Hey gang! Leave it to me to make a mistake (or two) somewhere, and the main one that I found/heard in this lesson was when I was talking about the D7#9 chord and said it had a "Dorian tonality." That one is actually more of a Phrygian thing, but for whatever reason, my mouth said "Dorian." I think everything else is good-to-go, but I didn't notice this typo until after I posted the video and it bothers me that I said that, so that's why I'm trying to clear the air right now. I HATE making typos and mistakes. Thank you, drive thru! 🙂👍
Oz Noy is also crazy with substitutions. One thing I've always noticed about people that use subs a lot is they just "hear" the music differently than most of us do. I saw an interview with Larry Carlton where he talked about discovering substitutions through paying attention to all the similar notes within the chords and realizing he could use them for different things depending on the context. He said he would literally walk to school and think about that when he was just a kid. Some people just "get it". Guys like that are those that get it. Incredible minds.
I went to Musicians' Institute in September '81; Scott was already there with the March '81 class. So I not only got to sit in classes and visiting artist clinics with him, I got to watch him play quite a bit. I wasn't shocked at how his career took off over the years.
I've been playing for 35 years and still learning something new all the time. This is great! Thank you brother! Love the way you lay it out and the practical examples.
Thanks for taking the time to explain the pentatonic substitution approach. I've been playing since I was 16 and still struggle with matching chords and scales.
There was a record put out in the early 90’s. Henderson, Jeff Berlin, Lavitz and Steve Smith. One side studio second side live. I seem to remember it being called “Players” Mind blowing particularly the live side. I wish I could find it.
FWIW BB King plays the Bm pentatonic over GM7 to great effect. I never realized this consciously before even though I did it in the past. Cool stuff. Thanks my brother!
The notes of Bm pentatonic: B, D,, E,F# and A The notes of Gmaj7: G, B, D, F#. A is a 9th and E is a 13th. Guitarists spend too much time on patterns, and often don't know what they are actually playing. (I can be guilty of this as we'll).
what an interesting lesson, Amazing and trans formative. I want to know about this concept especially the pentatonics under the chords. Fascinating Thanks David!
Thanks man I appreciate this 🙏 big time. Another door is opened, I hear what you were saying about that d minor scale over the C major 7, I'm just going to use that f note as a passing note into either the E or G note, landing on it is a little snarky 😅, but it works, I guess it's all in the context of one uses it. Take care man
Thanks David. I have always thought what scales to play over chords being played, I really think thats a big part of what holds me back. I should flip my perspective 180 degrees and I bet it would help a bunch. Thanks man
Great summary: if you want to go further out into jazz territory using minor pentatonic over 7alt chords is a good hack. Ie Bb min pentatonic over G7alt. Worth noting you’re missing the 3rd of G7
David , this lesson was just a tad bit above my “ Pay -grade “ here , but after watching this through to the end I’m ready to do a huge “ Belly flop “ into the pool and maybe give it a try . Diversity is where some pretty intense and interesting stuff comes from . 😎👍. Thanks as always for sharing.
'David , this lesson was just a tad bit above my “ Pay -grade “ ' It totally doesn't have to be. The applies to basic, open position major and minor chords as well.
I’ve been getting into Jazz… but more as a means to give a more melodic feel to Blues, Rock and all forms of Music. Jazz is the King Genre of Resolves… and this gives Jazz its impact.
Great lesson! Thanks for citing your sources :) I've been learning the way Gambale teaches it, starting with the chord type and superimposing pentatonics, but keeping the pentatonic static and moving the chords really highlights it! Ironically, it reminds me of how Gambale teaches modes, where you keep the tonic static and adjust the intervals per mode.
Kind of forcing model tonality here within a stagnate support structure. The way I hear it, as long as you don’t clash with 3rds or 7ths of the texture you can get away with about anything providing you accent underlying chord tones more than non. Good stuff! Thanks. edit: I looked to see if you had a good vid on dominant blues. Does one exist?
yes a new "late night lesson!" it's <a href="#" class="seekto" data-time="193">3:13</a> AM in France Thank You for all your videos, if you have time to answer, please which set up do you use for your videos? i hope it's not a weerd question i mean like a secret recepe.
Have a listen to Well To The Bone. There's some astounding guitar playing and he covers a lot of ground. More rock than jazz, he channels Hendrix, Beck and SRV and many others, but always makes it all his own.
Years ago I went through a couple of VHS tapes of Scott Henderson (Produced by Don Mock) and I learned about the moving pentatonic concept. But when I listened to Scott Henderson's solos, I could not hear how his playing came from this. My biggest take-away from the videos was to listen to myself, and play the next thing based on what I played before.
The first note he plays is after <a href="#" class="seekto" data-time="300">5:00</a> fyi.. everything earlier is him talking about his history and Scott Henderson
C minor seems to implying the phrygian mode...for the most part...are there any penetonic or hexatonic scales that incorporate the flat second...i think maybe that would sound pretty sweet...maybe
Anyone need a good laugh, check out “too many guitars” off Dog Party. Then while laughing at the lyrics, get ready to fall off your chair during the solos at the end 😂
In the handout, what is the third tonality in the column on the left over the MAJOR 7 chord? [Something]5 Same question for the second tonality over the MINOR 7 chord... [Something]7
A lot of them are duplicates no? I mean the major 7 and minor 9 then the minor seven flat five and dominant 9th... probably more.. anyway nice subject. I kind of thought modes were kind of bs to make money at music schools but I have been playing with it and I think I may change my mind a little
Fantastic lesson. I've always used pentatonics over different chords/ with extra notes, but not really understood why it works, except that my ears liked it. Thanks heaps for making me understand why it works.🍻
