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m i n o r s e v e n t h p e n t a t o n i c / u s a g e

11

T
hat should give you some ideas for smoothing out minor seventh pentatonics. You might like to
play these patterns in other keys. But lets get to some specific uses for this scale.
best choi ce
chor d mi 7 pent at oni cs i nt er val from chor d
CMaj7 Ami7, Emi7 M6th, M3rd
CMaj7
#
11 Bmi7 mi2nd
Cmi7 Cmi7, Gmi7, Dmi7 Root, P5th, M2nd
Cmi7
b
5 Fmi7 P4th
C7 Gmi7, Ami7 P5th, M6th
C7alt E
b
mi7 mi3rd
T
aking the chords one at a time, the relationship of the pentatonics to the chords works this way
Cmaj7=Ami7 pentatonic Cmaj7=Emi7 pentatonic
Cmaj7#11=Bmi7 pentatonic Cmi7=Cmi7 pentatonic
Cmi7=Gmi7 pentatonic Cmi7=Dmi7 pentatonic
Cmi7
b
5=Fmi7 pentatonic C7=Gmi7 pentatonic
C7=Ami7 pentatonic C7alt.=E
b
mi7 pentatonic
&
6th root 9th
3rd
5th
w
w
w
w
w
&
3rd
5th
6th
7th
9th
w
w
w
w
w
&
7th 9th 3rd 11th 6th
#
w
w
w
w #
w
&
root
b
3rd 4th 5th
b
7th
w
w b
w
w
w b
&
5th 7th b root 9th 4th
w
w b
w
w
w
&
9th 4th 5th 6th root
w
w
w
w
w
&
4th 6th
b 7th root 3rd
b
w
w b
w b
w
b
w b
&
5th 7th b root 9th 4th
w
w b
w
w
w
&
6th root 9th
3rd
5th
w
w
w
w
w
&
3rd
5th 7th 9th
9th
#
13th
b
w b
b
w b
b
w b
b
w b
b
w b
Ex. 7 Patterns over Cmi7 chord (Cmi7, Gmi7, Dmi7 pentatonics) >
?
No. 8
St udy No. 1 C minor blues >
?
No. 9
m i n o r s e v e n t h p e n t a t o n i c s
&
T
A
B
4
4
.
.
.
.
.
.
.
.
.
.
Cmi7
j

b

3 6
3
Cmi7 pentatonic
Dbl. x 2nd x
b
b

b


b

6
6 8
6 8 3 6
3

b


b


b
5
6 8
5 8 3 5
3


b

b
b

b
5
5 8
5 8 3 5
4


b


b


6
5 8
6 8
810
8
&
T
A
B
b


b


b

11 6 8
6 8
8 11
8
Gmi7 pentatonic
b
b

b

b


11
11 13
11
11 13
10


b




b
13
8 11
8 10
6 8
6




b



8
3 6
3 6
5 7
6
&
T
A
B

b




b

8
3 5
3 6
5 8
5



b




7
3 5
3 5
5 8
5
b




b


8
3 5
3 5
6 8
5
Dmi7 pentatonic


b





8
3 6
3 5 8
5 7
&
T
A
B
.
.
.
.
.
.
.
.
.
.








5
7 5
8
5 7
5 7








6
7 5
7
5 7
6 8








10 8
10 7 10
8 10
8





U
10 8
10 8 6
12

&
T
A
B
4
4
.
.
.
.
.
.
.
.
.
.
[A]
Gmi7 pentatonic
Cmi7





b


10
13
1310 8
11
10 8
Cmi7
b


b

6
8
8 6
8
Cmi7








6
7
8 6
7 5
6
7
E mi7 pentatonic
C7alt
b
b
b
b
b
b
b
b
b
6
8
8 6
8 6
6
8
v.s.
St udy No. 1 (continued)
m i n o r s e v e n t h p e n t a t o n i c s
13

&
T
A
B
4
4
Cmi7 pentatonic
Fmi7
3


b
3
b
b

5
5 8
8
8
5
Fmi7
3


b
3


b
6
5 8
8 6
8
Gmi7 pentatonic
Cmi7
.



b

7 5 7
5 8
5
Cmi7

&
T
A
B
Gmi7 pentatonic
Dmi7(b5)


b

b



5 8
7
8
5
6
7
B mi7 pentatonic
G7alt
b
b
b

b
b

b
b
6 8
6 9
8
6
6
9
Cmi7
Gmi7 pentatonic
.
J




8 6 8
7
G7alt
b

B mi7 pentatonic
b
b
b

b
b

8
6 8
6
6
9 6
&
T
A
B
[B]
Dmi7 pentatonic
Cmi7



8 8 6
7 5
6
7 7
Cmi7







5 7
5 7
6 8
E mi7 pentatonic
Cmi7
3



b
3
b
b
b
5 8 5 5 5 6 9 6
C7alt
.
J
b
b
b
b
n
6
7
8 6
9 8
&
T
A
B
4
4
Cmi7 pentatonic
Fmi7
.
J


8
8
868 8
Fmi7



b
b

N
5
6
8
8
5 7
Dmi7 pentatonic
Cmi7
.
j





7 5 7
8
8
5
Cmi7

5 8
Gmi7 pentatonic
Dmi7(b5)


b





5
5 8
75
6 8
8
&
T
A
B
.
.
.
.
.
.
.
.
.
.
B mi7 pentatonic
G7alt
b
b

b
b
b
b
b
b
6
6
8 6
9
8
8 6
Dmi7 pentatonic
Cmi7








5
5
6
7
8
8 5
6
B mi7 pentatonic
G7alt
.

b
J
b

b
b

6
8
6
8
8
5
Cmi7


5
T
his next exercise is good for practicing pentatonics on ii-V7-I-VI(7) progressions. Using specific
chord/scale combinations the chord qualities get slightly modified. The dominant 7 chords end up
as 7alt. chords and the I chord is Maj7(
#
11). Please look at the chord/scale combinations below.
Notice that the pentatonic scales are moving up by half-steps. See Ex. 10 for practice exercises.
T
he next exercise is designed to incorporate melodic voice leading (Melodic Voice Leading Bruce
Saunders Mel Bay Publications #20216BCD) by continuing the basic pattern introduced in this
chapter through differing scales and chord changes.
Ex. 8 Ascending half-step mi7 pentatonic using melodic voice leading
>
?
No. 10
m i n o r s e v e n t h p e n t a t o n i c
& 4
4
Ami7 pentatonic
7
Dmi7
5

11

B mi7 pentatonic
G7alt
b
9
#
b
5
b
b
13
b
b
7
b

9
b
b
Bmi7 pentatonic
CMAJ7( #11)
7
n
9
n
3
n
11
#
#
13
n
Cmi7 pentatonic
A7alt
9
#

5
b
b
13
b

7
b

9
b
b
&
Ami7 pentatonic
Dmi7
w



w



B mi7 pentatonic
G7alt
w
b
b
b
b
w b
b
b
b
Bmi7 pentatonic
CMAJ7( #11)
w N


#
w N

#

Cmi7 pentatonic
A7alt
w b


b
w

b

Open notes move down to closest note in the next scale (continuing the pattern)
&
T
A
B
4
4
Ami7 Pentatonic
Dmi7
w



w



8 5
8 5
5
8 5
7
B mi7 Pentatonic
G7alt
b
w b

b
b
w
b
b
b
9 6
8 6
6
8 6
8
CMAJ7(#11)
Bmi7 Pentatonic
w #
N


w



7
9 7
9
9 7
9 7
Cmi7 Pentatonic
A7alt
w b

b

w
b


8
10 8
10
10 8
10 8
&
T
A
B
Dmi7
Ami7 Pentatonic








7 5
7 5
5
7 5
8
b
G7alt
B mi7 Pentatonic
b
b

b
b

b
b
9
6 8
6
6 8
6 8
CMAJ7(#11)
Bmi7 Pentatonic
n
#


#



7 9
7 9
9
7 9
7
A7alt

b

b
b

b

0 3
1 4
3
1 4
1
Cmi7 Pentatonic
Dmi7

14

1/2 step

1/2 step

1/2 step
Ex. 9 ii-V-I-VI key of C major, 1/2 step scale movement >
?
No. 11
Ex. 10 ii-V-I-VI key of F major, 1/2 step scale movement >
?
No. 12
m i n o r s e v e n t h p e n t a t o n i c
15

&
T
A
B
4
4
Ami7 Pentatonic
Dmi7
w



w



5 7
5 8
7 9
8
5
G7alt
B mi7 Pentatonic
b
w b

b
b
w
b

b
8
6 9
6
6 9
6 9
Bmi7 Pentatonic
CMAJ7(#11)
#

7 10
Cmi7 Pentatonic
A7alt
b

11 8
&
T
A
B
Dmi7
Ami7 Pentatonic


5
8
G7alt
B mi7 Pentatonic
b

b
6
8
CMAJ7(#11)
Bmi7 Pentatonic


7
9
A7alt
Cmi7 Pentatonic
b

8 5
&
T
A
B
Dmi7
Ami7 Pentatonic





7 5 7
5 7
G7alt
B mi7 Pentatonic b

b
8 11
Bmi7 Pentatonic
CMAJ7(#11)
N

7 9
A7alt
Cmi7 Pentatonic

b
1 4
Dmi7

&
T
A
B
b
Gmi7
Dmi7 Pentatonic








5 8
5 7
8
5 7
5
C7alt
E mi7 Pentatonic
b
b
b

b



b
9
6 8
6
6 8
6 8
FMAJ7(#11)
Emi7 Pentatonic

n


n



7 9
7 9
9
7 9
8
D7alt
Fmi7 Pentatonic

b

b



A
5 8
6 9
8
6 9
6
&
T
A
B
b
Gmi7
Dmi7 Pentatonic


8
10
C7alt
E mi7 Pentatonic
b
b
b
9 7
FMAJ7(#11)
Emi7 Pentatonic


9 7
D7alt
Fmi7 Pentatonic


1
3
Gmi7

C
o
n
tin
u
e

p
a
tte
r
n

d
o
w
n
C
o
n
tin
u
e
p
a
tte
rn
u
p
Q
Q
Q

C
o
n
tin
u
e
p
a
tte
rn
u
p
Q

Q
Q
b
Q
Q

b
Q
Continue pattern down