OK, more stuff (my avoidance of the word "scales" is intentional).
So what we're trying to do here is locate and emphasize the different degrees of the scale. Now add the seventh degree ("ti") to your pentatonic patterns.
Now pentatonic with the fourth. As you check these out you'll notice that for example, the pattern for the C-chord above is identical to the one for the G-chord below. Your fingers will be well aware of this, but your brain and ears will doing an entirely different thing. You'll play over one in a "C-ish" way, over the other in a "G-ish" way. In visual terms something like this:
So what we're trying to do here is locate and emphasize the different degrees of the scale. Now add the seventh degree ("ti") to your pentatonic patterns.
Now pentatonic with the fourth. As you check these out you'll notice that for example, the pattern for the C-chord above is identical to the one for the G-chord below. Your fingers will be well aware of this, but your brain and ears will doing an entirely different thing. You'll play over one in a "C-ish" way, over the other in a "G-ish" way. In visual terms something like this:
OK, now the new set of licks, pentatonic scales with an added fourth ("fa") degree.
So these are about seeing the fingerboard in a certain way and understanding the anatomy of major scales. Maybe you can see/hear a scale as being like a three-dimensional object - depending on where you are when you encounter it, you get a different take.
Of course "running scales," while rightly frowned upon as a way of playing a jazz solo, can still be great fun to do, there's no denying it! The patterns above, and the ones coming up in part 3 are patterns to play over. Running these (maybe as kind of a flourish) might come off better if you work out some melodic/Keith-style licks; for instance here's an E-pentatonic-with-D#, from the first example above (E F#G# B C#D#).
and the same exact notes, but played as a B-pentatonic-with-E.
There must be a shorter name for these... Maybe when we come back to them I'll use "Homer" and "Marge." The cool thing about these "gapped scales" - pentatonic or hexatonic - is that you can get away with "running scales" without quite sounding like you're running scales! Now on to part 3, and the "honorary" major scale tones.
Of course "running scales," while rightly frowned upon as a way of playing a jazz solo, can still be great fun to do, there's no denying it! The patterns above, and the ones coming up in part 3 are patterns to play over. Running these (maybe as kind of a flourish) might come off better if you work out some melodic/Keith-style licks; for instance here's an E-pentatonic-with-D#, from the first example above (E F#G# B C#D#).
and the same exact notes, but played as a B-pentatonic-with-E.
There must be a shorter name for these... Maybe when we come back to them I'll use "Homer" and "Marge." The cool thing about these "gapped scales" - pentatonic or hexatonic - is that you can get away with "running scales" without quite sounding like you're running scales! Now on to part 3, and the "honorary" major scale tones.
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