VOL. 2 «PENTATONICS»Contents CD-Track Listing Introduction 1. Pentatonic Scales 9 | 2) Creating Pentatomic Lines ......c.cccsscsscssssssenusssssssscsssssssisssnsnsesssessssssiuesnasasessessssesevssessesseees 13 3 Rhythmic Variation 0c ccesssssssssssesssuvsesssasssssssssssstunnssisesssssssasssvesttieeeeesesseee. 27 | 4 * Progression 1: (Minor 7th Cycle) .... * Progression 2: (Major 7th Cycle) © Progression 3: (Say It Again) cccccccccccssssssssessssssssssssssssssessesessssssssterststevvessstiessesscessessens 32 | Improvising: Developing Flexibility with Pentatonics 6». The Minor 6th Pentatonic Scale ... * Progression 6: (Dominant altered Cycle) * Progression 7: (Minor 7°5 Cycle) .. © Progression 8: (Minor Blues - 3 Keys) ....sesessccsssssssssssssevssssssssssssvsasenssvessvecsacesesesssesessesaneee | © Progression 9: (Major Blues - 3 Keys) .....sssscscccssssssscsscsssssssssssssesssstisnuttesitseesttessuasssansasen 67 | * Progression 10: (Before It Happens) .sesccscssssssssssssecscssssssssssssssssssssssvenesssesssssvsvassesssssssese jo 7. More Patterns for Minor 6th Pentatonics ... ¢ Progression 11: (Inititation) ............ sopinetnestsesieetsssscseieuiietgtisstirsisstunsenaniasiseisse 76 | 8 The Major b6 Pentatonic Scale .....cessessssssssssssmeuusunssssvssssessessssusissssarsssscisssssstssesuesesseseee 79 * Progression 12: (Inititation - Bridge Cycle A and B) ..scsscssccssssssssssssssstvssvssvevvcvccvsssssssssee 81 | 9. The Minor 75 Pentatonic Scale * Progression 13: (Major b5 Cycle) .....cccssssssessessssussveceeesessssssssteserasereuessussvasssuvesasseasssesecee 89 © Progression 14: (Splurge) occscscscssssssssssssssssccsessssssssssssssssesssssassssvasisssssssssisessassssesaveete go LO The Major b2 Pentatomic Scale oo... cccccscscscssccsessscsssssvsssesssessecsesesssessssssssseesstssussessesversesvesissens 95 * Progression 15: (Dominant 7°13 Cycle) * Progression 16: (Feel For You) .secssssssssssssssscsessscsceseessssssssssssssssssssssssssitsrettestssuisiesessssens 100 TL Whole Tone Pentatonic Scales ......sssscsssssssssussisevesssssssessessussusansisesessuiusestivesssesssesessvessee 105 © Progression 17: [Hardly Ever) ...cccccccscssssssssssssssssssssssssssmesssssssssissasvessuinustssssssassaviseeee 110 12 Other Pentatomic Scales .........ssccsssssssssssessvessssnvesssssesnsessssssivissnssseutunsssenisnssarenssssssesee 113 13 Poly-Pentatonics * Progression 18: {Poly-Pemtatomics) ...ccessssssssssssesvssssesssssesssisetesssssessseesensvevsssseseee coe ED } COMCUSION ooo eeeesessesesessssecsssssesssssssvsvsssssesnasesssimusutasasssssssesseuissssssvasssssssssstutasassssesiueeussesteeeeese 125i INSIDE IMPROVISATION SERIES VOL. 2 «PENTATONICS» BY JERRY BERGONZI. Gl, DIGITAL AUDIO © & ® ADVANCE MUSIC Jerry Bergonzi: Tenor Saxophone Renato Chicco: Piano Dave Santoro: Bass Adam Nussbaum: Drums Recorded and mixed at PBS Studio, Westwood, MA, September 8th and 12th, 1993 Recording engineer: Peter Kontrimas Produced by Jerry Bergonzi Executive Producer: Hans Gruber Jerry Bergonzi plays and endorses Selmer Saxophones, Sugal Mouthpieces, Rico Reeds, Shure Microphones.C)-Track Listing PLAY-ALONG TRACKS TRACK CHORD PROGRESSION C CONCERT: PAGE NO. 1 Tuning Notes 2 Minor 7th Cycle ooo. eeecsccecccccsesessssssessseeeeesssesssveee 29 3 Major 7th Cycle. ciececcccccecseessstsessseessveeeseensveees 30 4 Say Tt ARO eects tssseesteseeseesessneesecees 32-35-60 5 Minor 6th Cycle ...ccecccscccescssessesssessseessesneees 57 6 Dominant 7th Cycle 7. Dominant altered Cycle. 8 Minor 765 Cycle .occccccccccscccssseeeeeseen 9, Minor Blues - 3 Keys 10. Major Blues - 3 Keys 11. Before It Happens veces 42 INIFLAHION cscsesssstsessnseesscenseesen 13. Inititation - Bridge Cycle A and B .. 14. Major b5 Cycle wee cee 5 SPUN se eeeceeeeseeestectesetessesseesevsees 16 Domiriant 7°13 Cycle 17 Feel For You cece Fessesseenesiesees 48 Hardly Ever cecicceeccccstestseseeees 19 Poly-Pentatonics 0.0. eee DEMONSTRATION TRACKS 20 Minor 7th Pentatonics 21 Minor 6th Pentatonics 22 Minor 7*5 Pentatonics 23 Minor 6 Pentatonics 24 Whole Tone Pentatonics 25 Poly-Pentatonics 26 Mixing up the Pentatonics (take 1) 27 Mixing up the Pentatonics (take 2) 81 Bb: PAGE NO. E>: PAGE NO. Secaaeeeeecesnneanenieees 29 serereresteeeesereres 30 ce ceeteecneseeeeenenees BU eecceeerieeeeeeeeees 31 veeteeteeeseeeeee BROBOOL eee 34°39 7-62 seieteseseeestesieceeees 57 vesstesesseetssseeeseeee 57 ceceeeeseeveseeneeveneees FO viveretetctenenee ZI ciseeteeeeeteseseetseeseees TT tierce 78 ceeteeseseeeesneeeeeeneeece B2 eee BF det teceeeetecereseeeteeee 89 eee BQ cscs teeeteeseeteeeeees QT cove ceseeeeeteeesenenes G2 coeeeeeeeresesneeeeensnes LOL veecseeceereeeeeeeree: LOZ denen eee eee eeee TLL weer LIZ seseeteeeseeteesteneeeaes 124Introduction Pentarontcs, is the second book in the series called “Inside Improvisation”. This book provides a practical yet creative approach to assimilating pentatonics into your melodic musical teservoir. | was inspired to put this system into a book format because having taught this method over the years it has proven to be tremendously successful. I've often been asked by students, “Who plays strictly pentatonies?” I can’t think of anyone who only plays pentatonies but many of the modern players have pentatonics at their command and melodic disposal. Of course, listening to the great players who use pentatonics is an invaluable lesson in learning how to employ them in a musical way. The accompanying play-along recording has been designed for use in conjunction with the text. There are 18 play-along tracks (tunes or practice progressions) as well as seven demonstration tracks Piano players can eliminate the piano track by turning off the right channel of the amplifier, bass players can turn down the left channel. This is a method book designed for all instruments. Its goal is to outline a system toward mastering pentatonics and to show different creative ways to convert pentatonic scales into melodies and music.Chapter 1: Pentatonic Scales EXAMPLE 1.1 EXAMPLE 1.2 EXAMPLE 1.3 EXAMPLE 1.4 EXAMPLE 1.5 Pontatonic scales are five-note scales. There are many different pentatonic scales and this book will dise s a good number of them. To begin with we will consider the most basic and most consonant of the pentatonic scales. The following notes spell a C major pentatonic scale. This scale can also be called by its relative minor name; A minor pentatonic. eo These notes are derived by stacking fifths beginning with either the note C or the note A. eo These notes in any order can be called A minor or C major. Some musicians prefer to call pentatonic scales 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:gi I To memorize and become accustomed to playing these pentatonic scales play the following lines in all keys. These four very common pentatonic lines should be played the full range of your instrument. hoon 1.6 Here is a different way to construct the same grouping of notes. For example, beginning with F I major or D minor pentatonic: EXAMPLE 1.7 (Even though some of the intervals between 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 E step up to G, step up to A, step up to C and so on. The same scale written out as follows uses what I'll call oskip:. That is starting on D, skip up to G, skip up to C, skip up to F skip up to A: m XAMPLE 1.5 skip F skip A skip skip G A double skip would look like this: mn lu OU e EXAMPLE 2.9 <> 1 a — = e gPENTATONIC SCALES Atriple skip would look like this: EXAMPLE 1.10 Using skips and steps provides us with a way to construct many pentatonic lines as it gives us a 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: EXAMPLE 1.11 c-7 CH-7 D-7 EL-7 The ascending notes would be: : EXAMPLE 1.12 C-7 Ci-7 D-7 EL-7 . Lo be é rey # o [See — Note that from here on I will refer to the pentatonic scales by their minor name.i MEMORIZING QUIZ C-7 CH-7 D-7 EL-7 E-7 F-7 C-7 CH-7 D-7 EL-7 E-7 F-7 Fe-7 G-7 Gi-7 A-7 Bb-7 B-7Chapter 2: Creating Pentatonic Lines Having completed Chapter 1 you will have played a pentatonic line starting from every degree in the pentatonic scale. By using skips and steps there are many different formulas that can be created. The following is an example of one formula: From whatever the starting note is in a given pentatonic go down skip, to down step, to up skip, to down step. L Sxip LSree 7 Skip JL Srep Using a C minor pentatonic and starting on the »C< that formula would look like this: EXAMPLE 2.1 J sep Stee P Skip L Step b Here is that same formula starting on the note »Gc EXAMPLE 2.2 Here is that same formula starting on the note >Eb«: EXAMPLE 2.3 Here is that same formula starting on the note »Bb«: EXAMPLE 2.4 4 —_—_—_—_—. eCHAPTER 2 Here is that same formula starting on the note >Fc EXAMPLE 2.5 Here is the entire line written out: EXAMPLE 2.6 ma = 6S Oe 6 & be 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 derive eight formulas: EXAMPLE 2.7 i L STE :P tT Swap | ForMULA 1 L Skip BJ Srep D- JL Step A B . Cc Cc ForMua 2 _2 Step c t Sep Dol T Sep D \ Step A __ Skip B J Step A Skip FORMULA 3 Dio lwm iS FoRMULA 4 By reversing the direction of the arrows these lines become ascending lines: EXAMPLE 2.8 Formuras A ; T Skup B T Step c o¢ Sxrp dp ft Step | FoRMULA 6 B t Step C. J Skip D 7 Step Aso Sx | Formuta 7 ie + Sxir D . T Step A T Ser BO _T Sree | FORMULA s D tT STEP A T Skip B T Step Cc J Skip Here are those eight formulas on C minor or Eb major: Notice again that there are five four-note groupings before getting back to the starting note. Also, notice that with formulas 1-4 that the first note of each four note grouping is the same and that they descend by skip. (That is -C: to -Ge to »Fo« to -Bbe to -F..) With formulas 5-8, the first note of each four note grouping are also the same and they ascend by skip. (That is «C: to °F. to »Bb« to Ede to Ga)CREATING PENTATONIC LINES EXAMPLE 2.9 a _ » . ie 2 outa | = e— pe = e be 7 ee ; — — | oe e ucnula 2 ormulo 3 aula 4 semula 5 ST a. o z o @. b o—_@. amula 6 se pe oo? f— z oe ae be oe oe —— ba * re . o— #9 —9- rmula7 Se t ae + : ae t 1 be © “+ x? i —— oo z bw ¢ ———CHAPIER E EXAMPLE 2.40 a i F MINOR OR i . 2 be * be. be be a, . _ Formula | é& “- pe = Le oe - 1 a = whe — ieee b I b , formula 2 mula 3 be be oe bebe ® £ « Sormula 8 & be 7 a 2 f ta t i ————=- 4 . ! i } a i, i Notice that the only difference between E minor and C minor is one note, the »Ab in F minor »Gcin C minor (or Eb major). Also notice that you don’t have to start these lines on the root them anywhere on your inst (or Ab major) replaces the of the chord. You can start Trument as long as you can play them for two octaves without octave adjustments.CREATING PENTATONEC LEWES EXAMPLE 2. b AL es e ormula 2 armula 3 emule 4 —_=_ oT bebe belt &be rmula 5 G ri = 2 ao pe Pe — —— — be —— abe be ft mula 6 f — ta jet ie be ve 2 yee be —# pew — es ov a a be un G te beet pe? ae = e be be” ee _ t ——— vula 8 %Bsr EXAMPLE 2.12 Eb MINOR OR Phe bare bey be. ~ roe be. ra—be a be be be be. be be. be b 4. , Formula 2 € oe pe a pO— he bs bate ie OOF be yg be be | , ‘ormula 4 —t = beta : be | = Pore bebe bo betes hy bert be be tthe be lo 5 oe ra be pete i ——— mm wee meee ee Ce 3 3 a 3 3 2 2 2 2 =EXAMPLE 2.13 CREATING PENT ATONTC LINES eeHAPTER 2 EXAMPLE 2.14 ea ae ‘ormula 1 rmula 3 Formula 4 mula 5 ‘ormula 6 ——— ate a ct 4, SS A Formula 8 e fe PooCREATING PENTATONIC LINES EXAMPLE 2.15 FE MINOR OR wenulaT re C ote f ° ate = = @ + | ——S tee te mula 2 7 te # 2S. ote #4, * te ——__ ormula 3 t ——— * = te @ a a te wrmula 4 armula $ rmula 6 ee 7 he mist nt ¢ ae f i £ rit ete Ze ¢ ie ° te — ste} | ————— . te e aoe eo 2@ DE i nuts Ly if f ote ————e - ee? + — TSCHAPTER 2 EXAMPLE 2.16 Ce a t= Formula 1 : SS SS SS Formula 2 Formula 3 Formula 4 mula $ ma = we Ce | ~ il mi) » te a) » Formula 6 —TT te—* 4, 2 Set : 6 —— ot wee ! Formula 7 7 , + - o 1g + 1 t + i t + = ote ta t t —— — : q t + = —<—<——— i ° . i 2 ote 2 ————— 4 o 4 22 eo @ 2 D> f ._ oe? oe i Foemula 8 a 7 a ———————— —— — +e. i ——— ~i i eo ¢ ! _——— ————CREATING PENTATONTC LINES EXAMPLE 2.17 ees im ormula l= f or oS « ee cuinula 2 ormula 3 cosmula 4 simula 5 rm — ~—* ~—t fie © ° 2 armula 6 2 o mmememmaeeamaen or f ——— 2 e o 2. { + r J «= ormula 7 i ? 7 — - e — : a « —s f : t i E e ee Led _————— o 2 £5 e teHAPTER 2 EXAMPLE 2.18 i i 2 fie ef ar a 2 ee = ~ ft et» fF # ~ 2 ——— f o —e oo formula 2 SS ——— —o we o oo atlas L.. 3 Formula 4 mula 5 a f of e—% 0 f t o am o PB mulo 6 { ; z ? } ed oe # i . 2 ¢# — : t t — 2 o aa ee y Formula 7 7 { oe — = ft — H ot —_# a 4+ , f _————— — Po — o o 2 o 22 2 — oF oc eo - -— = 2 o—* + ” ——— i Formula 8 - z= = i ow ¢ ; a — ~ a BoCREATING PONTATONTC LINES EXAMPLE 2.19 MINO “ormula 1 cormula 2 ormula 3 ormula 4 ormula 5 srmula 6 a @ a - -¢ e ee + = of 2 tmula 7 t t wd = a |. __*_ ° = —— © * | as Se 7 eo © fe ———e we aCHAPTER 2 i EXAMPLE 2.20 G MINOR OR b be. la 1 ula 2 = Formula 4 i t o—#. 2” b £ be £ >rmula 6 De ot e a ss 7s —— i oe ‘enneennleemee — aT i « —— be ——— mule? 4 os ee be? oe fo —— a . * 1 | : es i © ot « ao f+ al t i 2 |! —————— . ° be 2 * be 2 & = # e. = 20 ° be =—* ———— ————— | ° ———— ”Chapter 3: Rhythmic Variation Once you are able to play all eight lines in all keys try improvising in each key mixing up the pentatonic notes by using random skips and steps. Also try using double and triple skips. Think of the »shapec or »contour< of your line. Here are some examples: 1. First try playing the line on the next page as all eighth notes. 2. Play each line with the following rhythmic pattern: EXAMPLE 3.1 EXAMPLE 3.1B 4. Play each line with the following rhythmic pattern: EXAMPLE 3.1 s. Try playing the lines using rests and syncopations. EXAMPLE 3.1DBarus i The reason there are no stems on the notes is because these lines can be played using many different rhythms. oe _#. o e ——— - = Pe ~~ 2 . pe e ° pe- peo be 2 be 2 « & be be oo" ope * —2.. ° oo ban o o bee : — = i * | — 2 o Oba ~ be. ve = 2 #56 2 ° > ee ———? oe be be = © be. —e- = o— # by ope 0 —* oe * be pee ee be : i eo y—- @_§_e = . : z « - = ec oe oe oe 9 - -_? oe vs e be & be 5 = 2 = be o 2. ee o _¢ re o-#¢ = 5 2 * = be q eo o—# o_o] o — De « ee aot, se bee a = ° ° oe ee ° e be # De ; baw — —— eo —*#—_ ba 0 7 « - pee pe os ze oe | - be be © o 2 tae ote o—_#_» @ oe pe —# be 2 = hd be e~ 6 2 e¢ -~ © — ba * z Fee —+ wae pe be ° 2 ~“ f—e po —" * oo o 7 mee = ¥ —o o oo be. = e vs ; o—#_e a esChapter 4: Chords And Pentatonics The following is a C minor 7 (or Eb major 7) pentatonic scale. What chords will this scale fit over? EXAMPLE 4.1 C-7 Of course, the scale can be played over C minor 7 or Eb major 7. But it can also be used over F minor 7 or Ab major 7, and Bb minor 7 or Db major 7, and also A7 altered or Eb7. There are other chords that this scale will fit over as well but these are the primary ones. Try improvising on the following progression. b TRACK 2: PROGRESSION 1 - MINOR 7TH CYCLE (CONCERT INSTRUMENTS) C-7 E-7 Al-7 B-7 4 4 J > TRACK 2: PROGRESSION 1 - MINOR 7TH CYCLE (Bb INSTRUMENTS) D-7 Fi-7 Bb-7 CHT 4A — F-7 eS we Gt-7 ea 4 eBan. i » TRACK 2: PROGRESSION 1 - MINOR 7TH CYCLE (E5 INSTRUMENTS) A-7 CH-7 F-7 G7 oT = £b-7 FR-7 Bb-7 D-7 oT 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 Fb 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 C 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 pentatonic or the one up a fifth or the one up a second from the root. Example: CA could use A-7, F~7 and B-7 or CA, GA and DA. i Practice with the following progression. ome I » TRACK 3: PROGRESSION 2 - MAJOR 7TH CYCLE (CONCERT INSTRUMENTS) CA EA AbA BaCHORDS AND PENTATONICS » TRACK 3: PROGRESSION 2 - MAJOR 7TH CYCLE (Bb INSTRUMENTS) DA GbA BbA DbA Fa AA CA EA === | AbA BA EbA GA As eo » TRACK 3: PROGRESSION 2 - MAJOR 7TH CYCLE (Eb INSTRUMENTS) AA Dba FA AbA ——— Going up a fifth or up a second won't work over minor 75 or dominant 7 chords. There are other pentatonics that fit these chords. Try playing on the chord sequence of Progression 1 or Progression 2 and altering the duration of each chord change to eight bars apiece, two bars apiece and then one bar per chord change. Try playing the pentatonics to the following progression. Written above the staff are the pentatonic scales you could use. For now we are using a G minor 7 pentatonic to fit over a D minor 75 but there are other pentatonics that will be suitable for these chords and we will address them in later chapters. Also, over some of the dominant chords you will see the choice of two scales. One scale is the regular diatonic -inside sounding one and the other gives a more spicy: altered sound.CHAPTER 4 i » TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (CONCERT INSTRUMENTS) C7 _ c7 ; i G7 Bb-7 C7 Gee G7alt C-7 eo B-7 {for altered sound} E)-7 F-7 BZ - - i & EY-7 : = Ab7 Dod = x < : i G-7 BL-7 C-7 D7 1c De t G7alt C-7 = B7alt i B-7 D-7 E-7 ; ried Fle B7alt E7 - A Eb~7 (for altered sound) G7 AT D-7 G-7 C7 E-7 A-7 y E-7 @ B~7 D-7 ET FLT F Eb7alt i AT Di-7 Gaz Le D7 x - Eb-~7 FL-7 AbH-7 s 4 iS Boas + E7alt A-7 ¥. e G-7 (for altered sound} B-7 7 FLT - B-7 t EF SAN o. = E7 FA An? B~7 ; 16 Be = E>7alt AY~7 — G7alt = z| eCHORDS AND PENTATONILS » TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (Bb INSTRUMENTS) : D-7 —_ 7 Geo7 a G7 — e — - np Az C-7 a D7 —_ a bts - == A7alt D-7 — 4 e Ct~7 (for altered sound) F-7 G7 C7 y. F-7 BL7 £ e AT —_ C-7 D-7 E-7 = Ci7alt Ch7 E-7 FLT Cé7alt F-7 A-7 B-7 E-7 D7 C7 E-7 Cé7alt Fr~7 Gt-7 9 FL7 GL7 BL-7 5. Co fc Falt BL-7 ae e A-7 (for altered sound) ) C17 ; De7 G7 _ C7 BZ = BA LE a Bo? C-7 = BT | =CHAPTER & » TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (EL INSTRUMENTS) A? _ D7 - _ Ge —— — ra EF D-7 = — —| E7 . G7 AT “ _ . 6 Bo = E7alt A-7 ————— < aa un [= 7 = G+-7 (for altered sound) C-7 D-7 G-7 ee = TT T ~ — 6 C7 : F7 BLA = oF . _ ET _ G7 AZ B-7_ _ 6 Bo / = E7alt A-7 f Ab7alt - = B-7 Ab7alt GiL7 CHL? C-7 (for altered sound} E-7 +7 A7 B-7 Ai7alt B-7 Ct-7 EL-7 C-~7 E-7 Calt F-7 E+7 {for altered sound) Gt. 8-7 EW7 & Gi =Ci7 CFA ze : . cz E~7 7 C7 Go SS : 7 ——— aHCHORDS AND PENTATONICS Once you have played through this tune 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 »SAY IT AGAIN« (CONCERT INSTRUMENTS) C7 GT DT FY C7 G7 Le C7 = x F-7 + — —— - G7 Bb-7 C7 G7 0-7 Bl-7 F-7_ C-7 DbA G-7 BL-~7 C-7 G-7 D-7 D-7 a De G7alt C7 Balt B-7 D-7 E-7 B-7 Fi-7 E-7 G-7 D-7 A-7 A-7 Eb-7 D-7 A-7 E-7 -,_ B-7 D-7 E-7 B~7 FR-7 FLL7 E-7 Eb7alt A _Ab7 EH7 BbL-7 Db-7 Ab-7_ E>~7 AT Z Db-7 n Eb-7 PL A.-7 E-~7 Bb-7 Tt } 5 Bho Evalt EAH7 a 4 BT FT CLT 7 G7 2-7 CLT GH A brand —— FE? AA FE aBaws 4 i ® TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (Bb INSTRUMENTS) i D7 AT EV G7 D7 A? / Ge D7 = = - 5a = = pa - C7 D-7 AT ET go" = —F A7alt = D-7 ee | F7 C7 G7 G-7_CL7 C7 G7 D7 Ie FL7 = EB = EBA ee i A-7 C-7 D-7 A-7 E-7 £7 _ = rs Eo = = A7alt D7 - C#7alt FL-7 Ch-7 Gi-7 B-7 FE7 Ci-7 — B-7 FR-7 Ci-7 Gi-7 ee FR-7 A-7 E-7 B-7 B-7 F-7 E-7 B-7 FA7 Ga E-7 27 CE? GET Gi-7 #7 alt FZ BHT F-7 C7 Eb-7 Bb-7 F-7 EL-7 =Bb-7 = F-7 “7 BH7 F-T C-7 Co Falt BLT F- F-7 G Gi? Bx7 F-7 C-7 C+? Co = F7alt BH-7 A7alt { e i CH? GRY E-7 EW7 AT GH _El-7 BH T = Ch Fa7 EBA = Zz e eCHORDS A¥D PENTATONICS » TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (E> INSTRUMENTS) A-7 E-7 B-7 D-7 A-/7 E-/ Bex = 4 D-7 —S e C-7 G-/7 D-7 D-7 G7 G-/ D-7 A-7 C-7 BbA E-7 G7 A-7 E-7 B-7 B-7 A-7 Ab7alt —————— CLT G7 EZ FLT CLT GE7 CLT FL7 GiL-7 B-7 C7 Gi-7 Eb-7 Ab7alt CH7 E~7 B-7 FR-7 FL7 C-7 B-7 Fr-7 Ci-7 E-7 AZ DA GH By Ch? GET ELT E-7 CL7 F-7_C-7 G7 Blb-7_ F-7 C-7 BL-7 C-7 E-7 F-7 C-7 G-7 Calt F-7 & 5 Gi-7_ E-7 BL-7 BL-7 E-7 $7 C7 Gi-7 oa - * c | 5-7 = CH = AA Ze EX7 $7 F-7_ C-7 G-7 G-7 A Bie - =a Ep7alt 7 P+? = = E7alt = | » “1BovaChapter 5: Improvising-Developing Flexibility With Pentatonics What follows are some exercises to help your flexibility with playing pentatonics. This is Formula 1 descending. Make octave ajustments whenever they are convenient. EXAMPLE 5.14 C-7 C7 D-7 Eb-7 Gi-7 A-7 Bb-7 B-7 C-7 CH-7 D-7 Eb-7 Gt7 A-7 Bb-7 B-7 C-7 Ci-7 D-7 E>-7 Je — te ne a pn be r i # H + —" on ce fete 7 > z — << > ee pe Lee =| * ents fe ° owIMPROVISING: DEVELOPING FLEKEBELIEY Wid PEMTATONIGS This is Formula a ascending. Make octave ajustments whenever they are convenient. EXAMPLE 5.18 C-7 B-7 Bb-7 A-7 E-7 ED-7 D-7 CHT C-7 B-7 Bb-7 A-7 G7 G-7 coo FE-7 ne F-7 E-7 EL-7 D-7 Ct-7 C-7 , B-7 BL-7 A-7 2. pe os {i SS +: = Sepa Se = io Fee e—— e ———— ee 40Bornes E-7 Eb-7 D-7 cH e Bb-7 A-7 mE mM UlUe Ce oO ! N r NIMPROVISENG: DEVELOPING FLEMP BILITY WITH PENTATONICS 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 example 5.1. C-7 C4-7 D-7 EL-7 E-7 F-7 F4-7 G-7 Gt7 A-7 Bb-7 B-7 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. EXAMPLE 5.2 cet oe oe wm be” inmula 2CHAPTER 5 Now try to use a different formula for each starting note as in the following example. Examenr 5.3 e B-7 D + N r N wo i N mE mH EER FE EE rr N L N + N ° N C-7 CH-7 D~7 Eb-7IMPROVISING: DEVELOPING FLEXTBILITY WITH PENTATONIGS Gi-7 A-7 BL-7 B-7 C-7 Cy-7 D-7 bo Bb-7 B-7 —eeece “be? te = . Se ” : Te > — i, — .— = ee eee ees CHATTER § Using any of the ascending formulas try to complete the ascending line from the starting note. C-7 B-7 BL-7 A-7 Ab-7 G-7 Fg-7 F-7 E-7 Eb-7 D-7 CE-7 we | & « * ee £ ee = is ~ he e oo ° 4, ee ee 5 f eo Gr * o— ” re i [pe- —* e : te fe - be o = - ‘e —¢ # 2° poe —# fz . = : o- * = = = ~¢ ke 2 °IMPROVISING: DEVELOPING FLEXIBILITY WITH PENTATONICS Try one ascending formula at a time and then try mixing up the formulas from measure to measure as in the following example. EXAMPLE 5.4 Formula 1 Formula 2 Formula 3 Formula 4 C-7 B-7 BL-7 A-7 E-7 Eb-7 D-7 CH-7 C-7 B-7 BL-7 A-7 E-7 EL-7 D-7 Ci-7 C-7 , B-7 BL-7 , A-7 2 —_— #4 a=2- = * ¢ ° ate o-# os = : o# se ° — x = o SS —ee . er, oo 2 —— — ————Beevers E-7 Eb-7 D-7 C7 C-7 B-7 BL-7 A-7 E-7 Eb-7 D-7 C7 E-7 E>-7 D-7 Ci-7 t ry —_ ee , 4 ate we — o tote oe | ° oe 2 ess zee °—— Ss =? 7 ote e _—_—_— ———— a —— 45IMPROVISING: DEVELOPING FLEXIBELITY WITH PERT ALONTLS MORE STARTING NOTE EXERCISES ee 1 . i he + 24 a ee or fa 7 pe o be . ° = " C-7 B-7 Bb-7 A-7 Ab-7 G-7 FE-7 F-7 E~7 Eb-7 D-7 CE-7a CHAPTER 5 B-7 BL-7 Fi-7 E-7 F-7 Eb-7 7 5 3.4 CH7 -D-7 C-7 te be og te De A-7 Ab-7 G-7 F4-7 F-7 E-7 Eb-7 D-7 CR7 BL-7 B-7 4 ge be +IMPROVISING: DEVERO PENG FLERIBYLITY WITH PENTATONECS i i 2 pe # “ { : t om ao : ” oe * ae ° = i | | ! i 2 — S ! tH y eeCHAPTER 5 Gh-7 E-7 F-7 FE-7 G-7 Eb-7 Ch-7 D-7 C-7 C7 D-7 Eb-7 F-7 E-7 F4-7 Ab-7 BL-7 A-7 B-7 C-7Chapter 6: The Minor 6 Pentatonic Scale The next pentatonic scale for us to consider is the minor 6 pentatonic. This scale is used quite often and is as important as the first. EXAMPLE 6.1 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 C-6 F dominant 7 F7 A minor 755 Ag B7 altered Balt A7altered A7alt And it will also fit over: Eb major 7#11 ELAFLL E> dominant 7411 - Ep7#l1 D dominant 7>9sus D7>%sus Db major 745 Dbaés Notice that only one note changes from the original line on pages 15 - 26. For that reason it’s a good idea to get the original lines really under your fingers, then changing one note will not be that 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 to 6. Pages 60 - 62 show the use of the minor 6 pentatonic scale over the original chord progression »Say It Again, first introduced in Chapter 4. You can also use the minor 6 pentatonic scale over minor and major blues (pages 64 - 69}. The standard chord progression (pages 70 - 71) was derived from the Jerome Kern song Yesterdays. Suggested pentatonic scales are shown above the chord symbols.CHAPTER 6 EXAMPLE 6.2 The C minor 6 pentatonic put to the original eight formulas loo s like this: Formuta 1 Formula 4 Formula 5 2 a = 5 . —H e e * be e es = = ~?—»—#.0 —— Z a ~ Formula 2 re - —" = ate “7 | e —— © 2 ha * 2. tH 0 he ft 0 ba =e Formula 3 — - a ti ae =— ——— F Poe t * of 0 . > = ~ — 4 : — — } e | a aa oe 7 o oe o—e fo p * Formula 6 | — ; I at ig « * tes s. renee ee o—# 2 _* ie SS os a—t et fm — = _ I ees oe a J . be ey —— ot yo 2 © 2 oe = rmuia 8 1 = — ——* A ee —— -THE MIWOR 6 PENTATONIC SCALE Practice just improvising with the minor 6 randomly using skips and steps. Then try using the rhythmic devices introduced in Chapter 3. 1. Play the exercise on page 58 using all eighth notes. (Again there are no stems on the notes so that you can alter the rhythmic pattern.) 2. Play through the exercise using the following rhythmic pattern: EXAMPLE 6.34 3. Play through the exercise using the following rhythmic pattern: EXAMPLE 6.38 4. Play through the exercise using the following rhythmic pattern: EXAMPLE 6.3 5. Try playing the exercise using rests and syncopations: EXAMPLE 6.3DCHAPTER 6 {le 19 56THE MING? 6 PENFATONIC SCALE » TRACK 5: PROGRESSION 4 - MINOR OTH CYCLE (CONCERT INSTRUMENTS) C-6 E-6 Av-6 B-6 Fe-6 A-6 CH-6 F-6 — » TRACK 5: PROGRESSION 4 - MINOR 6TH CYCLE (Bb INSTRUMENTS) » TRACK 5: PROGRESSION 4 - MINOR OTH CYCLE (Eb INSTRUMENTS) y C-6 E-6 G-6 B-6 we Fi-6 Ai-6 D-6 =E CHAPTER 6 i » TRACK 6: PROGRESSION 5 - DOMINANT 7TH CYCLE (CONCERT INSTRUMENTS) C7 E7 Av7 i oC =i —————— Dominant 7 chords can use a minor 6 pentatonic starting from the fifth. I Example: C7 use G-6 EL7 G7 BL7 D7 C#7 F7 ——j—— ee i ®) TRACK 6: PROGRESSION 5 - DOMINANT 7TH CYCLE (Bb INSTRUMENTS) D7 Gb7 BbL7 Db7 AS 4A 4 Dominant 7 chords can use a minor 6 pentatonic starting from the fifth. Example: D7 use A-6 F7 A7 C7 4A » TRACK 6: PROGRESSION 5 - DOMINANT 7TH CYCLE (E> INSTRUMENTS) Db7 F7 E7 Ab7 - AZ at eT ——————— | Dominant 7 chords can use a minor 6 pentatonic starting from the fifth. i Example: A7 use E-6 C7 E7 G7 B7 =: ————=———=——_-9] ——— of —— | = 8 i E>7 G7 Bb7 D7 ———j = —— SS |_| - k =THE MINOR & PENTATONIC SCALE » TRACK 7: PROGRESSION 6 - ALTERED CYCLE (CONCERT INSTRUMENTS) C7alt E7alt Ab7alt Altered chords can use a minor 6 pentatonic starting from b9 or #9, Example: C7alt use C#-6 or Ei-6 E}7alt G7alt Bb7alt D7alt 4 mee 4 = 4A = 4 a F¥7alt A7alt CH7alt F7alt e » TRACK 7: PROGRESSION 6 - ALTERED CYCLE (BL INSTRUMENTS) D7alt Gb7alt Bb7alt Db7alt 4A 4 4 Altered chords can use a minor 6 pentatonic starting from 59 or #9. Example: D7alt use E>-6 or F-6 F7alt A7alt C7alt E7alt Py Ab7alt B7alt . : E}7alt - G7alt e = ® TRACK 7: PROGRESSION 6 - ALTERED CYCLE (ED INSTRUMENTS) j A7alt Db7alt F7alt Ab7alt —o 4 4 . Altered chords can use a minor 6 pentatonic starting from b9 or #9. Example: A7ait use B)-6 or C-6 C7alt E7alt G7alt B7alt E>7alt G7 alt Bb7alt D7altBowie i » TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (CONCERT INSTRUMENTS) a _ _ : . F-7 _ oo Applying pentatonics to the original chord progression. F-6 _ Av-6 C-6 . “4 - & De : G7alt c- = — La = A-6 (for altered sound} EL-7 ED-6 Bb-7 — oo - — oo —— ~ 1 [6 = = EAGT = Dba = ~e i F-6 Aié C4 C6 = —T — G Do > it G7alt C-6 = = B7alt A} C4 £6 & Fie = B7alt i . Ch-6 (for altered sound) 1 G7 G6 D7 C7 i A-6 C-6 E-6 E-6 Eb7alt I: | A-6 D-7 Ab- a Db-7 Le e i Db E-6 Ab-6 Boa = = Eb7alt F Ab— F 7 = == : = i ae F-6 {for altered sound} —7 ; B-6 2-7 7 = = E7 AX : x BH6 _ E-6 A-6 A-6 eo — — ~ E,7alt = Ab = © G7alt -——— | e — ~ i» TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (Bb INSTRUMENTS) THE MIRDR 6 PERTATOREC SCALE D-6 G7 _ _ ep. Se — =o =S=67 = [oo = S. = Applying pentatonics to the original chord progression. G-6 Bb-6 D-6 A7alt B-6 (for altered sound} F~7 F-6 Bb7 Cc-7 D-6 D-6 Ci7alt G4 BO 6 Eo A7alt BO D-6 - Ct7alt Eb~6 (for altered sound) A-7 A-6 D7 B-6 D-6 Ct7alt FO E-7 Fi-6 Fk-6 - BH-6 E\-7 E-6 FLL6 Bb-6 _ | “Co F7alt Bb Le > G-6 (for altered sound) C7 _ +6 2-7 ~~ 7 = FE7 EBA Fa z } E34 FRO a BH , : SS BeBias > TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (E> INSTRUMENTS) | _A-6 oe _ db _ _ i Ge AR = —= Zz D-7 = E = — Applying pentatonics to the original chord progression. i —p, D6 ; Fb A+ , - & Bo eal FA = - = = I 6 (for altered sound} C7 . C6 G7 a _ _ i 6 C7 = E FZ = BLA : A i 06 A-6 A _ 6 i E7alt A-6 Ab7alt —— — Cho . in F6 ; A6 ché ; Ebo —+ Ab7alt Ch a = e Bl-6 (for altered sound) E-7 E-6 B-7 AZ Bi-6 C6 FS ; & Ge C7alt Fe A | - - fo D-6 (for altered sound) i a? SHS E~7 - & GL C7 Fea wz = - i Bi-6 om) £6 4 7 ~~ T ~— C7alt won Fe = E7 ql) [STS(HE MINOR 6 PENTATONIC SCALE » TRACK 8: PROGRESSION 7 - MINOR 7>5 CYCLE (CONCERT INSTRUMENTS) Co Eo Abo Q On minor 7'5 chords start the minor 6 pentatonic from the third. Example: Ca use El-6 | — a , Ebo Ge Boo Do J , Fhe Age Che EE, = i= — ij — > TRACK 8: PROGRESSION 7 - MINOR 7>5 CYCLE (Bb INSTRUMENTS) Do Gro Boa Dbo A =A } f u On minor 75 chords start the minor 6 pentatonic from the third. Example: De use F-6 Fo Ag Co Eo 4 . Abo Bo eho i Ge i \— 4 » TRACK 8: PROGRESSION 7 - MINOR 755 CYCLE (E> INSTRUMENTS) ; Ag Dba Fo Abo ee ee ey, SS On minor 7°5 chords start the minor 6 pentatonic from the third. Example: A@ use C-6a CHAPTER 6 i ® TRACK 9: PROGRESSION 8 - MINOR BLUES (CONCERT INSTRUMENTS) BO Ai . C-6 AR low — G7alt C6 E G7alt — =| FO = E7alt = Boo £6 A.-6 E-6 rea E7 = Eb7alt = Av : E57alt |THE MINOR 6 PERTATOMEC SCALE » TRACK 9: PROGRESSION 8 - MINOR BLUES (B> INSTRUMENTS) D-6 Bhs Ke fios SS SO —— } So? D-6 BS e G7 — FE D-6 — — 6 BLS D-6 Bb-6 } . > Bz A7alt b-6 E A7alt A-6 DO | a . FILG . D-6 CH7alt Ci7alt BL-6 B-6 2 2 Bb7alt = , EX7 Bb-~6 f a T T ~ = EH ! ze = Bb-6 oe CH} Fe—6 Bo-5 Ft6 - — - — — — T 2 ————d 2.) Bo-4 a Fat =CHAPTER @ i > TRACK 9: PROGRESSION 8 - MINOR BLUES (E> INSTRUMENTS) i D7 _ A-6 Go = was A-6 — = D6 C7 alt E-6 A-6 C6 A-6 Gi7alt = Gt7alt F-6 Ft6 e Bi-7 F-6 e - CH F-6 Ci * FA7 C7alt F-6 C7alt ae b e@ D /THE MINOR 6 PENTATOKIC SCALE b TRACK 10: PROGRESSION 9 - MAJOR BLUES (CONCERT INSTRUMENTS) G-6 c-6 G-6 CHO _ “E7 C7 = C7alt = — _ C6 c-6 G-6 Bo-6 -— 57 F7 C7 A7alt = = D-6 — - G7 — B-6 E46 B-6 6 E-6 B-6 D-6 _ AZ 7 E7 Ci7alt wv FL-7 FRO. B-6 FLO Ay EI6 A-6 =F D7 Ab7 & Ab7alt E-6 FA} aa = AbZ = F7alt Bo-6 EH6 Bx+6 . — 647 <= Ab7 = Eb7 |Bowers I » TRACK 10: PROGRESSION 9 - MAJOR BLUES (Bb INSTRUMENTS) E4-6 i A-6 ; D6 : A-6 ; 6 Cf: D7 = G7 D7 - D7alt = = D-6 D-6 A-6 C-6 i CHO F6 Ch6 G-6 a = FEZ B7 FA7 + FY7alt i FILO CH-6 E-6 E>7alt ——— i F6 Bi-6 FL6 8-6 7 } 6 = Bb7 EL7 Bo7 F Bb7alt | Bb-6 F-6 1-6 Fs E47 Zz = BL7 - G7alt e C7 C6 £6 ao foe = E7 = Bb7 = F7 e