In this series of videos, we look at how to play the changes to a song and be able to play melodic lines that smoothly flow over changing chords.
In part four, we put everything together and play over the changes in a 12-bar blues.
In this series of videos, we look at how to play the changes to a song and be able to play melodic lines that smoothly flow over changing chords.
In part four, we put everything together and play over the changes in a 12-bar blues.
3 Comments
Hi Taka
I figured it out.
Take away the weak notes from a Cmin7 (Tonic and 5th = Pentatonic major.)
C D Eb F G A Bb C take away C and G
= D Eb F A Bb
C Eb F G Bb = (C minor pentatonic)take away C and G = three remaining pentatonic notes of
Eb F Bb but you still use the Tonic and 5th on upbeats for example.
Therefore the 1 b3 5 b7 (chord tones) and three remaining b3 4 b7 are all strong notes of the pentatonic minor.The minor pentatonic is related.
This is only my opinion but I beleive it has merit.
What do you think about my opinion
Greg Ellis
Further note
Major pentatonic notes are more dominant than Minor Pentatonic notes in one7 four7 and five7
chords…but both pentatonics can be recognized in these chord changes
You can think of things this way, but you might be over-complicating things a bit 🙂
Look at this:
minor dom7……..C.Eb…G.Bb
minor pentatonic..C.Eb.F.G.Bb
The notes are nearly the same.