The Pentatonic Scale in Jazz Fusion

El guitarrista Scott Henderson demuestra un truco que cambia la forma para improvisar con los modos de la Escala
Pentatónica Mayor
Adicionalmente, esboza un maravilloso y bienvenido concepto "recycle-yer-riff"
En el siguiente video instructivo Scott Henderson toca algún súper loco improvisación de jazz fusión.

Además esboza un maravilloso concepto de "reciclar-yer-riff".

La idea es simple. Una vez que sepas una forma en particular de tocar la guitarra para la Escala Menor Pentatónica
(1, b3, 4, 5 b7) * se puede utilizar para crear tres sonidos sofisticados que funcionan encima de un contexto
armónico dado (en este caso, en el vídeo de Henderson, el contexto es un acode Bm7.) Aquí vamos a echar mirada
detallada en el concepto Henderson expresado. A continuación vamos a examinar desde una perspectiva unificada.

Es muy bueno que Henderson anime a la gente a cambiar las formas de digitación lo largo del diapasón para
producir diferentes efectos armónicos, sin un análisis consciente de las relaciones subyacentes. Con este enfoque
intuitivo a la improvisación (un acceso directo para la aplicación de "algún tipo" de una escala diferente) la gente
puede tocar cosas increíbles sin entender completamente los conceptos fundacionales.

Henderson describe convincentemente este truco razonablemente bien conocido que permite utilizar y reutilizar
una sola forma física de manera eficaz, con buenos resultados, sin ninguna elevación teórica elevada.

Aquí está la escala de Si menor Pentatónica (1, b3, 4, 5 b7) que Henderson toca a los 1:14 en el vídeo, en el que
dice: "Todo el mundo conoce esta forma."

Seguro que es genial... pero ¿qué es?

Después de ver este tutorial mi primera reacción fue "¡Quiero probar eso!"
Mi siguiente pensamiento fue: "¡Me gustaría saber qué Escalas o Modos está tocando! Henderson nunca explicó
realmente lo que está sucediendo.
En otras palabras, nunca dijo los nombres ni las fórmulas de esas otras dos escalas. Simplemente hace declaraciones
vagas como: "Lo que la gente no sabe es que puedes mover esa forma a diferentes áreas y obtener diferentes
sonidos".
Por ejemplo, a los 3:50 mins., Henderson declara que las otras escalas que toca son "La misma forma exacta, pero
sólo estás obteniendo una serie diferente de sonidos".
Inmediatamente después, para nuestra desventaja, él es llevado fuera del tema por el entrevistador y durante la
duración del video se centra en un truco rítmico 7/8 sobre 4/4. Así no escuchamos nada más sobre las escalas, y
nunca recibimos la promesa del título del video: "Secretos de la Escala Pentatónica".
 Apoyos Modales

De alguna manera tuve la intuición de que la magia subyacente podría ser un fenómeno modal. Así que me dispuse a
analizar los sonidos y buscar las escalas o modos sin nombre... y que era un viaje interesante. Utilicé Pensamiento
Sonoro para ayudarme a entenderlo. En este artículo voy a hacer mi mejor esfuerzo para cubrir esa parte tácita del
tema.
Si todavía estás conmigo, voy a mencionar por adelantado, sí, de hecho, hay una relación modal en el centro de
este truco.
Yo uso un truco modal similar con varios estilos de música, incluyendo Blues, Swing-Jazz y Bluegrass. Puede cambiar
libremente entre una escala A Blues y una escala F# Blues en muchas canciones. Porque trabajan tan bien que no
necesita ejercer mucha precaución. Solo déjalo volar.
Ve por ti mismo. Si nos fijamos en los Blues en F#, desde una perspectiva A, encontramos que es el segundo
modo de la escala A Blues. Lo llamo Un Blues Relativo. Puedes ver la relación entre F# Blues y A Relativo Blues
aquí en Pensamiento Sonoro.

La forma de la Pentatónica Menor

Como se mencionó, Henderson comienzo a tocar una Escala Pentatónica de B menor (1, b3, 4, 5, b7). Vale la pena
señalar que esto es lo mismo que el Modo 5 de la Escala Pentatónica Mayor (1, 2, 3, 5, 6), arraigada en B. Si no
miró temprano, por favor lea la nota de pie de página sobre los nombres pentatónicos. rooted on B.
Henderson utiliza y reutiliza esta forma de "Pentatónica Menor", localizándola primero en el 7º traste; luego
reubicándolo hasta el 9º traste; y finalmente hasta el segundo traste. Como él explica en el video , está tocando B, C
# y F# Menor Pentatónica respectivamente, sobre la constante caída armónica de un acorde Bm7. Si bien esta
es una descripción precisa, no puede aceptar las reglas gramaticales que acompañan la noción musical de
centro tonal. Hay un punto de vista unificado que nos deja más informados

Granted it's a slightly more complex viewpoint, but it's a valuable viewpoint because it honestly explains
the sounds generated. In a sense, it's a less geocentric view of the tonal universe.

Nevertheless, Henderson's point is simple AND significant. He generated these modes the easy way, by using
the original B minor pentatonic fingering in different fretboard locations. No further mental framework
required.
All this shape shifting viewed from a B tonal center

Here's a coherent overview of Henderson's trick explained from the single perspective of a B tonal
center.

 First he plays B minor pentatonic (1, b3, 4, 5, b7) — aka the 5th mode of the Major pentatonic
(1, 2, 3, 5, 6)
 Then he's plays B major pentatonic (1, 2, 4, 5, 6) — aka, the 4th mode of the Major pentatonic
scale (the same sound and notes as C# minor pentatonic.)
 Then he's plays B dominant pentatonic (1, 2, 4, 5, b7) — aka, the 2nd mode of the Major
pentatonic scale (the same sound and notes as F# minor pentatonic.)

Click here to see what these modes look like graphically in Sound Thinking, when pictured from
the perspective of a B tonal center . Sound Thinking provides an interactive view of the modes depicted
below:
  

What about Henderson's reference to the A Major Scale?

I'm not sure why Henderson likens these modes to the A major scale. He states, "The technical
reason [this works] is because the notes of the B minor pentatonic scale come from the A major
scale; these pentatonic shapes, the B minor pentatonic shape, the C# minor pentatonic shape, and
the F#minor pentatonic shape, all contain notes from the A major scale."

Granted, the notes of his three shapes (and these three modes) are indeed found in the A major scale
... but that doesn't really explain or define the sounds we're hearing as he shifts the shapes around.
And if we name this scale according to an A tonal center we get an A Dorian scale with no 3 or 7.
What's simple about that?

Taking it further, and wrangling those other modes

 Here's a highly recommended exploration that Henderson didn't touch on.

Learn to play those modes rooted on the 7th fret of the E string, without shifting. Click
here to see how. This will give you a real foothold on the underlying theory.

As you can see below, as you compare modes from left to right, first we lose the b3 and b7, so
we've switched from minor pentatonic to major pentatonic.

 The difference between mode 5 (the initial minor pentatonic scale): there's a 2 instead of a b3
 The difference between Mode 2 and Mode 4: there's a 6 instead of a b7

So here are the modes, renamed:

 Mode 5 = B minor Pentatonic,  Mode 4 = C# minor Pentatonic,  Mode 2 = F# minor Pentatonic

                            

A de-minor-ification of the Pentatonic modes

In the next demonstration we switch the order of scales that Henderson plays, just to make an
interesting point. If we reorder the modes as shown below, mode 5, 2, and 4, we find only a
single note difference between each pair.
As you compare modes from left to right, first we lose the b3; then the b7. So each fingering is one step
less minor, less bluesy (... kinda of like going through the modes of the major scale in this order: Aeolean,
Dorian, Mixolydian, Ionian — first we lose the b6, then the b3, then the b7; the journey is one note less
minor each step, ending up at major/Ionian.

 The difference between mode 5 (the initial minor pentatonic scale) and mode 2: in mode 2
there's a 2 instead of a b3
 The difference between Mode 2 and Mode 4: in mode 4 there's a 6 instead of a b7
 Reasonable names for Mode 2 are: Dominant Pentatonic or Suspended Dominant pentatonic

                            
 A comment from a viewer

youTube member "grb321" left this comment about the video:

"If you're playing over a Bm7 chord, then the notes of the C# minor pentatonic function as 2, 4, 5, 6,
and 1, and the notes of the F# minor Pentatonic function as 5, 7, 1, 2, and 4. (Of course, the notes of
the B minor pentatonic function as 1, 3, 4, 5, and 7.) So all those pentatonic fingers work well over
a Bm7 chord."

I haven't checked the math. But even if this is true, I don't get the point.

Another author's hit on all this

Now that I've completed this article I stumbled on another author's treatment of the subject.

Scott Henderson Melodic Phrasing

Following on from my last Scott Henderson blog, Scott Henderson Melodic Phrasing, let’s take a look at
some scale tricks that Scott use.
If you are a keen Spy Tunes member you know that I swear by knowing the basics first, avoiding tricks is my
philosophy. In fact it is Scott’s as well, he reinforces this time and time again in other lessons.

Since learning guitar is such a big task, many guitar players get side tracked before they actually learned
the basics and the tip I’m about to discuss today is one of those tricks that could lead to that.

So now that I’ve put the warning out there, let’s look at a Minor Pentatonic trick that you can use, just
remember, it is a trick. Or as M.I put it; A Pentatonic secret.
At 1:00 the lesson starts and Scott talks about the pentatonic shape. This is an Em shape if you follow the
rules of the Guitar Conspiracy and Chordacus.
As Scott explains, you can play it at fret 7 over a Bm7 groove, but you can also play from fret 9 and fret 2.

So let’s look at why this works and possibly more importantly, when it won’t work.

Starting on the note B, fret 7, the Em shape has the notes of:

B D E F# A. In numbers that is 1 m3 4 5 b7, standard stuff.

 Bm pentatonic, Em shape

This whole lesson is in Dorian (not mentioned in video), so all available notes are: B C# D E F# G# A.
In numbers this is 1 2 m3 4 5 6 b7. So 2 and 6 differ.

B Dorian, Em shape

Dorian, being the Second Mode is in Bm deriving from the A Major Scale, this is mentioned in the video.

When Scott moves this to fret 9 and plays the same shape, what he actually plays is: C# E F# G# B, since the
chord is still Bm, the numbers are now: 2 4 5 6 1.

It may look like an Em Pentatonic Shape starting two frets too high, but that is only the visual shortcut, you
are still playing in Bm. Now without a m3 but with a 6, very Dorian.

Can you see the Em Shaped Pentatonic scale in the pictured B Dorian, Dm shape?

B Dorian, Dm shape

When Scott moves to the 2nd fret and play the Em shape he get the notes: F# A B C# E, in numbers that’s:
5 b7 1 2 4 so a Pentatonic Scale with a 2 instead of a m3.

Can you see the F#m Pentatonic in the pictured B Dorian, Am shape below?
 B Dorian, Am shape

In the first move we had a 6, second move we had a 2, add this to your original Bm pentatonic and you get
the full mode.

Conspiracy readers know the importance of understanding the number of each chord. When you know this
you can apply all modes with ease.

So using Scott’s theory over chord VI, we no longer can move a tone up and a 4th down.
Should Bm have been chord VI for example then the same concept only works if you play the same shape a
4th up and a 5th up.

If Bm was chord III you would have to go a 4th up and a tone down.

Use the song writers swivel to see this. Look for Bm as chord II, III and VI.

Off course, the same phenomenon is possible to apply over the three Major Chords.

Over chord I, let’s say we are in the key of A, you could play the same shape at fret 5, 10 and 12. This would
pick out various parts of the major scale.

If you want to do this with a Lydian Sound you need to go up a tone or down a 4th.

For a Mixolydian Sound, move down a Tone or Up a 5th.

Off course, you don’t have to use the same shape all the time, looking at the pictured A Ionian, E shape
below, can you see the minor pentatonic shapes of Gm, Am and Dm?

Can you see the major Pentatonic shapes of E, A and C?

A Aeolian, E shape

This was a quick way into Modal Sounds in this lesson, all you do is move the same shape to a new
fret.
Perhaps the best way to get started with this is to try it over 2 Chord Loops or Blues Jam Tracks.
For example, Blues Jam Tracks in Minor (bundle 6) use VI – II in the beginning. Using Scott’s Pentatonic
Secret means you can play the Same Pentatonic Shape in 3 places on the neck over these two chords.
If you find one of these tricks that you really feel works, like move up a tone over chord II for example,
then try to fit this into solos.

You could take a lick and simply move it up two frets, then back down again whenever over a II chord.

The problem with tricks, secrets and shortcuts is that it makes you memorize a bunch of stuff that is so
specialist that if you don’t know your basics you are looking at muscle memory, trial and error.

However, if you do know your modes and Pentatonic Scales, this is a brilliant trick for milking one
phrase. Just move it around!

I strongly believe that all serious guitar tutors from this era; Frank Gambale, Scott Henderson and Paul
Gilbert would all agree that to know your basics combined with tricks like this and a repertoire is the
best way to master the guitar.

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En la primera parte del video (6 minutos) parte del traste VII con la posición de Si menor pentatónica.
Toca un riff y simplemente lo traslada a los trastes IX y al II.

La explicación Teórica de por qué suena bien:

En el traste VII____Penta de Si menor (SI, Re, Mi, Fa#, La)

En el traste II_____ Penta de Fa# menor (Fa#, La, Si, Do#, Mi)
En el traste IX____ Penta de Do# menor (Do#, Mi, Fa#, Sol#, Si)

Las notas entre paréntesis están ordenadas siguiendo el mismo patrón/dibujo en los 3 trastes V, II y
VII.
Las 3 Escalas son tonos menores relativos de Re Mayor, La Mayor y Mi Mayor, respectivamente.

Este "señor tan feo" comenta que la razón de que suenen bien es porque las notas de las 3 escalas
pertenecen a Mi mayor, cosa que no es del todo cierta ya que se le escapa una nota: Re natural.
En fin, este es uno de los "secretos" del video.
Supongo que es cuestión de tocarlo y ver el resultado aunque ya os adelanto que no va a sonar del todo
bien para los que no estén hechos a los modos. Al fin y al cabo lo que hace en este ejemplo es aplicar la
teoría modal a las pentatónicas.