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Joe Kataldo28th March 2009Nice fusion lesson, I love outside playing 
Stephane Lucarelli28th March 2009Great lesson David !
Marcus Siepen28th March 2009Very nice lesson, and a great topic, like this we always have an excuse when we play out of key 
Piotr Kaczor28th March 2009Great topic and lesson, David!
kaznie_NL28th March 2009Weird... 
Emir Hot28th March 2009very nice David
David Wallimann28th March 2009Thanks a lot folks!
Pedja Simovic28th March 2009Nice lesson David !
fused28th March 2009This is great stuff. This is exactly the type of things that I'm looking for at GMC!
Thanks David
Bogdan Radovic28th March 2009Very good topic and lesson David!!
AlexLion28th March 2009Well this actually is a bit wrong 
I`m just not very familiar with that type of playing, so this will be entertaining to learn
Sensible Jones28th March 2009A really great example of this technique David!!!!
Gabriel Leopardi28th March 2009Interesting topic! Good lesson David!
Ivan Milenkovic28th March 2009Very interesting concept and lines David, you are really developing that great fusion style of yours! Great!
Sergio Dorado29th March 2009Cool ideas! Great stuf
Lian Gerbino29th March 2009very cool david
Sinisa Cekic29th March 2009Weird but great example !
Jerry Arcidiacono2nd April 2009Great topic and lesson David, I like the "In" and "Out" over the main video
David Wallimann2nd April 2009Thanks a lot guys!
intemperateControl16th May 2009You're so talented - great lessons that you provide. But, t..there is s..something w..wrong h..here - I'm freaking out. Mua-ha-ha-ha...
Staffy14th September 2009This is not so far out, hehe. If we analyze it, all notes of the G# pentatonic is actually parts of the dominant chord to G which in this case would be D13b5 EXCEPT for the C# note which is allowed since it's the "blue" note of the G-minor scale. To play on the dominant over a static chord is a common "trick" among jazz & fusion players to create tension. Another "weird" thing to try is to play the progression Amb5 D7#9 Gm7 over the G-minor chord in terms of pentatonics. (or in terms of scales too, of course) This will give us D-minor pentatonic for the Am7b5-chord, F-minor for the D7#9 chord and resolves into G-minor for the G-minor chord. Why?
Since Am7b5 can be played using C-melodic minor scale and if You build a pentatonic upon that - it will be D-minor pentatonic. Same goes for the D7#9 chord. Here we play Eb melodic minor (which is equal to D super-locrian), a pentatonic scale built on this will give us F-minor pentatonic.
Hard to understand? Naaah, it is worser trying to play it. *lmao* The people responsible for this mess is actually the late John Coltrane & McCoy Tyner, the latter use this A LOT in his recordings, it is way cool, at least I think so...
Sometimes, playing notes that are not in the key of the chord progression you work with will have a great result. This is what we will work on in today's lesson. In order to make this concept work, it is important to remember to not stay too long on a lick outside the original tonality. Doing so will completely lose the listener.
Let's experiment these ideas with the minor pentatonic scale. We'll play in the key of G Dorian using an G# minor pentatonic to sound out. That G# is a great choice as all of its notes are completely outside of the original G Dorian scale.
Remember to resolve your licks with a note inside the original key. Be as clean as possible in the following examples and be aware of the rhythm you are playing with.
Practice well!
