Graham English

Posts Tagged ‘pentatonic scales’

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 15

This will be the last dominant 7 pentatonic scale pattern in this series. This pattern begins in the “outside key” and moves to the tonic key for two notes before switching back. The second part of the pattern begins in the tonic key, switches to the “outside key” for two notes, and then returns to the tonic.

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 14

Now this pattern is the exact opposite of the twelfth pattern. Every other note is transposed into the “outside key” but this pattern begins in the outside key and is a full bar long.

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 13

This pattern is almost the exact opposite of the previous dominant 7 pentatonic pattern. Every other note is transposed into the “outside key” but this pattern begins in the outside key and is only two beats.

Download the full pattern:
Playing Outside: The Dominant 7 Pentatonic Scale Pattern 13

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 12

This dominant 7 pentatonic pattern is super squiggly. Every other note is transposed into the “outside key” for superior in-the-moment transposition skills.

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 11

The primary purpose of this dominant 7 pentatonic pattern is to force you to transpose keys a number of times during the bar. If you keep your wits about you as you play this pattern and don’t just memorize it without giving it any thought, you’ll start to become extremely comfortable moving between two keys at will. This pattern changes keys 5 times within a single bar.

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 10

This dominant 7 pentatonic pattern sandwiches the tonic key with two full beats of the “outside” key on either side. It starts in the transposed key, moves to the tonic key, and finishes in the transposed key.

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 9

This dominant 7 pentatonic pattern spends a full beat in the original key, modulates to the “outside” key for two full beats, and then returns to the original key for the final beat.

You can play around with this pattern and find some useful alternatives. Try pushing the pattern back a beat so it starts on [...]

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 8

Similar to dominant 7 pentatonic pattern 3, just by playing around with two different scales, we can invoke many more different keys and harmonic shapes. This is the first pattern to start in the “outside” key.

Download the full pattern:
Playing Outside: The Dominant 7 Pentatonic Scale Pattern 8

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 7

This dominant 7 pentatonic pattern gets challenging again. Like the previous pattern, it spends more time in the “outside” key. Only the first and fifth notes are in the original key. This means that you have to switch keys a total of three times during the entire eight-note phrase.

A useful exercise is to take a [...]

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 6

This dominant 7 pentatonic pattern spends more time in the “outside” key. Only the first full beat of each phrase is in the original key. Without looking at this pattern, can you play it? You should be getting more comfortable switching keys. Even if it doesn’t feel completely natural, you might be able to imagine [...]

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 5

This dominant 7 pentatonic pattern gets tougher again. It has four notes in C and four notes in D flat but they are all spread throughout the bar.

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 4

This pattern should be easier than the previous dominant 7 scale pattern. The transposition doesn’t split the bar so you only have to think about transposing once during the full pattern.

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 3

This dominant 7 pentatonic pattern is similar to the previous pattern. It still moves up a half step for a total of 2 notes in an eight note pattern. But this time, the transposed notes are the fifth and eighth notes in the sequence. This means that you have to transpose up a half-step twice during the pattern, rather than just once.

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 2

If Pattern 1 seemed easy to you, I guarantee you’ll find this next one more challenging.
Last time, we simply took a four-note pattern and transposed it up a half step for the second half of the bar. This time, we’re using a full eight-note pattern and transposing only the fifth and sixth notes up a [...]

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 1

A favorite scale of jazz saxophonist, John Coltrane, is the Dominant 7 Pentatonic Scale.

Piano Voicings Part 3: Fourth Chords

Fourth chords create harmonies reminiscent of McCoy Tyner’s playing. Stacked fourths have a wide open texture and are complimented very well by pentatonic scales. Begin on the third of a major scale and keep adding fourths as your taste dictates. Most voicings include a tritone as well as fourths. Fourth chords, similar to So What [...]