Ok Paiva, here are my responses regarding yours
1) C minor pentatonic works over F minor pentatonic because they both come from one key first of all. C minor belongs to F natural minor and F minor belongs to C natural minor. In other words they can be used in numerous ways to cover. Lets look at the notes of F minor 7th chord : F Ab C Eb. Now lets look at the F and C minor pentatonic
F minor pentatonic : F Ab Bb C Eb (F)
C minor pentatonic : C Eb F G Bb ©
What do you notice from the above? It should be very obvious but I will let you give me an answer to that question!
2) Dmin7b5 and G7 come from Harmonic minor. Min7b5 followed by Dom7 chord up a perfect 4th always comes from Harmonic minor key. So you would naturally use modes from C harmonic minor over these two chords, if you wanted it to sound in key. If you on the other hand wanted to be free with it, you could use D Aeolian b5 mode (F melodic minor) and G altered scale (Ab melodic minor). So you see these two modes have these chords in them but have different notes that produce outside tension sounding melodies!
3) The reason why Minor 6 and Minor 7b5 pentatonics work both is because they are connected and related, they just start from different root. D min7b5 pentatonic is = D F G Ab C (D) . F min6 pentatonic is F G Ab C D (F).
So as you see both pentatonics have exact some notes they just start on different scale degree. This is very useful to know when you are improvising as both of them bring different soloing options and sounds.
4) Whenever you have Altered Dominant chord, you can play minor pentatonic up a minor third! So lets say you got G7#5, you can do Bb minor pentatonic. Bb min pentatonic is : Bb Db Eb F Ab (Bb). If you compare these notes in relation to G as root of the chord you get Bb = #9 , Db = #11 or b5, Eb = b13 or #5 and Ab = b9! So you get a lot of tension sounds by going up a minor 3rd and doing minor pentatonic. Keep that in mind and use it !
5) As I mentioned in number 4, whenever you have Altered dominant chord it is good to do tensions and outside sounds. G Phrygian would not work well because it belongs to same key as C Aeolian. That doesn't create any tensions but rather gives us inside sound which we don't want in this case.
6) Great explanation for Super locryian or altered scale
7) I wouldn't advise using Aeolian when you know you have V and I followed after it. That automatically clarifies that you should use some sort of II V I approach in soloing. Keep in mind that common choice for II is Dorian, for I is Ionian or Lydian but for V we got loads of cool options depending on what tension(s) we want to bring up!
8) Again same trick as we used over G altered dominant chord. Here we got Ab7 so you can go up a minor 3rd and do minor pentatonic from that root.
Hope these explanations are clear Tiago. Let me know if you have any questions and then we can continue with assignments!
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GMC Forum > Discussion Boards > VINTAGE GMC > Community Activities and Tutorials > Ask an Instructor > More instructors > Pedja Simovic > MTP (Pedja)
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