Besame Mucho 5z6m2r

IMPROVISATION

- by Michael Furstner

Lesson 4 - THE MINOR PENTATONIC SCALE ______________________________________________________________________________ CONTENTS 4-1. The Minor Pentatonic scale 4-2. 'Blues on Nimble Toes' 4-3. Improvisation 4-4. The Blues scale 4-5. The Woodshed 4-6. Quiz 4 (and Answers to Quiz 3) 4-7. Pentatonic scale Ruler ______________________________________________________________________________ 4-1. THE MINOR PENTATONIC SCALE The minor pentatonic scale is a MODE of the major pentatonic scale. This means that it uses the same notes as the major pentatonic scale but it starts on a different note. (This rearranges the position of the various intervals within the scale in relation to the new tonic note.) By using the C major pentatonic scale but selecting 'A' as the Tonic (starting) note the A minor pentatonic scale is formed : (DEMO 16) C major pentatonic scale

:

A minor pentatonic scale :

6

C 1

D 2

E 3

G 5

A 6

A 1

C b3

D 4

E 5

G b7

a 1

c 1

The scales sound distinctly different. The C MAJOR pentatonic scale has a MAJOR Tonic chord : C 1

E 3

G 5

The A MINOR pentatonic scale has a MINOR Tonic chord : A 1

C b3

E 5

The F MAJOR pentatonic scale produces the D MINOR pentatonic scale : F major pentatonic scale D minor pentatonic scale :

: 6

F 1

G 2

A 3

C 5

D 6

D 1

F b3

G 4

A 5

C b7

d 1

f 1

Therefore : The tonic of the minor pentatonic scale is 3 SEMITONES below the tonic of the related major pentatonic scale.

Over isolated chords you can use the : * MAJOR pentatonic scale over a major or dominant chord Use for example the C major pentatonic scale for : C , Cmaj7 or C7 * MINOR pentatonic scale over a minor or minor 7th chord Use for example the C minor pentatonic scale for : Cm Cm7

______________________________________________________________________________ 4-2. BLUES ON NIMBLE TOES One of the favourite applications of the minor pentatonic scale in Jazz improvisation is over the 12 bar Blues. The Basic 12 Bar Blues chord progression in any key is : | I

| I

| I

| I

|

| IV

| IV

| I

| I

|

| V

| V

| I

| I

:||

The chords are either major triad (3-note) chords, or dominant 7th chords. In C for example : (DEMO 17) | C7

| C7

| C7

| C7

|

| F7

| F7

| C7

| C7

|

| G7

| G7

| C7

| C7

:||

For improvisation use the C minor pentatonic scale over the ENTIRE Blues chorus. C minor pentatonic scale : C C7 : C E G Bb

Eb

F

F7 : F A C Eb

G

Bb

c

G7 : G

B D F

There are distinct clashes between some of the scale tones with the three chords. But this exactly what the typical Blues sound is all about. It is so to speak a battle between MAJOR (or dominant) CHORDS and MINOR (pentatonic) SCALE.

(DEMO 18) BLUES ON NIMBLE TOES (by Michael Furstner)

C7 (I7) ----------------------------------------------------------------------4 - G c eb f eb f g |eb c - Bb c - |- G c eb f eb f g eb | | 4 1 2 + + 3 + 4 + |1 + 2 + 3 + 4 |1 2 + + 3 + 4 + + |1 2 3 4 | -----|------------------------------------|-----------|---------------|_3_| |_3_| |_3_| F7 (IV7) C7 (I7) ----------------------------------------------------------------------| - G c eb f eb f g |eb c - Bb c - |- G c eb f eb f g eb | | | 1 2 + + 3 + 4 + |1 + 2 + 3 + 4 |1 2 + + 3 + 4 + + |1 2 3 4 | -----|------------------------------------|-----------|---------------|_3_| |_3_| |_3_| G7 (V7) C7 (I7) ----------------------------------------------------------------------| G F G Bb G G F G |Bb G G F G Bb c | Bb G eb | c || | 1 + + 2 + 3 + 4 + + |1 + 2 + 3 + + 4 + |1 2 3 4 + + | 1 2 3 4 || --|--------------|---------------|-----------------|------------------|_3_| |_3_| |_3_| |_3__| Copyright 1997

Michael Furstner.

______________________________________________________________________________ 4-3. IMPROVISATION The Blues is an excellent format to practice good phrasing in improvisation. I recommend you use it throughout this course and after it. Practice 1. Play the melody of Blues on Nimble Toes until you can play it from memory. 2. Practice chord root tones until you can do it from memory. Also play chord root tones over some rhythm patterns. 3. Play chord tones of dominant 7th chords in crotchets (1 beat notes) : (DEMO 17) C7 ---------------------------------------------------------4 C E G Bb | c Bb G E | C E G Bb | c Bb G E | 4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | ---------------------------------------------------------F7 C7 ---------------------------------------------------------| F A c eb | f eb c A | C E G Bb | c Bb G E | | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | ---------------------------------------------------------G7 C7 ---------------------------------------------------------4 G B d f | g f d B | C E G Bb | c Bb G E | 4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |

---------------------------------------------------------4. Then start improvising USING CHORD TONES ONLY. 5. Finally improvise using the C minor pentatonic scale ONLY. C minor pentatonic scale : C 1

Eb b3

F 4

G 5

Bb b7

C 1

TRIPLET QUAVERS The typical Jazz style has a distinct triplet quaver feel that underlies each and every beat. ('Triplet quavers' means 3 notes evenly spaced over 1 whole beat.) The 'normal' quavers (half beat notes) in a Jazz tune are played UNEVEN to reflect the triplet feel : * All downbeat quavers are played for 2/3 of the beat * All upbeat (or 'offbeat') quavers are played for only 1/3 of the beat Triplets are played 'straight'. That means each note of the triplet is the same length of 1/3 of the beat. Triplets create variety and excitement to the music. Practice them therefore in your improvisation. Here are five triplet Rhythm Patterns to start with. You can split each pattern in 2 bar halves and use them on their own or combined with any other half. Make some patterns up yourself too. (DEMO 19) Pattern 16 ----------------------------------------------------------------4 O o o o o O | o o | O o o o o o | | 4 1 2 3 + + 4 + | 1 2 + 3 4 | 1 2 3 + + 4 + | 1 2 3 4 | ---------|------------------------------|-----------------------|_3_| |_3_| Pattern 17 -------------------------------------------------------------------4 O o o o O o o | | O o o o O - o o | | 4 1 + 2 + + 3 + 4 + | 1 2 3 4 | 1 + 2 + + 3 + 4 + | 1 2 3 4 | -------|-------------------------------|---------------------------|_3_| |_3_|

Pattern 18 -------------------------------------------------------------------4 o o o o - o o o o | - O | o o o o - o o o O | | 4 1 + + 2 + 3 + 4 + | 1 + 2 3 4 | 1 + + 2 + 3 + 4 + |1 2 3 4 |

---|---------------------------------|-----------------------------|_3_| |_3_|

Pattern 19 ------------------------------------------------------------------4 O O O | o o o o o - o o - | O O O | o o o o o | 4 1 2 + 3 4 | 1 + + 2 + 3 + 4 + | 1 2 + 3 4 | 1 + + 2 + 3 4 | ----------------|----------------------------------|--------------|_3_| |_3_|

Pattern 20 ------------------------------------------------------------------4 O O o o o | o o - O | O O o o o | o | 4 1 2 + 3 4 + + | 1 + 2 + 3 4 | 1 2 + 3 4 + + | 1 + 2 3 4 | ------------|--------------------------------|--------------------|_3_| |_3_| Music notation for Rhythm Patterns 16-20 I have used Rhythm Pattern 17 for the improvisation (DEMO 19) over 'Blues on Nimble Toes'. ______________________________________________________________________________ 4-4. THE BLUES SCALE. The Blues scale is a 6-note scale. It is derived from the minor pentatonic scale by adding just one note, the b5. (DEMO 20) C Minor Pentatonic scale

: C 1

Eb b3

F 4

C Blues scale

: C 1

Eb b3

F 4

Gb b5

G 5

Bb b7

c 1

G 5

Bb b7

c 1

The extra note produces two semitones in the scale. This immediately destroys the pentatonic character. Instead it simulates the bending of notes characteristic of all blues vocalists. The b3 (Eb), b5 (Gb) and b7 (Bb) are the so called 'blue notes' in the scale. In the key of F : F Minor Pentatonic scale

: F 1

Ab b3

Bb 4

C 5

Eb b7

f 1

F Blues scale

: F 1

Ab b3

Bb B 4 b5

C 5

Eb b7

f 1

The three blue notes in the F Blues scale are Ab, B and Eb For improvisation use the Blues scale in the same way as the Minor pentatonic. That is : use the ONE BLUES SCALE over the entire Blues chorus. For the Blues in C : use the C Blues scale. For the Blues in F : use the F Blues scale. Etc. ______________________________________________________________________________ 4-5. THE WOODSHED. Keep working on the five qualities of 7th chords. Once you have made some progress with them start using the Play-a-Long. The track plays 4 bars for each chord, starting with the C chords, then in Circle of Fifths order. C - F - Bb - Eb - Ab - Db - Gb - B - E - A - D - G.

Good luck. See you next Lesson, Michael. ______________________________________________________________________________ 4-6. QUIZ A. Convert the following major pentatonic scales into minor pentatonic scales. 1. Bb C D F G Bb 2. Ab Bb C Eb F Ab 3. F G A C D F 4. G A B D E G 5. Gb Ab Bb Db Eb Gb B. Unscramble these minor pentatonic scales. 1. F D A C G 2. Bb F G C Eb 3. C Eb Bb F Ab 4. A E D B G 5. C Bb G F D C. Convert these minor pentatonic scales into Blues scales by adding 1 note to each scale. 1. D F G A C D 2. Bb Db Eb F Ab Bb

3. G Bb C D F G 4. A C D E G A 5. E G A B D E ANSWERS IN NEXT LESSON -------------------------------------Answers to Quiz 3 A. 1. The major pentatonic scale consists of the 1st, 2nd, 3rd, 5th and 6th notes of a major scale. 2. What is the main characteristic of the major pentatonic scale ? It has no semitones. It has two intervals of a tone and a half (minor 3rd). It is therefore sometimes referred to as a 'gapped' scale. B. Convert these major scales into major pentatonic scales with the same tonic note. Take out the notes in brackets : 1. G A B (C) D E (F#) G 2. D E F# (G) A B (C#) D 3. Bb C D (Eb) F G(A) Bb 4. F# G# A# (B) C# D# (E#) F# 5. A B C# (D) E F# (G#) A C. 1.How many major pentatonic scales can you form using white notes of the keyboard only (C D E F G A B) Three : C D E G A C - F G A C D F G A B D E G 2. How many major pentatonic scales can you form using the black notes of the keyboard only. (Gb Ab Bb Db Eb) One only : Gb Ab Bb Db Eb Gb D. Write out the five chord qualities for the following root notes. 1. 2. 3. 4. 5.

A D G F Bb

: : : : :

MAJOR A C# D F# G B F A Bb D

7TH E G# A C# D F# C E F A

DOM.7TH A C# E D F# A G B D F A C Bb D F

G C F Eb Ab

MIN.7TH A C E D F A G Bb D F Ab C Bb Db F

G C F Eb Ab

HALF DIM. A C Eb G D F Ab C G Bb Db F F Ab B Eb Bb Db E Ab

DIM.7TH A C Eb D F Ab G Bb Db F Ab B Bb Db E

Gb B E D G

the maj.7 chord consists of the note 1, 3, 5 and 7 of the major scale. ______________________________________________________________________________ 4-7. PENTATONIC SCALE RULER The Pentatonic scale Ruler is an easy to use device to help you find the notes of the major- or minor- pentatonic scale in any key.

Use the strips below to find the notes of the pentatonic scale in any key. Align the Tonic note of the required

scale on the LETTER STRIP

with the '1' on the 'Pentatonic Scale' strip

C | | | (1)

C# Db D

D# Eb E F | | 1 2 | | (b3) (4)

LETTER STRIP F# G# A# C# Gb G Ab A Bb B C Db D | | | | 3 5 6 | | | | (5) (b7) (1)

D# Eb E

F

F# Gb G

G# Ab A

A# Bb B

C

C# Db

PENTATONIC SCALE STRIP The notes for the Minor pentatonic scale are shown in brackets. (The added note for the Blues scale is shown as ) For example, to find the E minor pentatonic scale : align E on the LETTER STRIP

C

C# D# Db D Eb E F -------->| | | (1)

F# Gb G

with (1) on the PENTATONIC SCALE STRIP

LETTER STRIP A# C# D# Bb B C Db D Eb E F | | | | 2 | 3 5 6 | | | | (4) | (5) (b7) (1)

G# Ab A

| 1 | (b3)

F# Gb G

G# Ab A

A# Bb B

C

C# Db

PENTATONIC SCALE STRIP Now read the E minor pent.scale :

E (1)

G (b3)

A (4)

B D E (5) (b7) (1)

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