Each degree of the minor pentatonic scale can provide a tonic for a mode. There are five modes : * Mode l (minor pentatonic) 1 - b3 - 4 - 5 - b7 (Box 1) * Mode Il (major pentatonic) (Box 2) * Mode IIl aka Egyptian (no third, suspended scale) : 1 - 2 - 4 - 5 - b7 (Box 3) * Mode IV aka Man Gong scale (minor) : 1 - b3 - 4 - b6 - b7 (Box 4) * Mode V aka Ritusen scale (no third, suspended scale) : 1 - 2 - 4 - 5 - 6 (Box 5) The suspended modes can be used over minor or major chords!
hey, greetings from Spain! Just a one consideration: sometimes it's hard to understand the melodic context when you play over the loop. It will be even better if you can play longer examples, so during the firs round the listener can hear exactly how the harmony works, then really feel how the melody goes. Thanks for this one!
Good video. Thank you. I'd like to hear more about the theoretical background of the +minor-third thing. I'd also love more depth and examples of side-slipping.
Awesome info and very helpful! A couple small suggestions; 1) I wish the level of your loop had been a bit higher, it was hard to hear the cord sometimes over what you were playing and it would’ve been really cool to be able to hear how the different scales fit in with the court changes 2) it would’ve been helpful to play each example through twice, maybe once slower and once faster, just to get a better feel for them. They went so fast it felt hard to keep up 😂 Besides that, you broke the info down in a very easy to understand way! I’ve been wanting to get more into jazz playing but always felt intimidated by the theory of it all, your video made it feel actually attainable. I’ll def be back for more content!
I really appreciate the detailed feedback Brad! 🙏 Let me respond with some of reasons for your two questions. 1) I play the backing track on my phone so I can move it closer next time to the mic. 2) Based on my UA-cam Analytics, it’s a bad idea for me to play examples more than once because people click off the video more often. To combat that, I try to put detailed chapters so if you need to watch an example multiple times they’re easy to find. Thanks again! 🤘
I understood perfectly what you are saying. But both you playing and me, especially when we use the tension of C# minor penta or another outside, it sounds bad, ugly, it doesn't sound like John Scofield. It's still a big frustration for me not to understand exactly how he thinks to improvise... no matter how "outside" it may be, it's always beautiful... 😢😢😢
Can't figure out what the hell u doing as your backing track is extremely soft and extremely short!!!! Nothing learned from this and please don't say I'm beginner cos I've been playing for a while including few guys here. Not saying u not good, just the example and backing track stupidly too soft and short!!!
Thank you so much Great lesson My fav is the tension created with # and flat around the main C min Pent then going to resolution. It gives a very nice feel and anticipation. Thank you 🙏 again
These examples are too brief and the chord as played is too ambiguous without a bass line, the first two examples sounded more like major chords with major pentatonics played over them, and I know that's not the sound you're going for. This is potentially a good lesson, but you needed to work on the presentation of it more.
it is OK, but is empty, you have to play music. play phrases do not run scales that fit. play phrases that you would like to hear, play something with some intention. use repetition, use rithm. If you like how this trick sound, make some stuff coming from it yours, and play it as you mean it. Internalize the sounds and be sure to be able to hear what you are playing it makes all the difference
Yes, like all things it requires practice and needs to be played in a musical context. But, that’s up to each individual. I’m just presenting and teaching the concept.
Sorry don't do nothing for me its like getting 7248 guitar chords it does not give me a any clue how to use it .Maybe a jazz guy it might make sense but not to me.
@@ChaseMaddox If you play scales its not my forte if you use them in a song it would make more sense to me .And also I have learning difficulties. But once I get it it is remembered.
Loved the process behind example 5. My all time favorite idea is the pentatonic minor 1/2 step below a Major 7 chord. Never though of actually using voice leading for the pentatonic moving up 1/2 step up and back, no wonder I sound so random doing this. Great lesson, man!! EDIT: talk about the backdoor ii V!
Thank you! 🙏 I love that approach too. Will definitely do a video on pentatonics applied to major chords and other qualities too, and the backdoor ii-V!
Awesome minor pents man... appreciate when you play them a second time a little slower, but really dig example 8 with the chromatic ascend. Keep em comin'.
Thanks! Will do! I try to keep the examples to one demonstration because people tend to drop off if I show them more than once. At least that's what I'm seeing in my analytics. Appreciate the feedback 🤘
That was amazing! Thanks for the pdf too! To answer your questions: - backdoor progressions, yes please! - theory pertaining to pentatonics a minor third away, also very interested. This is an awesome channel, thank you for the work you do here.
Aoelian Dorian Mixolydian and you said minor pentatonic over the chord family of 3rds. I thought the halfstep up from c min like McCoy is brilliant and I loved this lesson. Oh I'll check again but you slide into a common scale tone from half step up i think. Im always sliding up not so ofter down, very helpful thanks for this type of lesson more please! More of using church modes from Aeolian, or even ionian thanks brilliant
Really good tips! Maybe he mentioned it and I missed it, but in all examples he's playing out of the chord's pentatonic in the 'weak' spaces of each bar or couple of bars.
Thanks Rich! All of these ideas work for dominant just translate by putting a ii sound in front. So if it’s an A7 that’s a V7 sound use the minor pentatonics as if it’s E-7.
Very good - this seems like a much better method to begin playing lines - as opposed to thinking we have to learn all the scales and modes before we can play jazz
I wouldn’t say this is a method to begin playing lines, but I don’t think learning all scales and modes is the solution. Just like with learning any language you need to learn the “vocabulary” not just the alphabet.
Thanks Rodrigo 🤘Some people have let me know they don’t like when I do repeated examples so I usually do them once and figure you can always back up and repeat it as many times as you’d like.
It’s great to have all this info in one place. I picked these ideas up over a year from about 4 different videos by 4 different people. Just finding the info was a lot of work. Once you get the info it all falls into place. I hope your video gets a million views. Thanks.
This video is probably not the best intro to jazz, but definitely check out the earlier ones I’ve done or ask me any questions you’d like me to cover. Welcome to the channel! 🤘
Good question. You can add in the 2 more notes that would make the pentatonic an actual scale. Chromaticism can work too, but depends on the context of the song you’re applying the concept to.
@@ChaseMaddox I mean overall adding in the top 10 Jazz Habits into pentatonic scale or major scales or minor scales. There has to be top 10 habits most jazz musicians do in scales. this would be a good video lesson to go over
Thanks, great lesson, really appreciate it. Side stepping to the end of the video really really great for that outside sound ( McCoy). No Pdf link as yet.
You were absolutely right when you'd said I'd like this lesson. I've been checking in periodically and DEFINITELY NOT disappointed. Looking forward to playing these in my blues songs and getting a feel for how they sound and open up the options. Thanks so much. Love the Artcore. ✌❤🎸
@@ChaseMaddox I liked it - I need to rewatch a couple times to get the layers and understand how to piece it together more. I got sidetracked with a SRV documentary and dropped the 335 for my Strat this morning...😁. But I'll get back to this lesson again. Thx for all your hard work my friend!
Great lines! I usually move to, and back from, an outside sound (e.g. from Cm pentatonic to C#m pentatonic) on the off beat to allow a smoother controlled sound - at least I try to 😅!
Ya know, I studied at a Jazz school between October 1989 and June 1991 but I learned very little because I was drunk everyday. I had been playing for about 4 years when I went to that school. Today, I barely know the names of certain chords and I have to think for a couple of seconds if you ask me the name of a note on the B string. I know the modes and the Harmonic minor and the pentatonic and diatonic scales but I play with my ears and everything only started making sense when I forgot all the theory, my fingers just go to the right notes because they spent years going to the wrong notes. I'm not saying I'm great, not at all but I am better today than I've ever been. Theory can help or hinder you, I guess it depends on the type of musician you are. Interesting vid.
Interesting point you make. I find that for me, theory is helpful for writing down music, particularly for instruments I don't play. While playing though, I need to completely block all theory from poppig up in my mind, or else my playing falls appart.
Which of these sounds do you like best? Are there any you'd like me to go more in-depth on? Let me know in the comments! 🤘
Please do go more in-depth on any of these, I find the way you explain things really helpful and informative! 🔥
Each degree of the minor pentatonic scale can provide a tonic for a mode. There are five modes :
* Mode l (minor pentatonic) 1 - b3 - 4 - 5 - b7 (Box 1)
* Mode Il (major pentatonic) (Box 2)
* Mode IIl aka Egyptian (no third, suspended scale) : 1 - 2 - 4 - 5 - b7 (Box 3)
* Mode IV aka Man Gong scale (minor) : 1 - b3 - 4 - b6 - b7 (Box 4)
* Mode V aka Ritusen scale (no third, suspended scale) : 1 - 2 - 4 - 5 - 6 (Box 5)
The suspended modes can be used over minor or major chords!
Interesting way to think about them! Thanks for your comment! 🤘
hey, greetings from Spain! Just a one consideration: sometimes it's hard to understand the melodic context when you play over the loop. It will be even better if you can play longer examples, so during the firs round the listener can hear exactly how the harmony works, then really feel how the melody goes. Thanks for this one!
You’re welcome! I appreciate what your suggestion is but it would make fewer people stay to watch based on the analytics I see.
Good tips - sure I’d like to your take on both back door Dom. and min 3rd related ideas.
Thanks Glenn, will do! 🙏
Good video. Thank you. I'd like to hear more about the theoretical background of the +minor-third thing. I'd also love more depth and examples of side-slipping.
Thank you! Noted! 🤘
Awesome info and very helpful! A couple small suggestions;
1) I wish the level of your loop had been a bit higher, it was hard to hear the cord sometimes over what you were playing and it would’ve been really cool to be able to hear how the different scales fit in with the court changes
2) it would’ve been helpful to play each example through twice, maybe once slower and once faster, just to get a better feel for them. They went so fast it felt hard to keep up 😂
Besides that, you broke the info down in a very easy to understand way! I’ve been wanting to get more into jazz playing but always felt intimidated by the theory of it all, your video made it feel actually attainable. I’ll def be back for more content!
I really appreciate the detailed feedback Brad! 🙏 Let me respond with some of reasons for your two questions. 1) I play the backing track on my phone so I can move it closer next time to the mic. 2) Based on my UA-cam Analytics, it’s a bad idea for me to play examples more than once because people click off the video more often. To combat that, I try to put detailed chapters so if you need to watch an example multiple times they’re easy to find. Thanks again! 🤘
Totally makes sense. Keep up the great work!
Thanks Brad! 🤘
Agreed on both!
I see you have on a martial art shirt. Are you into the martial arts and if so what is your art.
Good eye 😎 I'm a blue belt in jiu jitsu, (striking, throwing, and grappling).
I understood perfectly what you are saying. But both you playing and me, especially when we use the tension of C# minor penta or another outside, it sounds bad, ugly, it doesn't sound like John Scofield. It's still a big frustration for me not to understand exactly how he thinks to improvise... no matter how "outside" it may be, it's always beautiful...
😢😢😢
Great video! But are the b naturals you are playing over b flat minor chord typos? Example 10
Can't figure out what the hell u doing as your backing track is extremely soft and extremely short!!!! Nothing learned from this and please don't say I'm beginner cos I've been playing for a while including few guys here. Not saying u not good, just the example and backing track stupidly too soft and short!!!
The backing track is just C-7 and F-7. Did you download the pdf?
Thank you so much
Great lesson
My fav is the tension created with # and flat around the main C min Pent then going to resolution. It gives a very nice feel and anticipation. Thank you 🙏 again
That’s a good one! Thank you for watching 🤘
These examples are too brief and the chord as played is too ambiguous without a bass line, the first two examples sounded more like major chords with major pentatonics played over them, and I know that's not the sound you're going for. This is potentially a good lesson, but you needed to work on the presentation of it more.
I disagree, thanks for watching!
How Great…Thank you for this really great and useful insight…Thank you very much and greetings from Northern Germany…
Glad you enjoyed it Marco! Greetings from south Florida 🌴
So are you changing each scale with each chord? So like the chord for C we are playing out of the C minor then switching to F minor for the Fm7?
That’s true for the first example but after that the scale we’re playing changes while the chords remain C-7 and F-7.
it is OK, but is empty, you have to play music. play phrases do not run scales that fit. play phrases that you would like to hear, play something with some intention. use repetition, use rithm.
If you like how this trick sound, make some stuff coming from it yours, and play it as you mean it.
Internalize the sounds and be sure to be able to hear what you are playing
it makes all the difference
Yes, like all things it requires practice and needs to be played in a musical context. But, that’s up to each individual. I’m just presenting and teaching the concept.
I have struggling to understand this concept until now.Could you please do another lesson on minor keys with pentatonics?
So I can help specifically, which part are you struggling with?
I would be really curious about the theory behind the pentatonics a "minor third" away !! thanks
Hi Alberto, I answer that in the most recent video! The 3 HIDDEN ii V Progressions!
ua-cam.com/video/QPte6CDjre8/v-deo.html
Can analyze Scofield’s lines from Scary Pocket videos?
Any one in particular?
The side-stepping really tickled my funky bone.
😁🤘
examples are too short and played too fast. cheers
You can slow down with UA-cam, click the settings and choose .75 speed if it’s too fast for you. Cheers 🤘
Thanks, the minor third pentatonics sound the hippest....
I agree, thanks for your comment 🤘
Mmmm Allman Brothers, Dickinson Betts.
🤘🤘
I will work on this. Fantastic lesson. Any II V chord lessons?
Thank you! All these concepts work for chords too! 🤘
Sorry don't do nothing for me its like getting 7248 guitar chords it does not give me a any clue how to use it .Maybe a jazz guy it might make sense but not to me.
Which part doesn’t make sense to you? Maybe there’s something I can clarify.
@@ChaseMaddox If you play scales its not my forte if you use them in a song it would make more sense to me .And also I have learning difficulties. But once I get it it is remembered.
I'd love to see a video about that backdoor ii V... didn't get it 🙂
Right here! The 3 HIDDEN ii V Progressions!
ua-cam.com/video/QPte6CDjre8/v-deo.html
Shredding!
Loved the process behind example 5. My all time favorite idea is the pentatonic minor 1/2 step below a Major 7 chord. Never though of actually using voice leading for the pentatonic moving up 1/2 step up and back, no wonder I sound so random doing this. Great lesson, man!!
EDIT: talk about the backdoor ii V!
Thank you! 🙏 I love that approach too. Will definitely do a video on pentatonics applied to major chords and other qualities too, and the backdoor ii-V!
I do love listening to jazz but I just don’t like playing it. I’m rooted in the blues, I like to bend notes.
I feel you! Still a lot to learn from great jazz players that can be applied to blues and that great blues players DO apply 🤘
@@ChaseMaddox , Django is my favorite guitarist of all time. I just can’t do with four fingers that what he did with two.
Awesome minor pents man... appreciate when you play them a second time a little slower, but really dig example 8 with the chromatic ascend. Keep em comin'.
Thanks! Will do! I try to keep the examples to one demonstration because people tend to drop off if I show them more than once. At least that's what I'm seeing in my analytics. Appreciate the feedback 🤘
I like it all !
Excellent Lesson! I love that half-step up tension trick! Thanks!
Thank you! 🤘
Awesome lesson. Very clear tips as to how to apply pentatonics to play outside and then resolve. Love the channel thanks!
I appreciate it Peter! 🤘
amazing vid. so simply explained
Thanks Zach! 🤘
Great channel all around. Thanks for doing it.
Thank you for the support! 🙏
Awesome lesson!
Thanks Miguel! 🤘
That was amazing! Thanks for the pdf too!
To answer your questions:
- backdoor progressions, yes please!
- theory pertaining to pentatonics a minor third away, also very interested.
This is an awesome channel, thank you for the work you do here.
Glad you enjoyed it! I’ll definitely get to those topics 🤘
Totally agree with Patrick! Would love to see some of these topics more in depth! Also more about the “ side step “ technique!
Addressing both of those topics in tomorrow’s video! 🤘
Great lesson!
Thanks! 😃
1k,,,
What?
Great video. Peace
Thank you 🙏
Great lesson.
Glad you liked it!
Aoelian Dorian Mixolydian and you said minor pentatonic over the chord family of 3rds.
I thought the halfstep up from c min like McCoy is brilliant and I loved this lesson.
Oh I'll check again but you slide into a common scale tone from half step up i think. Im always sliding up not so ofter down, very helpful thanks for this type of lesson more please!
More of using church modes from Aeolian, or even ionian thanks brilliant
Thanks for your comment! Glad you dug the lesson 🤘
I like them all ?
🤘🤘
Thank you!! I like the diminished starting points...gotta work on those 🥂
Glad you enjoyed it! 🤘
Really good tips! Maybe he mentioned it and I missed it, but in all examples he's playing out of the chord's pentatonic in the 'weak' spaces of each bar or couple of bars.
Thanks! Yes, that’s one way you could think of it! 🤘
Gooodd
Thank youuuu 🤘
Great video. Subscribed.
I'd like to see you focus on those half step above and half step below ideas.
Thank you! Will do 🤘
Thanks for a great lesson. How about some ideas for moving minor pentatonics over dominant chords?
Thanks Rich! All of these ideas work for dominant just translate by putting a ii sound in front. So if it’s an A7 that’s a V7 sound use the minor pentatonics as if it’s E-7.
Very good - this seems like a much better method to begin playing lines - as opposed to thinking we have to learn all the scales and modes before we can play jazz
I wouldn’t say this is a method to begin playing lines, but I don’t think learning all scales and modes is the solution. Just like with learning any language you need to learn the “vocabulary” not just the alphabet.
Great video. Wished the examples where repeated twice. Idk would just add to us getting the sound
Thanks Rodrigo 🤘Some people have let me know they don’t like when I do repeated examples so I usually do them once and figure you can always back up and repeat it as many times as you’d like.
2 and 8 definitely reminded me of Wes. could you expand his use of penta? cheers from Italy man!
Sure thing! Cheers from Miami 🤘
It’s great to have all this info in one place. I picked these ideas up over a year from about 4 different videos by 4 different people. Just finding the info was a lot of work. Once you get the info it all falls into place. I hope your video gets a million views. Thanks.
Thank you, I appreciate the support! 🙏
I knew all those pentas, but found the connecting methods excellent! 🍷
Awesome, thank you! 🤘
Excellent tips! Can't wait to take my guitar and try some of the ones I had never heard/ thought of...
Great! Let me know how it goes and if I can help with anything 🤘
Okay I'm trying to analyze how everything fits in. this is gonna be my intro to jazz
This video is probably not the best intro to jazz, but definitely check out the earlier ones I’ve done or ask me any questions you’d like me to cover. Welcome to the channel! 🤘
Nice vid
Thanks Bitcoin Man 🤘
JAZZ MEMES, how can you play the minor pentatonic boxes but make them sound like jazz scales? you just add in chromatic notes and lots of note slides?
Good question. You can add in the 2 more notes that would make the pentatonic an actual scale. Chromaticism can work too, but depends on the context of the song you’re applying the concept to.
@@ChaseMaddox I mean overall adding in the top 10 Jazz Habits into pentatonic scale or major scales or minor scales. There has to be top 10 habits most jazz musicians do in scales. this would be a good video lesson to go over
Great lesson A clear as crystal approach
Thanks 👌👍🎶🎶🎶🎸😎
Thank you Alan! 🤘
excellent! Finally!!!
Thank you! Finally what!?
@@ChaseMaddox someone explaining this in a simple manner.
Glad you think so! 🙏
muchas gracias por compartir tu grande y valioso conocimiento, saludos desde caracas venezuela
Gracias Eduardo por ver la lección y por tu apoyo 🙏 Saludos desde Miami, FL!
Thanks, great lesson, really appreciate it. Side stepping to the end of the video really really great for that outside sound ( McCoy). No Pdf link as yet.
Glad you liked it David! You ended up seeing it a little early, so the PDF link wasn't in the description until just now 😁
The PDF link is there in the video description 👍
You were absolutely right when you'd said I'd like this lesson. I've been checking in periodically and DEFINITELY NOT disappointed. Looking forward to playing these in my blues songs and getting a feel for how they sound and open up the options. Thanks so much. Love the Artcore.
✌❤🎸
Love to hear it! Thanks for the support 🤘 Been rocking with this Artcore since I started playing guitar.
@@ChaseMaddox Those are such sweet guitars. I found one, bought it and never looked back. Thanks again.
✌❤🎸
Absolutely, cheers! 🤘
excellent video, thank you!!
Thank you for your comment and support! 🤘
Great lesson!!
Thanks Steve! 🤘
Example 8 is awesome, great video!
Glad you liked it! 🤘
really good and useful, thanks!
You’re welcome! 🤘
great topic and tips! thanks
You’re welcome! Thanks for the comment 🤘
Nice! Straight to the point, thanks 👏
Thanks Gabriel! 🤘
I like the diatonic sounds
Thanks for the comment! 🤘
Thank you!
You're welcome! Thanks for the support! 🤘
Been looking forward to this lesson - thx Chase!
What did you think?
@@ChaseMaddox I liked it - I need to rewatch a couple times to get the layers and understand how to piece it together more. I got sidetracked with a SRV documentary and dropped the 335 for my Strat this morning...😁. But I'll get back to this lesson again. Thx for all your hard work my friend!
No rush! 🤘 Is the SRV doc on UA-cam? Drop the link!
Great lines! I usually move to, and back from, an outside sound (e.g. from Cm pentatonic to C#m pentatonic) on the off beat to allow a smoother controlled sound - at least I try to 😅!
Thanks Rick! I love that idea 🤘
Great lesson. Thanks.
Appreciate the comment and love the username 🤘
@@ChaseMaddox thanks 👍😀
Ya know, I studied at a Jazz school between October 1989 and June 1991 but I learned very little because I was drunk everyday. I had been playing for about 4 years when I went to that school. Today, I barely know the names of certain chords and I have to think for a couple of seconds if you ask me the name of a note on the B string. I know the modes and the Harmonic minor and the pentatonic and diatonic scales but I play with my ears and everything only started making sense when I forgot all the theory, my fingers just go to the right notes because they spent years going to the wrong notes. I'm not saying I'm great, not at all but I am better today than I've ever been. Theory can help or hinder you, I guess it depends on the type of musician you are. Interesting vid.
Interesting point you make. I find that for me, theory is helpful for writing down music, particularly for instruments I don't play. While playing though, I need to completely block all theory from poppig up in my mind, or else my playing falls appart.
⭐️🙏🏽❤️🇦🇺
🤘🤘