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USA| 15800 NW 48th Avenue, Miami, FL 33014
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IMERIATIOMI MUSCPUBLEATIOilS
LI'trED
ENGUND:GFTFF]N
HOUSE
161NAMMENSMITH
FOADLONMNW6sBS
II\ IHUUUUI IUI\
fhis bOOl trasteenintheworksformanyyears.lt wasalways myintention thatit would
serveasthelinearadiuncrro S0tTEltP0mny E[onDIHtilgtpIS andthatthesetwobooks
wouldften be able t0 functionbeautifully togetherLikethe aforementioned book,
,If[IltlG lllltctFls sharswithyoua particular philosophy
theorerical tharis designed
to givevarietyandflowto yourimpruvisations. Thereis certainlynothingnewabout
penttonic impruvising.
However, perhapsit hasiust neveT
beenprcsented in quitethis
formandthismanner. Oneearlychapter
inthebookis dedicated
to making certalnthatyou
clearlyunderstandthedistinction
betweenwhatmakesa pentatonic linedifferentfroma
ia2z line.
Oncethat hasbeenaccomplished,thefocusof thebooknarrows.
Tle materials arorganized in a manner thatshowsyouhowto employ themquickly and
witi resultsyoucanhearimmediately. Inpresenting thematerials fof thisbook,I'vetried
t0 keeptiingsassimpleaspossible andt makecertain thattheteminology andlanguage
fle crFistentwifi rry chordalpublication.
As wi*r GllltBDlflllilGtpls, myhopeis that the
sophistication0f thejdeaswillappeal to playersin allgennes: notbeing'overthehead'of
thosewttomightnotbeinterEsted inthespecifics of musictheoryandnotseeming to ,talk
doum'tothosewhomighthavealrady attaineda highlevelof sophistication wheremusic
tieory is concenned. Sincethe publication of GllOB0 lfil IC[pIS,I havereceived manv
encouraging lettrsfmmthosewhohaveusedthebookandgained fromit. I canonlyhope
thatthesuccessful communication of ideaswillbemuchthesamefor thisbook.
I believe
thereareaspects to theunderstanding
of musicandmusictheorythatinvolve n0
"r.dc.' I thinkthat,at onetimeor
another,
all of uswouldhavebelieved thateverything
weheardandsawir musicwasbornof ,,magic." However, thefurtherwetakeoufindivid-
ualstudies,wefindthatthereis a verymathematical logict0 much0f it. The,,magic"
ele-
mentliesintheirbrastiorofthepeople making themusic.But,in almostallcases,there
arerasons whymusicsounds good,andoftenthoseTeasons arebonnof soundtheory.
InthisbookI havetriedto 0rganizethosetheoriesthatI verymuchwantto sharewithyou
t0 appearin simplecharisaid tablessoyoucanaccesstheinformation quickly
andwith
greataccuracy.Thetheories, likethosein math,shouldholdfirmandtrueandnotlet you
donn.Withsomehardwo* 0nyourpart,somememorization of thefonmulas,
vouwillbe
capable0f somenewmusical ideassoon.0f thisI amcertain.
Sincethisbookwasgoingt0 betotallyfocused onlinesandlinean concepts,I knewtJrattJn
play-along
CDwouldhaveto be apprcached differently.Forthefonmerbook,whidrdealt
withchofusandchordal harmony, youweresupplied withplay-along
tnackstiat, in alnnst
youwithonlybassandpercussion.
allcases,supplied Hereyouwillfindthatyuj willstill
havethebassandpercussion, butto giveyoue harmonic cushion,
someharmonic sfpot,
youwillheafstdngpadsin the background on all the newtracks.lhis willgivelul tJE
chanceto hearyournewlyformedlinesagainstsomething harmonically
solid.And,in tlc
end,knowing whatyounowsoundlikewillgiveyouthat all-important senseof selfgf,
dencefof playing
yourlinesin anycontext.
Youwillfindonthe CDa balancebetween recordeddemonstfationsof thewritten@n-
plesandmanyimprovisataons,whichattemptto present
thelinearconceptsastey cuff
beusedin realplaying
situations.
Usuallytfredemonstration
trackis immediatelyfrrllocd
bytie sametrackminusmyguitar.
CtIIIInmf,Y 8H0R0 tllltG$fs showsyoua comptete anddetailed descriptionof my
equipment ontheTechnical GuitarInformation"page{page 74).Thene wasalsoa w*[E d
Intotie recording pmcesswithMalcolm PollacKs "Engineering
Notes"lpage7S).ForfE
recording of lt fi lillGIllltGIFlS, noneof myguitarequipment reallychanged, fld I still
usednryGibson ES-335fB2,film the Heritage Senies] fof everything.However, d.c to a
problem lwas havtng withoneof myspeakers lbutit couldhavebeensomefring dsel],re
decided to mixhe recording usingonlyonesideof mystereosoundisotheguitr, as yui
no^,hearit, appears in thecenter. 0n theengineering side,muchof ourrecording 6:m
remained thesameaswell;though Malcolmhadto improvise a bit sincesomesf tfE o.t-
boardpmcessing gearfrverb anddelay units]inAlGorgoni's studiohadchanged. Stnddyur
care!o radaboutmyequipment in grcaterdetail,please feelfreto visitthefollowingWbb
page:rrrsterullu[cony'equipmenthtn. I am hopefulthat oneof thesebflo sorces r'l
ansu,ermostof yourquestions aboutmymusical equipment andtherecording itself.
lntroduction
Fonmost0f thetracksonthe CD,I putto useoneverysimpleyetsolideveneighf}flote
nhythmic groovewith a Latinflavotwhichalwaysappearsat the moderate tempoof
=
J 122.Though thegroove mayseemsimilarfromtfackto traek,theharmonic challenges
arealways oversomethirtyyearsof privateteaching,
diffenent. I'vecometo beliewtld
this kindof play-along withplayens
feelis the bestwayto connect fi'omall genrcs,ad
that'sa goalfonthisbook.
Forthose0f youwhohavealways beenjazzplayers, beingforcedto cometo termswith
playing overeveneighth-notefeelscanbe6 greatthing.Forme,it remains to get
difficult
sequencers to feellikethebrilliantplaying
of drummers suchas ElvinJones,RoyHaynes,
JackDeJohnette, PhillyJoeJones,andcountless others.0n "Hippity Hopto the Bebop
Shop," Irach 3 and4 ontheCD,I decided t0 avoidtheseproblems andpresentmyver-
sionofa contemporary hip-hopshufflebeatthatwouldallowthewrittenpassages to swing
a bit.Thetempofor thesetracksis ) = 72. I amhopeful thatthis,in smallpart,willsat-
rsfysomeof youfromtheiazzcampandinspirceveryone elseaswell.
Though I am repeatrng myself,I can'tstressenough that, in the longvieu the liner
approach presented in this bo0kshouldworkbeautifully withthe chordalandharmonic
approach in G0ilIEMP0R[BY GH0B0 lfililGEFIS.Duringthepenfonmance 0f music,in y
genre,yourplaying shouldalways bea balance of allthatyou've experienced andlearned
sothat it'snot one-dimensional. lf youallowyounself to doiustthementalportionof tiis
effoft,leamingtheformulas asto whythesepentatonics worksobeautifully, I canguarsF
teethatyouwll achieve resultsfar fasterthanif youspendtimefesisting thisaspectand
justrelying 0nyourears.Tfue,intheend,everyihing willcomedownto yourear,yourabiF
ity t0 hearsomething,,but it's so important to understand whythingsdo soundgood.To
thatgoal,I hopeI cancontdbute something of lastingvalueto yourmusic.
Staysafeandbewell,
Sterelhan
ewlbrl Gitl,0ctobcr2001
t4,.tta-
0rigin.l t!tr ..d hl lt J!|F irld tolon. Sirln b stero .r . gift for . loltible rotghool col!. in 1900,
Ilir l|nicrhr a|rrin! Enind. u. ol folon'r ldnlinq for th! tittbrt! LDrollr |tor 'tt.
Al Gorgonr:
Aar.onStang;Mike Selver.ne;StevenLaitmon;ChristineMar.tin;
MalcolmPollack:Rob Mounsev; FeliciaMichael;
Ned Shaw;BlaineFallis;RonAslon;
Christran
Pacher;OscanHernandez;ManoloBadnena; MarcOuifrones; Bub6nRodriguez;
wrllreBobo,PietMondrian;i/ikeLandy;KennyInaoka:patriziochiozza;Fneddyzernin;
RrchandLarrd:RobWallis;ColinSchofield;
L. JohnHar.ris;
DennisChamber.s; Anthony
Jackson:
SteveJondanAdamGor.goni;ClareFischer";
DonSebesky; Naokisawaoka;
'or.tiz; Nadine
DeMarco;Davesamuels;RafaerGreco;AlvanoFalc6n:Daniel Ang6lica
Lamanca
Caneldn:
DougWest,Jean-Michel Folon;Heathprice_Khan;
andto Car.idadCanel6n.
Acknowledgments
Grbson
Guitans tJimmyArchey, LouVito,andDanr.ell
Gilber.tl;
DeanMar.kleyStr.ings
lDeveLrenhard):
Sadowsky GuitarstBogerSadowsky); WaltenWoodsAmps tWalter.
Woodsl Korgy'lrr,tarshail
tMirchCotby);yamahaGuitar.itshigenobuMiyake);lbanez(John
Lomas;LPAatrnPencussion tMartinCohenl;
DannyK. MusiiSer"vices; andDr.eamhir.e.
Dedication
The wonkconlained withinthis bookis dedicated with loveano nespectm
0lI ltl'lt[, oneof my deanesJfriendssincejunion
highschool,whor.ecently
passedaway
hon. lungcancer. lf youanethinking
aboutsmoking, pLEASE don'teverstar.tllf yo, ar. i
smokernow PLEASE do everything
withinyourpowerto stopNOW|
Conrespondence
Pleasefeerhee to visitmy Web site:hftp//www.steuekhan.com.
Cnedits
ProicctXaneger:Aar-onStang
Xrsic [rgrrring rnd Bool layout/ltesign:
MankBur.gess
0rigiml Gcer 0esign:H6teneCote
Becl Gorerllh:tration: NedShaw
Boottrt LeyoutRobertRamsay
Ptotoof stere rhrn lpageil: chnistianpacher,Ingolstadt,
Genmany tMay31, j gg3l
G0BacordingInformation:
Produced by: SteveKhan
AssociatePnoducens: Al Gor"goni
& Malcolm pollack
Prrgnammed & Sequenced by; S[eveKhan& Al Gor.goni
Addrtional
Sequencing: SteveKhan& RobMounsey
Reconded at: LightstneamStudios,N.yC.,Ny _October
A0_A1,A001
Recorded andMixedby: Malcolm pollack
Pos[-Pnoductjon: RobMounsey @ FlyingMonkev Studios
IABLEOFCONTENTS
UNITONE:Pentatonic
Scales:
WhatAneThey?
Example pentatonic
1: Minor I
Fingenings
..
Example pentatonic
2: DominantTth 10 .,2
Fingerings.
. 1 1. . . ?
uNlrrwO:Rerationship
oftheMinorpentatonic
to theBrues
scare. 12
Example
3
pentatonic
UNITTHREE: Linesvs.JazzLines
Example
4: Hippity 13
Hopto theBebop Shop
. 1 3. . 3 / 4
UNITFOUR: of pentatonic
Application Theory
17
UNITFIVE:
MajorChords
Example5: EzarajT 19
20 . .5/6
UNITSIX:MinorChonds
Example 6: Em7 22
23..7/B
UNITSEVEN:
Dominanr
7rhChonds
Example
7: A7 .25
.26..9/10
UNITEIGHT.
Minor7tvil Chords
ExamplA e 8m: 7 t b .5.l. ."' 2B
29 .11/12
UNITNINE:
Altered
Dominanr7rhChords. . .
Exampleg: Fnontien 31
Justice,
CTtaltenedl
...... . 34 . 13/14
uNlrrEN:Pentatonic
rmprovising
Overcadences:
ii-v-r_tV
rn . . . . 36
Examples
10A-H:ii-V-l
t1OE-G
notrecor.ded] 39 .15/16
Example
101:SolMotion
Example
10J:Charanga 4 1 .. . 2 1
C.C.
41...22
uNlr ELEVEN:
Pentatoniclmprovising
0verCadences:
iimTtbsl-v7tatr.l-im7
Example11: iimTtbsl-V-i
Example
12: Clane 44 . 1 7 / 1 8
as Day.
45 . 19/20
TabhofConmtg
PageTD=ffi[
UNITTWELVE:Pentatonics
in Sequence
Exercises . . 4E
Examples
13A-J:PentatonicSequences
tii-V-ll.. . . . .48 . 1sl16
t13E-JnotrecordedJ
Examples
14A-J:PentatonicSequences
[iim7tb5]-V-il . . . . .49 .17/18
\ E-J notrecorded]
UNITTHIRTEEN:
Pentatonics and"Outside"
Around theConsonan[, . . . S0
Example1s.. ....52.29/24
UNITFOUBTEEN: Pentatonic
StretchFingenings
. . . , 5g
Example16......i ....54
E x a m p l1e6s4 - 8 . . .56.. .p4
UNITFIFIEEN:
String-Skipping
Exercises 57
Examples
17A17Dtii-V-l) 58 15/16
Examples
18A-18DtiimTtbsl-V-il ... 59 1 7/ 1 8
UNITSIXTEEN:
TheDoubled-Note
Effecr 60
Example
19 60
Thedefinitionof a pentatonicsGslaccordins
totheHARVARD
DrcroNAFy
0FMUSIC
is thefollowino:
A scaleoffh,ediffere pitches.Oneformcanbe played bysoundingsixsucces_
siveblackkeysof thepianotthesixthconstitutesanoctaveof thelirst anddoes
notcountasa diffenentpitchj.Thepentatonic
scaleis commonlyfoundworldwide,
including
indigenousAmenican music,EasternEurope, tnerar East,andAfrica.
Vafiations
ofthepentatonic scalearealsofoundin Uiactgospei
musicanOrhythm
andblues.
Inthewo|ldof improvisedpopurar music,I believe
thatthepentatonic scarehasbecome
synonymous wtthanygroupingoffivenotes.Andthosenotes,asa unjt,donothaveto have
anythingto dowitha particuraf
chond sound or name.As*., .Li.J.-n-. therecanbe
some.vefy exotic
andunusualpentatonicscales.Withthispointinmjnd,let,sbegin
,ngthisconcept. explor_
Theharmonic nelationship
betweenGm7andc7 as a iimT-v7shourd beobvious,
pentatonics, andthe
whichwe'vederived,
arejustascloselynelated.
Infact,ofthefivenotesused
foneach'fourareexactry
thesame.Theonrydifference
is thattheGminorpentatonic uses
an_F andtheC dominant 7th pentatonic
usesanE. Intheflowof moving ttnes,thissmall
difference
canproveto bea greataddition.to
the soundandshapeof yourlines.As full
modes, G DoriantGmT) andC MixolydiantCTlc.ntainexactlythesameseven notes,all
derivedfnomthekeyof F maion
Thedominant 7thpentatonic js notsomethingldiscovered through mycollegemusicstud_
ies,privateteachens,or evenshaned exchanges ofinformationwiti othermusicians.r came
uponit thnoughmystudiesof pianistMcCoy Tyner,simprovisations,especially
thosefound
0n his recordingsas part of JohnColtmne's legendary quartet(Coltrane, Tyner,bassist
JimmyGarnison, anddrummer ElvinJoneslfor lmpulseFlecordsduringthemid_,60s. Due
to theclosenelationshipbetween theminorpentatonic andthebluesscile,rt wasfelatively
easyt0 detectMccoy's usageoftheminorpentatonjc, butthemoreI listened, I kepthear-
inganother c.nfigurati.nof n'tes.Aftermanymorehours0f sittingin fr'nt of thestereo,
I wasfinally
ableto definethisfive-notegrouping andrealizedthati; t00,c'ntormed to the
diatonicstructurcs,butthatit began0nthe Sthdegnee of themajorscaletthisbeingthe
degreeof the dominant 7th).so, fromthat pointforward,I havearways refemed to this
scaleasthedominant 7th pentatonic,
.->
UnitOne
GD:'nceyou,ve
been
abre
r0se*hefo'owins
;ilj.X1i,1iyl,i.",+iil
j::t,'mr:ru:*t#u*r
l,lfll9"l,lJ finserrnos
r0a neasonabre
I$:in:,1.:.T"{tlJ ruii
;:t[
lust whatbotha G minonpentatonic
rg,mjm.lx*1r,.il...",*T.:iilffiiii{,!:T".H::J#ifl
jlf
,'$::it
:BT[1;::#;$ilil:T::J$:i:
;,.X*tnUn:li[*iix:iT;^'I#ffi
Pentatonic
rinserinss
(s)
F.i:frfr
!l|' trff,'
Keyof:F Maior
Mode:
G Dorian
UnitOne
USlltlE TllE Gll: Justaswiththeprevious
minorpenraronic
fingerings,
onceyou'\,e
berl
6blet0 getthe dominant7th pentatonic
to a reasonable
level0f readiness,
try to appty
themby playing
themslowlyoverlrack2 0ntheCD.Youcanalsopractice theC dominat
7th pentatonic
oveflracl24, a simpleGpedal,whichwouldallowyouto hearhowit migtt
soundovera G minofsononity.
Example
2:Dominant
7thPentatonic
Fingerings
Example:
C7'
Keyof:F Major
Mode:C Mixolvdian
4
b-
1
e
,:. L
1 4
e =
UNIT TWO
of theMinorpentatonic
Belationship to theBluesScale
e principal_r.eaSons
forpresenring
themateriats
andconceprs
.0!: toW
book.is helpall players
inrhis
finda closerconnection
between the bluesandmoresophisti-
catdformsof hamony.0ftentimeswhena playeris conhonteA
bya cnord,otherthana
d'minant7thonminor7thchord,anyreiation to th. blrrs o,.to u [inAot ,,Urrsiness,,
seemmtherforignwhen,in fact,it couldbe fightat hisor her can
nng.rtipr.pefiapsthe
first stepto braking
downthesebarriersis ti examine fl't, r.aitnrnip of the minor
pentatonicto thebluesscaleof thesameroor.
lhis example
shoesGastheroot:
Uponclosen inspection,
it becomesclearth8tthefeis essentiallya one-note, .
half-note, one_and_a_
or two-notediffurence
betiweentheserwo.r.frr. io* ioul-P.rnto usetheblue
notesandthat subtremicrctone wifl.realykeepyourimprovisaiionl' ctosety
tiedto the
l
mots,thecommon gmund_theblues! youwillbeableto dothisby
simply addingthenotes
ft'om.the
bluesscaleto theminorpentatonic youchose to employoverJnyoneotthechond
tumilies
discussed.'nce you,femastereO ttretireories
Ueni;i;r1rg;r-;,r0. pentatonics,
youcanbeginto addthebluesscaleandallof its nuances,
whichinly theguitarseemst0
offun
Example3: G MinorPentatonic l
j
l
I
I
l
I
UNIT
THREE
Pentatonic
linesus.Jazzlines
[Of thOSe Of yOUwtroarenewto improvising rhnough complex sersof chordchanges
frommusical experiencesin rock,R&8,oncountry, I feelthat it wouldonlybefairto pro-
videanexample ofiazz-oriented to dothissoyoucanseeandheanthe
lines.lt'simpontant
significant
differences
intheshapes andsounds oftheselinesas0pposed to thepentatonic
linesfromwhichthisbookdrawsits focus.
Jazzlinesnotonly0bserve thebasicprinclples of sounding outa scaleor modepereach
chordfamilyand change,but also,withinthe numberof beatsallowed,the basic
modal/scaletonescanbe,andare,embellished bytheusageof uppen andlowerneighbors
[bothchromatic andconsonant), chrcmatic passing tones,simpleanpeggios, andocca-
sionalidiosyncfatic
rhythmic groupings.Even withalloftheseelements addingto thequal-
ity andchanacter of the lines,therestill existsa decidedly qualityto the
scale-oriented
shapeof the lines.In otherwords,onenotefollows closeproximity.
the nextin relatively
Likeanygenne, jazzhasits ownlanguage, andto playit in a recognizable
wayrequifes that
youlearnto speakthislanguage.
Example4:"HippityHoptothe
BebopShop,,
@ @
t-m/ Bb7(alt.) C7(alt.)
Bb7(alt.)
UnitThree
Bt7(alt.) C7(alt.)
@ rmz
Bb7(alt.)
UnitThree
@rrz Bb7(alt.)
Bb7(alt.) C7(alt)
Bb7(alt.)
Bb7(alt) C7(alt)
UNIT
Application
FOUR
of Pentatonic
lheory
This is whgre thetheoreticar and/ormathematicar-oniented
sectionof thisworkrear-
ly beginswhat I triedto doformyserf manyyea.r.go *."io-find ;way ro pursomekind
0f .rdent0 how,where,andwhenI coutoappty res.'e t*o tunaur*t,| pentat.nac
[theminorandthedominant scales
7th pentatonics]
t0 mostof thecommonly usedchordforms
[0f chordfamiriesasI riketo ca'|them)thatweencounter on. o.irvlr,, inthemusic
plav. we
'j*ft!',''ld';''ll+#ff'.'M
trx#t',f*,n:.J,ffi
ffiill:rlilr.ffi
ffir#f?ff#};s[::ixiFi#fl"T;#;il};r.'[iil:T:#;H^,*ffi
\Menyoufuelready
to jmprovise
lin
romake
that
j;3tt-tril.,}'ffi
rTil,i:ffi
ffL.ilttrt,+#..J#iltr1i{g#':
itri rhe
othJriwo
*, *,0., ffi..Jfl:1,#r:i,ji,:r,,i,?:roo.jil,X.#1,,,n
'.Tl
ffi ,q"#[F::,Htilitfti;il1;1.,,,::ulsl#ffi
;i:,T%
:iT'J:i
l'ff ;i#
;ffi: irI'J:Hilffi
:";'iiT$'l
il?.??;.'i,ii
i,l"J;
fi:illfiJt,rul,f
flj|"trJ::tr'TilT v'umust
i'JHi'J:'::TlT'rlld a'ow
v.urce
;ililffi s:frfl
#,#J.;i#
ttilft.J:id.r;:xlir*ilifii,,i.f.*il,,ffi
f.U::*min.;*;
SlJ..eTil.T:'T;:yJ;#il:J::,#:::l.,ll..lXill,,lili?1i1ff
With thls said,let'smoveon t0
the fivechordfamiliesoffered.
I
'18
UNIT FIVE
MaiorEhords
ouerEbmaiT
lor erample, use:
Gminor 3r'd 5rh 6th maiTth srh
pentatonic G Bb C D F
0 minor majTth grh 3rd il4 6th
pentatonic D F G A C
Mill|N GHI|BOS
Inthecontextof prognessive music[iazzandiazz-rock
instrumental fusion],I necommend
theminon pentatonicsbuiltuponthe 3rd andthe 7th degrees 0f the maj0rscale[lonian
modelbecause they affordthe nicest 0f
selection colorlones.In addition,
because of the
ofthetones
configurations in anyminorpentatonic,
therc a
exists subtletyin how thenotes
thechord
fallagainst andits sound.
Often,playersdiscovening of the shafpjourth(*4)in majorchofdstendto
the beauties
ovenemphasize that noteratherthanallowing it to happenas the improvised lineunveils
itself.Byusingtheminorpentatonic builtuponthe7th (themajorTthl' it inroducestf|is
toneandpresents it withsomedegnee 0f subtlety.
DmajT fl B G{ E E
EbmaiT t C 0 F F
EmajT EI 0* Fil Fil
F maiT I D I G G
GbmaiT Bb Eb t Ab Ab
GmaiT B E r* A A
AbmaiT G F I Bb Bb
AmaiT EI Fil G* B B
BbmaiT D G T c C
BmajT D{ GI [il c{ C{
Example
5:OnMajor (Ebmai7,
Chords
@ @
UnitFive
UNIT SIX
MinorChords
t|1il088fl0R0s
0f arrthechordfamiries addnessed in thisbook,theminofchofdfamrry is the.ne that
alradyexistsin minonSo,,there's noneedto convert thethinking pal because youwould
simplyusetheDorianmodebuirtfromthenoot.Inthe.*urprr'oi
Eri wewourdusethe
E Dofianmode.Theuseof thethreeminorpentatonics i, u.iy ,ir.ightfor*ardandshould
comedownto a simplematteroftaste.youwouldusejustthose
c#ainrngnotesyoureal_
t[::, inmy0pinion, arcgoing to soundterriiic.
ttremlnor pentatonrcs
ll||Tl
therootandsth degrces buittupon
onlydifferinthattheonebuiltftomthe5thdegree ooes notuse
them3rd.and thercforeoffersgreaten subtlety.
lt als.add;tf',e.o[. to* ottnegth,which
somefindto bea veryprettynote.Theminonpentat'nicouitt
upon-irre znddegnee ars'
givesyouthegth,and,in addition ro that,presents thecolortoneoflhe gti: lt, too,is a
pfttynote,butnotoneto beovenused. youshould always feelfneeto try to useallofthese
pentatonics because experiencewilltell youwhichonesfit intoyourpeisonet style.
However, thisis anexcellent placeto beginto getaccustomed to usingthedominant
pentatonic. Withtheexample 7th
of Em7,themodalorjentatjon beingE Do"rian, we arein the
keyof D majoxso Em7is a ii chord,and47 wouldne a VZ cnJnJ.
pentatonic ff,e A dominant 7th
is buirtfn.mthe4th degnee 0f E D.rian,andit onryJitr.., t.o.nthe E minor
penttonic in that it hasa cr (6thor '13thrinstead of D ttheith). whiregettingfamiriar
with this s.und,try interchanging the E minorpentatonic urJ ir,. a dominant 7th
pentatonic^to heafthecolorchange created bythisone_note diffenence whenyouptayalong
witi thecD. In[rampre6 youshourd payaft;ntionto barsz+-ziano ?g-g0offeredasa
poiniof reference.
UnitSix
MIIIORCIOND
NTftBEITEE
GHIBT
Elt0Bll MIIIUB PTIIT. MIIIUF PTITT. MIIIUB PTIIT. utM. lllt Pti[
IRI l2ndl ISrht Itrht
Cm7 C D G F
DrmT Db Eb Ab
Dm7 D E G
Lbm/ EO F B' Ab
Em7 E Fil B A
Fm7 F G C Bb
F*m7
l9bm7 F+/Gb G*/Ab ct/Db BlCb
Gm7 G A D C
Abm/ Ab Bb Eb DI
Am7 A B E D
tJrm/ ,Bb c F Eb'
Bm7 B F{ E
6:OnMinor
Example (Em7)
Chords
@ @
UnitSix
UNIT SEVEN
Ghords
Seuenth
llominant
0n anystationary
00llllllill TIll Gll0B0S: dominant7th chord,the playernry
applU minor[entat0nics builtuponthe2nd,5th'and8thdegEes0ftheMixolydian
modeanddominem ?thpentatonicsbuiltup0ntherootandzndd8grtes'
use:
ouerA7(91
lor example,
I minor 5th 7th R 9rh 4th
Fentatonic E G A B D
OOMIITAIIT
7THGIIOBOS
7IH EIIOBI|
OOMINANT CHABT
RE]EBTIIIET
C7 G A D C D
Db7 Bb Eb Db t
D7 A D E D E
Eb7 Bb C F Eb F
E7 B a{ F+ E Fil
F7 C D G F G
F+7
/Gb7 CVDb D{iEb G*/A, F*lcb G*/Ab
G7 D E A G A
Eb F Bb Alb Bb
A7 E T{ B A B
Bb7 F G C Bb C
87 Etl
GI B Cil
playTraek
I penformed,
USINGTHEGll:to h..r"Example I ontheCD.whenvou're
pentatonics
readyto usethesuggested whatyouhear,useTracl10.
andbeginto expefience
/-ctr\ //d'\
Example (A7)
7thGhords
7: 0n Dominant | ll'Dx I lll'd I
\L./ \10-,/
A7(9)
(1sttime only)
UnitSeven
UNIT EIGHT
Minor7tb5lor Half-diminshed
Ghords
anvminon7tb5](akahalFdimin-
MIil0nt$5t or llltf-0liltllllSHlll Cll0RltS:0n
the ployefnayappf rninorpentltooics
ishedchond) builtuponthem3rd,4th,0r
?thdegreesof the Locrian modeandthedominant 7thpentatonicbuiltuponthe
6thdegree.
overAmTlbEl
Ior erample, use:
Mril0R
r(b5tclt0B0s
Theminor7(b5l tonhalf-diminished 7th chondlcan apoearto be andevensoundlikea
stranger
t0 the diat0nicscale,butit is, in fact,the scaledegree0f themajon7th andsug-
geststhe Locfianmode,whichis oneof the sevendiatonicmodes.In my orientation, I
cho0set0 viewthis as the Donian mode,a minonSrd tm3rdlabovethe r00i. So,herein
ourexample ofAm7{b51, I wouldthink0f thisas C Dorian! As it turnsout,myfavonile
mlnol
pentatonict0 use 0venm7tb5lchordsis built from the min0n3rd as well,C mnor
pentatonic.
CHANI
BETIITIIGT
MIIIOR'tbst CHOBI|
CmTtbSl E9 F a2 Ab
Dm7{b5l F G C Bb
EbmTtb5) Db B
Em7(b5l G A D C
Fm/ tbcJ Ab Bb EO Db
Gm7tb5] Bb C F Eb
AbmT(b5l B/Cb Db E
AmTtb5l C D G F
BFmTtb5l D' Eb Ab
Bm7{b5l D E A G
8, plavTrack
ofIxample
version
U$llUGTHEGll:to ttar therecofded 1l' when
uselracl12.
t0 improvise,
feelfeady
8:onm7(bs)chords
@ @
UnitEi
UNIT
Altered
NINE
0ominant
7thGhords
AITERIDDoMlilAilI7THGH0[0S:0nalmostanyaltereddominant7th chofd,the
playern8yapplyminorFentatodcs
builtuponthef9 or 7thdegrees
ofthealtered
dominantscale[SuperLocnian
mode]anddominanttth pentatonics
builtuponthe
bEor15.
lor erample
oler G7[alt,luse:
[b minor *s b5 7th b9
Ientatonic EO Gb Ab Bb Db
Eb don. lth 7rh b9 3rd
pentatonic Gb Ab Bb Ub Fb
Abdom.7th 7th R {9 b5
Ientatonic Ab DO C Eb Gb
Ithef options:
nlltBE000M[uAtuT
TTltclt0[0s
As I initially
learnedit, the corrcctscalet0 applyto anyalteneddominant 7th chordis the
altereddominant scale,whichis madeup of: root [R],b9,f9, 3rd, b5,ilS,7th. lt contains
allfounof the possible altenedtonestbs,*5, b9,f9]. Withtoday's modernimprovising sys
temsandstrategies, manyplayerschooseto callthesesamepitchesthe SuperLocrian
mode.0thers,likeme,enduprelating to thisproblem bythinkingof it ss themel0dic minor
scaleonehalfstepabove ther00t.S0,intheexample 0f C7{alt.l,youmightchoose to think
of this as Dbmelodic minonlf you'rehaving a problemseeingthis,justspellout allihree
scales[modes]andyoushouldfindthat theyhavethe samenotes,thoughsomemaybe
enharmonically spelled.
Dbmelodic C Db Eb rb Gb Ab Bb
minor
Galtered
dominant C Eb E Bb
Bb0orian/ C Db Eb 4th 5rh Ab o0
GPhrygian IF] IG]
UnitNine
F'f th0seofyouwitha background inclassicalmusic
hafmonyandtheory,
whatreallytakes
place whenyouemploy thisdevice is thecreation
ofa plagal
cadence,
sometimesreferned
to as the "Amen"cadence, lv-l and/orlvll.Usingthe example
chordas partof a full
cadence,youcouldderivesomething likethis:
unlikethepreceding chor"d
families addnessed in llnitsE-9,to sustain analtened dominant
7thchond for a prolongedamount of time,twot0 threeminutes, is justnotpractical or
realistic
Doing s0wourd seniousry testsomeofmyfundamentar berief;aboutthemake-up
of goodmusic. Thatis to say,in themaking of goodmusic, lll youcan,tneally iusthave
everything
sound consonant; otheMise, it willgetvery,veny boring. Likewise,l2l youcan,t
havealltensionbecause thatcanbecome justastedious. so,aswithmany thingsInrife,
onemustachieve a balance,
leading t0 thecneation oftension andthenitseventual nelease
uponresolution.Allgneatmusichastheseelements intheifownpadicular balance.
AtIrntDD0ililllAllT7ilt GllonoREttntilcfcHlBr
C7(alt.) a0 Gb Ab Bb
Dbtalt.l G A
Dtalt,) F Ab Bb C
Ebtalt,l A B Db
Etalt.l G Bb C D
Ftalt.l Ab B cil EO
F*talt.l/Gb(alt.l NBbb c D Et ro
Gtalt.l Bb D' Eb F
Abtalt.) Blcb D E
Atalt.l C E' F G
Bb(alt.l Db E F{ Ab
Btalt.) D F G A
UnitNine
USIIUG THEGll: tntniscase,youwitthean
myimpfovisarion
overrhechor"d changes
andtheformfrom[xample I byplaying
Track
13,Whenyou'rereadyt0 try to improvise
youwould
0verthisexencise, play
simply Track
!4,
Example
9: Frontier deFrontera)/Gt\
Justice(Justicia rrd
/c\
t I (tFcr l
C7(alt.) \19,/ \!1/
Mode/Scale Options:
C altered dominanU
Db melodic minor
(c, Db,Eb,E,Gt,At,Br)
PentatgnicOptionsi
ELminor pentatonic
(Eb,G', A', Bt, D4
Gl dominant7th pentatonic
(Gb,Ab,Bb,Dt, Ft)
A, domlnant7th pentatonic
(Ar,Br,c, Et,Gr)
l.
ormaiz(B)
Modey'Scale
Options:
DbmajorAdian
(Db,Er, F, GtG, At, Bb,C)
PentalonicOptions:
F minor pentatonic
(E Ab,Bb,C, E')
C minor pentatonic
(c, Eb,F,G, B')
B, minor penlatonic
(B', Dt, El, E Ab)
am"iz(g)
B maior/Lydian
(B, Ct, D[, EiE{,Fi, c{, AD
PentatonicOptions:
Dl minor pentatonic
(D$,F[, Gt,A{, CD
A{ minor pentatonic
(Al,cl, Dl,E+,
cD
Gf minor pentatonic
(Gl,B, C{,Dl, FD
UnitNine
F maiT
Mode/ScaleOptionsr
F maior/Lydian
(F,G,A, BrB, C, D, E)
PentatonicOptions:
A minor pentatonlc
(A,C, D, E, G)
E minor pentatonlc
(E,G,A, B, D)
D minor pentatonic
(D,F,G,A, C)
Fm7(e
)
Mode/ScaleOptio||si
F Dorian
(E G,At, Bt, C, D, Eb)
PentatonlcOplions:
F minor pentatonic
(F,At, Bb,C, Et)
C minor pentatonic
(c, Er, F, G, Bb)
G minor pentatonic
(G, Bt, C, D, F)
Bbdominant 7th pentaionic
(Bb,c, D, F,Ab)
ModerscaleOptions:
A! Dorlan
(At, Bb,ct, Db,El, F, Gb)
Pentatonlc Options:
At mlnor penlatonic
(At, cb, Dt, E , Gb)
E, minor pentatonic
(E , Gt, At, Bt, Dt)
Bbminor pentatonlc
(Bb,Dt, E , F,At)
Dbdominant 7lh peniatonlc
(Db,Eb,F,Ab,Ct)
16.
EmajT(3
Mode/ScaleOptions:
E maror/Lydian
(E, Ff, G{,Al/A,B, C{, Dl)
PentatonicOptions:
Gl minor pentatonlc
(G$,B, Cl, D*,Ft)
IX minor pentatonic
(D{,Ff, Gl, Al, CD
Cl mlnor pentatonic
UNIT TEN
Pentatonic
lmprouising |luerCadences
Pentatonic
lmprouising
for iimT-Ultalt.l-lmai7-lUlltalt.D
Forthose0f youmostinierestedin applying theseconceptsto jazzandjazz-related music,
therecan be littledoubtthat learning t0 negotiatecadences t0 bothmaiofandminon
chordswillserveas the bestpnoofof the usefulness in "real"music.By,,neal"
of pentatonics
music,or "neal"tunes,I am refenningto standafdsbothfromthe w0fldof po0ularmusic
andthe |azzwonldas well. l've pfesentedthe examplesso that they functionwithinthe
samekey[Bt]sinceBbmajorandG minorarerelatives of oneanothen andhavethe same
keysignatufes.I havegoneto greatlengthsto presentthesematerialsso that, at leastin
thiskey,allof youroptionsappeafnightbefone you.
l,ffi''inT';ffi ::#fiil,ii:Jiil'
pnacrrce
andexperimentation
regrmen.
Hi.::T?::';ni,:iiTT: l,Ti:::
Intryingto offercor...r.rp,r. thatkeepthelet_
penrar.nic
over "'J,'#
tef nsmesof the pentatonics
rn,i
a
c,z.n,,.0,
ir,!f:;:iT1,:',]I
;[t Ai,','#n:'Jri
andthenD min'f pentatonic'ver theBtmajTcnoro.onie vouveoec*ioeo
Eli:nn3JJ:
goodsoundandinteresting thatthisoffersa
rineafshapes, irv rt.riirg ;r'-D' ri# pentatonic
thefrvebasicfrngering
positions in each0f
andthenmovethemiver to *,, .to..rt andmostr'gicar
rrngering
f'r theD, dominant7th pentatonicscare. with . totoicoic.ntr.trd workspent
0nthisaspect, it should
bea far lessfrighteningprrprJ io u..lie onceforeign
nant7th pentatonic. domi_
/6\ /6-\
Example Examples
iim-V-l
10:Pentatonic {}d ) t}d I
1!!,/ \Y
Ex.104
Cm7 F7 (alt) BbmajT
F7 (alt) BbmaiT
11 l1 34331
Er.10C
Cm7 F7 (alt) BbmajT
F7 (alt.) BbmajT
Ex.10F
Cm7 F7 (alt.)
Ex.10c
Cm7 F7 (alt.) BbmajT
Ex.10H
Cm7 F7 (alt.)
!|Jfll!"Tl! gDiTo,hear.rxamptes.toFl00
performed,
ptay
Track
18.wharyouwitl
nearrsthateachexampre,
a four-bar
phrase, is performedtwicebefore I moved 0nt0 the
nextone.whenyou. feelreadyt0 try playing
alongwithttreexampteslourserf 0r justwant
using,
thesenewconceprs, playalongwithfracfft. it yoriarefeadyro impro_
l_.-1,p-rl:.
vrseoverthe fullchordprogression that_addsthtVlTtah.lchord, thenusetrack21,which
is n0wtitled,"sorrvrotion."
"charanga c.c."presentsther*. r,'.r*." ,n.tenges
double-time. onryin
T0improvise overthis,useTrack p2.
40
UnitTen
/?\
SolMotionIii-V7(alt.)-l-Vl7(alt,)]
101: tTndt,
\4/
Cm7 F7(alt) BbmajT G7 (alt)
10J:Charanga
Example C.C.
[ii-V7(alt')-Fvl7(alt.)]
@)
cm7 v F7
C Dorian/FMixolydian F altereddominanv
(c, D, E , F, G,A, Bt) Gbmelodicminor
(E Gr,Ab,A, B/Cr,CVD',Et)
PenlatonicOptions: F half-ton/whole.tone
G minor pentatonic diminishedscale
(G, Bb,C, D, F) (F,Gb,At, A, B, C, D, Et)
C mlnor penlatonlc F whole-tonescale
(c,E,EG,Bl) (E G,A, B, C$,Eb)
D minor pentatonic PentatonicOptions:
(D,F,G,A, C)
F dominant7th pentatonic Abminor pentatgnic
(F,G, A, C, Eb) (Ab,ct, Dr, Et, Gt)
B dominant7ih pentatonic
(8, C*, D*,Fl, A)
Dt dominani7th penlatonic
(Dt, Et, F,Ab,Ct)
BbmajT G7 (alt)
l|ode/ScaleOptions: Mod/ScaleOptions:
Bbmaio/Lydian G altereddominanv
(Bb,c, D, EtE, F,G, A) Ai melodicminor
(c, Ab,Bt, B, Dr, Eb,F)
PentatonicOptlons: C harmonicminor
O minor peniatonlc (c, D, Et, F,G,Ab,B)
(D,F,G,A, C)
PentatonicOptions:
A minol pentatonic
(A,C, D, E, G) Bbminor pentatonic
G minor pentalonic (Bb,Dt, Er, t Ab)
(G,B', C, D, F) Dbdomlnant7th pentatonic
(Db,
Er,F,Ar,c,)
Ebdomlnant7th pentatonic
(Et,F,G, 8,, Dr)
I UNIT ELEVEN
Pentatonic
lmprouising
iimltbEl-Ullalt.l-iml
t minor
nent. I mirorpent, Gminorpent.
m3rdb56th7th9th fs t5 il5 trh b9 R m3rdlth5th ?th
C EbT6Bb t Ab8b G tb G BbG l| T
0 gin.l lon rnd int b JerFMichsl;0l0r' Gtulr t0 Ste{ear a gift lor a po.rihlelonli0ol cor.ir 1900.
't8.
Iftit lrauin! i. IlniDircrnt ol f0lon't p.it ing for lh. Gorer0t rts t !e ltt ll tron
UnitEleven
Example
11:Pentatonic
iimT(b5)-V-im (inGm)/c-\
Examples I Iird( J
/r^
[ ]'rc* ,
\lt-l \19.,/
Ex.l1A
Am7(b5) D7(att.)
D7(alt.)
(C mi.pent.) (A mi.pent.)
( F d o m .7 t h p e n t . ) (Bbdom.7thpent.) (D mi.pent.)
Mode/Scale
Options: Mode/ScaleOptions: Mode/ScaleOptions:
A Locrian/CDorian D altereddominanv G Dorian
(c, D, Eb,F,G,A, Bb) Ebmelodlcminor (G,A, Bb,C, D, E, F)
(D, Eb,F, F[/Gt,Ab,Bt, C)
PentatonicOptions: G harmonicminor PentatonicOptlons:
C minor pentatonic (D,Eb,Ff, G,A, Bb,C) G minor pentalonic
(c, Et, F, G, B!) PentatonicOptions: (G,Bb,C, D, F)
D minor pentatonic D minor pentatonic
F minor pentatonic
(D,E G,A, C) (F,Ab,Bt, C, Er) (D, F, G,A, C)
G minor pentatonic Al dominant7th pentatonic A minor pentatonic
(G, Bb,C, D, F) (Ab,Bb,c, Eb,cb) (A,C, D, E, G)
F dominant7|h pentatonic Bbdominant7th pentatonic C dominant7th pentatonic
{F,G,A, C, Er) (Bb,c, D, F,Ar) (c, D, E, G, Bt)
A m7(b5) D7(alt.) Gm7
Mode/Scale
Options: Modey'Scale
Options: Mode/ScaleOptions: Modey'Scale
Options:
A Locrian/CDorian D altereddominanu G Dorian BbDorian
(c, D, Er, F,G,A, Bt) Ebmelodicminor (G,A, Br,C, D, E, F) (B',C, Dt, El, E G,Ab)
(D,Eb,F, FyGr,Ar, Bb,C)
PentatonicOptions: PentatonicOptions: PentatonlcOptions:
G harmonicminor
C minor pentatonic (D,Eb,Ft, G,A, Bt, C) G minor pentatonic Bt mingr pentatonic
(c, Eb,F,G, Bb) (G,Br,C, D, F) (Bb,Dr, E', F,A')
D minor pentatonlc PentatonlcOpiions:
D minor pentatonic F minor pentatonic
(0, F,G,A, C) F minor pentatonic (D,t G,A, C) (F,Ab,Bb,C, Eb)
G minor pentatonic (E Ar, Br,C, Et) A minor pentatonic C minor pentatonic
(G,Br,C, D, F) Abdominant7th pentatonic (A,C, D, E, G) (c, Fr, F,G, Bb)
F dominant7th pentatonic (Ab,Bt, c, E,, Gt) C dominant7th pentalonic Ebdominant7th pentatonic
(F,G,A, C, Et) Bbdominant7|h pentatonic (c, D, E, G, Br) (Er,E G, Bb,Db)
(Bb,c, D, F,At)
Am7(b5) D7(alt.) L7ml
andmusical
Oneof the most important,useful, devices yourimprov-
indeveloping
skillsis takingan ideaandexpanding
isati0nal uponit forwhatDouldbea brieftimeor what
mightevenbecome the"theme" of anentiresoloon anygivennight.Thefoll0wingseries0f
exercises,whichappean overcadencesto bothmajorandminor,arepresented inthefonm
musicalideasthat movethfoughthe changes
of sequential whiletnavelingup the finger-
board.Noticethat the first examples use the thrce ascendingminorpentatonics. In
Examplesl3u and l4B-ll, I haveattemptedto forceyou t0 use the dominant7th
pental,onic
s0 that it willbecomelessandlessof a stranger
im7progression,
overthe iimT(b5l-V7(alr.l
offened
Forthe examples I'veiakena different
nhythmic and
appnoach put intouse sixteenth-note Like
subdivisions. the eighth-note ideas
presented,
yOucanseeihat the sequenceis as mucha sequence
nhythmic as il is a piich-
ontente00ne.
13:Pentatonic
Example (ii-V-l)
Sequences
@ @
Ex.13A
Cm7 F7 (alt.) BbmajT
Ex.138
F7
lalt.) 4
(A mi.pent.)
UnitTwelve
Ex.13C
F7(alt.)
Cm7
EI.13D
F7 (alt) BbmajT
Cm7 143
4
F7(alt.)
F7(alt.) BbmajT
Ex.13H
um/ F7 (alt.)
(Dbdom.7thpent.) (D mi.pent.)
(D mi.pent.)
Ex.131
Cm7 F7 (alt.) BbmajT
(Dbdom.7thpent.) (D mi.pent.)
(Dmi.pent.)
Ex.13J
Cm7
(Dbdom.7thpent.) (Dmi.pent.)
(D mi.pent.)
UnitTwelve
114-0.Tohear[xamples 144-140go
usllllG IHt Glt: tract fi besinswirhEmmples by
vamp
tlA-D (1:04intothe track],youwi||hear"a four-bar fo|lowed
oastExamlles
whenyoufeelneady yourself'
ihe examples
to try playing 0f iust t0
want
[i.iGi'll-0.
improvise playalongwithTracllS'
usingthesenewconcepts,
14:Pentatonic
Erample (iim7bs-V-i) @
Sequences @
Gm7
4
Ex.148
D7(alt.) Gm7
Am7(b5) 4
1 331 2
Ex.14C
A m7(b5) D7(alt.)
1 14
Ex.14D
Am7(b5)
4
(F mi.pent.) (G mi.pent.)
(F dom.7th Pent.)
ut\il Intnttrtrt\
Pentatonics
Around
and0utside
theGonsonant
51
lftancelts
UnitThinteen
plav
impr'visati.n'
USltllcTHEGll:Ton.u.mvexample 23'First'',ouwillheal
Track
t0 00 as
thatwe werein the areaof G7'WhatI thenattempled
that I sougntto establish in the
in.-hp..tit*i* developed wasto go to several.0f theseouterareas'suggested
as my windows t0 movet0 andfrom the tonalcen-
o.lr t5",'rl^s thenotesC D and! t0 lmpmvlslng'
withthis pafticular
approach
rer of G. Whenyoufeelreadyto experiment
youcould alsog0t0 the B[Ut [D ffom G0ITITEMP0BABYGlloBoKHANGEpTS
uselrack 24.But
and26'Thiswillgiveyoutwodiffercnt
f6' 20=, feelsandtempos
..0 tf.v.i.g -iri' Tracks
15:Around
Example theGonsonant
andOutside @ @
imTtcmll
GaltereddominanU
Abmelodicminot
U7[alt.l Eb,F)
rG,Ab,Bb,B/cb,Db,
Charmonicminor
IC,D.Eb,N G,Ab,B]
IlTtalt.l
0 altereddominanv
ninor
[b melodic GaltereddoninanU
ID,E', F,FVG',Ai, Bb,C] Abmelodicminor
(G,Ab.Bb,B/C',Db,E', F]
Bl minorpentatonic
0theroFtions: tt I iuTtalt.l (Bb,D,, Eb,F,Ab]
t minorFentatonic
(F,A,, Bb,C, Eb]
0 hrlf-tone/whole'tone
diminished
iD, E #A
E , , F
scale
0 whole-tonc
, b ,A , B , C ] G7 0bdominant
tb dominant
7th Pentatonic
tD', Eb,F,Ab,Cb]
lth Pentatonic
IEb,F,G, 8,, Db]
IO,E,F+,G*,AI,C] Fr
GqH:8Idd:P,
.--- f minorPentatonic BlueNotes IBbl tDbl 0theroptiotls:
(EAb,8,, C,E'
Ghalf-tone,/whole'tone
.-- GminorPentatonic diminished scale
tC,Eb,F,G,Bb] i G ,A b ,B b ,B , C { ,D , E ,F ]
Abdominant tth Pentatonic 0 nelodicminor Gwhole-tone
(Ab,Bb,C,Eb,G' t G ,A , B , C * , D , E , F ] I G ,A , B , C { ,D { ,F ]
Bbdorninanttth Pentatoric
IB',C, D, Ab]
F,
7th Pentatonic
A dominant
IA,B, CI,E,G]
IullModes:
L-;-- t Dorian/E
Phrygian
i IE G,A,,Bb,C,D,E'
L-- GDorian ([lagalcadence!
IC,D,Eb,F,G,A, Bb]
UNITFOURTEE Pentatonic
Stretch
Fingerings
lxample16:PentatonicStretch
fingerings
lThreeacrossa stringl
a-
Dom.7th(131s)
UnitFourteen
Don.Tlh(9
oon.7lh(V)
UnitFounteen
USINGTHEGll: nese examples wene notperformed, sowhenyoufeellikepracticing
to somethingrhythmicandwitha tonalcenter,uselrack24' Howevef, youcanalsouse
Tracts20 and26 fnomthe BUIECllthat comeswilhthe prionbook,G0ilTEMp0BABYGH0R0
AllofthesetracksuseGasthetonalcenter,
lolAIlGEpTS. whichis asit should
bebecause
theexamples withG7asthebasichafmonic
wereallwritten anea.
16:Pentatonic
Example Stretch exercises
Fingering @
Ex.16A
(G mi. pent.)
Ex.168
(C dom.7th pent.)
UNIT FIFTETN
Exercises
String-SkipPing
,15 space
fout"-bar
uslluc IHE Gltt Examptes 17A-DappeafonTrack aftcrthe second
134-0wereperformed you
(2:16intotherfackl.Again, will
;#il.-11 il.fr* Examp'les
eiamplewasperformed twicebefofeI movedonto thenextone'
f'ru. tf,.t Lu.nfour-ban uslng
t0 try playing
the yourself
examples just
ot" want to imprcvlse
Whenyoufeelneady
thesenewconcepts, playalongwithlrack 16'
UnitFifteen
/ct\ /G\
17:String-Skipping
Example (ii-V-l)t | I i l t l t l d r l
Exercises
\!./ \T-l
Ex.17A
Cm7 F7 (alt.)
BbmajT
JJ'-
Ex.17C
Cm7 F7(alt.) BbmajTj
(G mi.pent.) (Abmi.pent.)
UnitFifteen
usllIG THEGD: rxampbo onTrack
rgHt appear vamp
17afterrhefour"-bar that{Dllows
whenyoufeelready
1{l-0 t2:25intothetnackl.
tramples to try playing
the examples
orjustwantto improvise
younself play
thesenewconcepts, along
using with 18'
Track
18:String-Skipping
Example (iim7(b5Fv-i)
Exercises @ @
Ex.18A
Am7(b5) D7(alt.) Gm7
11
Ex.t8B
Am7(b5) D7(alt)
131
(C mi. pent-)
(C mi. pent.) (Bt dom.7th Pent.)
Ex.18C Gm7
Am7(b5) D7(alt.) 341
Ex.180 Gm7
Am7(b5) D7 (alt)
Etfect
19:Doubled-Note
Example
D MinorPentatonic
UNITSEVENTE
Uelocig
Exencise
Euefygenefationof playefs hassome
pneoccupari0n
withvirtuosrtv,
rhedevet-
opment0f grcaten facility-theabilityto execute
musical
ideaswithspeed,complete fluid-
ity,andconfidence. Therefore,the followingexamplesanesuggesti0nsfonsomeverybasic
velocityexencisesto aidin the development of yourspeedandfacility.
Executing
runsand
flurriesof noteswithgoodtimeandspeedcanbeveryimpfessive-but neverlosesight0f
howmuchmoreeffectivetheyaneif youcanendwith a beautifulsounding note.
Toconserve spacebecause of the tab f0rmat,many0f the exencise
suggesti0nsare offened
in partialform, leavingthemto be completedby you,Also,theyaneofferedonlyin oneof
the fivepositions.So,this is wherethe sincety andwillof youreffortsis goingt0 come
intoplay.lt willnotserveyouwellt0 bea "master" in onlyoneposition.
Youmustmakethe
effontt0 takethe basicconceptffom onepositionandthenapplyit to the otherfounlf you
makethat etfoft,youwill,withoutquestion,be faf the betterfonit.
of Sixlllotes(Ascending
Ill Groupings and0escendingl
Youmayaheady beveryfamilian withfingeringthe minorpentatonics because of ourexpe-
niences in nock,heavymetal,andiazz-rock fusion,but if thjs matenialis newt0 you,I've
triedto pTesent somevenysimpleandfundamental velocityexerciseslintendedto devel0p
speedandfacility) withboththe minoranddominant 7th pentatonics. Theexamples ane
presented usingonlythe first positi0ntthe positionloweston the neckj,so if youbecome
inspiredto do so, expand eachonet0 the otherfourpositions as theywenepnesented in
Unit1.
20:G MinorPentatonic
Erample
EI.2OA
F
etc.
Er.208
lv
etc.
UnitSeventeen
Ex.20C
Ex.20D
7thPentatonic
21:C Dominant
Example
UnitSeventeen
Line/Pattern
22:Classic
(G mi.pent.)
(C dom.7th Pent.)
UnitSeventeen
onTwoStrings
and0escending
I2l Ascending
Thefollowing exencisesaTepnesented so that youwill neverlosesightof the horizonial
aspectsof the guitaf(playing presented
up anddownthe neckl.l\ilost0f the matenials in
this bookput t0 use the appnoach,
veftical playingacrossthe strings,sinceit offefsthe
mosteconomv of motion,In the coufseof realimprovising,however,yourlinesare going
to takeyou 0n s0me unexpected journeysand you must be pneparedfonthat as well ll's
the principle
of the music playing
youas opposed to youplayingthe music.
Descending:
Ex.23C
Ex.23D
UnitSeventeen
SixStrings
llotesAcross
I3l Sixteenth
lf youjustcan'tgetenough practicing,
ofdisciplined thisexercise willbepeffect foryoult
moves thrcugh
sequentially thefivenotesofthepentatonic and foncesyou t0 thal
negotiate
sequence acnossallsixguitar You
strings. can probably gain the most from thisbyshift-
inotheaccentsfrumthedownbeats ofeachquarternotet0 any0fthesixteenthnotesthatfollow
Velocity
24:MinorPentaionic
Example Notes
in Sixteenth
Ex.24A
(G mi. pent.)
7thVelocity
Dominant Notes
in Sixteenth
Ex.24B
(C dom.7th pent.)
UnitSeventeen
7th
I4l llominant
Thisis a special that,for thepurpose
seriesof exercises of pfesenting
as muchmaterial
as possiblein thisbook,spanonlythetoptwothree-stfing groupings0f theguitanlf you
wantto pursue youcouldexpand
thisfunther, theexercise playing
to include acrossyourA
through G stningsand, your
finally, lowE thrcugh D strings.
is usingone0f thepitches
ideat0 explore
Oneinteresting as a pivottoneandthenrotat-
ingthepentatonics
aroundthatpitch.Forexample,if youwefeto lookat thefirstC7posi-
tionpnesented,
youwouldgo downfromBb-G-E-C andthenBt again.But if youwentfrom
wouldhaveoutlinedthe upperextensions
Bb-Ab-Fb-Db-Cb, of a Gbgchord.lf youthentnied
to gofromBF-A!-F-D-Candback, wouldhaveoutlineda Bb9.Again,givethis ideaa try
you
andseewhatyoucomeupwith.
However, the realissuehercis that a dominant 7th chod is almostalways coming ft"om
somewhere-a iimTor ll7 chord-andis headed somewhere as well-a lmajTor im7.lf
youre-examine howthedominant 7thpentatonic is usedoveraltereddominant 7thchords,
youwouldrecallthatit couldeitherbetheb5or *5 ofthatroot.So,aswe'reusingC dom-
inant7thoentatonic asourexample, whichmeans
it wouldbe!5 of GblF*7(ah.l, it is head-
edtoward a BmaiT or Bm7.lt would alsobethei5 of ETtalt.],whichmeans it is headed
t0 AmaiTor Am7.So,whenpraciicing thesevelocity iust imagine
studies, that youare
headed t0 oneofthoseareasandmake thepr0per Rememben,
resolutions. if thepossibil-
itiesdo not immediately cometo mind,makethe effortandwriteoutyourowncharts.
That'sthebestwavto learn,
Velocity
7thPentatonic
25:Dominant
Example Study
(C dom.7th pent.)
UnitSeventee
Minorpentatonic
I5l Gombinations: rth pentat'nic
andDominant
As I mentioned
in theIntnoduction,
I usedto spendhourslisteningto MccoyTyner,s
whenhewaspant0f Johncoltrane's solos
greatquartetfromthemid-'-60s. I wasfascinated by
howhewourdintenmingre thetwopentatonicswithinhisrines.Thefolowing exampresare
forhowyoumightbegin
iust.suggestions to exploretheusage ofboththeminoranddom_
Inan[/m pentat.nics inc.mbination
s0thattheydontarways functionasseparate entities
withinyourlines.Youcancertainry
hea.thesedevices anoconriguratio; intheguitarrines
-Mahavishnu
of JohnMclaughlin whenheperformed andrccofded withhis orchestnaand
latefwithShakti.
USlltlG IHE GD: Sincea rhe prcsented vetocityexamplesuse etrhenG minor
pentatonic
and/orC dominant 7th pentatonic,
youshould playthemovera C pedalona G
pedalt0 getthefullestsenseof howtheysoundin context.
do,useTnacts2 or 24.
Example
26:Combinations: 7thpentatonics
,/G-\ //6t\
MinorandDominant
fvw
UNIT EIGHTEEN Ghanges
0ver"$tandard"
lmprouising
DEilZAt6il
Thisexample, whichemploys thesimplemovement ff0mmai01t0 backagain'is
min!^r-and
Veryimpo|tant.WhatwearedoinghereinthispoftionofPlllTAl0l||GKH
*orfh.nOl"hunawithallyoumighthavegainedfromyourwonkinlln
COnffUpORlRV Ctt0nD aboutjusthowfan-feaching
ffiilletp$. lf youaresrillwondering
thistypeof exercisecanbefor yourabilityt0 betterheafyour rcvisitthat
impnovisations'
chaptenfrcmtheearlierbook.
sincethisis thefirstsongexample here,I havetakenstepsto prepaneyouforimpr0vis'
ingovensuchchofdalmovements,movementsthatoccu|"incount|es
trim *re popandiazzrepertoireBeloweachchordchange' youwillseeyoufmodaloplions
andyourpentatonic pnesented
0ptions The
clearly. punpose is theamount
to alleviate 0f ini-
tiui ir,rti;]s youmighthavet0 do andto enableyou to begin t0 improvise without,
freely
per"haps, whyyourplaying
exactly
frillyunderitanding sounds sogood-whichis somethlng
Voumustatlemptio explore andunderctand from thispointforwa|d
UnitEi
27,playlracl
ovenErample
USIIUGlllt Gll: Whenyouwantto heafmyimprovisation
25.Whenyou areready
to try improvising
overthis progression,
sample use
lracl26.
/6-\ /6\
Example27:Denzal6n
\E \!)l
AmajT(9)
Mode/scale Options:
A malorrLydian
(A, B, Cl, D/D*,E, F{, Gl}
Pentatonic Optlons:
C{ minor Pentatonlc
(cl, E, Ffi,Gl, B)
G, minor pentatonic
(Gl, B, C{, Dl, FD
Fl minor pentatonic
(Ff,A, B, Cl, E)
Am7(9)
Mode/ScaleOptiona:
A Dorlan
(A, B, C, D, E, Fl, G)
Ponlatonic Opllona:
A minor pentatonic
(A,C, D, E, G)
B minor pgntalonlc
(B, D, E, Fl, A)
E minor pentatonic
(E, G, A, B, D)
D domlnant 7th pentatonic
(D,E, Fl, A, C)
IfiA1AIMO
Thisexamole offersa simplebutterrificw0*outoverdominant7thch0fds. Thoughit'snot
a blues,it's closeenough to providea challenge for playens
0f all stylesbecause the
changesfallin aninterestingmanner. youonlyhaveto dealwiththe17andlV7
Essentially,
chords,andthisis wh6tkeepsit relatedto thebluesfueling.
lf youviewyour17 tF7)chordas the modebaseduponthe Poot,youwouldhaveF
youwouldsimplychange
andthenasthat chofdmovesto the lV7 tBbTJ'
Mixolydian, the
modalreference tndoings0,
to F Dorian. you've
simply one
changed note,'Ahasbecome
'Ab.'Other
thanstayingthesame,whatcouldbemoresimple?
Oneplaceto beginin improvingyourabilityto heafthe usage0f pentatonics
8s they
"extend" wouldbe t0 simplyapplythe minorpenttonic
the harmony fbaseduponthe ii
intothefollowing:
7th chord.Thissimplytranslats
chordlfor eachdominant
pentatonic,
useCmtii-type]
I1l for F7 [V-type) and
26'116.1.rto
Example @)
F7
F Mixolydiar/CDorian Bl MixolydiarvFDorlan
(F,G,A, Bt, C, D, Et) (Br,c, D, Et, E G,At)
PentatonicOplions: PentatonicOptions:
Bt Mixolydian/FDorian F MixolydiarvcDorian
(Bt, c, D, Et, F,G, Ab) (F,G, A, Bb,C, D, Eb)
PentatonicOptions: PentatonicOptions:
pentatonic
useDmtii-typel
lll ForGTtV+ypel.
pentatonic
useGm{ii-type)
t2l ForCTtV-typel,
pentatonic
useAm[ii-type]
l3l ForDTtV-type),
Though youdo not havet0 observe the following theonies to s0undgood,heTearc s0me
addittnil ideasV'u can expl.re. Since bar 4 is one of the m.st crucialbarsin anyblues
progression, it offers great possibillties,fon it is the ban where yourl7 chOrd tfulybecomes
a dominant 7th chord as it pushes towards a rcsolution t0 the lv7 chord. so, t0 increase
thetensionin y0uf lines,try elther0f the two following ideas: lll simply use the G altered
d0minant scaletAbmelodic minor t0 somel t0 cfeate the harmonic tension that would then
upon resolution, and l2l play the Donisn mode (At Dofianl one halfstep
be rcleased JUSI
you
abovewhere anetGTl or the Mixolydian mode [Db Mixolydian] a halfstep ab0ve whene
youare headedtC7).By doingthis, youcfeatea circumstance whercbyyourlinescan
nesolve easily,almosteffortlessly, one halfstep downward. This is a device ottenassoclat-
ed withthe greatsaxophonlst John Coltfane ln the tune that f0llows this example though
it'sa bluesin Bb,thisver"y ideais actually wfitten into the changes at har 4' Here, howev-
en,as in mostcases,it is not.And it actually makes the shape and thnust of your lineseven
moreimportani because the needfof resoluti0n is greater.
Mode/Scale
Opiions: Mode/ScaleOptions: Mode/ScaleOptions:
G Mixolydian/DDorian G altereddominanu At Dolian/DtMixolydian
(G,A, B, C, D, E, F) Abmelodicminor (Ar,Bt,cr, Dt, Eb,F,lcbl)
D', E', F)
(G,At, Bt, B/CL, PentatonicOptions:
PenlatonicOptions:
PeniatonicOptions: ALminor pentatonic
D minor pentatonic
(D,F,G,A, C) Bbminor pentatonic (At,ct, Dt, Eb,IGbl)
A minor pentatonic (Bb,Dr, Eb,F,Ab) Ebminor pentatonic
(A,C, D, E, G) Dbdominant7th pentaionic (Et,lGLl,Ab,Bb,Dh)
E minor peniatonic (Db,Et, E Ab,C') Bt minor pentalonic
(E,G,A, B, D) Et dominant7th pentatonic (Bb,Dt, Er, F,Ab)
G dominant7th pentatonic (Et,F,G, Bb,Db) Dt dominanl7th pentatonic
(G,A, B, D, F) (Dr,Et, F,A', Cb)
A dominant7th pentatonic
(A,B, Ct, E, G)
Options:
Mode/Scale Mode/ScaleOptions:
C Mixolydian/GDorian G Mixolydian/DDorian
(c, D, E, F,G,A, Bb) (G,A, B, C, D, E, F)
PentatonicOptions: PentatonicOptions:
'
G minor pentatonic D minor pentatonic
(G,Bb,C, D, F) (D,E G,A, C)
D minorpentatonic A minor pentatonic
(D,E G,A, C) (A,C, D, E, G)
A minor pentatonic E minor pentatonic
(A,C, D, E, G) (E,G,A, B, D)
C dominant7th pentatonic G dominant7th pentatonic
(c, D, E, G, Bb) (G,A, B, D, F)
D dominant7th pentatonic A dominant7th pentatonic
(D,E, F[,A, C) (A,B, Ct, E, G)
D7
Mode/ScaleOptions: Mode/ScaleOptions:
Options:
Mode/Scale
C Mixolydian/GDorian G Mixolydian/DDorian
D MixolydiarvADorian
(c, D, E, E G,A, Bb) (G,A, B, C, D, E, F)
(D,E, F$,G,A, B, C)
PentatonicOptions: PentatonicOptions:
PentatonicOpiions:
G minor pentatonic D minor pentatonic
A minor pentatonic
(G,B', C, D, F) (D,E G,A, C)
(A,C, D, E, G)
D minor peniaionic A minor pentatonic
E minor pentatonic
(D,F,G,A, C) (A,C, D, E, G)
(E,G,A, B, D)
A minor pentatonic E minor pentatonic
B minorpentatonic
{A,C, D, E, G) (E,G,A, B, D)
(8, D, E, Ft,A)
C dominant7th pentatonic G dominant7th pentatonic
D dominant7th pentatonic
(c, D, E, G, Bb) (G,A, B, D, F)
(D,E, Fl,A, C)
D dominani7th penlatonic A dominant7th pentatonic
E dominant7th pentatonic
(D,E, Fl,A, C) (A,B, Cl, E, G)
(E,F$,G{,B, D)
;
(Blues
MAIIBUMPYUIIIE in Bbl
Thisis thesecond 0fthetwobluestracksto bepresented heneAnd'intruth'aswasmen-
tion.JOuring ofthepfiortune,theonlyrcaldiffenence'
tt'. discusslon othefthanthatthis
writteninto
iimT-ll7tBmt-E7lis actually
p".r l. . O"lrtt-itgU,is tf'at tf'e il substitute
ihechanges at barA.Remember thatE7is theb5substitu[efof Bt7.So'inbar4, youwill
withtwobeatseachfor Bm7andET Since thebass
no* r.r if'ut rf',.barhasbeendivided
youshould heara great and
difference, I've
everlthing suggest-
i, ,.ting tL..r changes,
edthaty:oumightchoose to playwillhave grcaierhanmonicclariiy
OPtlons:
Modey'Scale
B Dorian
Bt Mixolydian/FDorian (8, Cl, D, E, Ff, Gt, A)
(Bt, c, D, E , n G,At)
Pentaionic Options:
PentatonicOptlons:
B minor pentalonlc
F minor Peniatonic (B, D, E, Fl, A)
(F,At, Bt, c, E ) Fl minor pentatonic
C minor pentatonic (Fl, A, B, cl, E)
(c, Et, F,G, Bb) Ci minor Pentatonic
G minor Pentatonic (c*, E, Fl, Gl, B)
(G,Bt, c, D, F) E domlnant7th Pentatonic
Bbdominant7th Pentatonic (E,Fl, Gl, B, D)
(Bt, c, D, F,Ab)
C dominant 7th Pentatonic
(c, D, E, G, Bb)
OPtions:
Mode/Scale
BbMixolydlan/FDorlan
Ebtilixolydian/BbDorian (Bt, c, D, Eb,F,G, At)
(Eb,F, G,At, Bb,c, Dt)
Pentatonic Optlons:
PentatonicOptions:
F minor Pentatonic
Bi minor Pentatonic (F,Ab,Bb,c, E )
(Bl, Dt, Eb,F,At) C minor Pentatonic
F minor Peniatonic (c, E , F, G, Bt)
(F,Ab,Bt, c, E ) G mlnor pentatonic
C minor Pentatonic (G,Br, C, D, D
(c, E , F, G, Bt) Bbdominant 7ih Pentatonic
E! domlnant7th Pentatonic (Bt, c, D, F,Ab)
(Et, F, G, Bb,D4 C dominant Ah Pentatonic
F domlnant7th Pentatonic (c, D, E, G, Bb)
(F,G, A, C, Er)
Mode/ScaleOPtions:
Bt Mixolydian/FDorian
F MlxotydiarvcDorlan
(Bb,c, D, E , F, G,Ab)
(F,G, A, Bt, C, D, Et)
PentatonicOptions:
Pentatonic Options:
F minor pentatonic
C minor Penlatonic
(F,At, Bt, c, E )
(c, Er,F,G,Br)
C mlnor Penlatonic
G minor Pentatonic
(c, Et, t G, Bb)
(G,Bt, c, D, F)
G minor pentatonic
D minor pentatonic
(G, Bt, C, D, F)
(D,F,G, A, C)
Bbdominani7th Penlatonic
F domlnant 7th Pentaionic
(Bb,c, D, F,At)
(F,G,A, C, Eb)
C dominani7th Pentatonic
C dominani7th Pentatonlc
(c. D, E, G, Bb) (c, D, E, G, Bb)
BIGIOYAK
someof youwillrecognize this pieceas the changes well-known
to a relstively Brazilian
standard. l'vechosen it for the bookbecause of its compact fonm,only16 bans, andit
offersthe chanceto explorethrce differentareasof maior7 chords and also a full
tumaround
l-Vltalt.)-iim7-V7talt.l progression.Withinthoselastfounbars, you could even
sayyouareusingyounknowledge of a VTjm anda V7-lmaj,sinceETtalt l resolves to
Am7,andofcourieD7[alt.]resolves to GmaiT at thetopofthetuneThough this is a topic
bettercovered in depthin snothefbook,try to keepin mindthat,as an improvisen, you
wouldhaveallofyourlinearoptions lvhenanaltereddominant
available 7thchordresolves
to maionButwhenanaltereddominant 7th chordresolves youhavefuwer,but
to minon,
veryclear,options. Whenimprovising andfocusing iust 0n yourpentatonic possibilities'
findthat,fof themostpart,anyquestionable
you;ll noteshavebeensimplylefioutofthese
iive-notesFuctures. Shoutd youhaveremaining questions, pleasercfunbackto UnitI'
whichdealtwiihy0uroptions in greatdeplh.
at the harmonic
lf youlookcarefully movement of thefirst fourbrs,you'llseethatthis
samemovement is repeatedtwice, each timegoing downbya wholestep:fromG maior
t0 F majorandfromF maiorto Eb maior'Andif you're looking themove-
to reallysimplify
mentin total,it's almostas if the progression were moving downward in half steps:
GmaiT-Gb Mixolydian-Fmaj7-E Mixolydian{bmaj7-t Mixolydian.lf youexploreall of your
modilandthenpentatonic possibilities you
carcfully, willfindmany relationships
interesting
thatexist,andexistonlya wholestepapart.
USIIUGIHE Glt: Tolistento myperformed pla1t
overthesechanges,
impnovisation lracl
!1. Whenyoufeelreadyto createyourownsolos,uselreck32'
Example3l:BigKayak
@ @
G majT
G Lydian/Gmaior Dt Dorlan
(G,A, B, C/Cl,D, E, Fl) (Db,Et, Fr, Gt, At, Bb,ct)
Mode/ScaleOptions:
E, Lydian/Etmajor
A Dorian D altereddominanU
(Eb,F, G,AtA, Bt, C, D)
(A,B, C, D, E, F{,c) Ebmelodicminor
PentatonicOptions: (D, Eb,F, Ft/ct, Ab,Bb,C)
PentatonicOptions:
G minor pentatonic PentatonicOptions:
A minor pentatonic
(G,Bb,C, D, F)
(A,C, D, E, c) F minor pentatonic
D minor pentatonic
B minor pentatonic (F,Ab,Bb,C, Er)
(D,E G,A, C)
(8, D, E, F{,A) Abdominant7th pentatonic
C minor pentatonic
E minor pentatonic (Ab,Bt, c, Er,ct)
(c, Et, F,c, Bt)
(E,c, A, B, D) Bt dominant7th pentatonic
D dominant7th pentatonic (Bb,c, D, F,At)
(D,E, Fi,A, C)
GmajT(Bm7) E7(alt.) Am7 D7(alt.)
Mode/Scale
Options Mode/Scale
Options: Mod/Scale
Options: Mode/ScaleOptions:
G major E altereddominanU A Dorian D altereddominanvEtmelodicminor
(G,A, B, C, D, E, F') F melodicminor (4, B, C, D, E, Ff, c) (D,Eb,E FVc',At, Bt, C)
PentatonicOptions: (E,F,c, cf/At,Br,C, D) D 1/2-tone/whole-tone
PentatonicOptions: diminishedscare
A harmonicminor (D, Eb,F, Ff, At, A, Br, C)
B minor pentatonic
(E.F,Gi,A, B, C, D) A minor pentatonic D whole-tonescale
(8, D, E, Fl,A)
F{ minor pentatonic PentatonicOptionsl {A,C, D, E, c) (D,E, Ft,A', Bb,C)
B minor pentatonic PentatonicOptions:
(F[,A, B, Ct, E) G minor pentatonic (8, D, E, Ft,A)
E minor pentatonic (G,Bt, C, D, F) F minor pentatonic
E minor pentatonic
(E,c, A, B, D) B, dominant7th pentatonic (F,Ab,Bb,C, Er)
(E,G,A, B, D)
(Br,c, D, F,A4 Abdominant7th pentatonic
D dominant7th pentatonic (Ar,Br,C, Eb,ct)
C dominant7th pentatonic (D,E, Fd,A, C)
(c, D, E, c, Bb) Bbdominant7th pentatonic
(B',C, D, F,At)
OFF
THEPATH
Thisjs our last"standand," andjt is anothersimple16_bar
chordprogression that is easy
to leafnyet .ffers slightrydifferentcha enges.Thistrme
we'nefundarientetyin the key0f
F ma1or.WharI tikeab.urrhisruneis thaiin the firsrfou;ba;slo;;a-ve
a tormorerime
t0 explorethe ljneafsoundsovena major7th chordon wfricf,you
canemployeithenthe
Lydianrnode0f themajorscale{lonian model.Bars5_ggiveyouanoiitersnotat tfret_VtZ-
iimT-V7,pnogression andyoucanneverpractice.norg;'ou."ihl.
;rolnession. Thenyou
* .,rf"d.d rimeroptayovefAbDorian,
harsi'_12,nrio.. i.ir"rningto u .ua.nr.
:j?qy:i
F which
I Tljql becomes a quicker
andmone compressed turnaround accomplished
bars.lS-16-as in
opposedt0 whatyounegotiated
inharsE_g.tif a lreaictrattenge
ailof thiswithinonecompact to haue
tune.
I lnir Finhtoon
the"th @
Example32:Off @
FmajT
D7 (alt)
Gm7 c7
Mode/scaleoptions:
G Dorlan G minor pentatonlc
(G,A, Bb,C, D, E, F) (G,Bb,C, D, F)
A minor pentatonic
(A,C, D, E, G)
D minor penlatonic
(D,F,G, A, C)
C dominant7th pentatonic
(c, D, E, G, Bl)
UnitEighteen
trm/ C7 (alt)
Mod/Scale
Options PentatonicOptions: Mode/Scale
Options: PenlatonicOptions:
G Dorian G minor pentatonic C altereddominanu Ebminor pentatonic
(G,A, Bt, C, D, E, F) (G,Br,C, D, F) D, melodicminor (Et,GbAr, Bb,Db)
A minor pentatonic (c, Dr,Eb,E/Fb, Gb,Ab,Bt) G, dominant7th pentatonic
(A,C, D, E, G) C half-lone/whole"tone (GbAb,Bt, Db,Fb)
D minor penlatonic diminishedscale Abdominant7th pentatonic
(D,E G,A, C) (At,Bt,c, Eb,Gt)
{c, Db,Eb,E, Fl, G,A, Bb)
C dominant7th pentatonic C whole-tonescale
(c, D, E, G, Bb) (c, D, E, F{,Ab,Bt)
Mode/ScaleOptions: Mode/Scale
Options: Mode/Scale
Options Mode/ScaleOptions:
F major D altereddominant/ G Dorian C altereddominanu
(F,G,A, Br,C, D, E) E, melodicminor (G,A, Bb,C, D, E, F) Dbmelodicminor
(D,Et, F,FVGb, Ab,Bt, C) (c, Dt, Et, E/Ft,Gt,Ab,Bt)
PenlalonicOptions: PentatonicOptionsi
G harmonicminor C halt-tone^^rhole-tone
A minor penlatonic (D,El',Fl, G,A, Bt, C) G minor pentatonic diminishedscale
{A,C, D, E, G) (G,Br,C, D, F) (c, Dt, Eb,E, F{,G,A, Bt)
PentatonicOptions:
D minorpentatonic A minor pentatonic C whole-tonescale
(D,F,G,A, C) F minorpentatonic (A,C, D, E, G) (c, D, E, F*,Ab,Bb)
(F,Ar, Bb,C, Er) D minor pgntatonic
A, dominanl7th pentatonic PentatonicOptions:
(D,F,G,A, C)
(At,Bt,c, Et,Gb) C dominant7th pentatonic Ebminor pentatonic
B, dominant7lh pentatonic (c, D, E, G, Bb) (Et,Gt,At, Bb,Db)
(Br,C, D, I Ab) Gbdominant7th pentalonic
(GtAt, Bt, Dt, F,)
At dominant7th pentatonic
(Ab,Bt, c, Et,Gt)
Discognaphy
Khan
Steve
TIGHTRl|PE Columbia
JC34857 1977
Sony
SRCS9386IJapanl 1998
Tltt Butt MAil JC35539
Columbia 137g
SRCS9387lJapanl
Sony 19S8
ARR0lllls Columbia
JC36129 1979
Sony
SRCS9545tJapanJ 1999
IHTBTSIl|FSTIUIIilNil Columbia
JC36406 1980
TltI c0rlrcfl0r[ Columbia
CK57907 19S4
Becordings
featuring Bnecken,
Randy l\,4ichael
Brecken,
DavidSanborn, Will
DonGnolnick,
Lee,Steve
Gadd, MikeMainieni,
andothers.
AlIUTMUTIIIFORYA Columbia
JC35349 1578
Livereconding StevewithfellowCBSAll-Stars
featufing BillyCobham,
Alphonso
Johnson,
TomScott,anda veryyounglVlarkSoskinlkeyboards).
tul0IlltGI Arista/Novus
AM3023 1S81
HCA,4'lovus
3074-2-N 19S0
Polydor"
POCJ-1892
lJapani 1991
guitanreconding.
Soloacoustic
IYIWIIilISS Antilles
422-848-821 1981
Polydor
P0CJ-1893
IJapanl
BIADES PassportJazzPJ88001 1382
iIII|DEBil
TIMES PolydorPOCJ-1
894 tJapanJ
cAsA
t0c0 422-848-822
Antilles 1S83
PolydorPOCJ-1
895lJapanJ
recordings
SteveKhanand Eyewitness featuring
Anthony SteveJordan,
Jackson, and
lVlanolo
Badrena.
HH.PilIG
HA|U0 Polydor lJapanl
P0CJ-1896 1987
a "bestof'nec0ding
Essentially featuring fromEYEWITNESS,
selections M0DERN
TIMES,CASA10C0,andEVIDENCE plusthfeenewtracksfeaturingCliffordCafter,Bill
Evans,
Caf6, andChnis
NeilJason, Panken
l0GAlG010n Denon
33CY-'1840 1987
Duoreconding
withRobMounsey andSteve
onkeyboands guitars,
onlyonacoustic
puBuc
AcGEss GHPGRD-959S 1989
Polydor
J00J-20364
IJapanl
recording
SteveKhanandEyewitness featuning
Anthony DaveWeckl,and
Jackson,
ManoloBadnena.
recordingfeatudngAnthonyJackson,DennisChambers,
SteveKhanandEyewitness
andMichael
ManoloBadrena, Bnecken
Steve
Khan
Discograp
OOIMYMIIIITAT DanContemporary
TKCB-71
108tJapanl 1Sg7
Evidence
ECD22197-2
FeaturingJohnPatitucci
[acoustic
bass], (dnums),
JackDeJohnette andBobbv
Allende.
lrlarc0uifrones, percussion.
DonAlias.andCaf60nvanious
YOU
IRTIITRT SIAIVSMD-5OOO4 19S8
Duorecordlng
withFobMounsey onkeyboards guestMarc.0uifrones
andspecial on
Latinpencussion
whereSteveis onlyfeatured quitar.
onacoustic
itfl|f [0ntz0ils Concofd
Picante
CCD-4878-2 4000
Carjbbean
JazzProject
neconding
featuring
Steve6longside
co-leadens
DaveSamuels
{vibes
andmarimbalandDave
Valentin
{flutel.
pARAlS0 picanre
C0ncofd CCD-4g46_2 p001
Second
recording Jazzproject
bytheCanibbean featurejng
Khan,
Samuels,
andValentin.
SPtGIAI.
PRl|JEGTS
TIIAI'S I ltEt it0w - A lrib e to Thetoniors
Tllt WAY Monk
A&l\4FecordsCD6600 1S84
Track: a duetwithsteery
"Beflections," DansDonard
Fagen
featufing guitan
steveonac.ustic
G0MII0GIflltR- GuitarTrihute
to rheBeatter
NYCRecondsNYC6004-2 1993
Track: Youlllfithout
"lllfithin Y.u/Blue
JayWay,"whichfeatures
StevewithMarcJohnson,
PeterErskine, andNanaVasconcelos.
JTZITOTHTIIIIORII| BlueNoreCDP7243I 32127-2 1995
'The
Track: Christmas Ullaltr,"
whichfeatunes theBnecken
Bros.andSteveKhan.
lTBI IIIEI- I Trihute
W0UlDll'T to Brianltitson
BlueNoteCDP7243I33052-2 1Sg7
Tracki
"llon'tworryBaby
IllloIe Preocupes
lIena!,"whichfeatures
stevewithR0blvlounsey,
Rub6nRodriguez,MarcQuifrones,papopepin,
andGabrjela Andens.
ilrr u,[sM0tIIe0MIEy
cUtInRfou0 Gopam-Enterprises
pAIMARTIII00UITAR The[artyyears
S010S: Warner
BTos.
Publications
STtUt
l(llAlll
andIYIWITIIISS
S0f,GB00V Warner
Bros.Publications
SU|TAR
W0Bt(Slt0pslntt$
c0ilTtMP0RABY
e[0R0t([AitctPrs Warner
Bros.Publications
ASA PR||IIUGEB
IUO'|lR IIIERl|All Larny Conyell/ AfisraAB4.156 1977
Steve Khan Bl\4cB19D-4702S 19BB
slrprT BillConnons EvidenceECD22080-p l SBb
nEnr0 BineliLagrene BlueNoreCDp-7-49016-21gg7
nflEr ff;AtBS BifeliLagrene BlueNoreCDP-7-90967-2 .1SBB
NIT IT ruGt l\4ikeStern Attanric
7-81840-2 19BB
5; lvlikeStenn 7 -82027
Atlantic -Z 1gB9
ilnsu Eliane Etias BlueNoreCDp-7_96146_2 1gs2
runxl Eliane Elias BlueNoteCDp-7 -89544-2 1s93
'82 Sterewith Anthony andManoloBrdrena'
Jackson
Ey."lt""* ,lt ded lines liceat the Pit ln[, Iokyo,Japanin
"*rdittS
UIULJHAPH
A specialissueof Japan'sJazzLife magazine featufedthe p2 All_llmeGreatestJazz
Gurtarists.0f c0urse,legends likeCharlieChristian, DlangoReinhardt, Wes Montgomery,
KennyBurrell,andJim Haljweneincluded alongside morerecentgiantsGeorge Benson,-
PatJ\lantino LarryCoryell, andJohnl\,4cLaughlin. Listedamongst hiscOntemporaries
JohnAbercrombie, Patl\,4etheny, J'hn Sc.field,l\,4ike
Stern,sndBillFnisellwasSteve
Khan-a testameni to a lafgebody0f wofkthat nowspansm0feth6n30 years.lt'shard
to believethisdreambeganat a ratheflateage,withWesl\4ontgomery heldas the
m0delto whicht0 aspine. Steveadmitsthat,whenhewasa teenager, I was6 terfible
drummerwrthno musical training.I haddeveloped a lovefor the guitalandwhenI was
19, I switched instruments. I dectded I wouldnot makethe samemistakes I hadmade
withthe drums,s0 | studiedhardin college aiongwithtakingpfivatelessons fromRon
Anth0ny." Duringtheseyears,Khanalwaysfoundhjmselfin fastc0mpany, andfromsuch
situati'nshe learned, developed, andsurvived.Bythe timehe graduated fromUCLAin
'1969,
he felt readyto makethe moveto NewyorkCity.
ZR
i .{r-*-a
al
E N T A T O NKI H C A N C E P iTsSt h e n a t u r act o n t i n u a t i o n
a n d c o m p l e t i oon f t h e p r o c e s sS t e v eb e g a ni n h i s
1{ book Contemporory ChordKhancepts. In this new
b o o l <S, t e v es h a r e sh i s u n i q u ea p p r o a ctho i m p r o v t s -
,t i n g .A n d a t t h o u g hS t e v et r a c e st h e r o o t so f h i s
v u n i q u ei m p r o v i s i n" gK h a n c e p t sb "a c kt o h i s e a r l y
f a s c i n a t i own i t h i a z zl e g e n dM c C o yT y n e rt,h e s e
\; l n t h i s b o o k ,S t e v et a k e sa p o t e n t i a t tvye r yc o m p l e x
s u b j e c t - t h ec r e a t i o no f n e w ,d i f f e r e n ta, n d c r e a t i v e
\
m e l o d i e s - a n sd h o w sy o u h o w u s i n gt w o v e r y
s i m p l ea , n d v e r yg u i t a r i s t ipce n t a t o n iscc a l e sy, o u
c a nu n t e a s h a n i n e x h a u s t i bsl eu p p l yo f n e w c o l o r s
a n d i d e a sY . o uw i l l l e a r nt o e x t e n dy o u r s e n s eo f
h a r m o na y n d c h o r dt o n e sa s y o u s u p e r i m p o st hee s e
p e n t a t o n iscc a t e sc, r e a t i n gb e a u t i f um
l elodies
incorporatin i ngt e r e s t i negx t e n s i o nasn d c o l o rt o n e s '
A C Dc o n t a i n i ntgh e m u s i ce x a m p t e sp ,l u sn u m e r o u s
p l a y - a l o ntgr a c k sf o r y o u t o u s ea s y o u p r a c t i c e
han has had an a n d h o n ey o u ri m p r o v i s a t i o ns ak Ii [ [ sa, c c o m p a n i e s
and diverse
expansive t h i sb o o k .
r . a r e e ra s a e r r i t a r i s t A
. s
a s o t o a r t i s t ,S t e v eh a s r e l e a s e d
r 5 s o l o r e c o r d i n gp r o j e c t sS . ince W i t h t h i s b o o k , a n d i t s c o m p a n i o nv o l u m e
h i s f i r s t r e c o r d i n g fso r C o l u m b i a Contemporory ChordKhoncepts, SteveKhanhas pre-
R e c o r d isn t 9 7 7 , S t e v eh a s s e n t e dt h e g u i t a rc o m m u n i tw y ith one of the most
e s t a b l i s h ehdi m s e l fa s a t r u l Y c a r e f u [ [ [ya i d - o u ta n d c r e a t i v ea p p r o a c h etso g u i t a r
l n d i v i d u aaI n d i m p o r t a n vt o i c e
p e r f o r m a n ceev e rp u b t i s h e d .
n g u i t a r .H i s u n i q u ea p p r o a c h
n g u i t a rc a n b e h e a r do n
" e c o r d i n gbsy s u c h d i v e r s e
. : r ' t i s tas s M i l e sD a v i s ,S t e e t y
l a n , J a m e sB r o w n ,Q u i n c YJ o n e s ,
a n d t h e B r e c k eB r r o t h e r st,o
l a m e a f e w . M o s t r e c e n t t Yi n, a
s p e c i a iI s s u eo f J a p a n ' lsa z z L i f e
m a g a z i n eS, t e v ew a s s e t e c t e da s
one of lheirzz Att-Time Greatest
Guitarists.