Pentatonico

PENTATONICS
harmonic applications for the guitar
bruce saunders
?
#1 - Tuning note
#20 - Ex. 16 (pg. 26)
#2 - Ex. 1 (pg. 6)
#21 - Ex. 17 (pg. 27)
#3 - Ex. 2 (pg. 7)
#22 - Ex. 18 (pg. 29)
#4 - Ex. 3 (pg. 8)
#23 - Ex. 19 (pg. 30)
#5 - Ex. 4 (pg. 9)
#24 - Ex. 20 (pg. 31)
#6 - Ex. 5 (pg. 9)
#25 - Study No. 4 (pg. 32)
#7 - Ex. 6 (pg. 10)
#26 - Study No. 5 (pg. 33)
#8 - Ex. 7 (pg. 12)
#27 - Study No. 6 (pg. 34)
#9 - Study No. 1 (pg. 12-13)
#28 - Ex. 21 (pg. 36)
#10 - Ex. 8 (pg. 14)
#29 - Ex. 22 (pg. 37)
#11 - Ex. 9 (pg. 15)
#30 - Study No. 7 (pg. 38-39)
#12 - Ex. 10 (pg. 15)

#13 - Study No. 2 (pg. 16-17)
PRACTICE TRACKS-APPENDIX
#14 - Ex. 11 (pg. 18)
#31 - Leaves Key of G (pg. 40)
#15 - Ex. 12 (pg. 19)
#32 - Leaves Key of B b (pg. 41)
#16 - Ex. 13 (pg. 21)
#33 - L o v e (pg. 42)
#17 - Ex. 14 (pg. 22)
#34 - S o l a r i z e (pg. 43)
#18 - Ex. 15 (pg. 23)
#35 - F Blues (pg. 44)
#19 - Study No. 3 (pg. 24-25)
#36 - Yesterdaze (pg. 45)
PENTATONICS
harmonic applications for the guitar
entatonic scales have been explored often and by many authors. It seems, however, that books
geared toward the guitar and pentatonics are often concerned with static harmony or vamps. The
author writing with the guitar in mind will typically offer the student two pentatonic scales; major
and minor. The bulk of the material offered will deal almost exclusively with fingerings, boxes or grids.
This particular book is attempting to approach pentatonic scales and their use over more active harmonic
movement while addressing the special needs of the typical guitar student. Consequently, it will start with
some basic information before addressing some specific uses of pentatonic scales in different harmonic
situations. We will briefly explore the use of pentatonic scales and static harmony but the main focus will
be to bring the guitar onto the same plane as the piano, saxophone or trumpet and study the relationship of
pentatonic scales and chord changes.
This will take a lot of work on the part of the typical guitarist, especially one accustomed to approaching
the guitar visually rather than musically. Clearing this visual wall is the first step toward negotiating chord
changes with the primary focus a musical one. This is not to say that a grid, grip, box or dots are not helpful
tools but that a more complete knowledge of how a specific note relates to harmony and how that note
sounds against the underlying harmony is very important.
A lot of practice is necessary to add some of these scales to your repertoire of improvisational colors.
Some of the sounds will be familiar to many of you and some may be an acquired taste. When to use a
specific sound is a musical choice and thus the taste, judgement and art of any particular musician is of
prime importance. Time feel, sound, rhythm, space and music are in many ways more important than any
particular note or scale. As a safeguard against non-musical considerations our mantra might be: The right
note at the right time. The right note at the right time. The right note at the right time.
Table of Contents
chapter one: minor seventh pentatonic scale . . . . . . . . . . . . . . . . . . 4-19
Five perpendicular fingering exercise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-7
Lateral fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-10
Harmonic uses of minor seventh pentatonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Exercises, Study No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-13
Melodic voice leading introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-15
Study No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-17
Practice starting notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18-19
chapter two: minor seventh flat five pentatonic scale . . . . . . . . . 20-27

Harmonic uses of minor seventh flat five pentatonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Five perpendicular fingerings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Minor ii-V-i patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22-23
Study No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24-25
Ex. 15, delayed application of pentatonic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Ex. 16 Phyrgian chord use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
chapter three: dominant seventh pentatonic scale. . . . . . . . . . . . 28-34

Harmonic uses of dominant seventh pentatonic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Combination lateral/perpendicular fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Ex. 18 & 19 / major ii-V-I sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30-31
Study No. 4 / F major blues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Study No. 5 / C minor blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Study No. 6 / Solarize changes study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
chapter four: major flat sixth pentatonic scale scale . . . . . . . . . 35-40

Harmonic uses of major flat sixth pentatonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Ex. 20 & 21 / ii-V-I sequence using skips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36-37
Study No. 7 / Love changes with skips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38-39
appendix: practice tracks & answer key . . . . . . . . . . . . . . . . . . . . . 40-47

Practice track No. 1 Leaves key of G, minor seventh suggestions . . . . . . . . . . . . . . . . . . . . . . 40
Practice track no. 2 Leaves key of B b, minor seventh suggestions . . . . . . . . . . . . . . . . . . . . . . 41
Practice track no. 3 Love changes, mixed pentatonic suggestions . . . . . . . . . . . . . . . . . . . . . . 42
Practice track no. 4 Solarize changes, mixed pentatonic suggestions . . . . . . . . . . . . . . . . . . . . 43
Practice track no. 5 F blues key of B b, mixed pentatonic suggestions . . . . . . . . . . . . . . . . . . . . 44
Practice track no. 6 Yesterdaze, mixed pentatonic suggestions . . . . . . . . . . . . . . . . . . . . . . . . 45
Answer key for page 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Answer key for page 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
chapter one: minor seventh pentatonics
he minor seventh pentatonic scale is one familiar to most guitarists. It consists of five notes: root,
b 3rd, 4th, 5th and b 7th. If considered the C major pentatonic the notes are: root (C), 2nd (D), 3rd
(E), 5th (G) and 6th (A). For simplicities sake well consider this the minor seventh pentatonic
throughout this book.
Ami7 (or C major) Pentatonic scale
1 1 1 1 1 1
5fr. & 44
b 5th
b 7th
4th
root 3rd
4 3 3 3 4 4
T
A
B
5 7
5 8
5 7
5 7
5 8 5
5 8
8 5
7 5
7 5
8 5
Most guitarists are very familiar with this scale and would use it for a A dominant 7th or A minor chord.
Unfortunately, some guitarists can only see this scale from the root and if the chord changes, the hand
must move to the root of the next chord on the lowest (in pitch) E string. Our first task is to learn some new
perpendicular (physically up & down) fingerings for the mi7 pentatonic scale. Since the pentatonic is a
five-note scale, any one of the pitches in the scale could be part of five other pentatonic scales. Lets use
the note A as a pivot point.
The note A could be:

Root (Ami7 pentatonic)
b3rd (F#mi7 pentatonic)
4th (Emi7 pentatonic)
5th (Dmi7 pentatonic)
b7th (Bmi7 pentatonic)
N U T
Pependicular fingerings
he Ami7 pentatonic scale located near the fifth fret is at the top of the page. Four other mi7
pentatonic scales in this general location would be:
2 1 1 1 2 2
4 4 4 3 4 4
The note A as minor third = F# mi7 pentatonic

F # mi7 pentatonic scale (notice this is the same as A major pentatonic)
#
#
4
#
# #
&
4
#
#
4fr.
#
circled notes are roots
T
A
B
4 7
4 7
4 6
5 7 5
7 5
7 4
7 4
7 5
minor seventh pentatonic / perpendicular
The note A as fourth = Emi7 pentatonic

1 1 1 1 1 1
3 3 3 4 4 3
4fr. & 44
T
A
B
5 7
5 7
5 8
4 7
5 7 5
8 5
7 5
7 5
7 5
The note A as fifth = Dmi7 pentatonic
1 1 1 1 2 1
4 4 3 3 4 4

5fr. & 4

T
A
B
5 8
5 7
6 8
5 7
5 8 5
8 6
7 5
8 5
8 5
The note A as flat seventh = Bmi7 pentatonic
2 2 1 1 2 2
4 4 4 4 4 4
#
#
&
4
#
#
4fr.

T
A
B
4 7
4 7
7 5
7 5
There are other perpendicular pentatonic fingerings available around the fifth fret and you will probably
discover these for yourself. It might help to start by knowing the position of each root and visualize the
position of the rest of the notes in that particular pentatonic scale. After that, learn the relationship of the
rest of the notes in that particular scale to the root of that scale. The b 3rd, 4th,
5th and b 7th.
xercise 1 uses the five previously listed minor seventh pentatonics, perpendicular fingerings, all in
the general neighborhood of the fifth fret. The fingering is somewhat arbitrary. Try to identify the
notes in each scale by their relationship to the root (b 3rd, 4th, 5th, b 7 and root).
Ex. 1
1 1 1 1 1 1
4 3 3 3 4 4
Five Perpendicular Fingerings (5th Fret) >
4 .
5fr. & 4 .

Dbl. time on rpt.
Ami7
.5
.
T
A
B
No. 2
8 5
8 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
8 5
F #mi7
2 1 1 1 2 2
4 4 4 3 4 4
# # #
4fr. &
# # # # #
T
A
B
4 7
5 7
4 7
4 7
4 7
4 7
4 7
4 6
4 6
4 6
5 7
5 7

4fr. &
Emi7
2 2 2
1 2
4 4 4 4 4 4
T
A
B
7 5
8 5
8 5
8 5
7 4
7 4
7 4
7 5
7 5
7 5
7 5
7 5
1 1 1 1 2 1
5fr. &
Dmi7
4 4 3 3 4 4
T
A
B
5 8
5 8
5 8
5 8
5 7
5 7
5 7
5 7
5 7
5 7
6 8
U
# # #

4fr. &
# # # # ..
Bmi7
2 2 1 1 2 2
4 4 4 4 4 4
6 8
T
A
B
7 5
2nd time only
7 5
7 5
7 5
7 4
7 4
7 4
7 4
7 4
7 4
7 5
7 5
.
.
xercise 2 is the same as Ex. 1 but moved up a minor third. You might try some other locations on
the fretboard with this same concept.
Ex. 2
Five Perpendicular Fingerings (8th Fret) >
No. 3
Cmi7
1 1 1 1 1 1
4 3 3 3 4 4
b
b
b b b b
4
.
.
b b
8fr. & 4
Dbl. x on rpt.
T
A
B
.8
.
11 8
10
11 8
10 8
10 8
10
10 8
10 8
10 8
10
10 8
10 8
10 8
10 8
11
11 8
7fr. &
Ami7
2 1 1 1 2 2
4 4 4 3 4 4
T
A
B
7 10
8 10
7 10
10
7 10
7 10
10
7 10
7 10
7 9
10
7 9
7 9
8 10
8 10
b A
b
b A b A
7fr. &
Gmi7
2 2 2 1 2 2
4 4 4 4 4 4
T
A
B
10 8
11 8
11 8
10
11 8
10 7
10 7
10
10 7
10 8
10 8
10
10 8
10 8
10 8
10
b b b b b b
1 1 1 1 2 1
b
b b b b b b
8fr. & b A
Fmi7
4 4 3 3 4 4
T
A
B
8 11
8 11
11
8 11
8 11
8 10
8 10
11
8 10
8 10
10
8 10
8 10
9 11
10
9 11

2 2 1 1 2 2
..
&
7fr.
Dmi7
4 4 4 4 4 4
T
A
B
10 8
10 8
2nd X only
10 8
10
10 8
10 7
10 7
10
10 7
10 7
10 7
10
10 7
10 8
10 8
10
.
.
minor seventh pentatonic / lateral
ou might feel somewhat more comfortable with minor seventh pentatonic fingerings if you
practiced Ex. 1 & 2 assiduously. But you might have noticed that these patterns dont always flow
easily on the guitar fretboard. However, the following lateral (physically side-to-side) exercises
should sound smooth and fluid if played correctly. You could try sliding down or up to different notes, all
down-strokes or anything else to smooth out the line.
Lateral fingerings
Gmi7 pentatonic lateral pattern >

Pull-off
Etc.
b
Gmi7
& 44 ..
. 10
.
T
A
B
13 10
13
10
11
No. 4
N U T
Ex. 3
8 6 3
6 3
& b b
b
T
A
B
&
T
A
B
b b
Etc.
Hammer-on
..
b
&
T
A
B
11
10
11 13
10 13
.
.
ome variations on the pattern.
Ex. 4
Variation #1 on Gmi7 pentatonic pattern >
No. 5
b b
b
4
.
&4
Gmi7
.
.
T
A
B
11 13
10 13
8 10
8 11
6
5
& b b
b b
T
A
B
Ex. 5
5
5
& 44
T
A
B
Gmi7
~
~
b
5
6
3 5
3 6 8 6
7 5
No. 6
b
b
~
~
~
3
b

~~
& b
T
A
B
8 11
8 10 13 10
13 11
w
11
Ex. 6
b b b
4 J
..
&4
b
b b
Dbl. x 2nd x
11 13
T
A
B
. 13
.
10
8 11
8 10
No. 7
3 6
3 6
5 7
3 6
3 5
5 8
& b b
b b b
T
A
B
&
T
A
B
5
5
5
6
b b b b

b
6
b b b
&
T
A
B
10
11
b
10
11 13
10 13
13 15
13
..
.
.
minor seventh pentatonic / usage
hat should give you some ideas for smoothing out minor seventh pentatonics. You might like to
play these patterns in other keys. But lets get to some specific uses for this scale.
best choice
mi7 pentatonics
chord
CMaj7
CMaj7# 11
Cmi7
Cmi7b 5
C7
C7alt
interval from chord
Ami7, Emi7
Bmi7
Cmi7, Gmi7, Dmi7
Fmi7
Gmi7, Ami7
E b mi7
M6th, M3rd
mi2nd
Root, P5th, M2nd
P4th
P5th, M6th
mi3rd
aking the chords one at a time, the relationship of the pentatonics to the chords works this way
Cmaj7 = Ami7 pentatonic
& w
6th
root
9th
3rd
Cmaj7 = Emi7 pentatonic
5th
& w
3rd
Cmaj7#11 = Bmi7 pentatonic
& w
9th
7th
w #w
3rd
# 11th
b 7th
5th
root
9th
b 6th
4th
7th
6th
& w
9th
4th
& w
root
9th
3rd
9th
b 7th
w bw
4th
5th
4th
5th
6th
C7= Gmi7 pentatonic
& w bw
b 3rd
5th
b 7th
root
9th
C7alt.= Eb mi7 pentatonic
C7= Ami7 pentatonic

6th
7th
Cmi7 = Dmi7 pentatonic
w bw
root
b 3rd
& w bw
root
Cmi7b5 = Fmi7 pentatonic
& w bw bw
b
6th
Cmi7 = Cmi7 pentatonic
Cmi7 = Gmi7 pentatonic
& w bw
5th
# 9th
b 3rd
root
4th
b 9th
b
& bw bw bw bw w
5th
11
b 5th
b 13th b 7th
minor seventh pentatonics
Ex. 7
Patterns over Cmi7 chord (Cmi7, Gmi7, Dmi7 pentatonics) >
No. 8
Cmi7 pentatonic
b b b b b
4
.
. b
&4 j
b b b
Cmi7
T
A
B
&
T
A
B
.
.
Dbl. x 2nd x
6 8
6 8 3 6
5 8 3 5
6 8
5 8
5 8 3 5
5 8
6 8
8 10
b
b b b
b b b b b b
Gmi7 pentatonic
11 6 8
6 8
8 11
11
11 13
11
11 13
10
13
8 11
8 10
6 8
3 6
3 6
5 7
& b
b b b b
Dmi7 pentatonic
T
A
B
3 6
3 5
5 8
3 5
3 5
5 8
3 5
3 5
6 8
3 6
3 5 8
5 7
&
T
A
B
7 5
Study No. 1
5 7
T
A
B
7 5
C minor blues >
[A] Cmi7

4
& 4 ..
5 7
5 7
6 8
Cmi7
Cmi7
10 8
10 8
10 8
.
.
8 6
C7alt
b b b
b
b b b b
Gmi7 pentatonic
11
10 7 10
8 10
No. 9
b b b
. 10 13 13 10 8
.
10 8
..
8 6
7 5
E b mi7 pentatonic
8 6
8 6
v.s.
12
minor seventh pentatonics
Study No. 1 (continued)
Fmi7
Fmi7
Cmi7
b b
3
b b
4
& 4 b
Cmi7 pentatonic
T
A
B
5 7
b b b b .
& b b
Dmi7(b5)
Gmi7 pentatonic
T
A
B
5 8
[B] Cmi7
8 6
7 5
Cmi7
Bb mi7 pentatonic
Gmi7 pentatonic
6 9
7 7
5 7
5 7
5 8 5
b b
b
G7alt
Bb mi7 pentatonic
6 8
9 6
C7alt
b
. b
b n
J b b
Cmi7
6 8
5 8
6 8
Cmi7
Dmi7 pentatonic
T
A
B
G7alt
&
3
Gmi7 pentatonic
b
J
Cmi7
E b mi7 pentatonic
3
9 6
8 6
9 8
Fmi7
Cmi7
Cmi7
Dmi7(b5)
j
J
4
b N .
j b
&4

3
Fmi7
Cmi7 pentatonic
T
A
B
Dmi7 pentatonic
86 8 8
5 7
Gmi7 pentatonic
75
Cmi7
Cmi7

G7alt
b
b
b b
b b b b
b
b
J
&
G7alt
B b mi7 pentatonic
T
A
B
Dmi7 pentatonic
8 5
13
B b mi7 pentatonic
6 8
..
.
.
minor seventh pentatonic
his next exercise is good for practicing pentatonics on ii-V7-I-VI(7) progressions. Using specific
chord/scale combinations the chord qualities get slightly modified. The dominant 7 chords end up
as 7alt. chords and the I chord is Maj7(# 11). Please look at the chord/scale combinations below.
Notice that the pentatonic scales are moving up by half-steps. See Ex. 10 for practice exercises.
G7alt
Dmi7
&4
Ami7 pentatonic
B b mi7 pentatonic
1/2 step
n n # n
Bmi7 pentatonic
1/2 step
# 9 b5 b13 b7 b9
5 b7 R 9 11
CMAJ7(#11)
# 11
A7alt
Cmi7 pentatonic
1/2 step
# 9 b 5 b13 b7 b 9
13
he next exercise is designed to incorporate melodic voice leading (Melodic Voice Leading Bruce
Saunders Mel Bay Publications #20216BCD) by continuing the basic pattern introduced in this
chapter through differing scales and chord changes.
Open notes move down to closest note in the next scale (continuing the pattern)
Dmi7
B b mi7 pentatonic
Ami7 pentatonic
&
w w
Ex. 8
>
4
&4
A7alt
Cmi7 pentatonic
Bmi7 pentatonic
w b b b bw b b b Nw # Nw # bw w
b b
Ascending half-step mi7 pentatonic using melodic voice leading

? No. 10
Dmi7
w
w bw b b w b b
#w N w
b
bw b w b
Ami7 Pentatonic
8 5
T
A
B
CMAJ7(#11)
G7alt
8 5
8 5
G7alt
CMAJ7(#11)
A7alt
B b mi7 Pentatonic
Bmi7 Pentatonic
Cmi7 Pentatonic
9 7
9 7
9 7
10 8
10
b
b
& b b b b b b n # # b b
T
A
B
Dmi7
G7alt
CMAJ7(#11)
Ami7 Pentatonic
Bb mi7 Pentatonic
Bmi7 Pentatonic
7 5
7 5
7 5
6 8
6 8
6 8
7 9
7 9
14
A7alt
Cmi7 Pentatonic
7 9
0 3
1 4
1 4
10 8
10 8
Dmi7
Ex. 9
ii-V-I-VI key of C major, 1/2 step scale movement >
No. 11
Co
ntin
tter
nd
b
ow
b
n
b
Q
b
b
Q
Q
Q
Q
w
#
b
w
Q
w
4w
&4
Dmi7
&
T
A
B
5 8
5 7
7 9
Bb mi7 Pentatonic
G7alt

5 7
5 7
Ex. 10
Cmi7 Pentatonic
Dmi7
Cmi7 Pentatonic
11
Bmi7 Pentatonic
ii-V-I-VI key of F major, 1/2 step scale movement >
pa
A7alt
A7alt
CMAJ7(#11)
ue
11
10
Bmi7 Pentatonic
up
Bb mi7 Pentatonic
Ami7 Pentatonic
ttern
A7alt
Cmi7 Pentatonic
Bmi7 Pentatonic
CMAJ7(#11)
a
ue p
ontin
&
Bb mi7 Pentatonic
Ami7 Pentatonic
Dmi7 Continue pattern down G7alt
Dmi7
T
A
B
CMAJ7(#11) ntinue p Q
Q Co Q
G7alt
Ami7 Pentatonic
T
A
B
n up
atter
No. 12
C7alt
FMAJ7(#11)
D7alt
E b mi7 Pentatonic
Emi7 Pentatonic
Fmi7 Pentatonic
b b A
b
n
n
& b b b
Gmi7
Dmi7 Pentatonic
T
A
B
&b
T
A
B
5 7
5 8
Gmi7
QQ
Dmi7 Pentatonic
10
5 7
5
9
C7alt
6 8
E b mi7 Pentatonic
6 8
6 8
7 9
7 9
7 9
FMAJ7(#11)
D7alt
Emi7 Pentatonic
Fmi7 Pentatonic
15
6 9
Gmi7
6 9
tudy No. 2 uses the chord changes to Autumn Leaves to explore the sound of the minor
seventh pentatonic moving in 1/2 steps on a ii-V-I(MAJ7# 11) progression.
Study No. 2
CMAJ7(#11)
b D7alt
b b n GMAJ7(#11)
J # n # #
j
.
.
Emi7 pentatonic
Fmi7 pentatonic
7 5
8 5
8 5
6 4
F #mi7(b5)
B7alt
Ami7 pentatonic
Dmi7 pentatonic
F # mi7 pentatonic
7 5
8 5 8
5 7
7 5
6 4
Bmi7 pentatonic
6 4
Emi7
&

T
A
B
No. 13
Ami7
& 44 J ..
T
A
B
Autumn Leaves changes and mi7 pentatonics >
E7alt
# J .
J
Bmi7 pentatonic
7 5
7 4
Gmi7 pentatonic
5 8
5 8
7 5
GMAJ7(#11)
CMAJ7(#11)
# #
. b
b b b b
& n
J
Ami7
D7alt
Emi7 pentatonic
Fmi7 pentatonic
T
A
B
4
10
4 7
4 7
4
8
4 6
F # mi7 pentatonic
4 6
7 9 5
Bmi7 pentatonic
7 5
7 5
4 4
Emi7
# # Emi7

&
J
F #mi7(b5)
B7alt
Dmi7 pentatonic
Ami7 pentatonic
T
A
B
5 7
5 7
5 8
6 8
6 8
Bmi7 pentatonic
5 8
16
7 10 5
5 5
Study No. 2 continued
F #mi7(b5)
4 .
&4
5
5 7
5 7
8 5
4 7
4 7
5 7
Ami7
D7alt
GMAJ7(#11)
Emi7 pentatonic
Fmi7 pentatonic
F # mi7 pentatonic
b b b b
#
&
b #
T
A
B
7 4
7 4
7 5
Gmi7 pentatonic
Bmi7 pentatonic
Dmi7 pentatonic
E7alt
Emi7
j
.
Ami7 pentatonic
T
A
B
b b .
j #
#
B7alt
6 8 10 6
CMAJ7(#11)
#
J
Bmi7 pentatonic
5 7
D b7
b b b

b b
&

T
A
B
F #mi7(b5)
B7alt
Emi7
Ami7 pentatonic
Dmi7 pentatonic
Emi7 pent.
Ami7 pentatonic
10
5 4
4
7

&
9
6 8
CMAJ 7
T
A
B
E b7
B b mi7 pent.
5 7
F #mi7(b5) B7alt
Emi7

w
Dmi7 pentatonic
17
Dmi7
4 6
Ami7 pent.
B b mi7 pent.
8 10 11
Emi7
11 9
10
..
.
.
minor seventh pentatonic exercise
n exercise 11 the idea is to use the half-notes as starting notes for a four-note pattern (up or down by
stepwise movement). Use all the fingerings that you have been learning throughout Chapter One.
Exercise 12 is minor ii-V-I-(VI) harmonic movement using four note patterns up and down.
Ex. 11
PRACTICE STARTING NOTES Four-note stepwise patterns >
& 44
Ami7
D7alt
Emi7 Pentatonic
&
Ami7
D7alt
Fmi7
Cmi7 Pentatonic
Fmi7
&
b Fmi7
b B 7alt
b
&
Gmi7 Pentatonic
Cmi7
Gmi7 Pentatonic
Cmi7
&
Gmi7 Pentatonic
GMAJ7(#11)
E bMAJ7(#11)
E bMAJ7(#11)
Dmi7 Pentatonic
E bMAJ7(#11)
D b mi7 Pentatonic
B bMAJ7(#11)
B bMAJ7(#11)
Ami7 Pentatonic
B bMAJ7(#11)
A b mi7 Pentatonic
Ami7 Pentatonic
A b mi7 Pentatonic
F7alt
Dmi7 Pentatonic
A b mi7 Pentatonic
F7alt
Dmi7 Pentatonic
F# mi7 Pentatonic
b B 7alt b
F7alt
F# mi7 Pentatonic
D b mi7 Pentatonic
Cmi7 Pentatonic
Cmi7
D b mi7 Pentatonic
F # mi7 Pentatonic
Ami7 Pentatonic
18
E7alt
GMAJ7(#11)
Fmi7 Pentatonic
B b7alt
Cmi7 Pentatonic
&
Ami7
Emi7 Pentatonic
&
b D7alt
Fmi7 Pentatonic
Fmi7 Pentatonic
Emi7 Pentatonic
&
&
GMAJ7(#11)
? No. 14
Gmi7 Pentatonic
E7alt
Gmi7 Pentatonic
C7alt
E b mi7 Pentatonic
C7alt
E b mi7 Pentatonic
C7alt
E b mi7 Pentatonic
G7alt
B b mi7 Pentatonic
G7alt
G7alt
B b mi7 Pentatonic
B b mi7 Pentatonic
minor seventh pentatonic exercise
Ex. 12
PRACTICE STARTING NOTES Four-note stepwise patterns >
4
&4
Dmi7(b5)
Gmi7 Pentatonic
&
Dmi7(b5)
Gmi7 Pentatonic
Dmi7(b5)
&
Gmi7 Pentatonic
&
&
&
Bmi7(b5)
Bmi7(b5)
Emi7 Pentatonic
Bmi7(b5)
Emi7 Pentatonic
&
Cmi7 Pentatonic
b Gmi7(b5)
Cmi7 Pentatonic
Gmi7(b5)
& b
Cmi7 Pentatonic
Bb mi7 Pentatonic
bG7alt
Cmi7
Bb mi7 Pentatonic
G7alt
Cmi7
B b mi7 Pentatonic
Cmi7 Pentatonic
A7alt
Ami7
Cmi7 Pentatonic
F #7alt
Gmi7 Pentatonic
Gmi7 Pentatonic
E7alt
Gmi7 Pentatonic
b E7alt
A7alt
Gmi7 Pentatonic
Cmi7
Emi7 Pentatonic
Gmi7(b5)
&
G7alt
? No. 15
Ami7 Pentatonic
F #7alt
Emi7 Pentatonic
Ami7 Pentatonic
Ami7
F #7alt
Gmi7 Pentatonic
Emi7 Pentatonic
Ami7 Pentatonic
D7alt
E7alt
Ami7
Gmi7 Pentatonic
C7alt
Emi7 Pentatonic
Fmi7
Fmi7
E b mi7 Pentatonic
C7alt
Cmi7 Pentatonic
E b mi7 Pentatonic
Cmi7 Pentatonic
C7alt
Fmi7
E b mi7 Pentatonic
Cmi7 Pentatonic
19
Fmi7 Pentatonic
D7alt
Fmi7 Pentatonic
D7alt
Fmi7 Pentatonic
bw
chapter two: minor seventh flat 5 pentatonic
he minor seventh flat 5 pentatonic is exactly that: take a minor seventh pentatonic from Chapter
One and flat the fifth. The specific notes are: root, b 3rd, 4th, b 5 and b 7.
root
& w
Ami7 b 5 Pentatonic =
b 3rd
b 5th
b 7th
w bw
4th
he mi7b 5 pentatonic creates some complicated fingerings due to the major third interval between
the b 5 and b 7 but leads to some very interesting sounds, as you will soon learn. If you practice the
fingerings on the next page you will feel more comfortable with this scale. But first, look at some
of the uses of this scale.
chord
CMaj7 # 11
Cmi6
Cmi7( b 5)
C7
C7alt
C7sus b 9 (Phrygian)
mi7b 5 pentatonics
F#mi7( b 5)
Ami7( b 5)
Cmi7( b 5)
Emi7( b 5)
B b mi7( b 5)
Gmi7( b 5)
Cmaj7# 11 = F# mi7( b 5) pentatonic
& #w
# 11th
13th
7th
root
root
b 3rd
b 5th
C7alt= B b mi7( b 5)
6th
3rd
3rd
root
w bw
9th
b 3rd
w
5th
C7= Emi7( b 5) pentatonic
& w
b 7th
3rd
bw
b
w
n
w
b
w
& bw
b 7th b 9th # 9th
& w
w bw bw
4th
Tritone
Maj 6th
Root
Maj 3rd
Maj 2nd
Perfect 5th
Cmi6 = Ami7( b 5) pentatonic
Cmi7 b 5 = Cmi7( b 5) pentatonic
bw
& w
interval from chord
5th
5th
20
13th
b 7th
C7sus b9= Gmi7( b 5)
& w bw
b 13th
w bw
b 7th
w bw
root
b 9th
w
9th
w
4th
m i 7 b5 p e n t a t o n i c
Ex. 13
>
Five perpendicular fingerings mi7 b 5 pentatonic 4th to 8th fret
No. 16
4 .. b b b
b b b b
5fr. & 4
Ami7(b5)
.
.
T
A
B
Dbl. x 2nd x
8 7
8 7 5
8 7 5
7 5
7 5
7 5
7 5
6 5
6 5
6 5
8 5
F #mi7(b5)
# #
4fr. &
# # # #
T
A
B
4fr.
&
T
A
B
5 7 8
7 8
E bmi7(b5)
b bb b b b
5 4
7 4
7 4
4
8
4 7
4 7
4 5
4 7
4 5
4 5
5 7
5 7
b b b b b b b b b b b b b b b
b
b b b b
7
8 6
7 6
7 6 4
7 6 4
6 4
6 4
6 4
b
b b b
5fr. & b
Emi7(b5)
T
A
B
5 7
5 7
5 7
5 7 8 5 7 8
7 8
5 8
5 8
5 8
5 6

U.

4fr. &
.
Bmi7(b5)
T
A
B
7 5
6 5
6 5
6 5
7 4
7 4
21
7 4
4
8
8 7
8 7 5 8 7 5
.
.
Ex. 14
Patterns over changes minor ii-V-i s >
No. 17
G7alt
Cmi6
Cmi6
b b
b
b b b n b b

4
w
&4
Dmi7(b5)
Dmi7 b 5 pent.
10 8
T
A
B
9 8
9 8
Fmi7 b 5 pent.
10
Ami7 b 5 pent.
8 7
8 7 5
G7alt
Cmi6
Cmi6
b b
b b b b b b
b b
&
w
Dmi7b 5 pent.
Dmi7(b5)
T
A
B
9 8 6 9 8 6
Dmi7(b5)
Fmi7 b 5 pent.
G7alt
Ami7b 5 pent.
7 5
7 5
7 5
Cmi6
Cmi6
b b b b b b b b
&
b b
w
Dmi7 b 5 pent.
Ami7 b 5 pent.
T
A
B
8 6
7 5
7 5
Fmi7 b 5 pent.
7 5
6 5
6 5
Cmi6
w
b b b b b b
&
Dmi7(b5)
T
A
B
G7alt
Dmi7 b 5 pent.
5 6
5 8
5 6
Cmi6
Fmi7 b 5 pent.
Ami7 b 5 pent.
5 7 8
7 8
Cmi6
w
b b b b n b b
b
& b
Dmi7(b5)
T
A
B
G7alt
Dmi7b 5 pent.
5 7
5 6
5 7
Cmi6
Fmi7 b 5 pent.
6
8
Ami7 b 5 pent.
5 7 8
7 8
G7alt
b Cmi6
b w Cmi6
b
b

& b
Dmi7(b5)
T
A
B
Dmi7 b 5 pent.
11
10
7 10
10
7 10
Ami7 b5 pent.
Fmi7 b 5 pent.
10
9 11
10
11 12
22
8 10
8 10
10
8 10 11
13
Ex. 15
>
Minor ii-V-i with delayed application of new mi7b5 on V7 chords

? No. 18
Scale changes here
b b b
b
& 44 b b
b
Dmi7(b5)
G7alt
Dmi7 b 5 pent.
T
A
B
Fmi7 5 pent.
5 6
5 8
5 6
9 11 12
Ami7 b 5 pent.
11
10 8
b b b
b
& b b b b b b b b
Fmi7 b 5 pent.
10 8
B b7alt Scale changes here E bmi6
Fmi7(b5)
T
A
B
Cmi6

b w
Cmi7 b 5 pent.
Ab mi7 b 5 pent.
b b
b b
b
B bmi6
b w
b b b b b b b b
b b n b b
&
Cmi7(b5)
T
A
B
Cmi7 b 5 pent.
Etc.
F7alt
Eb mi7 b 5 pent.
Gmi7b 5 pent.
Gmi6
D7alt

b
b
b
b
&
b b
Ami7 b 5 pent.
Emi7b 5 pent.
Ami7(b5)
T
A
B
F #mi7(b5)
&
8 7
10
10 7
C# mi7b 5 pent.
Ami7 b 5 pent.
10 7
10
10
Fmi6
C7alt
b
b

b
&
b b
T
A
B
B b mi7 b 5 pent.
23
Dmi7 b 5 pent.
Anticipates Gmi7b 5
Gmi7(b5)
Gmi7 b 5 pent.
Emi6
B7alt

#
# b
# #
F# mi7b 5 pent.
T
A
B
Cmi7 b 5 pent.
n Study No. 3 Ive tried to again delay the mi7 b 5 pentatonic used on the V7alt. chord (indicated by
[ ]) , a technique we explored briefly on the previous page. You could also try delaying the resolution
of the i chord by playing the V7alt. scale into the next measure.
Study No. 3
>
No. 19
What Is This Thing Called Love? changes and mi7 b 5 pentatonic

b b b
j
b
4
.
b
b b
& 4 . b
[A] Gmi7(b5)
T
A
B
Gmi7 b 5 pent.
.
.5
Fmi7
C7alt
5 6
5 6
Bb mi7 b 5 pent.
6 8
5 6
8 9
Dmi7b 5 pent.
9 6
7 5
6 8
6 5
G7alt
CMAJ7(#11)
bDmi7(b5)

b b b b n n
&
T
A
B
Dmi7 b 5 pent.
9 8 6
Gmi7(b5)
[A] b b
&
8 6
T
A
B
7 9 10
7 10
7 8
8 6
8 6
Bb mi7b 5 pent.
Dmi7 b 5 pent.
T
A
B
G7alt
Dmi7 b 5 pent.
5 6
5 6
5 7
5 7
Fmi7 b 5 pent.
8 9
24
F# mi7 b 5 pent.
7 10
7 8 7
7 10
CMAJ7(#11)
#
b b
& b b
Dmi7(b5)
C7alt
Fmi7

b b b b b
n b

Gmi7 b 5 pent.
9 8 6
7 5
F# mi7 b 5 pent.
Fmi7 b 5 pent.
Study No. 3
continued
B bMAJ7(#11)
F7
4 b b n b b n b n j
&4
n
Cmi7
[B]
Ami7 b 5 pent.
T
A
B
8 7 5
7 5
7 5
E b mi7b 5 pent.
6 8
7 6 7
A7
b
b
& b b b
E bmi7
T
A
B
Cmi7 b 5 pent.
[A2] Gmi7(b5)
b
b b
& b b
T
A
B
C7alt
Gmi7 b 5 pent.
5 8
5 6
5 6
6 8
7 5
G7
n

Bmi7 b 5 pent.
5 6
b n b
b b b
Fmi7
6 9
Dmi7
Bb mi7 b 5 pent.
Dmi7 b 5 pent.
8 10 8
7 5
6 8
G7alt
CMAJ7(#11)
b b
b b b
b b n . J J .
&
J
Dmi7(b5)
Dmi7b 5 pent.
T
A
B
10
8 10 8
9 8
10
8 6
Fmi7b 5 pent.
9 8 6
25
Emi7 b 5 pent.
F# mi7b 5 pent.
b
10
4 8
..
.
.
Ex. 16
Dmi7(b5)
& 44
b b b
b
Dmi7(b5)
&
Fmi7b5 Pent.
Dmi7b5 Pent.
10 8
T
A
B
Ami7b5 Pent.
Gmi7 Pent.
10
Cmi7
Gmi7 Pent.
Abmi7b5 Pent.
Fmi7b5 Pent.
10
Ami7(b5)
10
Abmi7b5 Pent.
Ami7b5 Pent.
Ami7(b5) b
&
T
A
B
10
Cmi7b5 Pent.
Cmi7b5 Pent.
8
26
5 8
Emi7(b5)
b
Dmi7 Pent.
Dmi7 Pent.
Emi7b5 Pent.
Gmi7
w
b D7alt
b b b

b
b
10 8
Ami7 5 Pent.
11
D7alt
Gmi7
& b
5
Cmi7(b5)
Cbmi7b5 Pent.
Ami7(b5)
T
A
B
Ami7b5 Pent.
Fmi7b5 Pent.
b b E . mi7b
b
b n
J
& b b b b b b b
6
Ami7(b5)
Cmi7b5 Pent.
B b7alt
Fmi7(b5)
T
A
B
E .bmi7 b
Cmi7(b5)
n
b
b
J
b b b
b
& b b b b b
8
b
b
J
b
Cmi7
11
Fmi7b5 Pent.
B b7alt
Fmi7(b5)
bG7alt

b b b
No. 20
G7alt
Dmi7b5 Pent.
T
A
B
T
A
B
Delayed applications >
5 10
13
he 7sus b 9 chord can be confusing. It often functions as something other than a dominant chord.
This chord is often notated as 7sus b 9 (eg. C7sus b 9), Phrygian (e.g. C Phryg.) or sometimes as a
Maj7# 11 chord over the seventh (e.g. Db Maj7 # 11/C). It is a popular choice for modern jazz
composers such as Kenny Wheeler, Richie Beirach, John Abercrombie, John Scofield, et. al. The mi7 b 5
pentatonic scale a perfect fifth away sounds nice with this chord.
7sus b 9 (Phrygian) >
Ex. 17
No. 21
Ami7b5 Pent.
D7sus(b9)
[]
Emi7b5 Pent.
b A7sus(b9)
[]

b b
b b b
& 44
6 5
T
A
B
8 5
8 5
8 5
7 5
8 7
7 5
Dmi7b5 Pent.
[]
7 5
7 5
6 5
C7sus(b9)
b b b
b
& b b b b
G7sus(b9)
T
A
B
5 6
5 8
5 6
Gmi7b5 Pent.
[]
5 7
5 6
5 7
5 6
6 8
5 6
6 8
6 8
6 8
Fmi7 5 Pent.
B 7sus(b9)
[]
Cmi7b5 Pent.
b F7sus(b9)
b b []
b
b b b b b
&
b b b b b b b b b b b b
b
T
A
B
7 6
7 6
E b7sus(b9)
8 5
8 5
Bbmi7b5 Pent.
[]
& b b b b b b b b b b b b b
T
A
B
6 7
D b7sus(b9)
6 8
6 8
9 8 6
6 8
8 6
8 6
8 6
Ebmi7b5 Pent.
[]
A b7sus(b9)
b b b
6 8
8 6
b b b b n b n
b b b b b b
7
6 8
4 7
7 9 10 7 9 10
b
9
Abmi7b5 Pent.
b
Dbmi7b5 Pent.
[]
n b n b b b[]
b b b b b b G b7sus(b9)
b b b
b b b
&
T
A
B
10 9
F#mi7b5 Pent.
[]
9 7
8 7
9 6
9 6
Bmi7b5 Pent.
[]

#
& # #
B7sus(b9)
T
A
B
7 9
7 9
7 9 10 7 9 10
E7sus(b9)
9 10
7 9 10
27
10
9 10
10
10
10
7 10
10
7 10 12
6
8
w
12
10 9
chapter three: dominant seventh pentatonics
he next pentatonic scale well explore is the (major) dominant seventh pentatonic. A variation on
the major pentatonic, its specific notes are: root, 9th (2nd), 3rd (major), 5th and b 7. (This scale
could also be considered the Gmi6 pentatonic). In the key of C those notes would be:
C dom7 Pentatonic
Notice that
CMaj7( # 11) and
C7( # 11) use the
same pentatonic
scale. That is
because the scale
used this way does
not produce a 7th.
& w w
root
chord
CMaj7# 11
C7
C7# 11
C7alt
Cmi6
Cmi7b 5
Cmi(Maj7)
Notice that C7alt

and Cmi7( b 5) use
the same
pentatonic scale.
That is because
the scale used this
way does not
produce a 3rd.
9th
3rd
bw
b 7th
5th
dom7 pentatonic
interval from chord
Ddom7
Cdom7
Ddom7
G bdom7 and A b dom7
Fdom7
A b dom7
Gdom7
Maj 2nd
Root
Maj 2nd
Tritone,
min 6
Perfect 4th
min 6th
Perfect 5th
Taking the chords listed above one at a time, the relationship of the pentatonics to the chords is as
follows:
Cmaj7#11 = Ddom7 pentatonic
w #w
w
&
9th
3rd
# 11th
6th
13th
root
C7#11 = Ddom7 pentatonic
w #w
w
&
9th
3rd
# 11th
6th
13th
root
C7 = Cdom7 pentatonic
w
& w
root
b 13th b 7th
b 13th b 7th
b 7th
b 9th
3rd
Cmi6 = Fdom7 pentatonic
& w
# 9th b 5th
11th
bw
w bw
root
5th
b 5th b 13th b7th
Cmi7b5 = A b dom7 pentatonic
& bw bw
3rd
bw
& bw bw bw bw
w bw bw
root
C7alt = G b dom7 pentatonic (tritone best)
C7alt = A b dom7 pentatonic (not best)
& bw bw
9th
9th
6th
13th
w bw
root
b3rd
Cmi(Maj7) = Gdom7 pentatonic
& w
# 9th b 5th
5th
13th
Check out the sound of this scale on the original studies later in the chapter.
28
7th
9th
4th
H
Ex. 18
dominant seventh pentatonic
ere is an exercise for the G dominant seventh pentatonic scale. Ex. 17 is a combination of lateral
and perpendicular fingerings.
Gdom7 pentatonic > ? No. 22

FMaj7( # 11), G7, F7 # 11, D b 7( b 9 b 13), B7( # 9 b 13), Dmi6, Bmi7( b 5) & Cmi(Maj7)
[A]
& 44
T
A
B

G7
2 5
3 5
2 5
2 5
3 5
3 5
3 5
2 4
2 4
2 4
3 6
3 6
3 6
3 5
[B] FMAJ7(#11)
4
4fr. & 4
7 5
T
A
B
8 6
8 6
8 6
7 4
7 4
7 4
7 5
7 5
b9]
[C] D b7[=5
7 5
8 5
8 5
6

&
7fr.
T
A
B
10
8 10
10
7 9
7 10
7 9
7 10
7 10
8 10
Dmi6

4
10fr. & 4
[D]
T
A
B
13 10
12 10
10
12 10
12
12 10
12 10
10
12 10
&
T
A
B
12 9
12 10
12 10
13
12
10
29
13
10
10
12
10
8 10
8 10
7 10

12 10
12 9
G7
10
12 9
12
he next two exercises use only dominant seventh pentatonic scales over major and minor ii-V-I
progressions. Ive used only the tritone application on the alt. dominant chords G7alt.=D b 7 pent.)
for its stronger sound. Another (weaker) choice would be the dom. seventh pentatonic built on the
b6. (G7alt.=E b 7 pent.).
Ex. 19
Major ii-V-I sequences >

B b7alt
[1] Fmi7
No. 23
E bMAJ7(#11)
4 b b b b b n N # n b b
&4

B b dom. 7 pent.
T
A
B
[2] Dmi7

&
T
A
B
G dom. 7 pent.
10
7
10
8 10
10
[3] Bmi7
E dom. 7 pent.
6
5 7
8
9
b b A b
b
10
D b dom. 7 pent.

& # #
T
A
B
A bmi7
[4] b b b b b
b b
&
T
A
B
D b dom. 7 pent.
7 9
7
9
6
10 7
6 9
T
A
B
5 7
A b dom. 7 pent.
4
7
5
6
[6] Emi7
A7alt
G dom. 7 pent.
5
7
6 8
7 5
10
T
A
B
6 4
7 5
7 5
6
30
E dom. 7 pent.
7
9
7
9
10
6 8
DMAJ7(#11)
E b dom. 7 pent.
10
# n #
b
& # b b b b
# #w
A dom. 7 pent.
FMAJ7(#11)
G b dom. 7 pent.
G bMAJ7(#11)
C7alt
C dom. 7 pent.
5
5
7 5
8
b b n J
& b b b
[5] Gmi7
D dom. 7 pent.
b b b b b
b
n b
4 7
#
n
B dom. 7 pent.
5
5
7
8
D b7alt
CMAJ7(#11)
G dom. 7 pent.
b n AMAJ7(#11)
# #

# #
B b dom. 7 pent.
6
6 9
5 7
G7alt
E7alt
E dom. 7 pent.
F dom. 7 pent.
6
8 6
8
8 5
Ex. 20
Minor ii-V-i sequences >
No. 24
G7alt
Cmi6
b b b b
b b
& 44 b b
Dmi7(b5)
[1]
B b dom. 7 pent.
T
A
B
D b dom. 7 pent.
7
9 6
6
[2] Cmi7(b5)
F dom. 7 pent.
5 7
6 8
F7alt
B bm i 6
B dom. 7 pent.
E b dom. 7 pent.
b b b b b # #
b b b
b
&
# n
A b dom. 7 pent.
7
8
5
8
8
T
A
B
[3] B bmi7(b5)
T
A
B
A bm i 6
A dom. 7 pent.
D b dom. 7 pent.
#
[4] F mi7(b5)
&
T
A
B
D dom. 7 pent.
5
5
7
5 7
T
A
B
F dom. 7 pent.
5
5 6
5 8
b
n
b b
G b dom. 7 pent.
T
A
B
G b dom. 7 pent.
6
7
5
6
31
5 8
Fm i 6
b
J
Fmi6
b b.
b b
B b dom. 7 pent.
B b dom. 7 pent.
6
9 6
b.
C7alt
b
b
b
b
b b b
&
6
A dom. 7 pent.
[6] Gmi7(b5)
E b dom. 7 pent.
Emi6
C7alt
E b dom. 7 pent.
j b b b b
n b

J
#
b b b b b
6
B7alt
[5] Gmi7(b5)
&
E b7alt
b b b b #
b
&
b .
G b dom. 7 pent.
he following studys use only dominant seventh pentatonic scales, harmonic anticipation ( ),
delayed scale application ( ) & resolution to chord tones ().
Study No. 4
F major blues w/ anticipations, delay and chord-tone resolution
> ? No. 25
B b7
F7
F7alt
B b7
b
n b
# # n b b
4 b
b
& 4
#
[A] F7
Bb dom. 7 pent.
F dom. 7 pent.
T
A
B
10
10
7 10
10
B b7
F dom. 7 pent.
11 10
10
10
10 8 10
Bb dom. 7 pent.
B dom. 7 pent.
8 6
10
9 7 8
Gmi7
C7alt
b b
n
n b b
b
.
b n
&b
J
T
A
B
F7
Bb dom. 7 pent.
5
D7alt
Ab dom. 7 pent.
F dom. 7 pent.
8 6
F7
Gb dom. 7 pent.
C dom. 7 pent.
5 8
8 5 8
5 8
7 9
7 9
C7alt
B b7
[B] F7
F7
b
b
J
# # b b b n b
&
Gb dom. 7 pent.
F dom. 7 pent.
T
A
B
8 4
Bb dom. 7 pent.
F dom. 7 pent.
7 8 4
7 6
5 5
B b7
B b7
Bb dom. 7 pent.
Bb dom. 7 pent.
8 6
F dom. 7 pent.
8 7
b
#
J b
b
& b n
b
F7alt
B dom. 7 pent.
T
A
B
# #
#
&b
T
A
B
Gmi7
C7alt
C dom. 7 pent.
Gb dom. 7 pent.
8 5
5 7 5
9 7
F7
D7alt
Ab dom. 7 pent.
F dom. 7 pent.
C7alt
# n F7

b #
# # n
3
F dom. 7 pent.
8 5
32
8 6
Gb dom. 7 pent.
6
7 8
domiant seventh pentatonic
Study No. 5
C minor blues (same deal) >
No. 26
Cmi7
Fmi7
C7alt
b.
b
b b n b b b
4
b
& 4 b J
[A] Cmi7
Cmi7
F dom. 7 pent.
T
A
B
10 8
G b dom. 7 pent.
8 6
B b dom. 7 pent.
9 6
Cmi7
Dmi7(b5)
G7alt
b
.
J J b b b
b
b b
b
& b b
T
A
B
Fmi7
Cmi7
B b dom. 7 pent.
F dom. 7 pent.
8 5 8
6 8 6 5
6 8 6
5 8
A b dom. 7 pent.
6 9
5 7
D b dom. 7 pent.
7
6 8
9 6
[B] Cmi7
Cmi7
b
n b Cmi7
b b n
b
b b
b b
J
& b j b b
F dom. 7 pent.
T
A
B
Cmi7
G7alt
F dom. 7 pent.
D b dom. 7 pent.
5 7
6 9
6 9
10
8 11
10
7 11 7 10 8
Fmi7
Fmi7
Cmi7
b b b n b
b b
b
b
b
&

C7alt
T
A
B
&
T
A
B
G b dom. 7 pent.
9 7
6 9
B b dom. 7 pent.
F dom. 7 pent.
10
10
9 11
10 7
D b dom. 7 pent.
6 8
D b dom. 7 pent.
F dom. 7 pent.
33
8 5
6 9
Cmi7
7 11 7 10
Cmi7
10
10
b
8
G7alt
Cmi7
G7alt b b
bb b b
b
b b bb b n b
A b dom. 7 pent.
10
10
Dmi7(b5)
5 7
Study No. 6
[A] Cmi(7)
Cmi(7)
10 7
10
10 8

& J J
8
5 79
Db MAJb 7b
b
&
T
A
B
E b dom. 7 pent.
11
8 10 8
6 11 9
7 9
10 8
7 5
FMAJ7(#11)
G b dom. 7 pent.
7 9
10 8
5 7
E bMAJ7(#11)
E bmi7
E dom. 7 pent.
F dom. 7 pent.
A b dom. 7
9 6
7 6
D b dom. 7
B b dom. 7
10
8 7
9
9 6
7 6
A b7alt
D dom. 7 pent.
5 8 11
5 8 7
b
b
n
C dom. 7 pent.
8 6
Gmi7
G dom. 7 pent.
957
n
b b #
Cmi(7)
[B] Cmi(7)
n Dmi7(b5)
b G7alt
b b
j
.
G dom. 7 pent.
5
6
8 86
7
7
B b7alt
b
n # # n
B b dom. 7 pent.
8 10
6
9 6
G dom. 7 pent.
C7alt
C dom. 7 pent.
Fmi7
FMAJ7(#11)
T
A
B
Gmi7
G dom. 7 pent.
.
.
No. 27

b n 3
j
b
b b b
n
& 44 ..
T
A
B
Solarize changes and dom. seventh pentatonic >
7 9 7
5
8
FMAJ7(#11)
FMAJ7(#11)
Fmi7
B b7alt
b
.
b

b b
# # n
.
J
&
# #
J
C7alt
T
A
B
&
T
A
B
G b dom. 7 pent.
5 9
E bMAJ7(#11)
b
8
8 6
B b dom. 7 pent.
9 5 7 9
E dom. 7 pent.
6 9
5 9 7 8
Cmi(7)
D bMAJ 7
Dmi7(b5) G7alt
Cmi(7)
b
#
w
b b b b b nb
..
b b n
J
F dom. 7 pent.
G dom. 7 pent.
5
5
8 6
8
E bmi7 A b7alt
A b dom. 7 D dom. 7
5 6
5 7
5 8
7 6
E b dom. 7 pent.
8 6
34
B b dom. 7 D b dom. 7
8 6 9
6 9
G dom. 7 pent.
5 7
8 6
.
.
chapter four: major flat 6 pentatonic
his is an interesting and useful pentatonic scale. Again, the name is a description. Take a major
penatonic scale 1,2, 3, 5, 6 (eg. C Major pentatonic = C. D, E, G, A) and flat the sixth (e.g. CMaj b 6
pentatonic = C, D, E, G, A b ).
C Major b 6 Pentatonic
root
2nd
& w
chord
CMaj7# 5
C7# 11
Cmi(Maj7)
Cmi9 b 5
C7 # 9 b 13
3rd
5th
b 7th
bw
Major b 6 Pent.
interval from chord
E Maj b 6
D Maj b 6
G Maj b 6
B b Maj b 6
A b Maj b 6
Maj 3rd
Maj 2nd
Perfect 5th
Maj 2nd
min 6th
Remember: the notations above the notes below (such as 3rd, # 11,
etc.) apply to the key of C. For instance, the first note in the
DMaj b 6 scale (D) is the 9th of C7 # 11.
CMaj7 # 5 = E Maj b 6 pentatonic

3rd
# 11th # 5
& w #w #w
7th
C7 # 11 = D Maj b 6
root
9th
& w
5th
6th
7th
9th
bw
& bw
b 3rd
b 7th
C7 # 9 b 13 = A b Maj b 6 pentato
& bw bw
b 13th b 7th
w bw bw
root
# 9th
# 11
w #w
13th
b 7th
bw
Cmi9( b5) = B b Maj b 6 pentatonic
Cmi(Maj7) = G Maj b 6 pentatonic
& w
3rd
root
9th
w bw
11th
Enharmonically, F b is E n ,
the major 3rd of C.
3rd
The use of this scale can be seen in the original studies later in the chapter.
35
b 5th
Major
b6
pentatonic
he use of skips in pentatonic scales can give an interesting sound to an improvised line, especailly
in conjunction with a broken rhythmic pattern. We wont be exploring rhythmic concepts in this
volume but what follows are some skipping patterns you can study.
Ex. 21
No. 28
b
b
b
b
4

& 4 b
[1]
ii-V-i sequence using skips >
Skip one note
7 5
6 5
7 5
8 5 9
10 8 12 10
b

b b
b
&
b b
T
A
B
8 9 5 8
& b
[2] Skip two notes
&
5
6
& b
T
A
B
4 3
5
7
b
5
7 5
6 5
10 12
10
b
b

b b
[3] Skip three notes
&
b
b
b
b
T
A
B
j .
5
8
36
10
12 10
b6
maj
Ex. 22
ii-V-i sequence using skips >
?r
No. 29
pentatonic
Cmi(7)
b n b b
b
w
& 4 b
[1]
Dmi9(b5)
G7alt
E b Maj b 6 Pent.
C Maj b 6 Pent.
T
A
B
7 5
6 5
[2] Dmi9(b5)

G Maj b 6 Pent.
7
5
8
8
8
Cmi(7)
b b
b b b b n
&
b b w
b
C Maj 6 Pent.
G Maj b 6 Pent.
E b Maj b 6 Pent.
T
A
B
10
G7alt
T
A
B
E b Maj b 6 Pent.
6
8
8
8
9
b b
b b
& b b
[4] Dmi9(b5)
T
A
B
G7alt
C Maj b 6 Pent.
5
7
E b Maj b 6 Pent.
[5] Dmi9(b5)
Cmi(7)
b
bw
G Maj b 6 Pent.
10
7
5
8
8
G Maj b 6 Pent.
5
8
8
7 8
b b
w
G7alt
C Maj b 6 Pent.
Cmi(7)
b b
& b b
[3] Dmi9(b5)
Cmi(7)
G7alt

b b b
b
&
b b b n b
b
E Maj b 6 Pent.
C Maj b 6 Pent.
T
A
B
G Maj b 6 Pent.
8
8
7
6
Cmi(7)
b
b bw
b b
& b
[6] Dmi9(b5)
T
A
B
G7alt
C Maj b 6 Pent.
5
5
7
7
5
5
8
6
E b Maj b 6 Pent.
6
8
8
9
37
11
G Maj b 6 Pent.
10
7
5
8
7
8
9
7
7
Major
b6
pentatonic
tudy No. 7 uses only major b 6 pentatonic scales but featuring many intervallic skips (leaps). The
tab provided is one suggested fingering but may prove awkward or uncomfortable for some. You
are urged to explore your own fingerings.
Study No. 7
What Is This Thing... changes, skips & major b 6 pentatonic
> ? No. 30
b b Fmi(7)
b
b b
n
b
b b
&4
[A] Gmi9(b5)
C7alt
F Maj.b 6 Pent.
T
A
B
5
8
A b Maj.b6 Pent.
Dmi9(b5)

& b
C Maj.b6 Pent.
T
A
B
7
7
&
T
A
B
8 10
6 5
11 9
b n.
j
b
5
7
E b Maj.b6 Pent.
5 6
5 7
CMAJ 7(#5)
G7alt
7 5
C Maj.b6 Pent.
A b Maj.b6 Pent.
C Maj.b6 Pent.
6 5 5
9 8 8
b
j
b b
b
b b b b . b
7
6 5
Fmi(7)

b b b .
b
& b
b
5
C Maj. b6 Pent.
C7alt
Dmi9(b5)
T
A
B
8 5
9 7
CMAJ 7(#5)
F Maj. b 6 Pent.
G7alt
E b Maj.b6 Pent.
[A1] Gmi9(b5)

C Maj.b6 Pent.
b
J
C Maj.b6 Pent.
6
5
38
5 8
8 9 8
b
J
8 9 5
7 5
b6
maj
Study No. 7
pentatonic
continued
F7alt
B MAJ 7(#5)
b n b
b n b
b
4 b #
&4
b
[B]
C7(#11)
D Maj.b6 Pent.
T
A
B
5 7
7 8
A b7(#11)
D b Maj.b6 Pent.
5 6 10
8 6
A b7(#11)
3
b b
& b b
3
B b Maj.b6 Pent.
T
A
B
7
8
F Maj.b6 Pent.
T
A
B
6
8

b
3
C7alt
b
3
A Maj.b6 Pent.
5 7
8 9 8 5
b
b
C Maj.b6 Pent.
E b Maj.b6 Pent.
Fmi(7)
G7alt
CMAJ 7(#5)
b b
b b
&
b b
T
A
B
39
Dmi9(b5)
C Maj.b6 Pent.
C Maj.b6 Pent.
12
G7(#11)
n
#
9 8
5 7
G7(#11)
10
A b Maj.b6 Pent.
6
5
[A2] Gmi9(b5)
&
B b Maj.b6 Pent.
5 6

5 7
appendix: practice tracks and scale suggestions
hope youve been able to incorporate some of these pentatonic scales into your own playing. I would
urge you to listen to players such as Joe Henderson, McCoy Tyner, John Scofield, John Abercrombie,
John Coltrane...there are too many improvisors of genius to list here. This appendix provides you with
some common chord progressions, some suggestions for pentatonic scales that you might want to try and
some answers to questions of previous chapters. Good luck and congratulations for getting this far in the
book.
Practice Track # 1
> ? No. 31
4
&4
..
Leaves changes, key of G, minor 7 pentatonics
Ami7
D7alt
Emi7 Pent.
GMAJ7(#11)
F# mi7 Pent.
Fmi7 Pent.
F #mi7(b5)
B7alt
Emi7
Ami7
D7alt
GMAJ7(#11)
Ami7 Pent.
Dmi7 Pent.
Emi7 Pent.
B7alt
Emi7
F #mi7(b5)
B7alt
Emi7
Ami7
D7alt
Ami7 Pent.
Dmi7 Pent.
Emi7 Pent.
F #mi7(b5)
Ami7 Pent.
CMAJ 7
Ami7 Pent.
Dmi7 Pent.
Fmi7 Pent.
B7alt
Dmi7 Pent.
F #mi7(b5) B7alt
Dmi7 Pent.
Bmi7 Pent.
F# mi7 Pent.
Fmi7 Pent.
F #mi7(b5)
Ami7 Pent.
CMAJ7(#11)
Bmi7 Pent.
Bmi7 Pent.
GMAJ7(#11)
F# mi7 Pent.
Emi7
E b7
Bmi7 Pent.
E7alt
Gmi7 Pent.
CMAJ7(#11)
Bmi7 Pent.
Emi7
Bmi7 Pent.
E7alt
Gmi7 Pent.
CMAJ7(#11)
Bmi7 Pent.
Dmi7
D b7
Emi7 Pent. B b mi7 Pent. Ami7 Pent. B b mi7 Pent.
Emi7
40
Bmi7 Pent.
Emi7
Bmi7 Pent.
..
appendix
Practice Track # 2
> ? No. 32
4
&4
..
Leaves changes, key of B b , minor 7 pentatonics
Cmi7
B bMAJ7(#11)
F7alt
Ab mi7 Pent.
Gmi7 Pent.
Ami7 Pent.
E bMAJ7(#11)
Dmi7 Pent.
Ami7(b5)
D7alt
Gmi7
Cmi7
F7alt
B bMAJ7(#11)
E bMAJ7(#11)
Cmi7 Pent.
Gmi7 Pent.
Fmi7 Pent.
Ab mi7 Pent.
Dmi7 Pent.
Ami7 Pent.
G7alt
B b mi7 Pent.
Dmi7 Pent.
Ami7(b5)
D7alt
Gmi7
Gmi7
Ami7(b5)
D7alt
Gmi7
G7alt
Cmi7
F7alt
B bMAJ7(#11)
Ami7(b5)
D7alt
E bMAJ 7
Ami7(b5)
Cmi7 Pent.
Cmi7 Pent.
Gmi7 Pent.
Cmi7 Pent.
Cmi7 Pent.
Fmi7 Pent.
Fmi7 Pent.
Ab mi7 Pent.
Fmi7 Pent.
D7alt
Fmi7 Pent.
Dmi7 Pent.
Dmi7 Pent.
Ami7 Pent.
Gmi7
G b7
Dmi7 Pent.
B b mi7 Pent.
E bMAJ7(#11)
Dmi7 Pent.
Fmi7
E7
Gmi7 Pent. D b mi7 Pent. Cmi7 Pent. Bmi7 Pent.
Gmi7
Dmi7 Pent.
41
Gmi7
Dmi7 Pent.
..
appendix
Practice Track # 3
Love changes, key of B b , mixed pentatonics
> ?r No. 33
C7alt
Fmi7
Dmi9(b5)
G7alt
CMAJ7(#11)
[A] Gmi9(b5)
C7alt
Fmi7
[A]
4
& 4 ..
Gmi9(b5)
F Maj b 6 Pent.
C Maj b 6 Pent.
F Maj b 6 Pent.
B b mi7 b 5 Pent.
Cmi7 Pent.
D b Dom7 Pent.
Bmi7 Pent.
G b Dom7 Pent.
Cmi7 Pent.
Dmi9(b5)
G7alt
CMAJ7(#11)
[B] Cmi7
F7alt
B bMAJ7(#11)
C Maj b 6 Pent.
Gmi7 Pent.
G b mi7 b 5 Pent.
E b Maj b 6 Pent.
A b mi7 Pent.
Ami7 Pent.
E bmi7
A b7
Dmi7
[A2]
Gmi9(b5)
C7alt
Fmi7
B b mi7 Pent.
F Maj b 6 Pent.
Dmi9(b5)
C Maj b 6 Pent.
Cmi7 b 5 Pent.
B b mi7 b 5 Pent.
G7alt
E b Maj b 6 Pent.
Ami7 Pent.
Fmi7 Pent.
CMAJ7(#11)
G b mi7 b 5 Pent.
42
G7
Gdom7 Pent.
Cmi7 Pent.
..
appendix
Practice Track # 4
Solarize changes, mixed pentatonics
[A] Cmi(7)
& 44 ..
Cmi(7)
Cmaj b 6 Pent.
FMAJ7(#11)
Gmi7
Dmi7 Pent.
[B]
Cmi(7)
Cmaj b 6 Pent.
FMAJ7(#11)
Bmi7 b 5 Pent.
E bMAJ7(#11)
Dmi7 Pent.
?r
FMAJ7(#11)
B b mi7 b 5 Pent.
B b7alt
Fmi7
Cmi7 Pent.
E bmi7
A b7alt
Ddom7 Pent.
Dmi7(b5)
Gmi7
C7alt
Cdom7 Pent.
FMAJ7(#11)
D b mi7 Pent.
D bMAJ 7
Fmi7 Pent.
Cmi(7)
G b dom7 Pent.
B b7alt
Fmi7
A b7alt
D bMAJ 7
Ddom7 Pent.
Fmi7 Pent.
43
G7alt
Fmi7b 5 Pent.
Fmi7 Pent.
E bmi7
No. 34
C7alt
Dmi7 Pent.
Emi7 Pent.
E bMAJ7(#11)
>
Edom7 Pent.
Dmi7(b5)
G7alt
Fmi7b 5 Pent.
..
appendix
Practice Track # 5
& 44
[A]
..
B b7
F7
B b Dom7 Pent.
Gmi7
Dmi7 Pent.
[B]
Ami7 b 5 Pent.
B b7
F7alt
B Dom7 Pent.
F Dom7 Pent.
D7alt
F Dom7 Pent.
C7alt
B b7
B b mi7 Pent.
F7
F Dom7 Pent.
F7
Dmi7 b 5 Pent.
B b7
Gmi7
C7alt
Dmi7 Pent.
No. 35
F7
B b7
B b Dom7 Pent.
F7
B b Dom7 Pent.
F Dom7 Pent.
B b7
F7
Blues in F, mixed pentatonics >
F7
E b mi7 Pent.
F7
44
Ami7 b 5 Pent.
Ami7 b 5 Pent.
Ami7 b 5 Pent.
Fmi7 Pent.
C7alt
G b dom7 Pent.
F7alt
E b mi7 b 5 Pent.
D7alt
Cmi7 b 5 Pent.
C7alt
G b dom7 Pent.
..
appendix
Practice Track # 6
[A]
4
&4
Dmi7
..
A7(#5)
E b dom7 Pent.
F7
F Dom7 Pent.
[B]
Dmi7
Ami7 Pent.
Dmi(7)
Dmi7
Dmi6
D7(#11)
E Maj b 6 Pent.
B bMAJ 7
Dmi7 Pent.
E b7(#11)
B b mi7 Pent.
Dmi7
Gdom7 Pent.
A7(#5)
E b dom7 Pent.
Cmi7
F7
F Dom7 Pent.
E bMAJ 7
Dmi6
D7(#11)
E Maj b 6 Pent.
B bMAJ 7
E bMAJ 7
Dmi7 Pent.
Fmaj b 6 Pent.
Ami7 Pent.
Cmi7
F7
Gmi7 Pent.
G7
No. 36
E b7(#11)
Dmi7
Fmaj b 6 Pent.
Ami7 Pent.
Gdom7 Pent.
Dmi7
E b7(#11)
Dmi7
Dmi(7)
Cmi7
Yesterdaze changes, mixed pentatonics >
Bmi7
F # mi7 Pent.
C7
G Dom7 Pent.
Emi7(b5)
Emi7 b 5 Pent.
Dmi7
Cmi7
Ami7 Pent.
F7
Gmi7 Pent.
G7
C Dom7 Pent.
A7alt
Gmi7 b 5 Pent.
E b7(#11)
B b mi7 Pent.
Bmi7
E7
F # mi7 Pent.
C7
G Dom7 Pent.
Emi7(b5)
Emi7 b 5 Pent.
45
E7
C Dom7 Pent.
A7alt
Gmi7 b 5 Pent.
..
appendix
Answer Key pg. 18
Minor seventh pentatonics patterns >
GMAJ7(#11)
b b b # n #
&4
Ami7
Emi7 Pentatonic
D7alt
No. 14
E7alt
F # mi7 Pentatonic
Fmi7 Pentatonic
Gmi7 Pentatonic
E7alt
b D7alt
b b
b n # n # # n b b
&
Emi7 Pentatonic
F # mi7 Pentatonic
GMAJ7(#11)
Ami7
Gmi7 Pentatonic
Fmi7 Pentatonic
C7alt b
b b
#
n #
& b b b
#
Ami7
Emi7 Pentatonic
&
GMAJ7(#11)
D7alt
Fmi7 Pentatonic
E b mi7 Pentatonic
F mi7 Pentatonic
Fmi7
B b7alt
E bMAJ7(#11)
Cmi7 Pentatonic
D b mi7 Pentatonic
Dmi7 Pentatonic
b b b b b b b
b
b
b b n n
B b7alt
C7alt
b b b b b
b
b b
E bmi7 Pentatonic
b
E MAJ7(#11)
b
b
b
n
& b b b b b b b
Fmi7
Cmi7 Pentatonic
C7alt
D b mi7 Pentatonic
Dmi7 Pentatonic
E bmi7 Pentatonic
B b7alt
b Fmi7
b b
E bMAJ7(#11)
G7alt
b
b b b n n b b
b b b b b
&
Cmi7 Pentatonic
D bmi7 Pentatonic
Dmi7 Pentatonic
B b mi7 Pentatonic
G7alt b
b b
b
n
& b b b b
b
Cmi7
F7alt
B bMAJ7(#11)
Gmi7 Pentatonic
A bmi7 Pentatonic
Ami7 Pentatonic
B mi7 Pentatonic
G7alt
F7alt
B bMAJ7(#11)
b b
b
b b b b b b b n
b b b b b b
&
Cmi7
Gmi7 Pentatonic
A bmi7 Pentatonic
Ami7 Pentatonic
B b mi7 Pentatonic

B bMAJ7(#11)
n
& b b b b b b b
Cmi7
Gmi7 Pentatonic
F7alt
A bmi7 Pentatonic
Ami7 Pentatonic
46
appendix
Answer Key pg. 19
Minor seventh pentatonics patterns >
No. 15
A7alt
b
b b
& 44 b b b b b b b
Dmi7(b5)
Gmi7 Pentatonic
G7alt
Cmi7
B b mi7 Pentatonic
Gmi7 Pentatonic
Cmi7 Pentatonic
A7alt
Cmi7
Dmi7(b5)
b b b G7alt
b b b b b
b b b b
&
Gmi7 Pentatonic
B b mi7 Pentatonic
Gmi7 Pentatonic
Cmi7 Pentatonic
F #7alt
b b b b b b
& b b
Dmi7(b5)
Gmi7 Pentatonic
Cmi7
G7alt
B b mi7 Pentatonic
Gmi7 Pentatonic
Ami7 Pentatonic
E7alt

Ami7
F #7alt
b

&
Gmi7 Pentatonic
Bmi7(b5)
Emi7 Pentatonic
Emi7 Pentatonic
Ami7 Pentatonic
F 7alt

& b b
Gmi7 Pentatonic
Emi7 Pentatonic
Bmi7(b5)
Ami7
E7alt
Ami7 Pentatonic
Emi7 Pentatonic
Ami7
D7alt
E7alt
b b b b b
&
b
Bmi7(b5)
Emi7 Pentatonic
Gmi7 Pentatonic
Emi7 Pentatonic
Fmi7 Pentatonic
Fmi7
D7altb b b b
b
& b b b b
Gmi7(b5)
Cmi7 Pentatonic
C7alt
E b mi7 Pentatonic
Cmi7 Pentatonic
Fmi7 Pentatonic
E b mi7 Pentatonic
Cmi7 Pentatonic
Fmi7 Pentatonic
C7alt
Fmi7
D7alt
b Gmi7(b5)
b b b b b b b
b
b b b b b b b b b b
&
Cmi7 Pentatonic
Fmi7 b b b b
C7alt
b
b
&
Gmi7(b5)
Cmi7 Pentatonic
E b mi7 Pentatonic
Cmi7 Pentatonic
47

Pentatonico

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PENTATONICS

harmonic applications for the guitar

#20 - Ex. 16 (pg. 26)

#21 - Ex. 17 (pg. 27)

#22 - Ex. 18 (pg. 29)

#23 - Ex. 19 (pg. 30)

#24 - Ex. 20 (pg. 31)

#25 - Study No. 4 (pg. 32)

#7 - Ex. 6 (pg. 10)

#26 - Study No. 5 (pg. 33)

#8 - Ex. 7 (pg. 12)

#27 - Study No. 6 (pg. 34)

#9 - Study No. 1 (pg. 12-13)

#28 - Ex. 21 (pg. 36)

#10 - Ex. 8 (pg. 14)

#29 - Ex. 22 (pg. 37)

#11 - Ex. 9 (pg. 15)

#30 - Study No. 7 (pg. 38-39)

#12 - Ex. 10 (pg. 15)

#14 - Ex. 11 (pg. 18)

#31 - Leaves Key of G (pg. 40)

#15 - Ex. 12 (pg. 19)

#32 - Leaves Key of B b (pg. 41)

#16 - Ex. 13 (pg. 21)

#33 - L o v e (pg. 42)

#17 - Ex. 14 (pg. 22)

#34 - S o l a r i z e (pg. 43)

#18 - Ex. 15 (pg. 23)

#35 - F Blues (pg. 44)

#19 - Study No. 3 (pg. 24-25)

#36 - Yesterdaze (pg. 45)

harmonic applications for the guitar

chapter two: minor seventh flat five pentatonic scale . . . . . . . . . 20-27

chapter three: dominant seventh pentatonic scale. . . . . . . . . . . . 28-34

chapter four: major flat sixth pentatonic scale scale . . . . . . . . . 35-40

appendix: practice tracks & answer key . . . . . . . . . . . . . . . . . . . . . 40-47

chapter one: minor seventh pentatonics

Ami7 (or C major) Pentatonic scale

The note A could be:

The note A as minor third = F# mi7 pentatonic

minor seventh pentatonic / perpendicular

The note A as fourth = Emi7 pentatonic

The note A as fifth = Dmi7 pentatonic

The note A as flat seventh = Bmi7 pentatonic

minor seventh pentatonic / perpendicular

Five Perpendicular Fingerings (5th Fret) >

2nd time only

minor seventh pentatonic / perpendicular

Five Perpendicular Fingerings (8th Fret) >

minor seventh pentatonic / lateral

Gmi7 pentatonic lateral pattern >

minor seventh pentatonic / lateral

ome variations on the pattern.

Variation #1 on Gmi7 pentatonic pattern >

Variation #2 on Gmi7 pentatonic pattern >

minor seventh pentatonic / lateral

Variation #3 on Gmi7 pentatonic pattern >

minor seventh pentatonic / usage

interval from chord

Cmaj7 = Ami7 pentatonic

Cmaj7 = Emi7 pentatonic

Cmaj7#11 = Bmi7 pentatonic

C7= Gmi7 pentatonic

C7alt.= Eb mi7 pentatonic