Really great video, Jens! I do use your first pattern. I also use 1/8 note triplets coming straight down the scale with groups of four notes, backing up three and repeat the process. I sometimes also use the Pat Metheny Bright Size Life skips during a solo. Thanks for another great lesson.
Thank you for the valuable lesson. This channel has rekindled the love for jazz in me. I studied bass back in 2002, and jazz specifically with Tony Inzalaco, who played with Maynard Fergusson, Art Blakey, Buddy Rich and others. Now that I'm venturing into the guitar it amazes me just how much I had forgotten from the jazz world, including just how beautiful it is. Every week I visit one of your lessons and work through it. My progress is super slow, but it is steady. I wish you all the best and, once again, thanks.
Thank you very much That is really great to hear! 🙂 If you are on Facebook you should Join us in the Facebook Jazz Guitar Group Community: bit.ly/InsidersFBGroup
Synchronicity again! I was going over this idea myself yesterday, but Thanks for validating what I'm practicing and the PDF will add to my practice, Thanks as always Jens.
@@JensLarsen I'll try, I find the d5 suds are cool and I like making descending and ascending motives moving to the tonic, but I'd need the Forte program to write out my ideas to share them, no?
GREAT LESSON I did like it much; many thanks , several times I make the same process for improvising on jazz standards playing live_ easier to follow while direct reading the chords on the real book and playing live :-)
I would not have considered pentatonics could sound so modern, I should know better...! Great lesson on material lots of us know and can put right to work while we develop the more complex ideas and challenging standards. Thank you as usual...
Also As you Jens, mentioned in a previous video for me it is also very nice to create pentatonics with now an than flatten the 8 or the root.. when I did that on F7(autumn leaves I found this nice arpeggio(coming from studying your patern: (coming out of Abminor 3 b8 or major7, penta) from high to low Gb Db Cb G, (do you here back the Patern?) so this spels out a 9 and a b9 this of course bluea fies if you want as where the 9 a sort of a altered dominant on Cm so the 9 b9 is actually the 5 b5 respectively in Cm(melodic because of the b8 (or major 7) superimposed on F7 so your catogory of m6pent is maybe nice to let follow by b8 minor penta...I would highly recommend a video where again thos three or more possibilities of the pentatonic gives al it's endless varietie's with goal to each go deeper in the chords deeper out sight to explore more new greater tensions, and also m711 tetratonic I highly recommend...people always react like oh wasn't that pentatonic because the obvious 5 is left out it waus strikes the ear real nice, sometise it is always mentioned as coltrane pentatonic because of the dirct relation with 4th harmony...
and the most nice for me is: over F7 from top till bottom Eb Db A Ab combined with D Db Ab Gb (The first one spells out the #9 on the chord with the 3 as a upper tone reolving to below, Eb Db A Ab is of course coming from Bb m7 11Tetratonic and D Db Ab Gb will than sound as coming home Strange enough...(when you change the following order the Bbm711 will give this result because Bbmajor is the relative major of the Key G minor..)but more intersting I find them to study in groupings of 6 as mentioned earlier: for instance D C Ab G D- C Ab G D C and Db C G F Db C you could also change the direction like C Db G F C Db will sound slightly more sharp (the b13 is than accentuated) so pentatonic in groupings of four is very good to practice, but because it is so much done it would be preferable to use groupings like 5 6 or even 7 I guess...
So after playing only (minor-pentatonic or without the 5th) those four notes also give great colours: Less = More so after completing this round, in the Blues round of 6 tones(because tones are played and notes are written almost everybody on you tube says this ...)than I would gladly incorporate the halfdimished alias m6 pentatonic scale, so mostly I would avoid playin regular blues scale to often, to try not give the ear too much space to analyse my playing so I like to hide this aspect(this I would like to use when I create more tension while playing outside,) but playing outside, than with greater tension the blues scale is one of the Favourite Tools like Scofield in Rule of the Thumb and Protocol(Still Warm Album) also I like to extract from melodic minor on the Flat 2 or Altered scale the blues scale by looking it the classical way so up melodic and down flattening the 6 and 7 with the b5 added you get the blues scale hidden in the altered scale, than you could play it on the b7 b9 #9 the 5 of course(Lydian Dominant) but also works Great: On D7 for Instance: Ebmmajor 1st Step 4th step is Ab7(tritone equivalent of the Dom,) and 5th step Bb7+5 to alter that sop to play Bmelodic resolving to Ebmelodic and than also try it even over Fmlodic so dominant C7+5 becomes Db melodic or Caltered resoving to F melodic resolving to Gmelodic or Gm6 penta as You wish!!! so maybe you've got here something use full? I like it, also F# melodic minor works on D7 becouse it resolves to G melodic(descending motion) of course the goal is to look for deepen out the the vocabulary and to try to have still some fundements to the basic harmony rules...I wis you agree about this one...or find it interesting
And also to put the same experiment upon tetronic to flatten the 8 gives us the following intersting paterns: use full to go outsight a bit: over Cm7(Autumn Leaves, but comes back al the time, and each year) from high to low Cb -Bb- F-Eb Cb Bb, and F-Eb Cb Bb F-Eb, than GTetratonicb8 over Cm7(I agree that it is not nice in the first chorus much too alien but Just to get the drill of Tetratonic b8(always practiced in 6toles because the four tones are four than played in 6) : High to low: Gb F C Bb Gb F, and C-Bb Gb F C Bb but it gets more intersting ober the Dominant: first Ebminor tetratonic so Ebm711(Non 5, Non R)+ a Major7(it is actually the b8) but because those numbers are seldomly used) D, Db Ab Gb D Dd(this combination is to be found with Oscar Peterson in the Theme of Salute to bach so I mean the combination of 13 and b13, Than Gbminor 711 major 7-Tetratonic: F E(shocking, hé? the Bebop tone in practice...) you play as a more"christian" solution: E F Cb Bbb or E F B A EF, B A E F A B but when we use Abminor711 +7 it is G Gb Db B G Gb and than the nice ( b9 appears again) as mentioned befor it sounds as a b5 in Cminor superimposed over F7...
Cm6=Am7b5 1st Inversion so this is a bit deceptive, it doesn't change tones only replaces, it I understand that it fits with the dominant D7>Ebminor6, interesting insights all those pentatonics I love it and studied it also...
I used to work on this concept in the past. I find it very difficult because of the chords change and especially uptempo. BTW this have revealed part of the Tom Quayle playing or style of playing. Your lessons are like organized toolbox. Everything is real in the box. Q: how long it will take to incorporate the things that teach into playing. 🤔
How long it takes to incorporate is really depending on how familar you are with playing changes already. That is a skill that takes some effort to get into your system :)
You're very welcome! I am glad you like it! The F7alt is an altered dominant, so F7 from the Altered Scale. I have several videos on that , just let me know if you want a link 🙂
My choise would have been over Am7b5 Am711Non5 so Pentatonic without the 5th, this is a scale chick Corea extracted this from McCoy Tyners work also Jerry Bergonzi plays a special way of pentatonic that spells out hose Tones:(4th Harmony related) Apenta:(Am711 related) A C D(skip E) G A(skip G) E Dso the 5th is delayed and later comes back ntersting insight the reason in pentatonic approach I leave out the b5 is obviious: it is already in the comping so the 11 is nic suspenion to the b5, but minor 6 is alreay too much something else, I see in it halfdiminshed arpeggio and that I relate more to the Blues scale that's why! My wish is to be from little help
The last thing I am obliged to ad is that practicing those things have only worth if you do that realy a few month of a few years without practicing other approaches during the rounds otherwise everyone will get easily lost and aslo it is not so easy to ad this to Vocabulary, maybe for very advanced players...I could only speak out of own experience so any one who would like this information put to practice make shure that you realy work it out deeply otherwise it will give a poor reslult, that is not worth trying, This thing work greatky on tunes from Coltrane like Giant Steps, the changes are altered like : Ebm7(instead of Bmajor) and Ab7 instead of D7(the Rythm section has to go with you otherwise it useless,it gets to ambiguous) Bm7 (instead of Gmajor) and E7 instead of Bb7, than the later II V I are played as all m7 like Ebm7 one bar Fm7 one bar(so instead of Fm7 Bb7) Gm711 over Ebmajor all the time hole tone higher, I tried after10 of practice those things to use it over Giant steps and using no other material(over the normal changes I used all kinds of material(but of course over Giant steps you want go tto far out)the result was that good friends start to ask me questions about the sound and that they found that it sounded a bit like Coltranish(that solo I was real messing and I was ashamed of what i did so you could imagine the surprised feeling I had although I thought i was not playing sop well(of course because for me the sound was already too familiour to see it's worth......because it has this 4th sound...and because you don't use any diatonic scales it realy start to sound different....
Do you use pentatonic scales like this? Or do you prefer arpeggios or maybe something else?
Really great video, Jens! I do use your first pattern. I also use 1/8 note triplets coming straight down the scale with groups of four notes, backing up three and repeat the process. I sometimes also use the Pat Metheny Bright Size Life skips during a solo. Thanks for another great lesson.
@@richardsorice4509 Thanks! Bright Size Life is indeed full of pentatonic runs :)
Tools for my toolbox. :-)
Thank you for the valuable lesson. This channel has rekindled the love for jazz in me. I studied bass back in 2002, and jazz specifically with Tony Inzalaco, who played with Maynard Fergusson, Art Blakey, Buddy Rich and others. Now that I'm venturing into the guitar it amazes me just how much I had forgotten from the jazz world, including just how beautiful it is. Every week I visit one of your lessons and work through it. My progress is super slow, but it is steady. I wish you all the best and, once again, thanks.
Thank you very much That is really great to hear! 🙂
If you are on Facebook you should Join us in the Facebook Jazz Guitar Group Community: bit.ly/InsidersFBGroup
@@JensLarsen Will do. Thank you for the invite.
Really useful information and inspired musisianship from my favourite jazz youtuber. Thank you!
Thank you very much Mats!
A really packed (full of info) lesson. Thanks, Jens.
Thank you very much Brad! Glad you like it!
I'll be studying this for a while! Thanks for sharing.
Good luck with it! 🙂
Thank you Jens! As always, very helpful ideas here.
Glad it was helpful!
Synchronicity again! I was going over this idea myself yesterday, but Thanks for validating what I'm practicing and the PDF will add to my practice, Thanks as always Jens.
That's great Anthony! Go for it! Maybe share your findings in the FB group?
@@JensLarsen I'll try, I find the d5 suds are cool and I like making descending and ascending motives moving to the tonic, but I'd need the Forte program to write out my ideas to share them, no?
Thanks, Jens - will try to use this.
Yu're welcome Donald! Go for it!
GREAT LESSON I did like it much; many thanks
, several times I make the same process for improvising on jazz standards playing live_ easier to follow while direct reading the chords on the real book and playing live :-)
Thanks! Actually you should consider learning the songs by heart so that you can look at the people you play with and not the real book :)
🖤
Excellent
Thank you so much 😀
I liked your paterns and am going to study them too on piano(later on guitar)it sounds real Good
I would not have considered pentatonics could sound so modern, I should know better...! Great lesson on material lots of us know and can put right to work while we develop the more complex ideas and challenging standards. Thank you as usual...
Glad you like it Donald! To me pentatonics is really one of the most common sounds in Modern Jazz 🙂
Jens Larsen a most convenient lesson, we took a group challenge at last Sunday's jam to bring a more modern approach to
Autumn Leaves... 😎
Also As you Jens, mentioned in a previous video for me it is also very nice to create pentatonics with now an than flatten the 8 or the root.. when I did that on F7(autumn leaves I found this nice arpeggio(coming from studying your patern: (coming out of Abminor 3 b8 or major7, penta) from high to low Gb Db Cb G, (do you here back the Patern?) so this spels out a 9 and a b9 this of course bluea fies if you want as where the 9 a sort of a altered dominant on Cm so the 9 b9 is actually the 5 b5 respectively in Cm(melodic because of the b8 (or major 7) superimposed on F7 so your catogory of m6pent is maybe nice to let follow by b8 minor penta...I would highly recommend a video where again thos three or more possibilities of the pentatonic gives al it's endless varietie's with goal to each go deeper in the chords deeper out sight to explore more new greater tensions, and also m711 tetratonic I highly recommend...people always react like oh wasn't that pentatonic because the obvious 5 is left out it waus strikes the ear real nice, sometise it is always mentioned as coltrane pentatonic because of the dirct relation with 4th harmony...
and the most nice for me is: over F7 from top till bottom Eb Db A Ab combined with D Db Ab Gb (The first one spells out the #9 on the chord with the 3 as a upper tone reolving to below, Eb Db A Ab is of course coming from Bb m7 11Tetratonic and D Db Ab Gb will than sound as coming home Strange enough...(when you change the following order the Bbm711 will give this result because Bbmajor is the relative major of the Key G minor..)but more intersting I find them to study in groupings of 6 as mentioned earlier: for instance D C Ab G D- C Ab G D C and Db C G F Db C you could also change the direction like C Db G F C Db will sound slightly more sharp (the b13 is than accentuated) so pentatonic in groupings of four is very good to practice, but because it is so much done it would be preferable to use groupings like 5 6 or even 7 I guess...
Thanks Jens you are a great and generous teacher and player. Keep up the good work!!!
You're very welcome! I am glad you like it! 🙂
The beginning had a Vince Guaraldi Trio vibe. Sounds sick!
Thank you! I don't know him at all but I am glad you like it!
@@JensLarsenyou actually might know him. If you're familiar with the charlie Brown/peanuts cartoon, he wrote the music.
Ok, I don't know that 🙂 that is a US phenomenon I think
awesome patterns! would be great if you made a video about voice leading with pentatonics too.
Thank you! I am not sure voice-leading is the prime concern with Pentatonics because is is more of a modern modal approach 🙂
Eric Johnson did a version using his group of 5 pentatonic style. Great lesson!
Interesting! Didn't know he did a version of Autumn Leaves 🙂
So after playing only (minor-pentatonic or without the 5th) those four notes also give great colours: Less = More so after completing this round, in the Blues round of 6 tones(because tones are played and notes are written almost everybody on you tube says this ...)than I would gladly incorporate the halfdimished alias m6 pentatonic scale, so mostly I would avoid playin regular blues scale to often, to try not give the ear too much space to analyse my playing so I like to hide this aspect(this I would like to use when I create more tension while playing outside,) but playing outside, than with greater tension the blues scale is one of the Favourite Tools like Scofield in Rule of the Thumb and Protocol(Still Warm Album) also I like to extract from melodic minor on the Flat 2 or Altered scale the blues scale by looking it the classical way so up melodic and down flattening the 6 and 7 with the b5 added you get the blues scale hidden in the altered scale, than you could play it on the b7 b9 #9 the 5 of course(Lydian Dominant) but also works Great: On D7 for Instance: Ebmmajor 1st Step 4th step is Ab7(tritone equivalent of the Dom,) and 5th step Bb7+5 to alter that sop to play Bmelodic resolving to Ebmelodic and than also try it even over Fmlodic so dominant C7+5 becomes Db melodic or Caltered resoving to F melodic resolving to Gmelodic or Gm6 penta as You wish!!! so maybe you've got here something use full? I like it, also F# melodic minor works on D7 becouse it resolves to G melodic(descending motion) of course the goal is to look for deepen out the the vocabulary and to try to have still some fundements to the basic harmony rules...I wis you agree about this one...or find it interesting
very nice thanks
Thanks Doug! :)
And also to put the same experiment upon tetronic to flatten the 8 gives us the following intersting paterns: use full to go outsight a bit: over Cm7(Autumn Leaves, but comes back al the time, and each year) from high to low Cb -Bb- F-Eb Cb Bb, and F-Eb Cb Bb F-Eb, than GTetratonicb8 over Cm7(I agree that it is not nice in the first chorus much too alien but Just to get the drill of Tetratonic b8(always practiced in 6toles because the four tones are four than played in 6) : High to low: Gb F C Bb Gb F, and C-Bb Gb F C Bb but it gets more intersting ober the Dominant: first Ebminor tetratonic so Ebm711(Non 5, Non R)+ a Major7(it is actually the b8) but because those numbers are seldomly used) D, Db Ab Gb D Dd(this combination is to be found with Oscar Peterson in the Theme of Salute to bach so I mean the combination of 13 and b13, Than Gbminor 711 major 7-Tetratonic: F E(shocking, hé? the Bebop tone in practice...) you play as a more"christian" solution: E F Cb Bbb or E F B A EF, B A E F A B but when we use Abminor711 +7 it is G Gb Db B G Gb and than the nice ( b9 appears again) as mentioned befor it sounds as a b5 in Cminor superimposed over F7...
Cm6=Am7b5 1st Inversion so this is a bit deceptive, it doesn't change tones only replaces, it I understand that it fits with the dominant D7>Ebminor6, interesting insights all those pentatonics I love it and studied it also...
I used to work on this concept in the past. I find it very difficult because of the chords change and especially uptempo. BTW this have revealed part of the Tom Quayle playing or style of playing. Your lessons are like organized toolbox. Everything is real in the box. Q: how long it will take to incorporate the things that teach into playing. 🤔
How long it takes to incorporate is really depending on how familar you are with playing changes already. That is a skill that takes some effort to get into your system :)
Thank you so much for the video.
What is the Falt chord? Thank you.
You're very welcome! I am glad you like it!
The F7alt is an altered dominant, so F7 from the Altered Scale. I have several videos on that , just let me know if you want a link 🙂
Jens Larsen Thank you. I will check this out.
Sure! Good luck with it
My choise would have been over Am7b5 Am711Non5 so Pentatonic without the 5th, this is a scale chick Corea extracted this from McCoy Tyners work also Jerry Bergonzi plays a special way of pentatonic that spells out hose Tones:(4th Harmony related) Apenta:(Am711 related) A C D(skip E) G A(skip G) E Dso the 5th is delayed and later comes back ntersting insight the reason in pentatonic approach I leave out the b5 is obviious: it is already in the comping so the 11 is nic suspenion to the b5, but minor 6 is alreay too much something else, I see in it halfdiminshed arpeggio and that I relate more to the Blues scale that's why! My wish is to be from little help
Jerry Bergonzi pentathonic pattern!
Sorry? 🙂
@@JensLarsen no! Thank You! More about Jerry Bergonzi would be nice!
Ok! I'll see if I can find something that can work :) I can't really just hi-jack his methods.
@@JensLarsen Thank you! I would really appreciate that!
The last thing I am obliged to ad is that practicing those things have only worth if you do that realy a few month of a few years without practicing other approaches during the rounds otherwise everyone will get easily lost and aslo it is not so easy to ad this to Vocabulary, maybe for very advanced players...I could only speak out of own experience so any one who would like this information put to practice make shure that you realy work it out deeply otherwise it will give a poor reslult, that is not worth trying, This thing work greatky on tunes from Coltrane like Giant Steps, the changes are altered like : Ebm7(instead of Bmajor) and Ab7 instead of D7(the Rythm section has to go with you otherwise it useless,it gets to ambiguous) Bm7 (instead of Gmajor) and E7 instead of Bb7, than the later II V I are played as all m7 like Ebm7 one bar Fm7 one bar(so instead of Fm7 Bb7) Gm711 over Ebmajor all the time hole tone higher, I tried after10 of practice those things to use it over Giant steps and using no other material(over the normal changes I used all kinds of material(but of course over Giant steps you want go tto far out)the result was that good friends start to ask me questions about the sound and that they found that it sounded a bit like Coltranish(that solo I was real messing and I was ashamed of what i did so you could imagine the surprised feeling I had although I thought i was not playing sop well(of course because for me the sound was already too familiour to see it's worth......because it has this 4th sound...and because you don't use any diatonic scales it realy start to sound different....