BERGONZ I

F
O R ALL INSTRUMENTS

—_
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—>

(UU
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7
advance music
Contents
CD~Track Listing 2... cece cccsccessessssssneessnsnnssssesninssssnvemsssssissarisussessiiseessssesisiispestinee
seeste 6
Introduction .....ceeeeccsseseteeeesssssnsseesssssntinmsssssessssinnsaversuissesersssitiisiusisisipisessiatiec 8

LT Pentatonic Seades ot... ceecceccsesessseeesesssssesscsstsssaressressnserasatmtarssstuissitsssitarseseessiesaseesereeeseecce 9

2 Creating Pentatonic Lines .......ccccscssscsssssssssssessssvivessssvetsssvevssssivesssississsssivessissasssestesseeeesee 13
3 Rhythmic Variation o.oo eecceessssssssessssssseeessssvevesssssisssesrssisecsessistvesseseestepeesestiteeeseeecc 27
4 Chords and Pemtatomies .....0.....cccccsssssssssseesssssesevsssessssssesssisisessssssvttvessesssiteesestiteeeeseeeeee, 29
* Progression 1: (Minor 7th Cycle) ...ccccccccccccccccssessvssbessessessesssstesstessessseeseseesseceveeeveeereeccee 29

° Progression 2: (Major 7th Cycle) ...ceecccccecccccssssesssessssssssessstesstesssssestssessstesevessstessaseseeseee 30

® Progression 3: (Say It AgQin) .....ecceccsessssssesssssssssevesssisssrssssisssssissssassssiicsstesssssecseseescsee. 32

5 Improvising: Developing Flexibility with Pentatonics ...ceccccccccscccccecscssssessessesessseceesceceecee. 39

6. The Minor 6th Pentatonic Scale .......cccccccccssssssessssssseesesssessssssssssssssssssssssasievessiteeceesseeeeceecee 53
e Progression 4: (Minor 6th Cycle) ooo... ccccccccccccssssssessessseessesssesssessstesesccerteesesssesesteseeseereeeses 57
* Progression 5: (Dominant 7th Cycle) 2c... cccccscesessssssesssecsessssesssesssssseseesseesvessseseveesseseeees 58
° Progression 6: (Dominant altered Cycle) oo... ccccccccceccccsecccesseecsssssecessesereesevestesesttessesceseece 59

© Progression 7: (Minor 7°5 Cycle) vocccccsccssssssssssesessssssisesssssssssssisusssisistisisiesieeseeeeeeeeeeeee 63

* Progression 8: (Minor Blues - 3 Keys) ....cccccccccccssssessssesssessstssesessssessesssssseesiesessessesteseeseees 64

° Progression 9: (Major Blues - 3 Keys) ...ccccccccsccsssesscsssesssesssssesseessessssssressvesevesesssecesecerecesece 67

e Progression 10: (Before It Happen) -occcccccccsccsscssscssssssssesssesssessssssssssssssesesssessssssveseeceeseeceses 70

7 More Patterns for Minor 6th Pentatomics .........cccccccsssssssssssessssessssvssssstesesssecesseseeseeeeceeeeeecce 73
* Progression 11: {Inititation) ............ desc sessasecessavinscessssisecssssvunsersistesvevstestassueesssssesanasseesee 76

8 The Major b6 Pentatonic Scale .....c.cccccecscsssssssssussssssesssvssasssesiscssvesessieecestteceeseeeeeee

cee cco 79
* Progression 12: (Inititation - Bridge Cycle A and B) ...cecsccsccsecsssssscssssssesssscssssessessssecsesseees 81
9: The Minor 7° Pentatonic Scale ...ccccccccsssecsssssssssevesessssssssessesssseseteeeeeeeeeeeeeeee
ee e 87
* Progression 13: (Major b5 Cycle) ..ccccccccccccescssessssssssesssessssesssesssrvssssissssreseresssitsseseecsessee 89

© Progression 14: (Splurge) o..ccccccsscscssssssessseesssssseesssssssssrsssussssiesssuesssiassssasevssesiserssseeresseee go

10. The Major b2 Pentatonic Scale o.c....cccccecccssscsscssecsecssssesesssrssisesestssssesssstesssiessevesstecceseesesseecse 95

* Progression 15: (Dominant 7°93 Cycle) oie csceeseestessessecsessuessvecsessressusavearessenesuesareeans 97

* Progression 16: (Feel For You) vsceccscssccscsssssssessesssessressssssesssesasesssesssipeasinssecevessessssteseineeees 100

11 Whole Tone Pentatonic Scales oo... ccccccsssesssssssessssssesisessseservessstsesestesessrescetecseseecessteeeeeee 105

© Progression 17: (Hardly Ever) .cccccccccccsssesssscssscessesssssesssesssesssvssssipsssevssvssareasavetsvitssssessssven 110

12) Other Pentatonic Seales ....cccccecccsssessssssseesssessssiessessssissessersresepsstevssiesssteseiteceeseeeeeeeeeeeeece 113
U3 Poly-Pentatomics oo... oecccccccecccccesssessssvussssessesisessivesssiussaviseesseseseseesvepeseee
teesetteeece
cc t 145
* Progression 18: (Poly-Pemtatomics) o....0c..cccesccsesssesssssessseeessieessieesesseessssessevtseseeseessveceeeee i24

COMCHUSION eee cece cece esseseecnsessvsentusvesssivssvisesstissstisasssiutesibestistesssvesstesatetestieetes

be tieeee 125
llc

INSIDE IMPROVISATION SERIES

VOL. 2 «PENTATONICS»
eee

BY JERRY BERGONZL
nee eee

i" PACT

WL. aN
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© & ® 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 Seimer Saxophones, Sugal Mouthpieces, Rico Reeds, Shure Microphones.
(D)-Track Listing
PLAY-ALONG TRACKS
TRACK CHORD PROGRESSION C CONCERT: PAGE NO. Bb: PAGE NO. ED: PAGE NO.
1 Tuning Notes

2 Mimor 7th Cycle oie eccceeesecccessessessessnssesesneas 29 ceeceeceeeeeteteneeees 20 veveecesetecereeeeenees 30

3 Major 7th Cycle... ccceccceceeesesssesteseestecseees YO eeceeeceeeeteseneee BL ceceeeeeteeeeteeeneeees 31

4 Say [t ASU eeccccccccccsctscesecetscssessensvevsensvees 32-35-60 eee 33-36-61 ees 34-37-62

5 Minor 6th Cycle occ eescsevesesceeereeteeees ST cevccteteteeeetcsenceeeees OT ceeeteetteeeeeetnaeees 57

6 = Dominant 7th Cycle oc. ceecceceeeseeteereeees 58 eee 58 eect ceeeeeeteeenes 58

7 Dominant altered Cycle oo... ccccccccsescssecseseeeees SQ cceeeeeeteeteeseteeeeees OD ceeeeeeteetetteteeeneeees 59

8 Minor 75 Cycle o....cccccccccccssssssssssssssesssssssssssveseesesn 63 ceeesectetteteteceteeees 63 ceeeeecseteteteteteeeeees 63

9 : Minor Blues - 3 Keys ..cecccccccccsessesssesesesesescatees G4. eeeteeeeeteteeteteee 65 seececeeteeteneeeeteeees 66

10 | Major Blues - 3 Keys ..ccccccccceecesssesscesseeeseeveeeeees 7 eceeeeessetetseetteseeees 68 Le eeceeetreetteees 69

11 : Before It Happens ..ceccccecsssscsceccsessessesvesssessvevseseeses JO vecceceteeteteeeteeeeeees JO vieceeeeeteereteesetee 71

12 [mitiBABION ceccccccccsssssssssssessssssssssssesssssssssssessssneee JO eevcceeteeeeteesees TT veveecetetenesarenseens 78

13. Inititation - Bridge Cycle A and B oo...ceceeeeeeee BL oeeeeeeeetteeteeeees 82 oeeeeeceeeeeetenetees 83

14 | Major b5 Cycle ..cccccccccecccccsssssessesesveenessesesreees 89 eeceteteetteeeee: BQ vececceeeteteteeeneneeee 89

TS SPLUTSO eee ects estes estsstsecesssscecsecsessvevsensecevavevsvees QO ceeeeeereeeeeteteetsteees QU vevseeeeseteetevecseseees g2

16 Domifiant 7°13 Cycle ooccccccccsessscsssssssssssecesseseesee QT seveeeseseteteteeseeseees 8 ceeeeecteccceeetees 99

17 Feel For You weeeccceeee: rieeeseseeesesesesereseenetenereaeeesaees LOO ieeeeseeeeceteeeeeteees LOL cieceeeceeeeseerees 102
18 Hardly Ever vccicececcecsseccsesestccsvsessessssrssesseeseseees DLO vieeceeeeeeeteeteeeees TAL veeeeeeeeeteteeseees 112

19 — Poly~Pemtatomics oo... ceccecccccccccssseseessseseeeeseeeeavees L24 eeeeeetctteeteee V4 veeceeeetetetteeeeees 124

DEMONSTRATION TRACKS
20. Minor 7th Pentatonics

21 Minor 6th Pentatonics

22. Minor 75 Pentatonics

23. Minor b6 Pentatonics

24 Whole Tone Pentatonics

25 Poly-Pentatonics

26 Mixing up the Pentatonics (take 2)

27 Mixing up the Pentatonics (take 2)

Introduction
PENTATONICS, is the second book in the series called “Inside Improvisation”
. This book
provides a practical yet creative approach to assimilating pentato
nics into your melodic musical
reservoir. I 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
Ive often been asked by students, “Who plays strictly pentatonics?” [ can’t
think of anyone
who only plays pentatonies but many of the modern players have pentatoni
cs at their
command and melodic disposal. Of course, listening to the great players who use pentatoni
cs 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 pentaton
ic scales into
melodies and music.
 CTT CIAL LOLee Clas

Pontatonic scales are five-note scales. There are many different pentatonic scales and this book will
discuss 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.
EXAMPLE 1.1

This scale can also be called by its relative minor name; A minor pentatonic.
EXAMPLE 1.2

These notes are derived by stacking fifths beginning with either the note C or the note A.
EXAMPLE 1.3

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:
EXAMPLE 1.4
h
7 1
7 |
CS > o t
ANB oS {
e oOo o
] 2 3 5 6

If the scale is viewed as A minor, the numbers would then be:

EXAMPLE 1.5
h
y 3
ff.
(es o
ANSP oO 3S ©
ex eo
| 3 4 5 7

9
a

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.

| PLE 1.6

Here is a different way to construct the same grouping of notes. For example, beginning with F
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 steps) 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 I'll call skip. That is starting on D, skip up
to G,
skip up to C, skip up to E skip up to A:
EXAMPLE 1.8

_f -~ eo
Ats o
SES 3S© iiU
e skip F skip A skip skip G

A double skip would look like this:

NAMPLE 1.9
mo

2
_f ° 2 =
_
4 oO
8
 PENFATONIC SCALES

A triple 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

The ascending notes would be:

EXAMPLE 1.12

C-7 Ch-7 D-7 EL-7

Note that from here on I will refer to the pentatonic scales by their minor name.
Bi |

MEMORIZING QUIZ
C4-7 Eb-7 E~7 F-7

Yo
 Chapter 2: Creating Pentatonic Lines

Havin &x completed

Pp Chapter
Pp 1 y you will have play
played a p pentatonic line starting5 from everyy degree
deg 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 Skip L Strep T Skip L Strep

Using a C minor pentatonic and starting on the »C: that formula would look like this:
EXAMPLE 2.1

JL Skip J Step TP Skip L Step

b

Here is that same formula starting on the note »G«

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
 CHAPTER2?

Here is that same formula starting on the note >F.:

EXAMPLE 2.5

Here is the entire line written out:

EXAMPLE 2.6
——

ae | EE
it

on ? eT Tt | | __
ee
nae a [be ~~ be | i q]
| I { (Ve { Ct ; q
[ | | { vy’ +t o_ a |
I i ‘A Zhe * en it be i
i 0

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
[oo
| FORMULA 1 A L Skip B L Step Cc. T Skip D L STEP _ ||
| FORMULA 2 B L Step Cc TSxp D L Srep A L Skip
FORMULA 3 Cc T Skip D JL Step A L Skip B L Step
Leelee

“Formers 4 D L Step A J Skip B L Strep Cc T Sup

By reversing the direction of the arrows these lines become ascending lines:
ellee

XAMPLE 2.8

| FORMULA § A T Skip BT Step Cc J Skip D

ee

T Srep |
“Formuta 6 B T Step C. Sk D T Step A T Ski |
i _
|
mem

| FORMULA 7 Cc L Sip ‘D T Step A T Skip B T Step |

| FORMULA 8 D T Step A T Skip B T Step Cc L Skip :

Here are those eight formulas on C minor or Eb major:

Notice again that there are five fournote 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 »G: to »Eb« to Bh: to Fe.) 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 >Ed« to 1Ga)
+
 CREATING PENTATONIC LINES

EXAMPLE 2.9 i

C MINOR OR |

veula 1]

urmula 2 |

ormula 3 i

mula 4 i

vinula5

armulo6

amula 7

) — | ne—— a
be @. i
T o + t 2.
J whol ~
ul 8 ~f——— — o* eo # —
2 ao * s * . _ a _
i
e #
all

. 4
 (HAPIER ¢

EXAMPLE 2-10

F MINOR OR
|
=
3
E=

~*
3
=
xoSs

~o
E
3

Formula 7

Notice that the only difference between F minor

and C min or is one note, the »Abc in F minor or
Gc in C minor (or Eb major). Also notice that you ( Ab major) replaces the
don’t have to start these lines on the root 0 f
them anywhere on your instrument as long the chord. You can start
as you can play them for two octaves without
o ctave adjustments.

6
 CREATING PENTATONIC LEWES

EXAMPLE 2.14

Ce
p b
aula

armula2

ormula3

ormula4

mula5

rmula6

nula7
‘TT

>

rie
 th Th
el qi
ve

fsyo
aA —A
h
NS
qt
“aA
|.
aul
aA A
1
Susy | Shu
eT
tT LL e.
AN
nN |

ee
el
Lich

[
|

|
|

|
al
ch
ath q]

bg?
I

im
AT]

EE
pe
To

IJ
ae

a TT]

L
ATT]

bg
Pe
T
—f ]
nN T
el)
an
2.12

an
x
ry
EXAMPLE

{f\
r] @

e)
ky

-faN

—-
2

ieat
BB cusrree

Formula 1
> wn

3
=
> = 3

rmula 6

ormula 7
>
5 =Ee
Ss
=e

i...
ho
=Ss
Et i mE
 CREATING PENTATONTO LINES

EXAMPLE 2.13

Gi MINOR OR |

simula |

ormula 2

armula 3

simula 4

“mula 5

smula 6

smula 7

19
 CHAPTER 2?

EXAMPLE 2.14

Tee) |

ormula ]

lormula 2

rmula 3

Formula 4

mula 5

ormula 6

Formula 7

Formula 8 -
 CREATING PENTATONIC LINES

EXAMPLE 2.15

Se an

senula T

wmula 2

mula 3

mula 4

mula 5

rmula 6

rmula 7
oe

# Sete4 ae - o
mula 8 Cs; —" pg
#
fe —
NZ >
ei
e
 CHAPTER 2

EXAMPLE 2.46

Rt ae
fon
.
ma
=

Formula 3
oa
he

Formula 4

Formula 6

Formula 7
 CREATING PEWTATONIC

EXAMPLE 2.17

a a

ormula |

a:mula 2

ormula 3

ormula 4

amuta 5

simula6

ormula 7

>

we
2 art
~ Le
Dna oe eo; hv CD :

rmula 8
fi o* o*
Cs z oo —
ea ™ an
 Mavis (

EXAMPLE 2.18

PWG en ae
2
S
e=
>

eit

—$
jormula2 —fony
Mi) { | | {
e + -
ei
eit
a!

@!
el
alle

eo
AGS

ey

eu

et
my

eu

eu

a
el
eh
AG

et

SH
PSS

t
el

LU
el |
Lt

LA

elit

t:
el

‘
Formula 7
e

oS
2
Formula 8 @
 CREATING PENTATONTC LINES

EXAMPLE 2.19

D MINOR OR

‘ormula |

‘ormula 2

‘ormula 3

ormula 4

ormula 5
 CHAPTER 2

EXAMPLE 2.20

G MINOR OR :

b b
ula |

:|
vlo2 fag —t
BREL)
XD

m4
Ni ea
e)

Formula 3

Formule 4

armula 5

srmula 6

mula 7

ks
ile
ire
a
I9
/

i®
om

LY
 GTP CIaC AAG ken lannanin
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 »shape< or »contour: of your line.
Here are some examples:
1. First try playing the line on the next page as all eighth notes.
. Play each line with the following rhythmic pattern:
th

EXAMPLE 3.1A

EXAMPLE 3.1B

4. Play each line with the following rhythmic pattern:

EXAMPLE 3.1 -

5. Try playing the lines using rests and syncopations.

EXAMPLE 3.1D

| | ! co" _ va
,
My
{.

| in
\
\

2
_ 7
a oe 1
e
wo |
=
T
ee baal ae
! 2
«
{pe T
!
nc, | ~ ~ vo ope
| ene

i The reason there are no stems on the notes is because these lines can be played
using many different rhythms.
 GT Car eG Cher Uae enene’

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 Ab-7 B-~7

4A A

>» TRACK 2: PROGRESSION 1 - MINOR 7TH CYCLE (Bb INSTRUMENTS)

D-7 Fi-7 Bb-7 CH7
A A
Be.

i ® TRACK 2: PROGRESSION 1 - MINOR 7TH CYCLE (E} INSTRUMENTS)

A-7 CH7 F-7 Gt-7

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 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, E-7 and B-7 or
CA, GA and DA.

Practice with_the following progression. a

i b TRACK 3: PROGRESSION 2 - MAJOR 7TH CYCLE (CONCERT INSTRUMENTS)

CA EA AbA BA
be; = 4 = — ————

EbA GA BbA DA

4A 4A

i eA AA
Te
CHA FA

I
|
 CHORDS AND PENTATONICS

» TRACK 3: PROGRESSION 2 - MAJOR 7TH CYCLE (Bb INSTRUMENTS)

DA GbA BbA DLA

AbA BA EbA GA

» TRACK 3: PROGRESSION 2 - MAJOR 7TH CYCLE (Eb INSTRUMENTS)

AA DbA FA AbA

EbA GbA BbA DA

Going up a fifth or up a second won't work over minor 7% 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 7° 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

i b TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (CONCERT INSTRUMENTS)

IZBe C-7
= Ax +
—f F-7 ! Zz
w 3
e)

G-7 Bb-7 C7 7
De G7alt

B-7 {for altered sound)

EL—-7 F-7 BL-7

Ab7

B-7 D-7 E_-7

BZalt

Eb~7 (for altered sound}

A-7
C7

B-7 D-7 E-7 FA-7

Eb7alt

i.

_p_EX7 Fe-7 Ab-7

—— + AX7 F; 7|
Be Balt
e

G-7 (for altered sound)

B-7 CH7 Fe7
BAF a a F =

—h E>-7 ; Fe-7 Ab-7 Bo~7

| ES» oo Bt AR a 7g SS
e ———
 CHORDS AND PENTATONICS

» TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (Bb INSTRUMENTS)

D-7 G-7
D-7 = ¢ G-7

A-7 C~7 D-7

A7alt

C#-7 {for altered sound)

F-7 G-7 C-7

Bb7

A-7 C-7 D-7 E~7

Ct alt

Ch-7 E~7 Fe~7 Gt-7

Ct7alt

F-7 GL/7 Bb—7

: Falt
a

A-7 (for altered sound}

a C7 Ds~7 Gi-7
J— a
5H Fa7
:
BA zx
.

C7 Bo? i,

SS at = Bo-7 = A7oh
CHAPTER 4

® TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (EL INSTRUMENTS)

A-/ D-7
D-7 J a

E-7 G-7 A-7 : ‘

E7alt

Gi-7 (for altered sound}

C-7 D-7 G-7

F7

G7 B~7 CH-7
AbZalt

C-7 {for altered sound}

E-7 Ft7 B-7
A7

GH-7 B-7 CH-7 Ep-7

Ab7alt

C-7 ED-7 F-7

Calt
@

E-7 {for altered sound)

Gt-7 Bb—7 E—7

CH
e

F_7 G7
C-7 E»7
fh

Oy. Go SE 7a F_7 EZalt == ——S

e

34
‘
 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)

9 C-7 G7 D7 F-7 C-7 G7

bE C7 F-7
@)

j G-7 BL-7 C-7 G7 D-7

fs De
e

5 Ex7 Bb7 F-7 F-7 B-7 Bb-7 F-7 C-7

“y— Eb-7 Dba

G-7 BL-7 C-7 G-7 D-7 D-7

C-7

E-7 B-7 Ft7 A-7 E-7 B-7

E-7 : A-7

B-7 D-7 E-7 B-7 Fi7

Fie E-7

G-7 D-7 A-7 A-7 Eb-7 D-7 A-7 E-7

G-7

B~7 D-7 E-7 B-7 FH-7 Fi_7

E-7

Ab-7 Eb-7 Bb-7 Db-7 Ab-7 Eb~7

Al-7 Zs: Db-7
w

EL-7 FR-7 Av-7 Ex-7 Bb-7

Ab-7
2»)

a B-/7 Fe-7 C7 7 G-~/ 7 Ci-7 Gi-7

A— a of
3 BF ooo EY AA we

- E7 - Ft? RonF Ee? BAT QT

Be ait ANT —— nt
Boi 4

i ® TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (BL INSTRUMENTS)

D-7 AZ £7 G7 D-7 AZ
EDF G7

pn Av C-7 | D-7 A-7 E-7 *

———————— D7
i |

NG
F-7 C-7 G7 G7 C7 C-7 G7
F-7 ——— Bb7

Fi-7 Ch-7 GiL7 B-7 FR-7 Ct-7

FA-7 B-7

E-7 7 C7 Gi-7
Ct7alt FR-7

A-7 E-7 B-7 B-7 F-7 E-7 B-7 Fi7

GA

t-7 CL? GE7

FA-7

Bo-7 F~7 C-7 EL-7 Bb-7 F-7

Bb-7 Ep—7

F-7 Gi-7 Bu-7 F-7 C-7

a ] :
CB alt BL-7 Zz
@

i Ci-7 G7 E-7 Ex-7 A~7 Gi-7 EL-7 B+7

 CHORDS AND PENTATONICS

» TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (E> INSTRUMENTS)

pn AT ET B7 D-7 A-7 E7
1
oe Z. | Lf =
A-7 | Z D-7 Z |

E-~7 G-7 A-7 E-7 B-7 B-/

Ab7alt

C7 Gt-7 Eb-7 FA-7 CLT Gi-7

CH7 FL7

G7 B-7 C7 Gi-7 El-7

Ebes CH-7

E-7 B-7 Fh-/7 Fi-7 C-7 B-7 FA-7 C7

E-7 A7 DA

Gi-7 B-7 Ch7 Gi-7 Eb-7 EL-7

Ab7alt C7

Gi-7 El-7 Bb-7 Bi-7 E-/ Fe-7 Cs-7 Gi-7

= C47 AA

F7 F-7 C-7 G7 G7
E47alt — F_7 = E7alt
<1
HAPTER 4
|
CCM ONIN SATCU UR eanCcCnniG

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 5.1

C-7 CH-7 D-7 Eb-7

D-7 Eb-7
ee 1 | ~~
— t 1 1 =n

:
! : & . +5 @ | I : ' i
Ss
te
tay fe ve
qa be
° oo Oe

9
Bercres )

i E-7 F-7 Ft-7 G-7

Gt-7 A-7 Bb-7 B-7

Gt-7 A-7 BL-7 B-7

 IMPROVISTNG: DEVELOPING FLEXIBILITY WITH PENTATONICS

This is Formula 1 ascending. Make octave ajustments whenever they are convenient.
EXAMPLE 5.18

B-7 Bb-7 A-7

E-7 Eb-7 D-7 Ci-7

41
 E-7 Eb—~7 D-7 CH-7

C-7 B-7 Bb-7 A-7

E-7 E>-7
0 ©

ae
 IMPROVISENG: DEVELOPING FLEXEBILITY 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 1 (descending) as written out in example 5.1.

C-7 Ch-7 D-7 Eb-7 E-7 F-7 FE-7 G-7 Gt-7 A-7 Bh-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 . et “ Lom
CHAPTER 5

Now try to use a different formula for each starting note as in the following example.
EXAMPLE 5.3

C-7 CHT D-7 ES-7

@

F-7 Fe-7 G-7

m

Bb-7 B-7
N
2

JN

C-7 Ci-7 D-7 Eb—7

p08) = ® i—
@ a ee . eee tt
fete . — —_?
a
Pebe be gy Se
— Pe re
 IMPROVISING: DEVELOPING FLEXTBULETY WITH PENTATONICS

E-7 F~7 G-7

Gt-7 BL-7 B-7

D-7 ma
 CHAPTER 5

Using any of the ascending formul as try to complete the ascending line from
the starting note.

FR-7 F-7 E-7 El-7 D-7 Ct-7

ee
EE
EE
EE
HE
HEH
(Em
 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 | Formula 2 Formula 3 Formula 4

C-7 B-7 BL-7 A-7

E-7 Eb-7 D-7 Ci-7

47
CHAPTER §

F-7
be?

NI
@
N

nT

N
v
e

Eb-7 D-7 CE-7

N
m
\
e

B-7 Bb-7 A-7

O
N
!
@

mn
N
L|

° N

nm
N

N
|
T

E-7 Eb-7 D-7 C7

 IMPROVISING: DEVELOPING FLEXIBILITY WITH PER TATONTGS

MORE STARTING NOTE EXERCISES

115 /3)7)4)
C-7 CK7 D-7 El-7s«xE-7 F-7 Gt7 A-7 BL-7 B-7

C-7 B-7 BL-7 A-7 Ab-7 G-7

a CHAPTER 5

113) 4)5 07)

C-7 Ch-7 D~7 EL-7 E-7 F-7 Fe-7 G-7 Gt-7 A-7 Blb-7 B-7

C-7 B-7 Bb-7 A-7 Ab-7 G-7 FR-7 F-7 E-7 Eb-7 D-7 Ch-7
@

,
.
 IMPROVISENG: DEVELOPING FLEXIBILITY WITH PENTATONICS

C-7 CH-7 D-7 EL-7 E-7 F-7 Fe-7 G-7 Gt-7 A-7 Bb-7 B-7

o- zr t
A Se ZUT @ no -@ ev fe o
7 pe = fe ———t
» al oe
 N
N
ca ale.
O
N
Kk N
a
Q
s N
< A
lu
N
a N
O |
Lu
*
O *
Lh
N
ale i
c hw
N
I KN
iv I
©
N
fh
I
Lu
Lf
N
I N
na |
<
I
N| ms
Q A
wy ao
x= nN
|
O2 I
- “
7 . N
= UO I
= O
= Fy
ee ee ee ee ee ee eae
 CPCI an Can a LC Rem YC

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 7° Ag

B7 altered B7alt
A7altered A7alt

And it will also fit over:

Eb major 7#11 EbAf1L

Eb dominant 7#11 ~ Eb7 #11

D dominant 7?9sus D7»9sus

Db major 75 Dbats

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.
og
Hy
 5

>
The C minor 6 pentatonic put to the original eight formulas looks like this:
EXAMPLE 6.2
e 4

Formula | 6 =e Es eg Poe
en SS —
| #—e | rs — 4
e — a @ ~. e
¥,

Formula 2 ©
pte t pene !
be
et FE =——
~— o—? o whe o +
= |
e

Formula 3
.

Formuland 4 Ae
om | fe
7 to a |
> a | +
a 3 —_
J tt ° Pe . * .

Formula 5

fh
a ' CT a
Formula6 fam | Soa gte e
oe © | = ;
| f
UI
‘
:

ormula 7
a

wT

ite
rie
“XS

: I

) ‘
:
N

ormuia 8
ST]
el

‘|
oe
—
 THE MINOR 6 PENTATORIC 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 6.3A

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¢
- J: ett.
_
s
«

5. Try playing the exercise using rests and syncopations:

EXAMPLE 6.3D
ii®
i@
 THE MINOR 6 PENTATONIC SCALE

» TRACK 5: PROGRESSION 4 - MINOR 6TH CYCLE (CONCERT INSTRUMENTS)

C-6 E-6 Ab—6 B-6

b TRACK 5: PROGRESSION 4 - MINOR 6TH CYCLE (Bb INSTRUMENTS)

D-6 Ft-6 Bb—6 CH-6

b TRACK 5: PROGRESSION 4 - MINOR 6TH CYCLE (ED INSTRUMENTS)

A-6 CH-6 F-6 Gt-6

a CHAPTER 6

i > TRACK 6: PROGRESSION 5 - DOMINANT 7TH CYCLE (CONCERT INSTRUMENTS)

C7 E7 Ab7 B7
i 6
G | : = =
Dominant 7 chords can use a minor 6 pentatonic starting from the fifth.
i Example: C7 use G-6
pn £7 G7 BL7 D7~
9

yy = | 4
i © —____ oo J— | | —___a 4 | rr —
A— -

47 A7 CH7 F7
Gas

b TRACK 6: PROGRESSION 5 - DOMINANT 7TH CYCLE (Bb INSTRUMENTS)

D7 Gb7 Bb7 Db7

A A
Dominant 7 chords can use a minor 6 pentatonic starting from the fifth.
Example: D7 use A-6

F7 A7 C7 E7
4
4

b TRACK 6: PROGRESSION 5 - DOMINANT 7TH CYCLE (Eb INSTRUMENTS)

A7 Db7 F7 Ab7

A A
e
Dominant 7 chords can use a minor 6 pentatonic starting from the fifth.
i Example: A7 use E-6
C7 E7 G7 B7
4
 THE MINGR 6 PENTATONIC SCALE

» TRACK 7: PROGRESSION 6 - ALTERED CYCLE (CONCERT INSTRUMENTS)

C7alt E7alt Ab7alt Balt

A A
Altered chords can use a minor 6 pentatonic starting from b9 or #9.
Example: C7alt use C#-6 or Ei-6

E>Zalt G7alt Bb7alt D7alt

F¢7alt A7alt Ct7alt F7alt

» TRACK 7: PROGRESSION 6 - ALTERED CYCLE (B> INSTRUMENTS)

D7alt Gb7alt Bb7alt Db7Zalt

A 4
Altered chords can use a minor 6 pentatonic starting from b9 or #9.
Example: D7alt use Eb-6 or F-6
FZalt A7alt C7alt E7alt

Ab7alt B7alt _ Eb7alt G7alt

® TRACK 7: PROGRESSION 6 - ALTERED CYCLE (E> INSTRUMENTS)

A7alt Db7Zalt F7alt Ab7Zalt

A A
Altered chords can use a minor 6 pentatonic starting from b9 or #9.
Example: A7alt use Bb-6 or C-6

C7alt E7alt G7alt B7alt

59
Burien s

i » TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (CONCERT INSTRUMENTS)

C6 | 7
e -
Applying pentatonics to the original chord progression.

i p_F-6 Ab~6 C-6 ‘

a |
De | G7alt + [ C-

Ne
i

A-6 (for altered sound)

i nA C-6 E~6
B7alt
||

Cf-6 {for altered sound)

G-7 G-6 D-7
C7

_p Dro _E-6 Ar6 |

E = Bb 7 gt x
Lilt

F-6 [for altered sound}

B-6
TE?

ee e —
SS 7 ah a a SS 0h L

60
 THE MINOR 6 PEWTATONEC SCALE

b TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (Bb INSTRUMENTS)

D-6 G7
. D- se =. * S G7 re

Applying pentatonics to the original chord progression.

G-6 Bb-6 D-6

Eo A7alt

B-6 [for altered sound}

F-7 F_6 C-7

Bb7

B-6 D-6 FH-6

Ct alt

Eb~6 (for altered sound)

A-7 A-6 E-7

D7

B-6 D-6 . FR-6 FH-6

Ck alt

F>-6 FL6 BL-6

F7alt

G-6 (for altered sound}

*-7 C6 2-7
Fe7

,4 EX6 7 F2-6 Bi-6 3-6

>: Co a EZ gt ————___—_ BE Oe AZalt ne

O1
a CHAPTER 6

i > TRACK 4: PROGRESSION 3 »SAY IT AGAIN« (EL INSTRUMENTS)

A A-6 D-7
~ _
: _ i
5 7 ee oo
°F
A-
T i | oT
LZ
t
D-7 | : HK _
Applying pentatonics to the original chord progression.

D-6 F-~6 A-6

Ba E7Zalt

%6 (for altered sound}

C-7 C-6 G-7
—_— F7

FR-6 A-6 Ch-6

A>Zalt

Bb—6 (for altered sound}

4
E-7 I
E-6 B-7
6. E-7 AZ DA

UL
FR-6 A-6 CL} Ct-6 ‘N
Ebo AbZalt
e

T 7 ;
_ [ ; Tf —
by Go ot C7alt LFF | Zr =
e

D-6 {for altered sound}

i AGE Gé E~7
_ i | . 1
“b. GE C7 “E FLA A =
e

i p_B-6 chs F6 F-
"a Go C7 th pg SO

r
e
 THE MINOR 6 PENTATONIC SCALE

» TRACK 8: PROGRESSION 7 - MINOR 7%5 CYCLE (CONCERT INSTRUMENTS)

Ce Eg - Abe Bg

A A A hom 4
y ,
On minor 7” chords start the minor 6 pentatonic from the third.
Example: Ce use Eb-6

Ebe Ge Boe De

Ao Che Fe
, Fe
,——
A: =
4

> TRACK 8: PROGRESSION 7 - MINOR 755 CYCLE (Bb INSTRUMENTS)

De Ghe Boe Dbe

4 4
v
On minor 7° chords start the minor 6 pentatonic from the third.
Example: De use F-6

Fe Age Ce Ege

_ Aba Bo Ebo mT Ge
ram
———

® TRACK 8: PROGRESSION 7 - MINOR 7>5 CYCLE (E> INSTRUMENTS)

Ag Dbe Fg Abe

On minor 75 chords start the minor 6 pentatonic from the third.

Example: Ag use C-6
 CHAPTER 6

» TRACK 9: PROGRESSION 8 - MINOR BLUES (CONCERT INSTRUMENTS)

C6 _ 16
: C-6 en Z f ae

A-6
Ab7alt

Db—7 Ab-6
@.

B-6 E-4 Av-6 E-6

i SEF Seoo allt tt Av-6
eH
= E>7alt ———
&
 THE MINOR 6 PENTATONIE SCALE

» TRACK 9: PROGRESSION 8 - MINOR BLUES (Bb INSTRUMENTS)

t—6 G-6
FH alt

A-6 D6 | eo ; Ft-6 D-~6

Ct alt Ci7 alt

BbL—-6 B~6

Bb7alt

Ct6 Fe—6 Bu—4 F2—-6

yR7 0 So Zalt - Bb-6 = 7a ———H

CHAPTER 6

> TRACK 9: PROGRESSION 8 - MINOR BLUES (E> INSTRUMENTS)

C6 D-6
Ch alt

E-6 A-6 CLé A-6

Gi7alt = Gi7alt

A CHO C6 _F6 C26

- 87 C7alt F6 OO C7alt
 THE MINOR 6 PENTATONIC SCALE

ltiisa
» TRACK 10: PROGRESSION 9 - MAJOR BLUES (CONCERT INSTRUMENTS)

Te ~
7 TT an
} — OT

oo CF C7 lt 4
< = CJ oot

eee
C-6 C4 G6 Bi6 —
j3 FF — RF
ot CF
oO A7alt —— oo —

UO
fh B-6 E-6 B-6 F-6
f [ _

2)

lel
E-6 B-6 D-6
bi

|
rf

F4-7 FER-6 aw . B--6 Lo Fe-6

Sell
rE
rE

T 2-6

= F7alt
mT

Bo
Hm
|

i ® TRACK 10: PROGRESSION 9 - MAJOR BLUES (Bb INSTRUMENTS)

C6 F#-6 C6 G-6
Fé7 alt

F#_6 CHG E-6

; Eb7alt

F-6 Bb-6 F-6 B-6

Bb7alt

68
 THE MINOR 6 PENTATONIC SCALE

» TRACK 10: PROGRESSION 9 - MAJOR BLUES (Eb INSTRUMENTS)

y A-6 A-6 E~6 G-6

Fe7alt
e

G6 C6 Gd D-6
CH7alt

Ci} Gt} B-6

Z BL7alt
CHAPTER 6

® TRACK TT: PROGRESSION 10 »BEFORE IT HAPPENS« (CONCERT INSTRUMENTS)

a _D-6 D-7 \-6 : D-6 D-7 Bro -

Oo 7

pan me , G-6—
C-6 7 | Bb—b-6
GFP =p Ee ————————!

® TRACK 11: PROGRESSION 10 »BEFORE IT HAPPENS« (Bb INSTRUMENTS)

E-6 E-7 C-6 E-6° E=7~ C-6

E- F/ E—

na Ev D-6
WV
CrO
5 E-7
[ I
Lz G7
T
———————————
e)

h C-6 B-6 E-~6 A-6

if i
5— Balt
I
oo
]
E7 AZ D7 —
e

4 D-6 A-/ A-6 C-6

- y= G7 SECA A Fig oo rga :

 THE MINOR 6 PENTATONIC mm.

>» TRACK IT: PROGRESSION 10 »BEFORE IT HAPPENS« (E> INSTRUMENTS) ;

B-6 B-7 G-6

B- C7

G-6 FA-6 B-6 E-6

FR7alt
i Try playing the descending minor 6 pentatonic patterns beginning with these starting notes:
(although ascending lines will work as well)

D-~6 Eb-6 E~6 F-6 Fe-6 G-6 Gt-6 A-6 Bb—-6 B-6

Try playing the ascending minor 6 pentatonic patterns beginning with these starting notes: (Again,
the descending lines will work as well)
 Chapter 7: More Patterns For Minor 6 Pentatonics

Now consider another pentatonic formula using skips and double skips applied to the minor 6
pentatonic.

T DousLe SKip J Sxip J Skip T Douste Sxip

Because of the size of the intervals and the vast range that this formula covers any octave
adjustments are recommended.
EXAMPLE 7.1

Pormula |

Formula 2

Formula 3

Try taking any one of these lines and plaving it in all keys.
 <=
=

=
Next, consider the lines that result if the arrows of this formula are reversed.

J Douse Sx T Srp T Skip J Douste SKip

EXAMPLE 7.2

ormula 5

mula 6

Formula 7

rmula 8

This next formula describes a line with wide intervals:

J Skip J Skip J Sxip T Dous_e Skip

EXAMPLE 7.3

Formule 1

ormula 2

ula 3
rite
o
e
 MORE PATTERNS FOR MINOR 6 PENTATONICS

Reverse the arrows:

T Skip T Sip T Sxip 1 Douste Skip

EXAMPLE 7.4 ;

Formula 1

Formula 2

Formula 3

Formula 4

, i
i b TRACK 12: PROGRESSION 11 »INITIATION« (CONCERT 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.)

C-6
oe C69 —
:
I
x ; |
x x
—
=
— {Major b2 Pentatonic, see page 95) *,

fh
Y 6 Bilh2)i (b2
i & Z cr F7#l SS pit
6 a Zz
e) ° j ! Le =]

p EL-6
|
Db, b2
I 3
6 Z SS api) SS ii || Z =7

ie) A-6
i fh A-7 Eb—6 G-6
———————————— FGA
|
! x |
e
i C6 0 F602) BL-6

y
€ # $7 413
it) | F =Fh
e
Gt-6
¥
Es-6 Ft6
EL-69
I

aa cE p71
1

ee a =
C6 F-6
i ph Ged _B-6 E46
Fe BZ gt Sy AF 4
e
~~

~6
 MORE PALLERNS FOR HIROR 6 PENTATONICS

» TRACK 12: PROGRESSION 11 »INITIATION« (Bb INSTRUMENTS)

7 #11’s, and the
(Note the possible use of more than one minor 6 pentatonic on the minor/major 7 chords, the dominant
altered chords.)

D-6

D-6?
E-46 (Major b2 Pentatonic, see page 95)
D-6| cl b2 he 3
C7941 1

G-6
F-6 EDb2)
z :
—
|
I
E gy7¢1) B79
413
z
y” |

e
B-6 EL-6
Eb-7 A-6 CH6
Ab7alt CHA

A-6 CH-6
Ch-7 G-6 B-6
F#7 alt

G-6 B-6
A-6
A__B-/7 F6
= FAA | 7 =
627 =t E7alt | Z

G-6 C-6
e

D-6 .
A-6 C-6 F-6 BL-6
F7el)
CHAPTIR |

b TRACK 12: PROGRESSION 11 »INITIATION« (ED 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.)

A-6
69
B-6 (Major b2 Pentatonic, see page 95) *:
A-6 Gh),
4
G79]

D-6
C-6 Bi (b2)
F7 Fl]

FA-6 BbL—6
Bb-7 E-6 G6
Eb7alt

E_6 G6
GiL7 D-6 FLO

CH7 alt

D-6 FLO

A6 — ~ D-6 7 G-6

F-6
ph C-6 Ex6

y= C6? Hz = Gi7#l : x
@

Bo-6 D-6

So De So G7 gt cA +
e
 CC eee ester:

Returning to the original pentatonic scale we started with, that is the C minor pentatonic, consider
what happens when we change the >C: to a >B«.

NAMPLE 8.1

C-7

oe

EbA(>S)

Since there is no C natural in this scale I'll call it Eb major b6. This pentatonic scale fits the following
chords:

Ab minor/major 7 AbA

G7 altered _ G7alt
Db dominant 7#11 Db7#1
F minor 7° natural 9 ~ Fo?

B major 745 BAS

 cd
oo
mm
=

Here is the major b6 pentatonic scale applied to the eight original skip and step formulas:
(Note the B natural replaces the C in.the formula)
_

XAMPLE 8.2
=
2

t
@
aa
|

no
e
22
3
a
w
2 a
a

ula 5

ula 6

— . be be
Tt a ie Lae— ; ® ete eT :
f . so ! be te ; - =Ha
lo? fe a a
|

I J am P at p
UI an | ooo
=

ea 5 “be wo be so
® ov +z be m oe —

|
| , : oeer @* ,| 4
A — . Om te 2@ 2 fe
Z “Te ; o_# yg —@ ° = :
| e oe aoe
4 ie
3D@e—ie i -_. ‘ nine anal
videti 8 “fas
J.
o - t
d
TNE ny oe
. -
ww
eo @ : —_—_
 THE MAJOR 56 PENTATONIC SCALE

Apply2 this new pentatonic scale to the followingoO progression.

oO

» TRACK 13: PROGRESSION 12 »INITIATION« BRIDGE A & B (CONCERT INSTRUMENTS)

EL-7 Et) Av b6} i : ]

~~ a |
oo | of
LZ |
eet
_ TT
AZ alt ——— CHA _
Ge

CH7 pls) F4(b6)

SSS | oZ |
CRI Zt eB

B-7 Clb) E (bd)

B-7 E7Zalt

n AZ Bb(>) ptr)
O="7
__
Et
ee ne
GA x‘ —H

G7 Abl>6} Cbd)
C7alt FA

F-7 Gllbd) Bi (b4)

Bb7alt ELA

D7 E16) old)
: G7alt
=

C-7 Di tbS) - F(>S)

F7alt

Eb7alt

Al) Cel>6) _ a
= 3 e
= Db7alt PRA

G4) Bld) ee

ot SSE SS SSS EES

E{>O} A(rO}
CHAPTER 8

6 TRACK 13: PROGRESSION 12 »INITIATION« BRIDGE A & B (Bb INSTRUMENTS)

F-7 Fé(bO) Bi, (26)

F-7 b7 alt ELA

Ei-7 E(b) Abb)

Ab7alt

CL7 Dlbd) F#(>5)

FR7 alt

B-7 Cbd) E(bd)

E7Zalt

a AZ BL») pls)
— i I |
5 M7 EE 7alt EGA | Z |
e

pn. GE Alb) C26)

= 7 oo Ci7alt c FAA LA
&

4 FR? G6) 86)

a FF BZ alt So; 7 ra
7
 THE MAJOR b6 PENTATONIC SCALE

» TRACK 13: PROGRESSION 12 »INITIATION« BRIDGE A & B (E> INSTRUMENTS)

C7 cil) FV)
F7alt Bia

Bb-7 B(>bo) EL»)

byy 7 ot -
EGA :| 7.Zz
e

Gi-7 Alo) CEL)

Ct7alt

FL-7 Glbd) B(>5)

B7alt

E-7 F(>6) Al>6]

A7alt

D-7 EL (bo) GlbS)

G7alt

B-7 clé) El]

E7Zalt

A-7 Bb (bd) _ D(>d)

y ee — t GA > =
qi
D7alt S.
FF
e

Gt{bd) C(>6)
C7alt

F#(26) BL (bS)
Sf. i
Bb7alt + EA

E(>6) Ab) -
== Ab7alt = CA ra =<

D(>4) Fe(06)
— = — E27,alt —— BA
 HAPTER8

Again, try playing the rhythmic devices introduced in Chapter 3.

1. Play the exercise on the following page using all eighth notes.
2. Play through the exercise using the following rhythmic pattern:

EXAMPLE 8.34

3. Play through the exercise using the following rhythmic pattern:

EXAMPLE 8.38

4. Play through the exercise using the following rhythmic pattern:

EXAMPLE 8.3¢

5. Try playing the exercise using rests and syncopations.

EXAMPLE 8.3D . OR

Apply the major 96 pentatonic scale to Progression 11 (track 12) from the last chapter.
i Notice on which note of the chord the major 96 pentatonic begins. On the altered chord it begins on
the »13, on the minor/major 7 chords it begins on the fifth, on the Lydian 57 chords it begins on the
ninth and on the minor7 95 chords it begins on the seventh.

Try going back to some of the other progressions and tunes we've used and applying the major b6
pentatonic where it is possible.
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7
 Chapter9: The Minor7 b5 Pentatonic Scale

Again consider the original pentatonic scale we started with and make the »G« a >Gb«.

EXAMPLE 9.1

This scale is called a minor 7 b5 pentatonic. The C minor 7 }5 pentatonic fits over the following ,
chords:
C minor 765 Ca

Eb minor 6 Eb-6

Ab dominant 7 Ab7

D7 altered oO D7alt

Gb major 75 - Gbar5
 PIER 9

Take this scale and plug it into the original formulas:

EXAMPLE 9.2

+
rmula |

rmula 2

Formule 3

Formula 4

mula 5

Formula 6

be pea
|

‘
“ormula7 +f—fas — t [Ee Fe
pe |f—4 8 ee
° I : +
wr } a 3-@— wv" | / : 7

2
= Ue
 THE MIWOR 7 bo PENTATONIC SCALE

Practice the minor 7 b5 pentatonic scale on the following progressions. The minor 7 b5 pentatonic
scale starts on the b5 of a AY chord. Example: CA’ use F# minor 7 55.

>» TRACK 14: PROGRESSION 13 - MAJOR 65 CYCLE (CONCERT INSTRUMENTS)

cars Ears Ava’? Bard
i= A A
Play 3 x: Ist x - each chord 4 bars {as notated); 2nd x - each chord 2 bars; 3rd x - each chord 1 bar

Eba’> Gals BLA’) Da’

» TRACK 14: PROGRESSION 13 - MAJOR b5 CYCLE (BD INSTRUMENTS)

4A A A
Play 3 x: Ist x - each chord 4 bars {as notated); 2nd x - each chord 2 bars; 3rd x - each chord 1 bar

FA’) Aars cars Ears

Ava’ Ba’> ~ Fb’ Gar?

» TRACK 14: PROGRESSION 13 - MAJOR 55 CYCLE (ED INSTRUMENTS)

Aa’ cea? Faro AbAS
A A 4 4
Play 3 x: 1st x - each chord 4 bars {as notated); 2nd x - each chord 2 bars; 3rd x - each chord 1 bar

, cars EA?2 Gar? Bar?

,
Y
enalll!
/
4A —_—————
4 : ir
———
I

Fea” BA’ par?

pew?a
b A =, ——_— 4A ere ce ‘A = —__— — A =

Sg
 CHAPTER9

i » TRACK 15: PROGRESSION 14 »SPLURGE« (CONCERT INSTRUMENTS)

q

i .

C-6
B79 13

i E-6 FL6 Blbd) E-6 FL6 Bld) Ab-6 Bb-6 Elo) Ab6 BH EbbS)
Eb7alt Ab—A G7alt

C-7 G7 D-7 BbR-7 F-7 C-7

Bb-7
ef
oO
c
 THE MINOR 7 LS PENTATONIC SCALE

» TRACK 15: PROGRESSION 14 »SPLURGE« (Bb INSTRUMENTS)

FR6 GES CIS) FAS Gd C#lb6) Bh-6 C-6 FO) Br-6 C-6 FIO)
F7alt BpA A7Zalt

D-7 A-7_ E-/7 C-7 G-7_ D-7

C-7

oi
CHAPTE Rg

» TRACK 15: PROGRESSION 14 »SPLURGE« (Eb INSTRUMENTS)

fh
y

J
*N
Ne

JL.
e

Ebe A-6
Ab7>913

fy CHG E6 Ajlbd) CHO ER6 AjlbS) F6 G6 Clbd] F-6 G6 C[bd)

be rat EFA
1

E7Zalt ——
e

A-7 E-/ B-7 G-7 D-7 A7

A-7
 FHE MINOR 7 ob PENTATONIC SCALE

Again, try playing the rhythmic devices introduced in Chapter >

4.
‘

1. Play the exercise on the next page using all eighth notes.

2. Play through the exercise using the following rhythmic pattern:

EXAMPLE 9.3

“| elc.

poe he 5 T ~~ TT ——*# © ——
rst Pe 5 tv oe
1 “ey OT 7 ee t
SR iene | v
e |

EXAMPLE 9.3B

4. Play through the exercise using the following rhythmic pattern:

EXAMPLE 9.3C

5. Try playing the exercise using rests and syncopations:

EXAMPLE 9.3D
 CHAPTER9

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be
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ee ee ere it
bDoe t
be
Pp

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be | ew
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be tbe
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o
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obe
be
i KY 7

2 ee

7
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ith
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Lin

LitK.
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Lick
9

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Ve pe
be
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SV?

5yer

be
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@

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De {
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 Chapter 10: The Major b2 Pentatonic Scale

Replace the >F. in the original pentatonic scale with E natural. This scale is called E> major 2.
EXAMPLE 10.1

The Eb major 2 pentatonic scale fits the following chords:

C dominant 7 C7

Eb dominant 7 Eb7
Fé dominant 7 FH7

A dominant 7 A7

From another perspective, consider what 2 pentatonics fit over a C7 chord; a C major b2, an
Eb major 2, and F# major 52, or an A major b2 can all be played over a C7 chord.
EXAMPLE 10.2

cb ey (b2) relh2) a lo2]

[Note: b2 is the same as b9]

 CHAPTER 10

Here is the C major }2 pentatonic plugged into the original formula:

EXAMPLE 10.3

Formula 1

Formula 2

Formula 3

Formula 4

Formule 5

Formula 6

Formula 7

—— o - | be he *
Formula 8 feyf =Po — ge te pe * 28
—
=
eT oe” -o.? — —

96
 THE MAJOR D2 PENTATONIC SCALE

Apply the major b2 pentatonic to the following progressions. First you may check out the sound of
each of the four pentatonic b2 options aginst the chord progression. After you got familiar with the
individual sound of each option you can mix them up randomly:

» TRACK 16: PROGRESSION 15 - DOMINANT b9 KI3 CYCLE (CONCERT INSTRUMENTS)

Cc Eb FR A (all 52) FAL BD (all »2)

C7 9413 F7 9413

Bb Db EG (all }2) Eb Fs A Cc (ail al

BL7b9413 EL7 9413

Ab B DF {all }2) Db E G_ Bp {all 52)

Ab7b9413 Db7b9k13

Gp A C_ Ep (all b2) BD F_ A+ (all b2)

G7 941 B7 bk

E G_ B Db fall b2) AC B&B F# (all 52)

F7b9413 S AZ P9413

D F Ab B (all b2) G B Dp E {all +2)

D7 9813 ° : G7 9413
 CHAPTER 10

» TRACK 16: PROGRESSION 15 - DOMINANT 59 &13 CYCLE (Bb INSTRUMENTS)

w

D F Ap B [all 52) G Bb Ch E {all 52)

D7 9413 G7 94813

C Eb Fa A [all »2) F Ab BD (all 2)

F759413

Bb Ch EG (all b2) ED FR A C (allb2)

Bb7>9#13 Eb7>9413

Av B D_F (alt b2) C# E G_ Bb (all +2)

Ab7>9413 CH7 59413

FRA CE} [all 2) - B D FEF. Ab (all}2)

FH7 9413 B7b9413

E G B Ce fall »2) AC &

£79813 : A7 9213
er
ge
Sc
 THE MAJOR b2 PENTATONIC SCALE

» TRACK 16: PROGRESSION 15 - DOMINANT 59 413 CYCLE (&> iNS7RUMENTS)a

cy

A Cc Eb Fa (all b2) D F A» B (all 22}

Ae B=

G Bb CH E {all +2) Cc EL Fe A {all 52)

G7 9413 t C7 9413

F Ab BD (all /2) BL CH E G (all 52)

F7}9813 é BL7b9ET3

EL Fa A C (all $2) Av B DF (all 42)

EL7>9813 7 A47>9413

Ch E G_ Bp (all b2) FE A CE (all +2|

C47 9413 FH79413
 CHAPTER 10

9 TRACK 17: PROGRESSION 16 »FEEL FOR YOU« (CONCERT INSTRUMENTS)

w

G7 D-/ E> Fe A C (all 52) Ao B DF {all 52) G Bo Db E {all 22)

EL7 Ab7 : G7

C Eb FE A {all 52) G-7 C-7 F Ab BD {all 52)

C7 § F7

G7 D7 Eb Fe A C (all 42) Ab BD. F (oll b2) G Bp Ds E [all 52)

E>7 Ab7 G7

C Eb FH A fall 52) FAD BD (ail 52) G-7 D-7

C7 F7

Ev-6 G-6 B: {>4) G-6

D7>913
eS

Fé pl>d) C EL FEA (all b2) F AL BD {all b2)

ee

C7 F7
ee

G7 D-7 E> Fe A C (all 52) A> BDF (all »2} G Bb Db E (all 52)
>

y= Boa Eb7 = Ab7 = G7

@

nC E> Fe A [all 2] F oA, BD (all »2) G7 And C7 C-6

be C7 F7 BoA GF = C7 FF

LOO
 THE MAJOR D2 PENTATONIC SCALE

® TRACK 17: PROGRESSION 16 »FEEL FOR YOU« (Bb INSTRUMENTS)

A-/7 E-/7 F Ab BD (all b2) Bp Ce EG [all b2) A C Ep Fe (all »2)

F7 Bb7 A7

D F Ab B (all>2) A-7 D-7 G Bb Ch E (alli2)

D7 : G7

A-7 E-7 F A» BD (allb2} Bh CH E G (all 52) A Cc Eb F4 [all 52)

Bb7 A7

D F Ay B {all b2) Fo Ab BD (all b2) A-7 £7

D7 F7

F~6 A-6 CS) A-6

E7913 E7913

G-6 E(-6) D F Ap B {all 62) GB Ct E (all 2)

D7 G7

A-7 E-7 Fo Ab BOD (all 52) Bp CGC: EG [all »2) A C £ Fé (all »2)

Bb7 A?

A Ao B {all »2) G Bb Ct E {ail 2) A-/ Bo-O D-7 D-6

Tr

“5 07 G7 =CA AJ = D7 G7
f- UU EEIEIenIaE ERS

LOL
 CHAPTER 10

> TRACK 17: PROGRESSION 16 »FEEL FOR YOU« (E> INSTRUMENTS)

A E-7 Bp? CE FE A (all 42) F C# B.D (alls2) E G Bb Célalts2)

ts GA F7 t EZ |
e

A Ct Eb Fé {all52} E-7 AT D F C4 Bfalls2)

A7 D7

CE Fs A (all 52) F CE BD (all 42) —E G Bb C# fall b2}

C7 F7 E7
?

A Ci Eb Fé {all }2) D F CH B fall 62} E~/ B-7

AZ

C-6 Gb6) E~6

B7 b9Ob13 B7>9b13

n__D-6 B(>d) A C4 Eb Fé [all b2) DF ChB (all }2)

B7b9b13 eT £69 AZ q T
+E D7
e

pn E+? BY C E> Fe A {all 52) F C# BD {all }2) E G Bp Ci (all 42)

- — I I
GA = C7 = F7 = E7
|
:
i e

A A C Ep Fe fall 22} o Ee i a (all v2} E-7 G-6 A-/ A-6

y= A7 D7 men E7 == A a
e

i Lo
 THE MAJOR b2 PENTATONIC SCALE

Again, try playing the rhythmic devices introduced in Chapter 3.

1. Play the exercise on page 104 using all eighth notes.
\

2. Play through the exercise using the following rhythmic pattern:

EXAMPLE 10.44

33. Play y through

& the exercise using § the following grimy
rhythmic P pattern:

EXAMPLE 10.4B

4. Play through the exercise using the following rhythmic pattern:

EXAMPLE 10.4¢

5. Try playing the exercis€ using rests and syncopations:

EXAMPLE 10.4D

Se
fh |
[ | ro m 1)
ta CC _ —_ 0-5 aif
@[oo et 9 pt pe en
be oe
NS — Te ~ v oto eb
e v - a ol ee”

be—
eof
o
e }
#
=F, fee,ro
Che
i | a ed
=
|
i
=
i i |
cf~ eo
l ‘eae.
ei |
_ | i

_ |
i te De
_ pe er 2 co | ~~,
Se tote! oe — e
Ta1 teH ee z ¥ — ~— Ss =
- I ta ey wT

ae — — mms — * a I I
2
—lactnecneeeey

LO
 CHAPTER 10

Vy

:
vr

|
1
— { oe | : I
T

dhe
CO+S e °e ot
e ° °
o

i o
a
e
wr

a be & be se be

ANE o ve
i @ 3 :

ce

' pe ee CS : pete —
“YU bo A oe ie —
e aid De oT

_ ° e
ys he ss a |
Pane be. be
gg oO

.2 oS
je of
Hee 7°
o, ° —

I ae.
&

a ose o oe +o he Be bee ee * po
e o* " ae eo vee

reo
i gg |
i a a ——y- a pe eee by
- —— pe—
'
be
t — * oO —
5 ° oe ee
2 ~
 AC TIICM TALLER an ClOnIreNYCu(a

Consider the minor 6 pentatonic scale again and drop the root a 1/2 step.
EXAMPLE 114.1

This scale is called a B whole tone pentatonic and it fits the following chords:

C minor/major 7 cA

F Lydian b7 cytlt
B7 altered B7alt

Gdominant 7913 cts

105
 CHAPTER U1

Here is a B whole tone pentatonic scale plugged into the oiginal formula:
EXAMPLE 11.2

Formula |

Formula 2

Formula 3

Formula 4

Formula 5

Formula 6

Formula 7

—4
Formula 8 A
mo)
om

®
e

vo

106
 THE WHOLE TONE PENFATONIC SCALE

Again, try playing the rhythmic devices introduced in Chapter 3.

1. Play the exercise on page 108 using all eighth notes.
2. Play through the exercise using the following rhythmic pattern:
EXAMPLE 11.3A

3. Play through the exercise using the following rhythmic pattern:

EXAMPLE 11.3B

4. Play through the exercise using the following rhythmic pattern:

EXAMPLE 11.3C

5. Try playing the exercise using rests and syncopations.

EXAMPLE 11.3D

fbe
fh» * * - = ee @ 6» | o o-- ey -
J j * 19 “Ss — as

- — __
ee <2 wr
o —o a
r
€
eaL ee _

lo?
me arte

; ppg
£.
--—— oO he

oe

pe

ose

vx]
x

—*
be

De ve

eo ©» £ o.

@
@ 56
ad

Te
Q
sd
 THE WHOLE TONE PENTATONIC SCALE

After you've practiced improvising with any whole tone pentatonic try adding the missing note in
the whole tone scale.
a
Example: Over the C minor/major 7 scale, add »Dbx.
EXAMPLE ‘1. 4

c-A add -

Practice the whole tone pentatonics over the following progression.

10g
 CHAPTER TI

® TRACK 18: PROGRESSION 17 »HARDLY EVER« (CONCERT INSTRUMENTS)

A B whole fone pentatonic — — — — — — — — —

Ge
- C-69 So G73
———— C-69 —— G7 913
=
4,

pS
y= C69 SS
WPS G7 913
EE PS SSS SS PES SSS S=S=5
E C69 7013
e)

foe
eee ree ee EE
6
e
C-69 —— — i G7913
E
+ C-69
—ee G7 913—=
:

&
SS C69 G7 913 =
—————— = :
C9 BL7 +
e)

C-7 G7 C6 E46 AbL>4)

C7 alt

pn f-7 E>-6 F-6 Bbl6) De Bb whole tone pentatonic

7
y= F7 = D7 alt ————— FF G7!9eus F47 913
e

f___ 8b whole tone pentatonic — — — — — — — — ~~ —

bb B69 er FA 7 1 3 oo B-6? SE
ee F47 9613
@

for
reaeear ee
e r e E E 8 whole fone pentatonic
Py 3-69 7 913 eT BS? = 67913 - ——74
e

110
 THE WHOLE FONE PENTATONIC SCALE

» TRACK 18: PROGRESSION 17 »HARDLY EVER« (B> INSTRUMENTS)

A C# whole tone pentatonic — — — — — — — — — — — —

Oe D-6? AZ 9013 SO 69 OAT IS ——

—_— —— Tt
e D-6? ee A7 913 D-6? ee A713 ——

Aaa oa aaa
eee ot G-6

b D-6?
Se A7 9013 + 0-69 C7
e)

D-7 A7 Eb6 F-6 BblS)

D7 alt

a G7 F-6 G-6 Clb) Eg C whole tone pentatonic

T ee
G-7 & E7alt A7?9sus_ ao ALT 913
@

C wheie tone pentatonic, — — — — — —~ + ~~ — — ~— — ~~ ~~ — — — — — — - — — -—

er oe ——— oo
& CH69 ALT 90 3 C9 AD 9913

= A713
 CHAPTER 1]

® TRACK 18: PROGRESSION 17 »HARDLY EVER« (Eb INSTRUMENTS)

A) whole tone pentatonic — — — — — ——— ~~

| $eEE A609 St 07919 a "Eg Sa ng

foo D-4
TS Sa _,
© |

i A7 EZ Bb-6 C6 Fd)
A7 alt

Vy _p_ D7 C-6 D-6 G6) G whole tone pentatonic

0-7 at ==; i SE 0m

_f.__G whole tone pentatonic

if

A» whole tone pentatonic

i: ys AD 69 21S oe —— = £7913 ==
e
 Crepe ide caieesyerts

Remember that any five notes can make a pentatonic scale. Here are some others to consider:
EXAMPLE 12.1

Fits: AbA, F-7, BL—-7, DbA

Fits: F7, Ab-7, B7, D7

Fits: C7, Eb7, FR7, A7

Fits: C7, Eb7, F#7, A7 ;

Fits: C7, Eb7, FR7, A7

Fits: Eb
FE

Fits: BA, Ab-7, Fa, Db7sus

 CHAPTTR ) /
i é

i
!|
=
 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)
and hear what happens when you play another pentatonic over that tonality, Notice that the degree
of »outness: is related to the number of common notes between the parent pentatonic and the other
pentatonic scale played. s

For example, given the chord C-7, if you then play a B-7, C#-7 or F#-7 pentatonic scale, you are as
far away from C~7 as you can get. There is not one note in the C-7 pentatonic scale in common
with any of these three pentatonics.

First degree out:

B-7, C#-7 and F#-7 are the furthest out from C~7 pentatonic. f
EXAMPLE 13.1

C-7 B-7 C7 Fi-7

Second degree out:

Ab-7 and E-7 both have one note each in common with C-7 pentatonic.
EXAMPLE 13.2

Third degree out:

E>-7 and A-7 have two notes in common with the C-7 pentatonic.

EXAMPLE 13.3

A C-7 E>—-7 A-7

a te
nr... ie pee ae
7D ea Be 8 _ :

it
CHAPTER 13

Fourth degree out:

Bb-7 and D~7 each have three notes in common with the C-7 pentatonic.
q
EXAMPLE 13.4 ‘

C-~7 Bb-7 D-7

Fifth degree out:

F-7 and G-7 each have four notes in common with the C-7 pentatonic.

EXAMPLE 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 shifting back and forth between the parent pentatonic and
an out pentatonic creates an interesting sound.

EXAMPLE 13.6

C-7 Ft-7 C-7 Fi-7 C-7 Fi-7

(starting note}

Example 13.6 uses a four note grouping from the parent pentatonic and then a four note grouping
from the out pentatonic and continues alternating the two pentatonic scales. Each four note
grouping 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 -F& of the second grouping is the closest descending note to
the »G: of the first grouping.
From the four note grouping of the C-7 pentatonic move to the closest note in the F#-7 pentatonic
and play a four note grouping. Then go to the closest note in the C-7 pentatonic and play a four
note grouping. Continue with this pattern untill finally returning to the starting note.
You can try this same exercise using a different out pentatonic. If you use the tritone away from the
parent pentatonic it makes the melodies non parallel. Using the second or third degree out can run
into the use of repeated notes which is fine. Of course this is an exercise and vou can certainly try
juxtaposing any number of notes trom the parent pentatonic with anv number of notes from the
out pentatonic.

116
 POLY-PENTATOMICS

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)
EXAMPLE 13.7: s

| C-7 CH-7 C-7 C#-7 C-7 Ci-7

|

EXAMPLE 13.8: (Ascending pentatonics closest to the first note)

C-7 B-7 C-7 B-7 C-7 B-7

EXAMPLE 13.9: (Ascending pentatonics closest to the last note)

C-7 Fg-7 C~7 FR-7 C-7

These first 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 than the first.
EXAMPLE 13.10:

C-7 C-7 Cr-7

»
ete 2 i
oo : a
 CHAPTER 13

EXAMPLE 13.11:

C-7
b
Fe-7 Fe-7 Ft-7

C-7 C-7

t
C

EXAMPLE 13.12:

C-7
b
4—

CH7 CH-7
<x
rn

ni
A
a
B
©
Z
<
we]

3
py
ee
$L)
wn
if
=1
+
4
oe hl

®
iS
=a
~
i

Wc ~7 Fe-7 C-7
~pPe Fg
f
{CS ee

« fe
C-7 o

Dea. |
a —te Te 9
aC)
e

Trd
 POLY-PENTATONECS

EXAMPLE 13.14:

C-7 B-7 C-7 * B-7 C-7 B-7

EXAMPLE 13.15:

C-7 FH-7 C-7 F4-7 C-7 F4-7

EXAMPLE 13.16:

C-7 Ct-7 C-7 CHe7 C-7 C7

EXAMPLE 13.17A:

C-7 Fa-7 C-7 Fe-7 C-7 Fa-7 . t

C-7 Fe-7

ee ae .
| > oe #

119
 CHAPTER 13

EXAMPLE 13.L7B:

C-7 F4-7 C-7 : Fe-7 C-7 FH? 4

@

The following are some examples of improvising or mixing up the inside and outside pentatonics
against the parent pentatonic C-7:

EXAMPLE 13.18:

4
C-

EXAMPLE 13.19A:

C-7 D-7 C-7 G-7 D-7

EXAMPLE 13.19B:

C-7 Ch-7 C-7 D-7 Ct-7 C-7 E-7 C-7

e)

EXAMPLE 13.19C:

C-7 D-7 Ab-7 C-7 Bb-7 Ab-7 C-7

f.
Ka —_—_—
— -— Pe= a0 0Pa
be pet ei te
Oh a a * 079 a Do Fe pees 5
iw)
be
 POLY-PENTATONICS

EXAMPLE 13.190:

G-7 D-7 C4-7 C-7 F4-7 C-7 B-7 C-7

EXAMPLE 13.19E:

The following are some examples of grouping together four pentatonic scales:

EXAMPLE 13.20:

C-7 Bb~7 Ab-7 FE-7 C-7 Bb-7

EXAMPLE 13.21:

C-7 B-7 Bb-7 A-7 C-7 B-7

EXAMPLE 13.22:

E-7 Fa-7 _

eo +e -
ty
4
CHAPTER 13

EXAMPLE 13.23:
e

Next try using the rhythmic variations introduced in Chapter 3 with any of the polypentatonic
examples,
Here is the previous example with the rhymic pattern: - ¢ 2 4 «

EXAMPLE 13.24:

Ci-7 D-7 Eb-7 C-7

O
N
|

Sar
| | | ,
a | aT en 72 a
i
:

|
“6
|

D-7 b—7 C-7

N
2

Here is that example with the rythmic pattern: +» « 6 «© «6 « «

EXAMPLE 1 125:
ad

C-7 Ch-7 D-7 Eb-7 C-7 Ca-7 D-7

Another device which can be applied to playing

Vins pentatonics is the use of odd SgroupingsS of notes.
What follows is an example of mixing up a 3-note grouping of the C minor pentatonic together
with a 3-note grouping from the F* minor pentatonic scale:
 POLY-PEMTATONECS

EXAMPLE 13.26:
C-7 F-7 C-7 FE-7 C-7 Ft-7 C-7 F4-7

Here is an example of mixing up a 5-note grouping from the C minor pentatonic with a 3-note
grouping from the F# minor pentatonic scale:

EXAMPLE 13.27:

Here is an example of mixing up a 5-note grouping from the C minor pentatonic with a 5-note
grouping from the C#-7 pentatonic scale:
EXAMPLE 13.28:

Here is an example of mixing up many polypentatonic minor scales and using odd groupings from
each of those key centers. This can be played over the C minor tone center:
EXAMPLE 13.29:

C-7 E-7 Es-7

CHAPTER 13

Finally, practice using different rhythms including rests and odd groupings of notes both inside and
outside the changes on this progression.

2 TRACK 19: PROGRESSION 18 (CONCERT INSTRUMENTS)

D-7 F-7 Eb-7

» TRACK 19: PROGRESSION 18 (Bb INSTRUMENTS)

E-7 G-7 F-7

E-7 G-7
T
m

» TRACK 19: PROGRESSION 18 (EL INSTRUMENTS)

Conclusion
This book was written in the spirit of exploring different sounds and ideas. The creative imagination
has no boundaries. I hope this book can give the reader some insight and stimulate their individual
exploration of music. t,
There are many different approaches and ways to study the many musical techniques. In a sense
everyone finds his or her own way. I hope this book assists you in finding your own way.

wa
lv
GH IMPROVISATION - PL AY-ALONG

This improvisatian method is more than just another play-along. It is a series of books and CDs
that progress step by step, offer-
ing concrete suggestions and advise that shows you how and what to practice. Drawing on
twenty-five years of teaching exper-
ience at the Eastman School of Music, Ramon Ricker uses text, recorded demonstrations by him
and his students, and practice
and play-along tracks that present the material in a clear and concise manner.
Most of the play-along tracks feature the rhythm section of the 1980 Thad Jones/Mel Lewis Big Band with Harold Danko on
piano, Rufus Reid on bass and the late, great Mel Lewis on drums. Since they performed and recorded together consistently over
a period of several years, they played as a unit - a true jazz rhythm section. The recordings were brought up to meet todays
higher CD standards and served as an inspiration for Ramon Ricker to write three entirely new books. !n addition, new demon-
stration, ear training, and play-along tracks were added.
the beginning improviser

Vol. 1 The Beginning Improviser

ORDER NO. 14801 (800K w/cp)
VOLUME ONE is for the absolute beginning jazz student who knows his/her major scales.

Subjects covered in this book include:

VOCABULARY: intervals, Raman Numerals, Scales, Modes, Diatonic Seventh Chords,
Major, Minor, Dominant, and Suspended
Chords, Chord/Scate Relationships, The Blues Progression, Using Pentatonic Scales
with Blues, Pentatonic Chord/Scale
Relationships, The ll-V- Progression, Rhythm Changes, The Circle of Fifths, and The
Circle of Fourths, and Steps for Playing on
Changes,
STYLE: Swing Eighth Notes, Use of the Metronome, Scale Practice, and Scat-Singing Solos.
EAR TRAINING: Specific examples and suggestions with recorded tracks for practice,

REPERTOIRE: A suggested basic repertoire.

Vol. 2 Blues
ORDER NO. 14802 (800K w/cp)
VOLUME TWO is devoted exclusively to the blues form and is for players of all levels who want to become more familiar with this
most important form in jazz.
Subjects covered in this book include:
VOCABULARY: The Blues Form and its Variations, Blue Notes, Basic Chord Substitution,
The Blues Scale, The Pentatonic Scale,
Dominant Scales with a Passing Tone, The Dominant Workout, Applying Dominant
Scales with a Passing Tone to I|-V
Progressions, and Applying Dominant Scales with a Passing Tone to Blues.

STYLE: improvising on Blues, Using the Melody, Learning the Melody, Using Transcribed
Solos as the Basis for Improvised Solos
and Steps for Playing Good Solos.
EAR TRAINING: Specific examples and suggestions with recorded tracks for practice.

REPERTOIRE: A suggested basic repertoire.

Vol. 3 The II-V-1 Progression, Rhythm Changes and Standard Tunes

ORDER NO. 14803 (BOOK w/co)
BOOK THREE is devoted exclusively to the !!-V-1 PROGRESSION, RHYTHM CHANGES AND STANDA®9
TLINES and is intended for
players ofall levels who are serious about learning to play on changes.

Subjects covered in this book include:

VOCABULARY: The Ii-V-1 Progression, Half-Diminished Seventh Chords, The Locrian and Locrian #2 Scales, Altered Dominant
Chords, The Altered Scale, Guide Tones, Using Triads as Guide Tones, Walking Bass Lines, Major Scales with a Passing Tone, The the II-V-I progression
Major Workout, Applying Major Scales with a Passing Tone to II!-V-| Progressions, Applying Dominant and Major Scales with
Passing Tones to Il-V-! Progressions, and The Rhythm Changes. VOL, THREL
Han

y
STYLE: Using Guide Tones When Soloing, Using the Melody as a basis of Your Improvisation, Learn the Lyrics, and
Learning the
Melody.
EAR TRAINING: Specific examples and suggestions with recorded tracks for practice.
REPERTOIRE: List of Selected Jazz Compositions that Extensively use the
II-V-| Progression, Selected Standard Tunes that
Extensively use the II-V-I Progression, and Selected Compositions Based on
Rhythm Changes.

ANDREW JAFFE
|
Jazz Harmony |
ORDER NO. 11210 (200 paGes) |
2nd edition, completely revised and enlarged. 24 chapters including exercises
and assignments.
Intervals, Chords, Inversions, Modes; Diatonic And Modal Chord Progressions;
The Blues; Lead Sheets; Song Farms and Melodic
Variations: Secondary Dominant Chords: Substitute Dominant Seventh Chords
and Tritone Subs; Minor Key Harmony; Modal
interchange and Minor Blues; Common Chord Progressions and Voice-Leading;
Modulation: Pentatonics and Other Symmetric
Scales; Blues Variations: Rhythm ¢ hanges: Coltrane's 3-Tonic System;
Slash Chords ana Hybrid Chord Voicings.
Fhe first edition was one of the most widely usea books on jazz
harmony. For classroom and individual use.
 na
IMPROVISATION > PLAY-ALONG

“Inside Improvisation” is a series of books and audio/video recoidings which describe a simple and pragmatic approach to
improvisation. While focusing on the jazz idiom, the techniques discussed are applicable to many styles of music and all
instruments, be it rock guitar, jazz saxophone, or fusion keyboard. The author has taught this method over many years and it
has proven to be tremendously successful, ?

Vol. 1 ,,Melodic Structures”

ORDER NO. 14220 (96 PAGE BOOK w/cD)
ORDER NO. 14210 (VHS VIDEO PAL, 62MIN.)
ORDER NO. 14211 (VHS VIDEO NTSC, 62MIN.)
The system presented in this volume offers a tangible pathway to inside the creative imagination by getting inside the har
mony, inside the changes.
Chord changes are included for C Concert, B’ and E> instruments.
In addition the book includes transposed examples for all instruments (C treble clef, Bb, Eb and bass clef).

The accompanying CD has been designed for use in conjunction with each of the chapter assignments. There are nine tunes far
you to play along with, each played at a slow and then medium tempo featuring Garry Dial on piano, Dave Santoro on bass
and Alan Dawson on drums, plus 12 demonstration tracks performed by the author on piano or tenor saxophone.

Vol. 2 ,,Pentatonics”
ORDER NO. 14256 (125 PAGE BOOK w/cD)
Many of the great modern players have pentatonics at their command and melodic disposal. This book provides a practical yet
creative approach to assimilating pentatonics into your melodic musical reservoir.
This is a method book designed for all instruments. Chord changes are included for C Concert, Bb and Eb instruments.

The accompanying CD contains 18 tunes for you to play along with, featuring Renato Chicco on piano, Dave Santoro on bass
VOL, 3 MA TINE: and Adam Nussbaum on drums, plus eight demonstration tracks performed by the author on tenor saxophone.

BERGONZ?, JERRY

Vol. 3 ,,Jazz Line”

ORDER NO. 14260 (109 PAGE BOOK w/cD)

Line Playing © Voice-Leading * Chromaticism * Bebop Scales

A clear and practical step-by-step approach to chromaticism, line playing and voice leading. The CD contains 23 play-along
tracks (most of them played in two tempos), based on standard chord progressions, performed by a professional rhythm
section, featuring Renato Chicco on piano, Dave Santoro on bass, and Adam Nussbaum on drums. tn addition Jerry demons-
trates various exercises and approaches on tenor saxophone.

Chord changes are included for C concert, Bb and Eb instruments. i

jerry Bergonzi is a highly respected jazz educator/musician who lives and teaches in the Boston area. Over many years his
Inside Improvisation” system has proven to be tremendously successful.

BRAZILIAN M U S_IC

; ANTONIO ADOLFO
NIONTO ADOLEO
Brazilian Music Workshop
ORDER NO. 18001 (143 PAGE BOOK w/cpD)
This book not only concentrates on those styles which have travelled successfully around the globe, but also on styles which
have not yet been explored outside of Brazil.
Styles originated in the East of Brazil:
Samba & Bossa-Nova, Samba-Funk & Partido Alto, Choro, Samba-Cancaa
Styles originated in the Northeast of Brazil:
Baido, Toada, Rasta Pé, Xote, Afoxé & Maracatu, Frevo, Marcha and Marcha Rancho
The three main sections of the book cover: Different Styles, General Characteristics, Harmony, Rhythm, Phrasing, Melodic and
Stylistic Considerations, Patterns and Hints.
BRAZILIAN
MUSIC The explanations are accompanied by hundreds of written and recorded examples. Each presented style 1s conciuded by a
complete composition. Also included are an extensive discography and biography, a glossary as weil as numerous photos of
WORKSHOP Brazilian artists.
Antonio Adolfo grew up in a musical family in Rio de Janeiro. His teachers include Eumir Deodato in Brazil, and the great Nadia
Boulanger in Paris. From 1964-67 he led his own trio, recorded two albums for RCA. and toured with singers Elis Regina and
Milton Nascimento. Teaming up with a lyricist, Adolfo wrote tunes that gained great success, and have been recorded 500
times by such artists as Sergio Mendes, Stevie Wonder, Herb Alpert, Gari Klugh, Yutaka, and others. He has won the
international Brazilian Song Contest on three occasions. in 1985 Mr. Adolfo created his awn school which has more than 800
students.
.Antonio Adolfo is a very talented and experienced musician and teacher. He is the only one who could teach this very sophi-
sticated type af music.” (Sergio Mendes)
_inronio Adolfo is uc oridiant composer erranger, Ae gives ine essence of Brazitian music.” (Paulinho da Costa)
s verv difficurt teaching our music to the world. Antonio Atk HOS Gb SeMSE OF Sv ess F
ereatly admire this quv ana his work.” (Antonio Carlos jobim)
,antomo Adolte is one of a rare breed of wortd-ciass musicians with @ sound ana styte uniquely his awn.” Gazz Times)