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you got your harmonization right. if we're going for four note chords (stacking one more third) it's a m7b5 or half diminished for the seventh chord.
alright, so lets dissect the Em and Dm pentatonics and see why they work...
Em and G major actually have the same notes...so an E minor pentatonic (E, G, A, B, D) is actually the same notes as G major pentatonic (G, A, B, D, E) so that's why that works...
Bminor pentatonic is B, D, E, F#, and A. you'll see all of those notes are in G major as well. (G, A, B, C, D, E, F#) because of the way the notes set up under your fingers, the overall sound is different, but the pool of notes is the same. it should also be noted that B minor and D major scales contain the same notes, as do their respective pentatonics.
so i gotta ask, you say you can play very well over jazz changes...how are you approaching them? i ask because this stuff will work both ways as well, and i don't want you to get caught up on thinking that rock playing and jazz playing can't be inter-related...
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Well if i'm playing over 2-5-1 in CMaj lets say. I play Cmaj scales i'm play Dm7 and G 7. I 'll target the Arpeggios as well from all three. I 'll target the flat 9 for G7 and even F# which sounds kinda outside. I also have learned i can play a Db triad ovetr the G7
Ken
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Db over the G: right, that's the tritone sub.
dominant chords are fun because the only note you really need to be careful with is the major seven (F# over the G7) and even that's fine as a passing tone.
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TY Mr. Beaumont,
How can i know what other triads i can play over standard jazz changes. I know the Tri Sub...are there other ways to get other triads to work for the same key...C
thx
Ken
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well, i'm looking at the tritone sub and a triad as two very different things.
a triad is a three note chord. a tritone is the interval of a flatted fifth (G to Db, for example)
you could think about superimposing triads over chords to get interesting sounds...for example, i could think about a Db triad (Db, F, and Ab) and play that over a G7 chord and get a b5, b7 and b9 and it'd be pretty hip sounding...but i could also just think G7 and know where those colorful notes were at...
since things are shifting pretty fast in jazz, it helps to find whatever roadmap allows you personally to see the possiblities the quickest. for me, it's arpeggios and the chord shapes themselves--another person might think sclaes, another "tonal centers"--there's a lot of different ways to see the fretboard and no one is really better than the other...
superimposing chords/arpeggios/scales over chords is one of the quickest ways to some very hip sounds--the key is to know how the notes function over the chord you're playing them over...here's one of the most common ones, for example...
play a minor line--heck, lets keep it real simple--a minor pentatonic line over a minor chord in a ii V I...so lets say D minor. then, over the V, move whatever you played over the Dminor up a minor third (three frets) now you're thinking F minor pentatonic over a G7 (alt) chord. why does it work?
G7: G B D F (or better yet, G7 with some sort of alteration)
Fmin. pent.: F Ab Bb C Eb (7, b9, #9, 4, and #5) lots of great altered tones in there that will create nice tension on the V chord...
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Thats kool, i'll give it a shot. I really appreciate all your info. How about another question. How do these guy when comping add so many chords inbetween let say the 2/5/1 or 1/6/2/5...are they just putting in tri subs?
Ken
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could just be inversions. also, you can approach any chord with a dominant from a half step up or below--that doesn't always work, but it can often sound good.
playing around with extensions can get you cool sounds too...going back to that ii V I in C, i could play Dm7/ Dm9/ Db7#9/ G7sus/ G7/6 (or G13) to whatever C i want...there's a lot of play in there...
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Yeah i hear, i've been trying to do alot of comp practcie and see what wide range of sounds you get from just diferent inversions of the same chord. I do have BIAB comping which is good, i guess its time to start to really study it. Some of there examples cram alot of moving chords in bewteen the 1-6-2-5 for example. Which give a nice movemnet to it, kind of like walking up or down the neck. I don't fully undstand yet but it sounds great.
thx
ken
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