This is fantastic. Another idea I saw somewhere for playing far out with pentatonics is to use a note from the “correct” pentatonic scale you are playing as a pivot note to switch to a pentatonic scale which shares that note in common. Anyway another fantastic video as always. I’ll have to get the third fundamentals book.
May I ask a question? What is your view about chromatic or semi-chromatic enclosures when playing an otherwise pentatonic solo? Would you throw some in, or does that ruin the pentatonic effect?
I'd throw them in, especially the ones that are diatonic from above and chromatic from below. (You could enclose from the top down, or from the bottom up; either works. I tend to do top down and pepper occasionally with the bottom up.)
Thanks Jeremy. Superb video as usual. Mark Levine recommends using the pentatonic based on the V to play over a II ,V, I. eg G pentatonic played over Dm, G7, CM. Your thoughts?
The single scale pentatonic solution for ii-V-Is offered by Mark Levine is to play the major pentatonic of the V chord over the entire progression. The “problem” with that is that it renders the ii and I chords with “color” and the V chord as bland. Your suggestion of using the pentatonic of the I chord over the progression renders the “color” on ii and V and the I sounds resolved. It’s a small shift of thinking, but it makes a significant difference. Obviously, there’s room for both approaches
