerComponent 8 But also in a lot of blues solos, usually played with hammer-ons and pull-offs. << 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? pentatonic. A perfect spot to employ harmonic tension and release in your own solos is over V7 to I motion. 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. /Title (�� P e n t a t o n i c a r p e g g i o s p d f) They also help learn someone else’s solos. But it’s more than the five simple notes that most musicians think of using over a minor chord. 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. Start by taking one fragment into the practice room and exploring the different possibilities in all 12 keys. No pianist has influenced the modern approach to jazz piano more than McCoy Tyner. Relative Minor: A Powerful Tool to Solo on Almost Any Song, Learn Lead Guitar Basic Techniques - Guitar Endeavor, Blues Guitar Chords : The Dominant 9th Chord, How to Play Pinch Harmonics to Make Your Guitar Squeal, Guitar Endeavor Is Now Officially on YouTube. How to play the minor pentatonic scale on guitar? Make sure that the notes don’t sound layered on top of one another. endobj If you do please let me know and I might add it do this post. In this exercise we play our major pentatonic scale over the entire range of our instrument up and back down again. << They are more practical and musical than basic linear scale patterns. Scale sequences are a great way to learn and use scales. /Type /ExtGState From players like Chick Corea and Mulgrew Miller to non-pianists like Woody Shaw and Michael Brecker, McCoy has left his mark on generations of serious improvisers. Byron Santo's Pentatonic Note Sequence Grimoirium is the most comprehensive collection of Pentatonic Note Sequences ever assembled for the modern bassist. As you’ll soon learn below, the pentatonic scale can add a wealth of harmonic and melodic possibilities to your solos. It’s an A minor pentatonic scale sequence using both hammer-ons and […], Your email address will not be published. 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. If you’ve subscribed to JazzAdvice I’m guessing you’ve learned more than a few options for improvising over V7 chords. McCoy’s left hand is central to the lines he plays in his right, both rhythmically and harmonically. 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. When playing this one, I like to accent the degree change, I find it gives it more dynamics. << /Producer (�� Q t 4 . You can also play groups of four notes like this: 1234,2345,3456,4567,5678. Want to Master Rhythm Changes? It’s more technical since you must do many finger rolls. endobj /SM 0.02 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. And today we’re going look at 3 creative ways McCoy Tyner uses the pentatonic scale on the blues…. I would highly recommend that you practice both the major, minor and pentatonic. 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”.

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