(Jazz Guitar playing)
- Hi everybody, my name is Jens Larsen.
In this video I want to go over a few ways
that you can work with and practice the pentatonic scale
so that you can get away from using
only the two-note-per-string patterns and boxes
that you probably already learned,
and also so that you can get some melodies that sound
a little bit less like Eric Clapton and B.B. King,
and a like more like something you can use
in modern jazz or in fusion jazz.
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about improvising over changes,
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(Jazz Guitar playing)
The idea behind this example
is to take the standard two-notes-per-string shape,
so in this case that would be this shape (Playing Guitar),
and then I'm turning that into a shape
that has not two notes per string,
but first three and then one,
and then that pattern keeps on going,
so that would be this shape (playing),
and the idea here is
since we have three notes and then one note,
that's a little bit easier to play for your right hand
than playing two notes all the time,
and another thing that's also getting a little bit easier
is that now we can actually have
a fourth interval on one string,
so (playing) we have this (playing),
twice the fourth interval in the line,
and that's just a lot easier to play
when you have it on the same set of strings,
if you're in a position where the stretch is doable, anyway.
So that's also what I'm using in the line.
I start off with (playing) fourth interval (playing)
then I play the B on the next string (playing)
and then again, skipping up,
so I have another fourth interval (playing),
and then from here I go down
to the first note on the last string, so the D,
and then (playing) just up the scale,
and then a short pattern to end it (playing).
(Jazz Guitar playing)
In this example, I'm applying the pentatonic scale
to a ii-V-I in the key of D major.
Also, just to give a clear example
of how this works really well for using the pentatonic scale
to get more of a modern jazz sound or a fusion sound.
So the concept behind the E minor pentatonic
that I'm using here is, in fact,
that I'm playing it three notes per string,
and the good thing about checking out your pentatonic scales
in three note per string
is that you get a pattern, or a fingering
that actually moves across the neck,
and it's gonna be different
for each different key that you have
of the pentatonic scale if you start on the lowest note.
For the E minor pentatonic, it looks like this.
(Jazz Guitar playing)
In the example,
I'm only playing the E minor pentatonic scale for one bar,
and that means that I'm only using, actually,
the top part of the three-note-per-string pattern
that I just played,
so that would be these six notes (playing),
and what's happening here
is that I first start with (playing) again, fourth interval,
because when we're playing three notes per string
with a pentatonic scale,
then the fourth interval is really easy to play,
so (playing) play that here,
then kind of shifting up to the (playing) B here,
and then again using, on the next string,
the fourth interval (playing),
which actually gives me a quartal arpeggio,
so B, E, and A (playing),
then just down the scale (playing),
and then I move into an A7 altered line,
so that's just down to the C sharp (playing),
the B flat, which is the flat 9 (playing),
pulling off to the A (playing), G,
and then (playing) the flat 13 (playing),
3rd (playing), sharp 9 (playing), flat 9 (playing),
and then resolving to the 5th,
and then from the 5th, I'm actually using
the F sharp minor pentatonic on the D major 7,
which is sort of using the minor pentatonic
from the 3rd of the chord.
It's something I do really a lot for major 7 chords.
I think this is a really nice sound.
In this case (playing), the A,
and then skipping up to E (playing),
and then we get another quartal arpeggio,
which is from C sharp, so C sharp (playing),
F sharp (playing), and then B (playing),
so really ending the line (playing)
on the 13 of the major 7.
(Jazz Guitar playing)
In this example, I'm sort of combining the two approaches,
so I'm using three notes per string,
and I'm keeping it in a position,
and in a way I'm sort of creating an overview, so
if you think of it,
starting in just the normal two-notes-per-string position,
then that would be, of course, this one (playing),
and then I kind of have that overview,
but I can also see the extensions of it,
which would be three notes per string where I move up,
and that would be then this one (playing),
or if I extend down, then I would get this one (playing).
So with both of these extensions,
they're three note per string
and they are staying in position,
and that means that I am repeating notes all the time,
so it's not something that I'm really practicing as scales,
as much as it's much more a question
of just having that as an overview,
because when I'm playing scales
I don't really wanna have those double notes.
I don't think that sounds that nice,
but it is nice to have that in there.
For instance, if I'm playing
so I'm using pentatonic scales a lot
if I'm superimposing them on other chords,
so the E minor pentatonic might be
something that I would use when I'm playing on a C major 7,
as I already mentioned,
the idea of using a minor pentatonic scale
from the third of a major 7 chord,
and if I'm playing, so (playing),
sort of coming out of this position,
then on the (playing),
that's a major scale that would sort of be this (playing)
major scale that I would have in mind for the C major chord,
and then it's just natural to have (playing)
these extended sort of versions (playing)
of the pentatonic scale as well,
and that way I can sort of branch out
and just reach some notes (playing)
that I wouldn't really otherwise be able to reach,
and now we're just opening up
and actually the pentatonic scale
is also opening up my ability to transition
from one major scale position to another,
because they're overlapping,
and the reach of (playing) of this
is actually the same as playing a (playing)
sort of four-note-per-string major scale,
so in that way, they're sort of connecting
different positions of the major scale,
which can also be sort of an easier way
to just transition from one place to the next.
The line that I'm playing is really making use of this,
so I start with extending upwards, so from D to E (playing),
and then sweeping down (playing) the E minor triad,
and then ending on the D (playing),
so (playing) and then a similar idea,
but now I'm back in the original position,
but extending downwards (playing),
which gives me sort of this (playing)
A7 sus4 arpeggio (playing),
and then (playing) an E minor 7 arpeggio,
and then I'm ending the line on an (playing) F sharp,
which is the 9 of the E minor,
which isn't really in the scale,
but it's just a nice note to end on.
Of course there are more ways
that you can work with the pentatonic scales
that's gonna help you connect them,
and also combine them
so that it's easier to play larger intervals,
or move around the neck,
and these are a few ways that I use a lot, and that I find
also, if I sort of look back at the way that I'm playing,
are really influential,
and also really helpful to the way that I play,
but if you have an approach
that you think works really well,
then I would love to hear about it,
and I'm sure all the other guys watching this video
would also be curious, so please leave a comment.
Maybe there's something new we can all discover
that's definitely worthwhile.
For the rest, if you wanna learn more about jazz guitar,
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That's about it for this week.
Thank you for watching, and until next week.
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