5/28/2019 8 Ways to Use The Minor Pentatonic Scale On a Dominant Chord

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The minor pentatonic scale is by far the

most used scale  in the world all styles
taken together (jazz, blues, rock, reggae,
pop, country). One  of the explanation is
given by the structure. Indeed, there are
no semi-tones  in it. It is easy to play on
the guitar and it can be used in a whole
lot of very different contexts. This lesson ×
will show  you eight  ways to use  the
minor pentatonic scale over a dominant
seventh  chord. The principle is easy to SPECIAL OFFER
understand, this  consists in playing the
minor pentatonic scale starting on each 20 % discount on the PDF
tone of the Mixolydian scale (1, 2, 3, 4, 5, 6,
eBook "40 Major Jazz Licks"
b7).  This method helps to highlight
certain notes and brings interesting
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lines  depending on you want to play Use the code "may2019".
outside or inside.

Mixolydian mode I want it I don't want it

and minor
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5/28/2019 8 Ways to Use The Minor Pentatonic Scale On a Dominant Chord

The Mixolydian mode is generally the

first choice when you want Get Theto Newsletter Yes please!
improvise  over dominant chord  (not
altered). This  is the fifth mode of the
major scale.  It is a major type
scale  because it is built with  a  major
third (3) and a minor seventh (b7). The
Mixolydian mode formula is 1, 2, 3, 4, 5, 6,
b7.  For simply learning all the following
examples are based on the C Mixolydian
mode. 

C Mixolydian mode C D E F G A Bb
Formula 1 2 3 4 5 6 b7
Intervals WWHWWHW BLOG CATEGORIES
 
Jazz Guitar Lessons
The minor pentatonic scale is the fifth
mode of the major pentatonic scale.  As Licks & Transcriptions
it is shown in the following chart below,
the minor pentatonic scale is made up Scales & Arpeggios
of  a Root (1), a minor third (b3), a fourth Chords & Voicings
(4) a fifth (5) and a minor seventh (b7).
As its name implies, there are only five Jazz Standards
notes. Here is the minor pentatonic
Music Theory
scale in the key of A.
Guitar Practice Tips
A minor pentatonic
A C D E G
scale Guitar Cheat Sheets & Books
Formula 1 b3 4 5 b7
Intervals W+H W W W+H W
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Example # 1 - Minor pentatonic
FORUM
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The first example is to build  a minor
Getting Started
pentatonic scale from the sixth (or
thirteenth) of C Mixolydian. This way, we Scales & IArpeggios
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get  an A minor pentatonic scale made
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Harmony
up  of A, C, D, E and G respectively  the
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thirteenth (13), the root (1), the ninth (9), Improvisation
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5/28/2019 8 Ways to Use The Minor Pentatonic Scale On a Dominant Chord

playing a minor pentatonic scale built Music Theory

from the sixth of the MixolydianGet The Newsletter
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you highlight the ninth and the Your Favorite Licks , Lines and Riffs
thirteenth.
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A minor pentatonic scale A CDE G
Guitar Techniques
Analysis compared to a C
13 1 9 3 5
dominant 7 chord Gear
 
Musicians and Bands
WARNING - The eleventh
Recording Studio
Using the eleventh (11) over a dominant
Everything Else
chord can be a little bit disturbing and
dissonant due to the distance between
the major third and the fourth (which is
PDF EBOOKS
the eleventh). However, you can easily
play the minor pentatonics that
contains an 11th over a 7sus4 chords.  101 Dominant Arpeggio Patterns NEW

Example # 2 - Minor pentatonic 40 Major Jazz Guitar Licks NEW

scale from the second (ninth) 49 Essential Jazz Lines

This second example consist in Mastering Pentatonic Scales
playing  a  minor pentatonic scale
starting on the second (or the 9) of the C 20 II-V-I jazz guitar licks
Mixolydian mode, which is D. That gives
50 II-V-I voicings
the  D minor pentatonic scale built with
D, F, G, A and C corresponding to the fifth 11 blues jazz studies
(5), the minor seventh  (b7), the root (1),
the ninth (9) and the eleventh  (11) of C7. Mastering the altered scale
In other  words, when you play a minor
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40 Blues Dominant patterns
pentatonic scale over a dominant 7
chord starting on the second,  you bring 25 Soul Jazz Guitar Licks
interesting colors because of the ninth
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 D minor pentatonic scale DF GAC eBook "40 Major Jazz Licks"
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5 b7 1 9 11
dominant 7 chord
 
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Example # 3 - Minor pentatonic
scale from the fth  Maj7 Arpeggios - Cheat Sheets
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minor Bypentatonic scale
clicking on the starting
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5/28/2019
respectively the fifth, minor seventh,
root, ninth and eleventh of C7. Get The Newsletter Yes please!
G minor pentatonic scale G Bb C D F
Analysis compared to a C
5 b7 1 9 11
dominant 7 chord
Dissonant
pentatonics
Example # 4 - Minor
pentatonic scale from the third
Playing a minor pentatonic scale
starting from the third of a dominant 7
chord considered  dissonant. It must  be
used with caution because of the
presence of the major seventh,  which
will be very interesting whenever you
want to play "outside". So, the tones
highlighted are the major third (3), the
fifth (5), the thirteenth (6), the major
seventh (7) and the ninth (9) of a
dominant 7 chord.
E minor pentatonic scale
Analysis compared to a C
dominant 7 chord
Example # 5 - Minor pentatonic
scale from the root
Playing a minor pentatonic scale over a
dominant 7 chord that share the same
root (which is a major chord)  is surely
the most favoured tool  used by
bluesmens. However, it sounds very
dissonant because of the minor third
(b3) and the fourth (11)  and will be a
very interesting device you want to play
"outside" over a dom7 chord.
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 C minor pentatonic scale C Eb F G Bb
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Analysis compared to a C
1 bAccept
3 11 5 b7cookies
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8 Ways to Use The Minor Pentatonic Scale On a Dominant Chord
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B minor pentatonic scale B D E F# A
Analysis compared to a C
7 9 3 #11 13
dominant 7 chord

Outside
pentatonics
Example # 7 - Minor pentatonic
scale from the fourth
A minor penatonic scale starting on the
fourth of a dominant scale obviously
highlights the major eleventh (which is
dissonant against the major third) and
also contain two  other dissonant tones
as the flat thirteenth (b13), and the minor
third (b3). ×
 F minor pentatonic scale F Ab Bb C Eb
Analysis compared to a C
11 b13 b7 1 b3 SPECIAL OFFER
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And the last one consist in  playing a
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minor seventh of a dominant chord. The
tones are highlighted are minor seventh I want it I don't want it
(b7), the flat ninth (b9), the minor third
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Bb minor pentatonic Bb Db Eb F Ab
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Analysis compared to 4
b7 b9 b3 b13
a C dominant 7 chord (11)

Conclusion
There are some additional tips and tricks
to use the pentatonic scale over a
dominant 7 chord. For example, starting
from minor second (b2), from the sharp
eleventh (#11),   the minor third (b3), the
sharp ninth (#5). Try to apply these tips
to your guitar improvisations and don't
be afraid to experiment your
own outside lines. It is indeed on evident
that you have to work in twelve keys all
over the guitar neck.

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