VOL. 2 «PENTATONICS»Contents CD-Track Listing 6 Introduction 8 | 1 Pentatonic Seales 9 2 Creating Pentatonie Lines 6 3° Rhythmic Variation 4 Chords and Pentatonies * Progression 1: (Minor 7th Cycle * Progression 2: (Major 7th Cycle) 30 | * Progression 3: (Say It Again) 3 | 5. Improvising: Developing Flexibility with Pentatonics 39 6 The Minor 6th Pentatonic Seale 33 | * Progression 4: (Minor 6th Cycle) 57 + Progression 5: (Dominant 7h Cyde} 38 | * Progression 6: (Dominant altered Cycle) * Progression 7: (Minor 765 Cycle) .. 63 + Progression 8: (Minor Blues - 3 Keys) “ 64 | * Progression 9: (Major Blues - 3 Keys) 6 * Progression 10: (Before It Happens) soe 70 7 Mote Patterns for Minor 6th Pentatonics - 7 8 The Major b6 Pentatonic Seale .... 79 * Progression 12: (Inititation - Bridge Cycle A and B) 81 9 The Minor 75 Pentatonic Scale 87 * Progression 13: (Major b5 Cycle) 89 + Progression 14: (Splurge) - 90 10 The Major b2 Pentatonic Scale 95 * Progression 15: (Dominant 13 Cycle) 97 ‘* Progression 16: (Feel For You) 100 11 Whole Tone Pentatonic Scales 105 * Progression 17: (Hardly Ever) a10 12 Other Pentatonic Scales m3 13. Poly-Pentatonics ns * Progression 18: !Poly-Pentatonics) 24 Conclusion 135INSIDE IMPROVISATION SERIES VOL. 2 «PENTATONICS» BY JERRY BERGONZL Gl, 6 DIGITAL AUDIO © & @ ADVANCE MUSIC Jerry Bergonzit Tenor Saxophone Renato Chicco: Piano Dave Santoro: Bass Adam Nussbaum: Drums Recorded and mixed at PBS Studio, Westwood, M. eptember 8th and 12th, 1993 Recording engineer: Peter Kontrimas Produced by Jerry Bergonzi Executive Producer: Hans Gruber I Jerry Bergonzi plays and endorses Selmer Saxophones, Sugal Mouthpieces, Rico Reed:(D-Track Listing PLAY-ALONG TRACKS TRACK CHORD PROGRESSION CONCERT AGE NO. Bs: PAGE NO. PAGE Na, 4 Tuning Notes 2 Minor 7th Cycle 29 29 x0 3 Major 7th Cydle 30 n 3 4 Say le Again 33536 5 Minor 6th Cycle 57 7 6 Dominant 7th Cycle 58 58 7 Dominant altered Cycle 39 59 59 8 Minor 75 Cycle 63 63 63 9 Minor Blues - 3 Keys 64 65 66 10. Major Blues - 3 Keys 6 6s sn 11 Before It Happens 70 n 42 Inititation 7 33, Inititation - Bridge Cycle A and B 81 82 83 14 Major/5 Cyde 89 89 89 15 Splurge » 9 16 Domifiant 213 Cycle 7 98 9 17 Feel For You : 100 108 102 38 Hanily Ever... : no ua 132 19 Poly-Pentatonies 14 ny 34 DEMONSTRATION TRACKS 20. Minor 7th Pentatonies 21 Minor 6th Pentatonics 22 Minor 765 Pentatonics 23 Minor b6 Pentatonics 24 Whole Tone Pentatonies Poly-Pentatonics 26 Mixing up the Pentatonics (take +) 27 Mixing up the Pentatonies (take 2Introduction Pentaronies, is th provides a practical yet creative approach to assimilating pe reservoir. I was inspired to put this syste: method over the years it has proven to be tremendously su ve often been asked by students, who only plays pentatonies but many of the modern pla command and melodic disposal, Of course, listening to the an invaluable lesson in learning how to employ th in a musical way, text. There a c 48 play-along tracks (tunes or practice progression demonstration acks. Piano play channel of the amplifies, bass players can turn down the left channel This is a method book desi nd to show dif mastering pentatonic: melodies and music second book in the series called “Inside Improvisation”. This book tonics into your melodic m nto a book format because hying taught this “Who plays strictly pentatonics?” [ can’t think of anyone ers have pentatonics at their at players who use pentatonics is The accompanying play-along recording has been designed for use in conjunction with the rs can eliminate the piano track by turning off the right igned for all instruments. Its goal is to outline a system toward ferent creative ways to convert pentatonic scales intoTTC Mase RC Kener) Pentatonic seal discuss a good number of them re five-note scales, There are many different pentatonic scales and this book will To begin with we will consider the most basic and most consonant of the pentatonic scales, The following notes spell a C major pentatonic sale EXOMPur 1.1 v6 Examrue 4.2 he note A ExaMue 1.3 These notes in any order can be called A minor or C major. Some musicians prefer to call pentatonic by their major name and others prefer the minor name IF the scale is viewed as C major, the numbers for the pentatonic notes would be: Examine 14 If the scale is viewed as A minor, the numbers would then be: ExaMPur asI ize and become accustomed to playing, these pentatonic all keys, These four very common pentatonic lines should be played the full range of your es play the followings lines in Here is a different way to construct the same grouping of notes. For example, beginning with F major or D minor pentatonic NAMPLE 2.7 oo (Even though some of the intervals berween the notes of the pentatonic scale are larger than a second I will call moving from one note to the next in the scale a step:) So for the D minor pentatonic scale start with D and step up to F step up to G, step up to A, step up to C and so on. The same scale written out as follows uses what Ill call skips. That is starting on D, skip up to G, skip up to C, skip up to F, skip up to A: Examrue 1.8 Exanrie 1gExamrue 1.20 EXAMPLE 1.13 C7 EXAMPLE 1.12 HNO SL A triple skip would look like this: Using skips and steps provides us with a way to construct many pentatonic lines as it gives us @ means to hear and analyze these different pentatonic lines. To help memorize the different pentatonic scales play the remaining notes in the scale starting on the given note. First go through the memorizing quiz and play the notes descending and then repeat the exercise with the notes ascending, For example; the descending notes would be: 7 D-7 BA7 Note that from here on { will refer to the pentatonic scales by their minor name,ua I MEMORIZING QUIZ C7 CH 0-7 ED? E-7 7 I c7 cr D-7 en? f-7 dbo ; ——— He = = a= - i Fo? o-7 Ge7 AA? 8-7 87 i = = $o- 7 Ss ==Uster TSkp Step Using a C minor pentatonic and starting on the »C that formula would look like thi Here is that same formula starting on the note sG Exampur 2.2 he — Here is that same formula starting on the note sEb Exasut 2.3 EXaMeur 2.4Examoce 2.5 i, om Examen 2.7 Examen 2.8 Here is that same formula st ng on the note >F $ Here is the entire lis written out Notice that it takes five consecutive four-note groupings before the line starts repeating from the original note again. From this one formula we can deri e eight formulas Forwura 1 C Tsar Dt sm Foxwota 2 (DLs Fomuta 3 A Snr Fonmuus 4 Bo Asie By reversing the direction of the arrows these line’ becime ascending lines Forswta 5 DT Step Formuta 6 A Skip Foran B Formuta 8 Here are those eight formulas on C minor or Eb major Notice again that there are five four-note groupings belore getting back to the starting note. Also, notice that with formulas 1-4 that the first note of each four note grouping is the some and that they descend by skip. (That is -C: to .G: to -Eb« to Bb to oF) With formulas 5-8, t first note of Fe t0 Bh ich four note grouping are also the same and they ascend by skip. (That is -C: to Eb t0G,Exasete 2.9 (A aes Css POOLExaninias 210 a I 1 Notice thatthe only difference between F minor and C minor is one note the »Ab in F minor (or Ab major) replaces the “Gen C minor (or major). Also notice that you don’ have wo start these lines onthe rot ofthe chord, Yow cn vos them anywhere on your instrument a Tong as you can play them for two octaves without octave adjustments,VAT POTATO UNS ExaMPur 2.11 Pe vuno? rma eral roBove e Examue 2 I I rm iExaMrue 2.13SOLExamen 215 easPL Fern}Exametr 27 E MINOR ORI Examrce 2. Cu Feral?Exampte 2.19 D MINOR OR CLO TING POTATONC LIMESG MINOR OR Exastpu 2Chapter 3: Rhythmic Variation all keys try improvisi wg up the 1. Think of steps. Also try using do line on the next page as all eighth notes. with the following chythmic pate Exampur 3.14 ExaMrur 3.10, Exam: 3.1 5. Try playing the lines using rests and syncopations. ExaMrue 3.20Barus I The reason there are no stems on the notes is because these lines can be played using many different chythms, ee ee best SS (a -GTC GC Ce RRS The following is a C minor 7 (or E> major 7) pentatonic scale, What chords will this scale fi over? EXAMPLE 4.1 played over © minor 7 or Fb major 7. Bur it can also be used over 7, and Bb minor 7 or D> major 7, and also A7 altered or £47. There are other ill fit over as well but these are the primary ones. Try improvising on the following progression. ® TRACK 2: PROGRESSION 1 - MINOR 7TH CYCLE (CONCERT INSTRUMENTS) © TRACK 2: PROGRESSION | - MINOR 7TH CYCLE (B> INSTRUMENTS)1 I © TRACK 2: PROGRESSION 1 - MINOR 7TH CYCLE (E> INSTRUMENTS) After trying the primary pentatonic that fits each chord, go up a fifth from the root of the chord and try that pentatonic. For example, on the C minor 7 chord play G minor 7 pentatonic. The difference is that the note D in the G minor 7 scale replaces the note Eb in the C minor 7 scale and the D is the ninth of C minor 7. Next try the pentatonic scale a major second from the chord root, For example, on the C minor 7 chord play D minor 7 pentatonic So for each Dorian or II-7 chord we can use three pentatonic scales. Over a € minor 7 chord you can play C minor pentatonic, G minor pentatonic, or D minor pentatonic. This holds true for the majors as well. Over a major 7 chord you can play the primary pent the one up a fifth o the one up a second from the root. Example: CA could use A-7, E-7 CA, GA and Da. Practice with.the following progression - ) TRACK 3: PROGRESSION 2 - MAJOR 7TH CYCLE (CONCERT INSTRUMENTS) EaCones no PeNTTONICS ® TRACK 3: PROGRESSION 2 - MAJOR 7TH CYCLE (B> INSTRUMENTS) ® TRACK 3: PROGRESSION 2 - MAJOR 7TH CYCLE (E> INSTRUMENTS) p a fifth or up a second won't work over minor 5 or dominant 7 chords. There are other pentatonics that fit these chords z on the chord sequence of Progression + or Progression 2 and altering the duration of change to eight bars apiece, «wo bars apiece and then one bar per chord change. Try playing the pentatonics to the following progression, Written above the staff are the aD minor scales you could use. For now we are using a G minor 7 pentatonic to fit ov tatonies that will be suitable for these chords and we will address chem in later ers, Also, over some of th les, One scale is minant chords you will see the choice of two regular diatonic insider sot ding one and the other yives a more spicy: altered soundaera 4 I ® TRACK 4: PROGRESSION 3 »SAY IT AGAINe (CONCERT INSTRUMENTS) De = OC ——— + # B-7 (for olered sound} o Ee7 FZ - BLT Ke —S—_ 7 ——t A =| e - I G7 BLT C7 oe Do —t G7alt er = = B7alt = 7b I p £7 _ _ AT STeErEaaEE 6s E7 = = % 7 - SS © = BT oz _ -G: fto = E B7al = j — me = 5 E7 for alored sound G7 _ Az D7 ee = cA Fa : = 1 BT D7 £7 LT ie" = Batt = — a An7 D7 ALT + x D~7 = : — V ET FLT. AZ. ie Bo SS ct = ADT =| © Se = = G7 for cred sound) Le on 27» TRACK 4: PROGRESSION 3 xSAY IT AGAIN« (B> INSTRUMENTS) D7 G7 Coens nD eeeTATOsiES c7 = SE avol (CET (fer ltered sound} Fv, G7 c7 SS a 4 fe? BT _ 7 fay = 9 t FL ST f A FLT Cait = PLZ ima GH = Felt ALT (for obered sound)erunta I ® TRACK 4: PROGRESSION 3 »SAY IT AGAINc (E> INSTRUMENTS) AT Kes = C D7 2-7 Hor altered sound) oz G7 7 = Boa, = —— G7 AZ Be EE7alt AT = Ai7olt BA A7olt = ma EA? FZ I — cot = © E-7 for cltered sound) i, or 8-7 ET(gens ane pentatonic ‘Once you have played through this cane many times and feel comfortable try using the pentatonic scales up a fifth on all the minor 7 and major 7 chords. Then try using the pentatonic up a second on all the minor 7 and! major 7 chords ® TRACK 4: PROGRESSION 3 oSAY IT AGAIN (CONCERT INSTRUMENTS) F7 C7 G7 — C7 G7 D7 So7 = BLT FT C7 gh BT Bh? Di? A-7 E-7 _ Sean? = L———So7 = Z EDT _ FT ALT Ex7 Bi? peed = Eralt ARTZ # =| 7 G7, 7 CHT Gin oa xBaie I ® TRACK 4: PROGRESSION 3 »SAY IT AGAINe (B) INSTRUMENTS) D7 AT EF G7 D7 AT C7 ez FL Ch? GE? = Gta £ Ci7alt FR? — LL ro AT ET B7 87 RT ET B7 7 _ e~ = 7 = Ga Z € a7 Ez FLT CE? GET GE, e BRT FLT C7. EK? Bu7 FAT. 27 EDT BHT FZalt Fea = BZ B7CHOSEN ONIGS ® TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (E> INSTRUMENTS) C7 G7 D7 D7 GT G7 OT AT C7 GET BT a7 == Ge a7 CHT GET ELT Be v EZ B7 RT FLT C7. B7 FLT CRT ee — ———s14 Da £ e 7 37 CL? GE? EAT En? * ayeBoisChapter 5: Improvising-Developing Flexibility With Pentatonics C-7 CHe7 D-7 ce 2 be 2 4 pte p'Pel, » Ci, te, oo, m 6 € fe Ele ce tf ep toe he =e Ebayer: Sheba 2 ¢ — pro tof SS E-7 F-7 FRe7 G7MPROVISING: DEVELOPING FLENISILITY WIL PERTIION This is Formula 1 ascending, Make octave ajustments whenever they are convenient.IMPROVIS ING: BED ELOPING FLEXEBILIDY WITH PEATATONL To check your ability to skip and step, see if you can complete the line if given the first note. Begin by just using Formula 2 (descending) as written out in examph Each line represents one 12-bar chorus. The chord symbols above the first line apply to each of the five choruses, Repeat the exercise using Formula 2, and then Formulas 3 and 4 Examur 5.2 - obNow try to use a different formula for each startin ¢ following example. Exaawar 5.3IKPODHSING: DEY 1 TW PENTALORIGSUsing any of the ascending formulas try to complet e ascending line from the starting noteLWPROUESING: DEVILOPNG FLENIADUITE RITA PraTATMNICS Try one ascending formula at a time and then try mixing up the formulas from measure to measure as in the following example AMPLE 5.4 Formula 1 Formula 2 Formula 3 Formula 4PROVING: BLVCUUFING FLOWIBILIY RLTA PeRTALOAICS MORE STARTING NOTE EXERCISES i[s[3i7\4) C7 CHT D7) EMT ET FAT FET G7 GET A a BT AT FT FAT EXT ERT D7 CHT = fhe be te cane 7. ie < - - ° i 2 = = : | Se = he tra — . - = = = = oe 1 ] 1 | 7 | |Boers 3i4]5[7] a7 AT Bh 7 * G7 Gf Fe7 D-7 ET cre7 Fe? IWPROUSING: DEVELOPING FLUXIBILITY WITH PUNTATONICSBorns [473] 5 Oz D7 EK7 ET 0 F-7 FET G+? GET A cH cr? A-T a7 8-7GDC m PMC ALONG and is as important as the first Notice that the 6 replaces the 7 of the minor 7 pentatonic scale. The minor 6 scale fits on different chords than the minor 7 scale, C minor 6 will fit over C minor 6 co F dominant 7 a A minor 75 Ao B7 altered B7alt ered And it will also fit over Eb major 711 Eb dominant 741 - D dominant 79sus Db major 745 Notice that only one note changes from che original line on pages 15 - 26. For that re: sa good idea to get the original li 1g one note will not be that nes really under your fingers, then changi difficult. In the following chapters we will continue to alter the original scale by one note Rather than writing out the eight formulas in every key, see if you can go through the lines and play them just switching the 7 t0 6. Pages 60 - 62 show the use of the minor 6 pentatonic scale over the original chord progression »Say lt Againe, first introduced in Chapte! You can also use the minor 6 pentatonic scale aver minor and major blues pages 64 - 69}. ved from the Jerome Kern song hord progression (pages 70 - 71) was d sted pentatonic scales are shownThe C minor 6 pentatonic put to the original eight formulss looks Exaarur 6.2HINUL @ PENTATONIC SC Practice just improvising with the minor 6 randomly usin ips and steps. Then ery using the rhythmic deviees introduced in Chapter 3 1. Play the e: se on page 5S using all eighth notes. (Again there are no stems on the notes 30 that you ean alter the rhythmic pattern.) 2. Play through the exercise using the following rhythmic Exameur 6.30 3. Play through the exercise using the following rhythmic pattern Exanrte 6.35 Examrte 6.3¢® TRACK 5: PROGRESSION 4 ® TRACK 5: PROGRESSION 4 MINOR OTH CYCLE (CONCERT INSTRUMENTS) MINOR 6TH CYCLE (Bb INSTRUMENTS)® TRACK 6: PROGRESSION 5 - DOMINANT 7TH CYCLE (CONCERT INSTRUMENTS) ——i Dominant 7 chords can use a minor 6 pentatonic starting from the i I Example: C7 use G-6 I Dominant 7 chords con use a minor 6 pentatonic starting from the fifth Example: D7 use A-b Dominant 7 chords can use a minor 6 pentatonic starting from the fith I Example: A7 use €-6® TRACK 7: PROGRESSION 6 - ALTERED CYCLE (CONCERT INSTRUMENTS) E7alt Aliered chords can use a minor 6 pentatonic starting from 9 or #9, Example: C7alt use CH6 or E-6 Bi7ol G7olt == Fi7alt A7alt 4 Altered chords can use a minor pentatonic staring from $9 oF 9 Exomple: D7alt use B-6 or F-6 F7olt ih hat ® TRACK 7: PROGRESSION 6 - ALTERED CYCLE (EL INSTRUMENTS) A7ch F7alt Altered chords can use a minor 6 pentatonic starting from U9 or #9. Example: A7alt use Bi-6 or C-6 E7alt1° TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (CONCERT INSTRUMENTS) co s f7 [@ec SS EOS = e a 7 - _ Applying pentatonics to the original chord progression AN = G7alt = a =| A-6 (for atered sound) 7 En6 —— a _ AZ, —— a co 6 - - , ed = =e = # CH {for ceed sound) Go Dz a SS Fa = — = oo 6 _ — =fe- &:7oht > An6 a D7 a = x S07 = = A Di Eo 0 St 7 ot F-6 for atered sound) 87 Bo Faz 2IWC WINEE § PERIATONIC SOLE ® TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (Bb INSTRUMENTS) G7 52 BE b- © Applying pentatonics to the original chord progression Ce —— § BLO = | AZolt = 86 ffr altered sound) fee 87 BO D6 FRO —————$—=$ se —— . . 5-6 lor altered sound Ab 4 Bo D4 —— + Fs — F7alt G6 (for cored sound} ce =aBons I ® TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (E> INSTRUMENTS) 4 __o7 = 7 = loz Be a - be = SS 7h F26 for cltered sound) C7 ce ey We SSS te Ba OT i a Ad Ab fL7 Sn = Ao _ che Avalt oe == = Sf Bi-6 for altered sound) £6 BT. ee Az = DA = z che 6 al Cah = D6 for altered sound) Gee® TRACK 8: PROGRESSION 7 - MINOR 7>5 CYCLE (CONCERT INSTRUMENTS) ie (On minor 7°5 chords Example: Co use Eb-6 Ao Cho Fo > TRACK 8: PROGRESSION 7 - MINOR 7>5 CYCLE (Bb INSTRUMENTS) >. Do = = On minor 7°5 chords start the minor 6 pentatonic from the third. Example; Da use F-6 On minor 7°5 chords start the minor 6 pentatonic from the third Example: Aa use C-6Bivins I ® TRACK 9: PROGRESSION 8 - MINOR BLUES (CONCERT INSTRUMENTS) I ce = E Gehc = SS Se I Fz co ——————— a ——— &e = = x 7 — — OF = = 4 £6 And 7 Co Ae Or Fo > — = SSS ——————————| £6 _ =f ES = — 1 66 6 co —— £6 = = B7alt AS ; = aval — _ Ano = Ab = —— er £6 he £6 _ = Balt == Ané = 2 — |® TRACK 9: PROGRESSION 8 - MINOR BLUES (Bb INSTRUMENTS) Ta anor 4 PONTO SOLE ——— = ve —— = D6 = D4 $06 = Fe Gs a ——— = = Fal = = a7 6 _ EBT = = FLO _ = ——| Ab D6. FLO D-6 a peor =F Cth ————— FLO ci7alt =| BAS 86 = eens = =z 7ot = ————— 5 ET =e = . pains —= ee = Fecant I ® TRACK 9: PROGRESSION 8 - MINOR BLUES (E> INSTRUMENTS) Bn7 6 cH6 cH Fo cH aTe wna 6 pewrazoNne SULT » TRACK 10: PROGRESSION 9 - MAJOR BLUES (CONCERT INSTRUMENTS) FLT Fe Be g= - = ——"| FR 87, 7 = 87 ——F ae Aré EH A SE AZ ST EA = = Ab7ah ———— S| : = — Ano Bn6 F6 Sov ——SE—= AT = =; Frott — —| . Bs =FBows I ® TRACK 10: PROGRESSION 9 - MAJOR BLUES (Bb INSTRUMENTS) a eee O b7 D7alt o7 87ch = £6 Ay cs Gs ER7 —— —————————| Gh om che __ Gh Sa Fo ee OS Bio F6 Bo = 87 SF v7 = Bi7alt F-6 Ge io — co Fob 7 = 27 —TEL WINOE 6 PERT TONIC SLE ® TRACK 10: PROGRESSION 9 - MAJOR BLUES (EL INSTRUMENTS) ramen. Gee BO tow = = 7 Sor = Bolt = EL7 B6 6 £6 Saa7 = EG = = a = o7_ | - co Fo a7 = 7 = =f F7ahunten ® TRACK 11: PROGRESSION 10 »BEFORE IT HAPPENS« (CONCERT INSTRUMENTS) D6 D7 be oo Bo - = = 7 = 7 =| G6 — © co ___G7 Go BA6 ber = a : Eo AZalt © TRACK 11: PROGRESSION 10 »BEFORE IT HAPPENS« (BL INSTRUMENTS) £6 7 C6 E6 B7- m7 - . Gee a = SSS, SS SE © — 7 D6 che der = FS S97 == € = co ee BHO ES _ AS : a ———— iy = o7 — 6 = be ae Ao a 0 = a = = Fe = B7alt =] E - 2 =® TRACK IT: PROGRESSION 10 »BEFORE IT HAPPENS« (E> INSTRUMENTS) BO BT Go & —Bare I Try playing the descending minor 6 pentatonic patterns beginning with these staring notes: (akhough ascending lines will work as well) F-6 FRE | G6 ‘Try playing the ascending minor 6 pentatonic patterns beginning with these starting notes: (Again, the descending lines will work as well) SeeCm ALUMI AATCC another pentatonic formula using skips and double skips applied to the minor 6 P TDouste Saw 1 Sir isi T Dovste Sx Because of the size of the intervals and the vast range that this formula covers any octave adjustments are recommended. i —_———. a ZS a 7 Try taking any one of these lines and playing it in all keyNext, consider the lines that result if the arrows of this formula are reversed {Dovste Sr 7 Suir T sear 4 Dounte Sar EXAMPLE =_ This next formula describes a line with wide intervals: Usk Ser bur? Douste Suir,Reverse the arrows! T Ser T sur T Siar 4 Dovste Sx He wnOR 6 FLSTALONTat I © TRACK 12: PROGRESSION 11 »INITIATIONc (CONCERT INSTRUMENTS) (Note the possible use of more than one minor 6 pentatonic on the minot/major 7 chords, the dominant 7 41's, and the altered chords.) fo - =C-6? = CO : = Eno = E69 = ——= © —— I F6 - En6 —=F Ao cs I chr _ 6s Bo _ oS —— — = co Bi Bnd As . 67h! ——= + 7a == =i He 6 Bi7at =HORT PAUTERNS FOR MINOR A PINIATOMICS ® TRACK 12: PROGRESSION 11 sINITIATION« (B> INSTRUMENTS) (Note the possible use of more than one minor 6 pentatonic on the minor/major 7 chords, the dominant 7 #11’s and the altered chords.) (Mojor 12 Pentotonic, see page 95} £6 0 . bs ct las _ _ z ov Scion = —| === FS sy = oo 10 fe fd eb) - : ae eon === F% = € 187 86 Bs B7 Ab 6 Ge =F aval a SS G —— —=> Ab cs — 2 BS - S we = — 86 Ab —_ G7 = 70h iz) z G 7 D6 ce cs Ab C6 £6 a6 Get = A = erat —— = @ =Laie reer re rt eee Cars ® TRACK 12: PROGRESSION 11 sINITIATION« (Eb INSTRUMENTS) {Note the possible use of more than one minor 6 pentatonic on the minor/major 7 chords the dominant 7 #11’s, and the altered chords.) (2 wt), = —F pitt <= Fb Bo Eb Ge F Bv7alt GLA ———# —— ACm A aL CLC ince there is no C natural in this scale Ill cal it E> major b6. This pentatonic scale fits the following, ADA Gralt 7 Fo? Batsonic scale applied to the eight original skip and step formulas: she C in.the formula) Here is the (Nore the B natural ior 6 pei = SAMPLE S.2HWE PONTO Apply this new pentatonic scale to the following progression, » TRACK 13: PROGRESSION 12 oINITIATION« BRIDGE A & B (CONCERT INSTRUMENTS) ils) Bits) EBi7alt — ———_ z ep 6) Gl) G7alt cA = o7 _ owe) E ) C7 F7alt — © — BA Bt) Ess) Pao — se —S4 =—— One A? ApS) ————— AT =F Dé7alt =cuaprer 6 ® TRACK 13: PROGRESSION 12 INITIATION: BRIDGE A & B (B> INSTRUMENTS) ar : Fab) wah) = 2 Bi7ah fea = cS —— _B7 ES) A) a z BT = Av7alt c& = : e ols} = Fal — x che) el) = See ° C7 aul) lsh G7 C7alt t+ FA © — = = FS) A7alt E7 Ev6) = G7alt a o7 cho) Fé) ated Fait = BA = ——— os 9 Be? Bho) Eyi6) = B7ah fo = = # oe = eat = Es ou Abe) - xb} 6 G7 = — Cialt FR = = 6 = = e FL7 ei — S EeAe MADOE by PEWIATONIC StL » TRACK 13: PROGRESSION 12 »INITIATIONs BRIDGE A & B (E> INSTRUMENTS) __ cil) Fhe 3 F7alt — BA = BL-7 Bho} Eplb6] 8 er SSS == G07 = Brot SS __abeh ca) Ci7alt : —————— = cl) eS) B7alt —— fea a ApS! oA EZ £6) = A7alt 07 Evbo) Gls) G7olt 8-7 cho) E00) el 2 ert Eas AT Bilo6} 7 “D7 __ Gilhé) _ C6) SS = —% F2(-6) By7olt El6) Ajo} = volt = = “GN xu | | o b | i = we oe eee ooo oo oe loc lelAgain, try playing the rhythmic devices introduced in Chapter 3 1. Phy the exercise on the following page using all eighth notes. Play through the exercise using the following rhythmic pattern: Apply the major 6 pentatonic scale to Progression 11 [track 12) from the last chapter. Notice on which note of the chord the major 56 pentatonic begins. On the ate chord it begins on ¢ #13. on the minor/major 7 chords it begins on the fifth, on che Lydian 57 chords it begins on the 7 $5 chon ninth and on the m vventh t begins on the Tey going back ro some of che other progressions and runes we've used and a the major b6 pentatonic where itis possible,THE MAIN bo PED/aFORIC SALEee — = i ew I IL ILCTC PALA Ua Lee LC Aga Lp d with a ¢ vee ae —————— ; c partonic fis ovr theflloving es a av Drak Gba?Toke this scale and plag it into the original formula oul? m3 Farm § -=—_ oo = tO + =WiKOR Lbs PENIAIONIC SUL mic scale on the followin chord, Example: CA us Practice the minor 7 ogressions. The minor 7 b5 pentatonic carts on thebS of a > TRACK 14: PROGRESSION 13 - MAJOR bS CYCLE (CONCERT INSTRUMENTS) ea’ » TRACK 14: PROGRESSION 13 - MAJOR 5 CYCLE (Bb INSTRUMENTS) Bist piatS == Play 3 x: Ist x- each chord 4 bars (as nototed); 2nd x- each chord 2 bars; 3rd x - each chord 1 ber —— Fars Aa’ Abad =i © TRACK 14: PROGRESSION 13 - MAJOR b5 CYCLE (Eb INSTRUMENTS) Aes cra F Aa’are I ® TRACK 15: PROGRESSION 14 »SPLURGE« (CONCERT INSTRUMENTS) i Fo ‘ C= = oH € —p fe ke ——— © SS I £6 FLO Bhd £6 FES Bld) Aré Bro Ebhd) Ar6 Br Evi) BA Boh = A G7ol = me g C7 G7 D7 Br7_F-7_Co7 fer = —S ww —— wTHE MOWUED b5 PENTATOWIC SCALE ® TRACK 15: PROGRESSION 14 »SPLURGEc (Bb INSTRUMENTS) INSTRUMENTS) 4 be Ges == Zz Sf Co oe Ss ———— . Eo 6 SS zx © Ge & Dials —— e Bo Ab a Onan ————— = AGPHI3 a e CHO EH6 AHO) CH FRO ADbO} f6 G6 ch F6 G6 cfd) ry Ch = + c7alt = ay —= E7alt = AT ET Be? G7 D7 AT i —_-= = yy = a = Z G7 a =] nn mae aE eae eee eee eee ooAINE Es OMTATONIC Sta Again, try playing the rhythmic devices introduced in Chapter 5 1. Play the exercise on the next page using all eighth notes 2. Play through the exercise using the following rhythmic pat ENaMPie 934, . Examrte 9.3 j. Play through the exercise using the following chythmie pattern EXAMPLE 9.3¢ 5. Try playing the exercise using rests and syncopations: ExaMur 9.30 } |Caer &CMU MLL eae eel Replace the »F: in the original pentatonic scale with E natural. This scale is called Eb major b2. EXAMPLE 10.1 Bal2) ‘The E> major 52 pentatonic scale fits the following chords C dominant 7 a Es dominant 7 B7 7 over a C7 chord; a C major #2, an layed over a C7 chord ExaMPus 10.2 cla) [Note: b2 is the same as b9]Farmdo} Furmio? Forul? Femaa Wu)08 52 PEMUATOHNT NCA Apply the major b2 pentatonic to the following progressions. Fist you may check out the sound of cach of the four pentatonic 2 options aginst che chord progression. After you got familiar with the individual sound of each option you! ean mix them up randomly ® TRACK 16: PROGRESSION 15 - DOMINANT 19 &13 CYCLE (CONCERT INSTRUMENTS) CB FE Alel2) f C7413 — =F F793 Eb FE AC (alli) ——————— =F gies ABD Fiollia DE G_Brlal:2) AS71913 = = = py7i9n3—— = GAC Biola BD F Abfalis2) A 719419: Z 8719813 —= ——= =F EG Bb Db foli2y AC EB Fioli2) _ GaN —<— F SS ——<—— © ee orem _ = FE on 5 |Harte ® TRACK 16: PROGRESSION 15 - DOMINANT }9 513 CYCLE (B> INSTRUMENTS) OF Ab B fallta) G Bb Ct E fall s2) E Geom SSS ot SS FAD BD (oli) ; ————————— = BCH E Gali) & FA C (ola) _——————— Fa eos = I AB OD Fialligy CHE G Bb fallb2) = SS ot ZI FA CE (alli) = BD F Ab faili2) I ——— —————————— el I pF GB Ciloilia} AC Eb Fé (oll) E7)9813 = = A aie —® TRACK 16: PROGRESSION 15 - DOMINANT b9 &13 CYCLE (2+ iNT ASB (ell:2) TRL MANOU be PENTATOC Stu WMENTS) AC Eb Fi lolli2) DF 4G _Bb CH E (oli) CE Fe gf ADB Dootiay Bh ChE G fall 2} _ 7913 — = = = 719413 = EL A Cll'2) Ay BDF (ola) (—————— FE asl = GE G Bhiali2) CHIH F47913 BEF Ab (alia) E GB Cilol 2) E === ————— FEA C5 (ll)cunt te ® TRACK 17: PROGRESSION 16 »FEEL FOR YOU« (CONCERT INSTRUMENTS) Es FA Coil!) Ay BD Fealliay G Br Dy Efi) CEs FE Atala) G7_ C7 FAY B Diallo) =| latlb2y Ab BD Folia) Ay GB D Efelia or = 7 os al) os prima G6? = A (oli2) FA, B Diali2) 7 faa Ieseeeseusesesessssseuseeees 10) Ef AC iol 2) A, BD Fiol/2) GB) Dy Elali) — —— a Ef Aelia 5 cs AB Del G7 bind Q 8 Boa, .THE MALO AD PEATATORIE SCALE ® TRACK 17: PROGRESSION 16 »FEEL FOR YOU« (Bb INSTRUMENTS) FAL B Dalia) B GE Goéli2) AC & = °7 BZ. DF ALB folli2) GB CE E falliay AT D7 o7 = Dz AT ET FAs B Dfalliy Bh CE G (ols) AC Eb Fa (oli2) a = 7 ——————4 14 AT = DF Ab BGali2) FAD BD liz) ATE. o7 7 Aco chs} Ao nfs HET 13 EA? ———————————— Go ee DF A Bioliay G BC E alia} feos As? o7, G7 g AZ ET FAY BD tolli2) B CE Goll 2) AC & Fe (alia) ————— 87 7S = Fay Bjall 2) © eecutie > TRACK 17: PROGRESSION 16 »FEEL FOR YOUx (E> INSTRUMENTS) A falliay EG B CHrali2) ET AT DF CG Biola Av £07 CE FE Aloll:2) FCB D(hi2) EG Bh Colla co 7 = 2 CEB faz) E7 BZ _ . = Fo = — 4 Es che) 6 =F £69 879013 <9 = Ble A Ct Eb Fé (alli) DF G Biol) FEO? = ——— = o7_= = CB fH Atl OF CB Doli EG B& Chiatiz) C7 == = = Gs AZ Ab 7 = SAT a=Again, try playing the rhythmic devices introduced in Chapter 3. 1. Play the exercise on page 104 using all eighth notes ythmie pattern: the exercise using the following EXAMPLE 10.44 5. Play through the exercise using the following rhythmic pattern Examen 10.48 EXaMPLe 10.46 5. Try playing the exercise using rests and syncopations: EXAMPLE 10.4 - hse he yeCT Cae UL eee Yea Consider the minor 6 pentatonic scale again and drop the root a 1/2 stepExoapue a. z Here is a B whole tone pentatonic scale plugged into the oiginal formula For cme? =Tye WHOLE TUNE Ni taTORIL SCA Again, wry playing the chythmic devices introduced in Chapter 3 1. Play the exercise on page 108 using all eighth notes. 2. Play through the exercise usihg the following rhythmic pattern: EXAMPLE 14.38 3. Play through the exercise using the following rhythmic pattern Exanur 12.38 4. Play through the exer ¢ using the following rhythmic pattern: EXAMPLE 11.3¢ 5. Try playing che exercise using rests and syncopations, Exanrte 12.30Tat WHOLE TONE FearutONNC sc4ut After you've pr ced improvising with any whole tone pentatonic try adding the missing note in the whole tone scale Example: Over the C minor/major 7 seale, ade Practice the whole tone pentatonics over the following progression.CHAPEL © TRACK 18: PROGRESSION 17 »HARDLY EVER« (CONCERT INSTRUMENTS) 8B whole tone pentatonic be Ls aaa CHS EG AVP) C7alt FZ End F6 Bill) Do B» whole tone pentatonic ————— = Det G7 sus ERTS = re a9 == 7919 ——— 8 whole fone pentatonic 67913 “NSTHE WHOLE FONE RENTATINIC ScuLE ® TRACK 18: PROGRESSION 17 »HARDLY EVER« (B)> INSTRUMENTS) t whole tone pentatonic — 69 £ A793 =——— D7ak — o7 £6 6-6 Cl) Eo whole tone pentatonic 6 G7= = €7alt AT! sus 7 whole tone pentatonic = A793ana © TRACK 18: PROGRESSION 17 >HARDLY EVER« (E> INSTRUMENTS) Av whole tone penta AO? Tepma I Bi6 Co Fbd) aca - = at —— | I D7 C6 D6 GI) Bo G whole tone pentatonic 5-7 = 87 oh ———— E79 sus £7913 — I e aaa = I 69 SSS 57980 = dt © Ab whole tone pentatonic = 67913 =UTC CLO TeS Clas 5 6 | Fits: Aba, F-7, BI-7, Do é ——— ee a Fits: C7, E67, FA7, A7 Fits: C7, Eb7, F#7, A7 SSS ets. 7, 17, 7, A7 o- SS =o Fits; B= = é SSSI ta 07, Fo ieChapter 13: Poly-Pentatonics Today many of the modern players are playing in and out of the harmonic structure. Poly-pentatonics is one of many harmonic devices used to get outside the harmony Take C minor 7 for example as the chord you are playing over (we'll call this the parent pentatonic) degree and hear what happens when you play another pentatonic over that tonality, Notice tha of soutness: is related to the number of common notes between the parent pentatonic and the athe pentatonic scale played far away from C-7 as you can get. There is not one note in the C-7 pentatonic scale in common 1 example, given the chord C-7, if you then play @ B-7, C7 or FA-7 pentatonic scale, you are as with any of these three pentatonics First degree out EXAMPLE 13 Second degree out: Ab-7 and E~7 both have one note each in common with C-7 pentatonic ExaMpue a Third degree out: Es-7 and A-T have two notes in common wit ~7 pentatonic and F#-7 are the furthest out from C-7 pentatonic. |Fourth degree out: Bb-7 and D-7 each have thr mmon with the C-7 pentatonic ExaMrir 43.4 Filth degree out: F-7 and G-7 each have four notes in common with the C-7 pentatonic EXaMrLe 13.5 For the sake of sounding intentionally out try playing the first, second, or third degree out against the parent pentatonic The following example demonstrates how ting back and forth between the parent pentatonic and an out pentatonic creates an interesting sound. Exanie 13.6 from the « ¢ pentatonic and continues alternating the two pentatonic scales. Each four note ing starts on the note which is the closest descending note to the first note of the last pentatonic, That is in Example 13.6, the Fé of the second grouping i the .G: of the first grouping, closest descending note to m the four note groupi and play a four note grouping. Then go & 1g of the C-7 pentatonic move to the clos ore in the FL-7 pentatonic the closest note in the C-7 pentatonic and play a four this pattern untill finally returning to th, note grouping. Continue arting note. You can try this same exercise using a different out pentatonic. [f you use the tritone away from the parent pentatonic it makes the melodies non parallel, Using the second or chird degree out can run the use of repeated notes which is Hine. Of course this is an exercise and you can certainly try using any number of notes from the parent pentatonic with any number of notes from the out pentaPoly puntaron In the following exercise the first note of the out pentatonic is the closest descending, note from the I last note in the parent pentatonic. (as opposed to the closest to the first note. Ex. 13.6] Exanirir 13.7 Eyaate 13.8: (Ascending pentatonics closest to the first note) ‘These fitst four poly-pentatonic exercises have the second four note groupings containing the same shape and skip step formula as the first four note grouping, Here are some examples with the second four notes being different thExanue 23.02 EXAMPLE 13.430:ExAMrLt (314 C7 6 é ExaMre 13.416: Examrie 13.073following are some examples of improvising or mixing up the inside and outside pentatonics I against the parent pentatonic C-7: I Exawrtr 13.298: 7 co 4SExanpur 13.190: Exarur 13. C7Next try using the rhythmie variations introduced in Chapter 3 with any of a I examples Here is the previous example with the rhymic pattern: Js 3+ Another device which can be applied to playing pentaronics is the use of ud groupings o! What follows is an example of mixing up a 3-note g ouping of the C minor pentatonic tage! with « 3-nore grouping from the FE minor pentaconic scaleEXAMPLE 13, Here is an example of mixing up a S-note grouping from the C minor pentatonic with a 3-note grouping from the Ff minor pentatonic scale Exanvie 13.27: grouping from the C#-7 pentatonic scale: Here is an example of mixing up many polypentatonic minor scales and_using odd each of those key centers. This can be played over the C minor tone center:I Finally, ourside ® TRACK 19: PROGRESSION 18 (E> INSTRUMENTS) ‘a «Conclusion lifferent sound: This book was written in the spirit of explorin nd ideas. The creative imagina vundaries, [ hope this book can give the r and stimulate their individual exploration of mus y There are many different approaches and ways to study the many musical techniques. In a sense everyone finds his or her own way. T hope this book assists you in finding your own wayif IMPROVISATION > PLAY-ALONG {his immowsation methods oor than us anater pay along. iis a eres of books and CDs that proses step by step ofer ing concrete suggestions and acs hat shoes you RoW and wate pracce. Drawing on twenty Tine yrs af evsing eet lence atthe Eastman Schou of Music. Ramon Ricker ases et corded demansioons ay hava nb stens and este 2nd paying Vacs that resent the mate in cea and cance manne ‘Most ofthe oa ang acs feature he yen section ofthe 398 Thad Jones/Mel Lew ig Band wth Horld Danko on aro, Rufus Red on bass at the te ret Mel Les on tums Since they pevtarmad and eco ogee" conitenty vet ' peo ef several years hey played 3a unt = tuejazathythm section. the recanings weve beushtup to me! sayy Inver CD stands ane served as an speaton for Ramon Rte towne tree envelyinen book, adatom se eno Sato ear rining and pay alog rocks were added Vol. 1 The Beginning Improviser onoee no. S801 (econ mice) OWT ON ifort tole esinng az stent who knows ne! mao Subject coved nis one YOCABULARY: ott, Roman Numerals Scales, Modes itor Seventh Chords, Moy, Mint Domine and Suspended ‘Chords, Chor Scale eitionshs, Te ues Progression Using Penatone Seats wih Bises, Beatie Choeisece Relatonsips, The Prosesson iyi Changes The lath. and The Cea auth ona Steps Dosing on Changes STYLE Sing hth Notes, seo he etranne, Seale Pratie ond Seat Singing Soles. EAR TRAINING: Speci exarapes and suggestions ith ede tacks fr practice REPERTOIRE: A suggest si reper Vol. 2 Blues omper #0. 14802 (Boo w/co} LUKE 70 seated calito the blues fv ans a players ofl eels na man to become move fait with this Subjects coveted inthis ok neue: YOCABULARY: The Blues Form ad is Variations, ue Notes, Base Chad Substitution, The Blues Scale The Pantone Scale, Dominant Seales with Passing Toe, The Dominant Workout Aling Dominant Sete tha Passing Tone toe Progtesions, and Appling Doman Sete nth a Passing Tone hues SIME: Improvising on Blues, Using the Meos,Letrng the Melody Using Transcribed Solos asthe Basi fr Improvised Slo, dnd Steps far Paying Gand Saas EAR TRAINING: Spec examples and Suggestions wih recoded rocks fr pace. REPERTOIRE: A suggested basic eerie Vol. 3 The II-V-1 Progression, Rhythm Changes and Standard Tunes onore no. 1680) (a00K ico) 500K THREE devoted wxctsvoy to the # Wl PROGRESSION, RAYTHV CHANGES AND STAND TIMES andi intended for ayers of al lavet whe ae serious sbout learning to pay on heres Subjects covered inthis book nclade VOCABULARY.The 1.4 Pogson Hal Diminished Sever Chard, the Lctan ae Loctian 2 Seales. Altre Dominant - horas, The Aeres Sate, Guide Toes, Using Tags as Gude Tones, Waking Bans ies Major Stes witha Paseng ne, The Phe 1-¥-1 progression Major Workout. Anping ajor Seales ws 2 Passing Toner Mapessons. Sppiing Dominant ad Mor Sale wah assng Tones ii Progressions and the thy Charges, STYLE: Using Guide Tones When Solong, Using the Meody a8 bass of Your improvisation, Lem the ies, Letring the Meta AR TRAINING: Sper vars ane! suggestion with recorded acs for pace REPERTOIRE: List of Sec Jazz Compositions tat Extensively use he I Progression, Selected Star Tunes that Extensively use the 1 Progression, and Selected Compositions Based om byt Chanbes Jazz Harmony Ite Chats, vesans odes: i rie An dl Chord Pronreysions The Blues; Lead Sheets Song arms and Melo “alt ecoridry Borie chor: Suosttate Doma Seventh chods and Tone Sade ner ees eon ae ene ier hanme and ins Blues: -ammon chor Pgtesions and Vaca ating, Modultlon Penitoncs ane ner Seomeerc es: Dues Voratons:shynm Changes caltases>-ane Sretr;Slash choos ana vane chose,IMPROVISATION > PLAY-ALONG VOL «MELODIC STRUCTURES» Vol. 1 ,,Melodic Structures” ment (Cre ok includes ib. theach ofthe chapter asignments Thee ae nine tun Vol. 2 ,,Pentatonics” (109 race woe wico) romatels «Bebop Seales ery gona aghiy respected jaa educator/musician wh ves and teaches oth Boston ate. Over many yeas is BRAZILIAN MUSIC Brazilian Music Workshop anor wo. 18001 (147 pace Boox wien Bn ER Ret PRN 0 anne nena rc eneR eee ean g ee ene ene ee)