So now the notes we have at our disposal are D, Eb, F, Gb, G, Ab, A, B, C, Db. In this case, the tritone is Ab, so you can add in the notes of the Ab minor pentatonic: Ab, Cb (which I'll refer to as B to avoid confusion), Db, Eb, Gb. The most common polypentatonic combination is the pentatonic scale of the root of the current chord, and the pentatonic scale a tritone away from the root. There also a technique called polypentatonics, or side-slipping, which is the combination of multiple pentatonic scales in a single harmonic area. So let's start with the obvious and most basic scale you can use over the Dmin7: D minor pentatonic. We'll forget about the tonic for now, because it doesn't offer nearly as much opportunity for chromaticism as the dominant harmony does. There are two primary harmonic areas in this progression: Dominant (Dmin7 and G7) and tonic (Cmaj7). The 2-5-1 progression would consist of Dmin7-G7-Cmaj7. Let's assume we're in the key of C major. By combining a collection of pentatonic scales, you can play any note you wish over a 2-5-1 or 5-1 progression. When improvising, if the 2 is absent but the dominant to tonic progression is there, you can generally insert the predominant harmony through the notes you choose.
A large portion of western music is built on 2-5-1 progressions, or simply 5-1 progressions. This is a technique for playing chromatically using a combination of minor pentatonic scales that every guitarist can play. This is going to be longwinded, but hopefully worth reading.
0 kommentar(er)
