PENTATONICS
bruce saunders
#1 - Tuning note
#2 - Ex. 1 (pg. 6)
#3 - Ex. 2 (pg. 7)
#4 - Ex. 3 (pg. 8)
#5 - Ex. 4 (pg. 9)
#6 - Ex. 5 (pg. 9)
#7 - Ex. 6 (pg. 10)
#8 - Ex. 7 (pg. 12)
#9 - Study No. 1 (pg. 12-13)
#10 - Ex. 8 (pg. 14)
#11 - Ex. 9 (pg. 15)
#12 - Ex. 10 (pg. 15)
#13 - Study No. 2 (pg. 16-17)
#14 - Ex. 11 (pg. 18)
#15 - Ex. 12 (pg. 19)
#16 - Ex. 13 (pg. 21)
#17 - Ex. 14 (pg. 22)
#18 - Ex. 15 (pg. 23)
#19 - Study No. 3 (pg. 24-25)
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)
#26 - Study No. 5 (pg. 33)
#27 - Study No. 6 (pg. 34)
#28 - Ex. 21 (pg. 36)
#29 - Ex. 22 (pg. 37)
#30 - Study No. 7 (pg. 38-39)
PRACTICE TRACKS-APPENDIX
#31 - Leaves Key of G (pg. 40)
#32 - Leaves Key of B b (pg. 41)
#33 - L o v e (pg. 42)
#34 - S o l a r i z e (pg. 43)
#35 - F Blues (pg. 44)
#36 - Yesterdaze (pg. 45)
1
PENTATONICS harmonic applications for the guitar

P
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.

2
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. 2 Leaves key of B b, minor seventh suggestions . . . . . . . . . . . . . . . . . . . . . . 41

Practice track No. 1 Leaves key of G, minor seventh suggestions . . . . . . . . . . . . . . . . . . . . . . 40

Practice track no. 3 Love changes, mixed pentatonic suggestions . . . . . . . . . . . . . . . . . . . . . . 42

Practice track no. 5 F blues key of B b, mixed pentatonic suggestions . . . . . . . . . . . . . . . . . . . . 44

Practice track no. 4 Solarize changes, mixed pentatonic suggestions . . . . . . . . . . . . . . . . . . . . 43

Practice track no. 6 Yesterdaze, mixed pentatonic suggestions . . . . . . . . . . . . . . . . . . . . . . . . 45

Answer key for page 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Answer key for page 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

3
chapter one: minor seventh pentatonics

T b 3rd, 4th, 5th and b 7th. If considered the C major pentatonic the notes are: root (C), 2nd (D), 3rd
he minor seventh pentatonic scale is one familiar to most guitarists. It consists of five notes: root,

(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

b 7th
5fr. & 44
1 1 1 1 1 1 4th

b 5th
root 3rd
5 8 5
T 5 8 8 5
5 7 7 5
4 3 3 3 4 4 A 5 7 7 5
B 5 7 7 5
5 8 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:

Pependicular fingerings
Root (Ami7 pentatonic)
b3rd (F#mi7 pentatonic)
N U T

4th (Emi7 pentatonic)

5th (Dmi7 pentatonic)
b7th (Bmi7 pentatonic)

T
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:

The note A as minor third = F# mi7 pentatonic

F # mi7 pentatonic scale (notice this is the same as A major pentatonic)

4 # #
& 4 # # # #
# #
2 1 1 1 2 2
4fr.
circled notes are roots
5 7 5
T 5 7 7 5
4 6 6 4
A 4 7 7 4
4 4 4 3 4 4 B 4 7 7 4
5 7 7 5

4
 minor seventh pentatonic / perpendicular

The note A as fourth = Emi7 pentatonic

4fr. & 44
1 1 1 1 1 1

5 7 5
T 5 8 8 5
4 7 7 4
A 5 7 7 5
B 5 7 7 5
3 3 3 4 4 3 5 7 7 5

The note A as fifth = Dmi7 pentatonic

4

5fr. & 4
1 1 1 1 2 1

5 8 5
T 6 8 8 6
5 7 7 5
A 5 7 7 5
4 4 3 3 4 4 B 5 8 8 5
5 8 8 5

The note A as flat seventh = Bmi7 pentatonic

# #
& 4
4
# #

2 2 1 1 2 2
4fr.

5 7 5
T 5 7 7 5
4 7 7 4
A 4 7 7 4
4 4 4 4 4 4 B 5 7 7 5
5 7 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

rest of the notes in that particular scale to the root of that scale. The b 3rd, 4th,
position of the rest of the notes in that particular pentatonic scale. After that, learn the relationship of the

5th and b 7th.

5
minor seventh pentatonic / perpendicular

E
xercise 1 uses the five previously listed minor seventh pentatonics, perpendicular fingerings, all in

notes in each scale by their relationship to the root (b 3rd, 4th, 5th, b 7 and root).
the general neighborhood of the fifth fret. The fingering is somewhat arbitrary. Try to identify the

Ex. 1 Five Perpendicular Fingerings (5th Fret) > ? No. 2

Ami7
4 .
5fr. & 4 .
1 1 1 1 1 1

.5
Dbl. time on rpt.

.
T 8 5 8 5 5
4 3 3 3 4 4 7 7 5 7 5 7 5 5
A 7 7 5 7 5 7 5 5
B 7 7 5 7 5 7 5
8 8 5

F #mi7
# # # # # #
4fr. & # # # # # # #

2 1 1 1 2 2

5
T 5 5 7 5 7
4 4 4 3 4 4 4 4 6 4 6 4 6 6
A 4 4 7 4 7 4 7 7
B 4 7 4 7 4 7 7
5 7 7

Emi7

4fr. &

2 2 2 1 2

7 5 5
T 8 5 8 5 8 5 5
7 7 4 7 4 7 4 4
A 7 7 5 7 5 7 5 5
4 4 4 4 4 4
B 7 7 5 7 5
7

Dmi7



5fr. &
1 1 1 1 2 1

5
T 6 6 8 6 8
5 5 7 5 7 5 7 7
4 4 3 3 4 4 A 5 5 7 5 7 5 7 7
B 5 8 5 8 5 8 8
5 8 8

Bmi7
# # # U
2nd time only

4fr. & # # # # ..

2 2 1 1 2 2

7 5 5
.
.
T 7 5 7 5 7 5 5
4 4 4 4 4 4 7 7 4 7 4 7 4 4
A 7 7 4 7 4 7 4 4
B 7 7 5 7 5
7

6
 minor seventh pentatonic / perpendicular

E
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
b
4 . b b b b b
8fr. & 4 . b b

1 1 1 1 1 1

Dbl. x on rpt.

.8
.
T 11 8 11 8 8
4 3 3 3 4 4 10 10 8 10 8 10 8 8
A 10 10 8 10 8 10 8 8
B 10 10 8 10 8 10 8
11 11 8

Ami7


7fr. &
2 1 1 1 2 2

8
T 8 8 10 8 10
7 7 9 7 9 7 9 9
4 4 4 3 4 4
A 7 7 10 7 10 7 10 10
B 7 10 7 10 7 10 10
8 10 10

b A
Gmi7
b
7fr. & b A b A

2 2 2 1 2 2

10 8 8
T 11 8 11 8 11 8 8
10 10 7 10 7 10 7 7
4 4 4 4 4 4
A 10 10 8 10 8 10 8 8
B 10 10 8 10 8
10

b b b b b b
Fmi7
b b b
1 1 1 1 2 1
b
8fr. & b A
b b b b b b
8
T 9 9 11 9 11
8 8 10 8 10 8 10 10
4 4 3 3 4 4 A 8 8 10 8 10 8 10 10
B 8 11 8 11 8 11 11
8 11 11

U
Dmi7

2nd X only

2 2 1 1 2 2
& ..
7fr.
10 8 8
.
.
T 10 8 10 8 10 8 8
10 10 7 10 7 10 7 7
4 4 4 4 4 4 A 10 10 7 10 7 10 7 7
B 10 10 8 10 8
10

7
minor seventh pentatonic / lateral

Y
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
Ex. 3 Gmi7 pentatonic lateral pattern > ? No. 4

N U T
Gmi7
b b
Pull-off Etc.

& 44 ..

. 10 13 10 8 10 8 6 8 6 3 6 3

.
T 13 11 8 6 6 8 6 3 6 3
7 5
A
B

& b b
b
T 5 7 5 3 5 3
A 8 5 5 8 5 3 5 3
B 8 5 5 8 5 3 5 3
8 6

& b b
Etc.

Hammer-on

b
T 3 5 5 7
A 3 5 5 8 3 5 5 8
B 3 5 5 8 3 5 5 8
3 6 6 8

U

b b
& b ..
3 6 6 8 8 10 10 13
.
.
T 3 6 6 8 3 6 6 8 8 11 11 13
3 5 5 7
A
B

8
 minor seventh pentatonic / lateral

S
ome variations on the pattern.

Ex. 4 Variation #1 on Gmi7 pentatonic pattern > ? No. 5

b b
Gmi7
4 . b
&4 .

. 10 13 8 10 6 8 3 6

.
T 11 13 8 11 6 8 3 6 6 8 3 6
5 7 3 5
A
B

& b b
b b
T 5 7 3 5
A 5 8 3 5 5 8 3 5
B 5 8 3 5 5 8 3 5
6 8 3 6

Ex. 5 Variation #2 on Gmi7 pentatonic pattern > ? No. 6

Gmi7
& 44 b
~ ~ b b ~~ b
b ~~
T 3 5 7 5
A 3 5 8 5 3 5 8 5
B 3 5 8 5 3 5 8 5
3 6 8 6

~
b
~~ b b b w
& b ~

3 6 8 6 8 10 13 10
T 3 6 8 6 3 6 8 6 8 11 13 11 11
3 5 7 5
A
B

9
minor seventh pentatonic / lateral

Ex. 6 Variation #3 on Gmi7 pentatonic pattern > ? No. 7

b b b b
4 J .. b b
&4
Dbl. x 2nd x
10
. 13 8 10 6 8 3 6

.
T 11 13 8 11 6 8 3 6 6 8 3 6
5 7 3 5 5
A 5 8
B

& b b
b b b
T 7 3 5
A 3 5 5 8 3 5
B 5 8 3 5 5 8 3 5 3
6 8 3 6 3 6

& b b b b
b
T 3
3 5 5 7 3 5
A 3 5 5 8 3 5 5 8
B 5 5 8 3 5 5 8
6 8

U
b
b b b ..
&
3 6 6 8 8 10 10 13 13
.
.
T 6 6 8 3 6 6 8 8 11 11 13 13 15
5 7
A
B

10
 minor seventh pentatonic / usage

T
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
chord mi7 pentatonics interval from chord

CMaj7 Ami7, Emi7 M6th, M3rd

CMaj7# 11 Bmi7 mi2nd
Cmi7 Cmi7, Gmi7, Dmi7 Root, P5th, M2nd
Cmi7b 5 Fmi7 P4th
C7 Gmi7, Ami7 P5th, M6th
C7alt E b mi7 mi3rd

T
aking the chords one at a time, the relationship of the pentatonics to the chords works this way

Cmaj7 = Ami7 pentatonic Cmaj7 = Emi7 pentatonic

w w w w
5th
w
w
3rd

& w
root 9th
w
6th 5th
& w w
3rd 6th 7th 9th

Cmaj7#11 = Bmi7 pentatonic Cmi7 = Cmi7 pentatonic

w w #w w b 3rd b 7th
& w & w bw w w bw
root 4th 5th

7th 9th 3rd # 11th 6th

Cmi7 = Gmi7 pentatonic Cmi7 = Dmi7 pentatonic

w w w
& w bw & w w w w w
9th 4th 5th 6th root

5th b 7th root 9th 4th

Cmi7b5 = Fmi7 pentatonic C7= Gmi7 pentatonic

w bw w w w
& w bw bw & w bw
b
4th b 6th 7th root b 3rd 5th b 7th root 9th 4th

C7= Ami7 pentatonic C7alt.= Eb mi7 pentatonic

# 9th
w w w b 9th
b 5th b 13th b 7th
& bw bw bw bw w
b
b 3rd
w
3rd 5th

& w
6th root 9th

11
minor seventh pentatonics

Ex. 7 Patterns over Cmi7 chord (Cmi7, Gmi7, Dmi7 pentatonics) > ? No. 8

b b b b b
Cmi7
4 . b b b
Cmi7 pentatonic

&4 j . b b b b
b b
.
Dbl. x 2nd x

.
T 4 6 6 8 8
3 5 5 8 3 5 5 8 8 10
A 3 5 5 8 3 5 5 8
B 3 6 6 8 3 6 6 8
3 6 6 8

b b b b b b b
b b b
&
Gmi7 pentatonic
6 8 8 11 11 10 13 8 10 6 8 3 6
T 11 6 8 8 11 11 13 11 13 8 11 6 8 3 6 6
5 7
A
B
b
& b
b b b b
Dmi7 pentatonic
T 8 3 6
3 5 5 7 3 5
A 5 8 3 5 5 8 3 5 5 7
B 5 8 3 5 5 8 3 5 8
6 8 3 6

U

& ..
8 10 8
.
.
T 6 6 8 10 8 8 10 10 8 6
5 5 7 7 5 5 7 10 7 10
A 7 5 5 7 7
B 8

Study No. 1 C minor blues > ? No. 9

[A] Cmi7 b b b
Cmi7 Cmi7 C7alt
4 b b b
& 4 .. b b b b b
E b mi7 pentatonic
Gmi7 pentatonic

. 10 13 13 10 8 10 8 6 8 6

.
T 11 8 8 6 8 6 6
7 7 5 7 6 8 6 6
A 8 8 6 8
B

v.s.
12
 minor seventh pentatonics

Study No. 1 (continued)

Fmi7 Fmi7 Cmi7 Cmi7

4 b b b b . b
& 4 b
3 3 3
3

J
Cmi7 pentatonic Gmi7 pentatonic

T 6 8 6
5 8 5 5 8 8 7 5 7 5
A 5 8 8 5 8
B

b b b b . b b
Dmi7(b5) G7alt Cmi7 G7alt
b b b b
& b b J b
Gmi7 pentatonic Bb mi7 pentatonic Gmi7 pentatonic Bb mi7 pentatonic
6 6
T 6 6 9 6 9 8 6 8 6 9 6
7 5 7 6 8 8 7 6 8
A 5 8 8 8
B
[B] Cmi7 Cmi7

Cmi7
b b b . b
C7alt
b n

J b b
3 3

&
E b mi7 pentatonic
3 3
Dmi7 pentatonic
5 8 5 5 5 6 9 6 6
T 8 8 6 6 6 8 7 9 8
7 5 7 7 5 7 8 6
A 5 7
B

. Fmi7

Fmi7

Cmi7 Cmi7 Dmi7(b5)

4 J b j
b N . j b
&4
3
Cmi7 pentatonic Dmi7 pentatonic Gmi7 pentatonic
8 8
T 8 86 8 8 6 6 8
5 8 75
A 8 5 7 7 5 7 5 8
B 8 5 5 8 5
8

b
G7alt
b
Cmi7
b b b b
Cmi7
.
b b
G7alt
& b J b ..
B b mi7 pentatonic B b mi7 pentatonic

.
Dmi7 pentatonic
6 8 5

.
T 6 9 6 8 6 6 6
8 6 8 5 7 8 8 5 5
A 8 6 5 8
B

13
minor seventh pentatonic

T
his next exercise is good for practicing pentatonics on ii-V7-I-VI(7) progressions. Using specific

as 7alt. chords and the I chord is Maj7(# 11). Please look at the chord/scale combinations below.
chord/scale combinations the chord qualities get slightly modified. The dominant 7 chords end up

Notice that the pentatonic scales are moving up by half-steps. See Ex. 10 for practice exercises.

Dmi7 G7alt CMAJ7(#11) A7alt

B b mi7 pentatonic
b n n # n b
Ami7 pentatonic Bmi7 pentatonic Cmi7 pentatonic
b b
1/2 step

4 b
1/2 step 1/2 step

&4 b n
5 b7 R 9 11 # 9 b5 b13 b7 b9 7 9 3 # 11 13 # 9 b 5 b13 b7 b 9

T
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 G7alt CMAJ7(#11) A7alt

Ami7 pentatonic B b mi7 pentatonic Bmi7 pentatonic Cmi7 pentatonic

w w
& w b b b bw b b b Nw # Nw # bw w
b b

Ex. 8 Ascending half-step mi7 pentatonic using melodic voice leading

> ? No. 10
w w bw b b w b b
Dmi7 G7alt
#w N w
CMAJ7(#11) A7alt
4
&4 b bw b w b
B b mi7 Pentatonic
Ami7 Pentatonic
Bmi7 Pentatonic Cmi7 Pentatonic
8 5 5
T 8 5 8 5 9 6 6 7
7 8 6 8 6 9 7 9 7 8
A 8 9 9 7 10 8 10 8
B 10 10 8

b
Dmi7 G7alt CMAJ7(#11) A7alt Dmi7
b
& b b b b b b n # # b b
Ami7 Pentatonic Bb mi7 Pentatonic Bmi7 Pentatonic Cmi7 Pentatonic 1
T 1 4 1 4
7 0 3 3
A 7 5 5 6 6 8 7 9 7 9
B 7 5 7 5 6 8 6 8 7 9 9
8 9

14
 minor seventh pentatonic

Ex. 9 ii-V-I-VI key of C major, 1/2 step scale movement > ? No. 11 Co
ntin

b
A7alt
b
ue
n up
CMAJ7(#11) ntinue p Q
b
pa
Q Co Q
Dmi7 G7alt atter

b b Q b b
tter

b w w # Q Q Q Q Q
nd

4w w
Q Q Q
ow



n

&4
Ami7 Pentatonic Bb mi7 Pentatonic Bmi7 Pentatonic Cmi7 Pentatonic
5 6 6 9 11 8
T 5 8 8 6 9 6 9 7 10
5 7 7 9 8
A
B

CMAJ7(#11) A7alt

Dmi7 Continue pattern down G7alt
b
& b
Ami7 Pentatonic Bb mi7 Pentatonic Bmi7 Pentatonic Cmi7 Pentatonic
5
T 8 6
8 7
A 9 8 5
B
up
ttern A7alt
Dmi7 G7alt ue p
a
CMAJ7(#11) Dmi7
ontin
b
b N
C
&
Ami7 Pentatonic Bb mi7 Pentatonic Bmi7 Pentatonic Cmi7 Pentatonic
T 1 4
A 5 7 7 9
B 7 5 7 8 11

Ex. 10 ii-V-I-VI key of F major, 1/2 step scale movement > ? No. 12
D7alt
b b A
Gmi7 C7alt FMAJ7(#11)
b b
& b b b n n
Dmi7 Pentatonic E b mi7 Pentatonic Emi7 Pentatonic Fmi7 Pentatonic
6
T 8 6 9 6 9
5 6 6 8 7 9 7 9 5 8 8
A 5 7 5 7 6 8 6 8 7 9 9
B 5 8 8 9

Gmi7
QQ b
C7alt D7alt
b
FMAJ7(#11) Gmi7
Q
&b
Dmi7 Pentatonic E b mi7 Pentatonic Emi7 Pentatonic Fmi7 Pentatonic
8
T 10 9 7 1
9 7 3
A
B

15
minor seventh pentatonic

S seventh pentatonic moving in 1/2 steps on a ii-V-I(MAJ7# 11) progression.

tudy No. 2 uses the chord changes to Autumn Leaves to explore the sound of the minor

Study No. 2 Autumn Leaves changes and mi7 pentatonics > ? No. 13

Ami7
b D7alt
b b n GMAJ7(#11) CMAJ7(#11)

& 44 J .. J # n # # j
F # mi7 pentatonic
Emi7 pentatonic Fmi7 pentatonic Bmi7 pentatonic

. 7 5 5 4

.
T 5 8 5 8 5 6 4 6 4 5
7 5 6 4 6 4 4
A 7 7 4 7
B

F #mi7(b5) B7alt Emi7 E7alt

. # J . b

b
& J

Ami7 pentatonic Dmi7 pentatonic Bmi7 pentatonic Gmi7 pentatonic
T 6 5 7 6
5 7 5 7 4 7 5
A 5 7 5 7 5 8 8
B 7 5 5 7 8 5 8
8 5 8

Ami7
# # #
GMAJ7(#11)D7alt
#
CMAJ7(#11)
b b b b . b
& n J
Emi7 pentatonic Fmi7 pentatonic F # mi7 pentatonic Bmi7 pentatonic
5 7 9 5
T 4 4 6 4 6 7 7 5 7 5
4 4 7 4 7 5 5 7 4 4
A 7 7 8 8
B 10

F #mi7(b5) # # Emi7
Emi7
B7alt

& J
Dmi7 pentatonic Bmi7 pentatonic
Ami7 pentatonic
5 5 8 7 7 10 5 7
T 5 5 8 6 8 6 8 5 7 7 5 5
5 7 5 7 7 7
A 7
B

16
 minor seventh pentatonic

Study No. 2 continued

F #mi7(b5) b b .
E7alt
4 . j
B7alt Emi7
#
&4 . j # J
#
Dmi7 pentatonic Bmi7 pentatonic Gmi7 pentatonic
Ami7 pentatonic
5 6 8 10 6
T 5 5 7 8 6
5 7 5 4 7
A 7 5 5 7 4 7
B 8 8 5 6 7

D7alt
.
Ami7 GMAJ7(#11) CMAJ7(#11)
b b b b # # #
& b # J
Emi7 pentatonic Fmi7 pentatonic F # mi7 pentatonic Bmi7 pentatonic

T 5 5 7 6 5 7
7 4 7 4 5 6 4 4
A 7 7 5 8 6 8 6 4 7
B 8 8 6 7

D b7
F #mi7(b5)
B7alt
b b b Emi7 E b7 Dmi7
b b
& b

B b mi7 pent.
B b mi7 pent.
Ami7 pentatonic Dmi7 pentatonic Ami7 pent.
Emi7 pent.
5 5 5 8 10 11
T 5 5 6 8 6 4 6 8 11 9
5 7 5 4 4 6 10
A 7 7 5 7 8
B 7

CMAJ 7 F #mi7(b5) B7alt

Emi7 Emi7
& w ..
Ami7 pentatonic Dmi7 pentatonic
5
.
.
T 8 8 6 8
9 7 7 5 4 4
A 10
B

17
minor seventh pentatonic exercise

I
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 > ? No. 14

E7alt

& 44
Ami7 D7alt GMAJ7(#11)
b #
F # mi7 Pentatonic
Emi7 Pentatonic Fmi7 Pentatonic Gmi7 Pentatonic

Ami7 b D7alt
GMAJ7(#11) E7alt
& # n b
Emi7 Pentatonic Fmi7 Pentatonic F# mi7 Pentatonic Gmi7 Pentatonic

b
Ami7 D7alt C7alt
b
GMAJ7(#11)
& b b n #
Emi7 Pentatonic Fmi7 Pentatonic F# mi7 Pentatonic E b mi7 Pentatonic

Fmi7 b b B 7alt E bMAJ7(#11)

b
b n b
C7alt
& b
Cmi7 Pentatonic D b mi7 Pentatonic Dmi7 Pentatonic E b mi7 Pentatonic

B b7alt E bMAJ7(#11)
Fmi7
b
C7alt
b
& b b n
Cmi7 Pentatonic D b mi7 Pentatonic Dmi7 Pentatonic E b mi7 Pentatonic

b Fmi7 b B 7alt b
b
E bMAJ7(#11)
b
G7alt
b
&
Cmi7 Pentatonic D b mi7 Pentatonic Dmi7 Pentatonic B b mi7 Pentatonic

B bMAJ7(#11)
b
G7alt
b
Cmi7 F7alt
& b b n

Gmi7 Pentatonic A b mi7 Pentatonic Ami7 Pentatonic B b mi7 Pentatonic

Cmi7
b b
F7alt
b B bMAJ7(#11)
n
G7alt
& b b
Gmi7 Pentatonic A b mi7 Pentatonic Ami7 Pentatonic B b mi7 Pentatonic

B bMAJ7(#11)
w


Cmi7 F7alt
& b b n
Gmi7 Pentatonic A b mi7 Pentatonic Ami7 Pentatonic
18
 minor seventh pentatonic exercise

Ex. 12 PRACTICE STARTING NOTES Four-note stepwise patterns > ? No. 15

4
Dmi7(b5) G7alt
b
Cmi7
b
A7alt

&4 b
Gmi7 Pentatonic Bb mi7 Pentatonic Gmi7 Pentatonic Cmi7 Pentatonic

Dmi7(b5) bG7alt
b Cmi7 b
A7alt

&
Gmi7 Pentatonic Bb mi7 Pentatonic Gmi7 Pentatonic Cmi7 Pentatonic

F #7alt
Dmi7(b5)
b
G7alt
b
Cmi7

& b
Gmi7 Pentatonic B b mi7 Pentatonic Gmi7 Pentatonic Ami7 Pentatonic

Bmi7(b5) b E7alt
F #7alt

Ami7
&
Emi7 Pentatonic Gmi7 Pentatonic Emi7 Pentatonic Ami7 Pentatonic

F #7alt

Bmi7(b5) E7alt Ami7
&

Gmi7 Pentatonic Emi7 Pentatonic Ami7 Pentatonic
Emi7 Pentatonic

Bmi7(b5)

E7alt Ami7

D7alt
& b
Emi7 Pentatonic Gmi7 Pentatonic Emi7 Pentatonic Fmi7 Pentatonic

Gmi7(b5) C7alt
b
Fmi7
b
D7alt

& b b b
Cmi7 Pentatonic E b mi7 Pentatonic Cmi7 Pentatonic Fmi7 Pentatonic

b Gmi7(b5) b
C7alt
b
Fmi7 D7alt
b
&
Cmi7 Pentatonic E b mi7 Pentatonic Cmi7 Pentatonic Fmi7 Pentatonic

b bw
b
Gmi7(b5) C7alt Fmi7
& b
Cmi7 Pentatonic E b mi7 Pentatonic Cmi7 Pentatonic

19
chapter two: minor seventh flat 5 pentatonic

T One and flat the fifth. The specific notes are: root, b 3rd, 4th, b 5 and b 7.
he minor seventh flat 5 pentatonic is exactly that: take a minor seventh pentatonic from Chapter

b 3rd b 5th b 7th

w bw w
root 4th

Ami7 b 5 Pentatonic = & w w

T
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 mi7b 5 pentatonics interval from chord

CMaj7 # 11 F#mi7( b 5) Tritone
Cmi6 Ami7( b 5) Maj 6th
Cmi7( b 5) Cmi7( b 5) Root
C7 Emi7( b 5) Maj 3rd
C7alt B b mi7( b 5) Maj 2nd
C7sus b 9 (Phrygian) Gmi7( b 5) Perfect 5th

Cmaj7# 11 = F# mi7( b 5) pentatonic Cmi6 = Ami7( b 5) pentatonic

w w w w bw w
& #w w w & w
# 11th 13th 7th root 3rd 6th root 9th b 3rd 5th

Cmi7 b 5 = Cmi7( b 5) pentatonic C7= Emi7( b 5) pentatonic

bw w bw bw w
& w & w w w bw
b 3rd b 5th b 7th
root 4th
3rd 5th 13th b 7th 9th

C7alt= B b mi7( b 5) C7sus b9= Gmi7( b 5)

b w n w bw w
& bw b w & w bw w bw
b 7th b 9th # 9th 3rd b 13th 5th b 7th root b 9th 4th

20
 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
Ami7(b5)

5fr. & 4 b b b b

.
Dbl. x 2nd x
5

.
T 8 8
8 7 8 7 5 8 7 5 7 5 5
A 7 7 5 7 5 7 5 5
B 6 6 5 6 5 6 5
8 8 5

F #mi7(b5)
# #
4fr. &
# # # #

5
T 5 5 7 5 7
4 4 5 4 5 4 5 5
A 4 4 7 4 7 4 7 7
B 7 6 7 7
5 7 8 7 8 8

E bmi7(b5)
b bb b b b
& b b b b b b b b b b b b b b b
4fr. b b b b b
5 4 4
T 7 4 7 4 7 4
6 8 6 6 6
A 7 7 6 7 6 4 7 6 4 6 4 4
B 6 6 4 6 4
5

b
Emi7(b5)

b b b b
5fr. & b
5 5 6
T 5 5 8 5 8 5 8
7 7 7 7
A 5 5 7 5 7 8 5 7 8 7 8 8
B 5 7 5 7 7
6

U.
Bmi7(b5)


4fr. & .
7 5 5
.
.
T 6 5 6 5 6 5 5
7 7 4 7 4 7 4 4
A 7 7 7 7
B 8 8 7 8 7 5 8 7 5
7

21
m i 7 b5 p e n t a t o n i c

Ex. 14 Patterns over changes minor ii-V-i s > ? No. 17

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

b b
Dmi7(b5) G7alt

Cmi6 Cmi6
b b b b b b
& b b
Dmi7b 5 pent.
w
8 Fmi7 b 5 pent. Ami7b 5 pent.
T 9 8 6 9 8 6 6
7 8 8 7 5 5
A 9 8 9 8 6 7 5 7 5
B 6 5

Dmi7(b5) G7alt Cmi6 Cmi6

b b b b b b b b
& b b
Dmi7 b 5 pent. Ami7 b 5 pent.
w
Fmi7 b 5 pent.
T 8 6 6
7 5 7 5 8 4
A 6 9 8 6 8 6 7 5 5
B 8 6 5 6 5
8 5

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

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

G7alt
b b b b b Cmi6
b w Cmi6
b
& b
Ami7 b5 pent.
Fmi7 b 5 pent.
Dmi7 b 5 pent. 8 10 8 10 11 13
T 8 9 11 9 11 12 8 10 10
7 10 7 10 8 10 10
A 10 10
B 11

22
 m i 7 b5 p e n t a t o n i c

Ex. 15 Minor ii-V-i with delayed application of new mi7b5 on V7 chords

> ? No. 18
Scale changes here

b b b b Cmi6

Dmi7(b5) G7alt
b w
& 44 b b
b Ami7 b 5 pent.
Dmi7 b 5 pent.
Fmi7 5 pent.
11 10 8
T 6 8 9 11 12 10 8
5 5 7 8 7 5 7 7
A 5 6 5 6
B 5 8

B b7alt Scale changes here E bmi6

Fmi7(b5)
b b b b b b b
b b

& b b b b b b b b b b n b
Cmi7 b 5 pent.
Fmi7 b 5 pent. Ab mi7 b 5 pent.
6 8 6
T 6 7 9 7 6
8 8 6 7 8 5
A 6 8 9 6 8 9 8 9 9 8
B 9

b b b b b b b b B bmi6 b w
Cmi7(b5) F7alt Etc.

& b b n b b
Cmi7 b 5 pent. Eb mi7 b 5 pent.
6 Gmi7b 5 pent. 6 8 8
T 7 6 7 6 7 6 6 8
8 8 8 5 6 5 6
A 7 6 5 8
B 9

Ami7(b5)
b
D7alt Gmi6
b b N
& b b b
Ami7 b 5 pent. Emi7b 5 pent.
8 5 Cmi7 b 5 pent. 5 6
T 8 6 5 8 8 5
8 7 5 5 8 7
A 7 5 5 7 8 8 7
B 5 6

F #mi7(b5)
#
B7alt
# b
Emi6

& # # b
F# mi7b 5 pent. Anticipates Gmi7b 5
Ami7 b 5 pent. C# mi7b 5 pent.
8 7 7
T 10 7 10 7
9 8 6 6 6
A 10 7 9 5 8
B 10 9 10

b
Gmi7(b5)
b b b
C7alt Fmi6

& b b b b
b b
Gmi7 b 5 pent. B b mi7 b 5 pent. Dmi7 b 5 pent.
6 9 8 6
T 6 8 8 6 6 8 8
5 6 6 5 5 5
A 8 6 5 6
B 7 6 5 8

23
m i 7 b5 p e n t a t o n i c

I
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 What Is This Thing Called Love? changes and mi7 b 5 pentatonic
> ? No. 19

b b b
Fmi7

[A] Gmi7(b5) C7alt
4 j . b b b b b
& 4 . b b b b
Bb mi7 b 5 pent. Dmi7b 5 pent.
Gmi7 b 5 pent.
. 6 8

.5
T 6 6 8 9 9 6 6 8
5 6 5 6 5 6 8 9 7 5
A 8 8 6 5 6
B 8 8

bDmi7(b5)

G7alt
b
CMAJ7(#11)
#
b b b b n n
&
Dmi7 b 5 pent. F# mi7 b 5 pent.
Fmi7 b 5 pent. 7 8 7
T 9 8 6 8 6 6 7 10
7 7 5 7 5 8 9
A 6 9 8 6 7 9 10
B

Gmi7(b5)
[A] b b b b
C7alt
b b b b b
Fmi7
& n b

Gmi7 b 5 pent.
Bb mi7b 5 pent. Dmi7 b 5 pent.
9 8 6 8 6 6
T 8 8 6 8 6 9 6
6 9 8 6 5 7
A 6 5 5
B 8

Dmi7(b5)
b # #
G7alt
CMAJ7(#11)

& b b b b
Dmi7 b 5 pent. F# mi7 b 5 pent.
Fmi7 b 5 pent.
7 8 7
T 6 6 7 10 7 10
5 5 7 5 7 8 9 9
A 5 6 5 6 6 8 9
B 8

24
 m i 7 b5 p e n t a t o n i c

Study No. 3 continued

B bMAJ7(#11)
F7
4 b b n b b n b n j
[B] Cmi7
&4 n

Ami7 b 5 pent. E b mi7b 5 pent. Emi7 b 5 pent.
T 8
8 7 5 7 5 5 6 8 7
A 7 7 5 7 6 7 8 7 5 5
B 7 7

E bmi7 A7
b
b
b b
Dmi7 n
G7

& b b b
Cmi7 b 5 pent. Bmi7 b 5 pent.
6 8 6 8 8 7 5
T 6 7 6 5 6 6 5 5
5 8 7 7 7
A 8
B 6 8 9

b n b b
Fmi7
b b b
[A2] Gmi7(b5)
b b
C7alt
b
& b b
Gmi7 b 5 pent. Bb mi7 b 5 pent. Dmi7 b 5 pent.
6 9 8 10 8 4 8
T 6 6 9 9 6 8 8 8
5 6 5 6 5 6 9 10
A 5 8 8
B

b b
Dmi7(b5)
b b b
G7alt CMAJ7(#11)
& b b n . J J . ..
Dmi7b 5 pent.
J
Fmi7b 5 pent. F# mi7b 5 pent.
10 8 10 8
.
.
T 9 9 8 9 8 6 5 5
10 7 8 5
A 9 8 6 7 9
B

25
m i 7 b5 p e n t a t o n i c

Ex. 16 Delayed applications > ? No. 20

b b b . b
Cmi7 Ami7(b5)
Dmi7(b5)
b G7alt
b
& 44 b J b
Fmi7b5 Pent. Ami7b5 Pent.
Dmi7b5 Pent.
Gmi7 Pent.
6 7 11 10 8 6
T 6 8 9 8
5 7 8 5 7
A 5 6 7 5
B 5 8 6 5

bG7alt
b b

Dmi7(b5) Cmi7 Ami7(b5)
& b b b

Dmi7b5 Pent. Fmi7b5 Pent. Gmi7 Pent. Ami7b5 Pent.
10 8 6 10 5
T 9 8 8 8
10 7 7 7 8 7
A 9 8 6 5
B 8

B b7alt n b E .bmi7 b
Fmi7(b5)
b b b
Cmi7(b5)
& b b b b b b b b J b
Fmi7b5 Pent. Abmi7b5 Pent. Cmi7b5 Pent.
7 6 8 6
T 6 7 9 7 6
8 7 5 8
A 6 8 9 6 8 9 9
B 8

B b7alt
b b E . mi7b
b
b
Cmi7(b5)
Fmi7(b5)
b b n b
& b b b b b b b J b
Fmi7b5 Pent. Abmi7b5 Pent. Cbmi7b5 Pent.

T 6 7 9 7 6
8 6 7 8 8 8 5 5
A 6 8 6 9 8 9
B 6 8 8 9

Ami7(b5) D7alt
b
Gmi7 b
Emi7(b5)

b b J
& b
Ami7b5 Pent. Cmi7b5 Pent. Dmi7 Pent. Emi7b5 Pent.
5 5 6
T 8 6 7 6 8 5 5 8
5 8 5 7 8 5 7
A 5 5 7
B 5 6

Ami7(b5) b
b D7alt Gmi7
w
& b b b
b
b
Cmi7b5 Pent.
Ami7 5 Pent.
Dmi7 Pent.
11 10 8 5 10 13
T 10 8 6
8 7 8 5 5 7
A 7 8 7
B 9 8 6 5 8

26
 m i 7 b5 p e n t a t o n i c

T
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.
Ex. 17 7sus b 9 (Phrygian) > ? No. 21
Emi7b5 Pent. Ami7b5 Pent.
b A7sus(b9)
[]
b b
D7sus(b9) []

& 44 b b b

6 5 5
T 8 5 8 5 8 5 5
7 7 7 7 5 5
A 8 8 7 7 5 7 5 7 5 5
B 6 6 5 6 5
8
Dmi7b5 Pent.
b b b
G7sus(b9) C7sus(b9) Gmi7b5 Pent.

[] []
b b
& b b b b b
6 6 8
T 6 6 6 8 6 8 6 8
5 5 7 5 7 5 6 5 6 6
A 5 6 5 6 5 6 6 8
B 5 8 8

b F7sus(b9)
b b []
Cmi7b5 Pent. B 7sus(b9) b b
b b b b b b
[]
Fmi7 5 Pent.

& b b b b b b b b b b b b
b
6
T 7 6 7 6 6
8 8 5 8 5 8 5
A 8 8 9 8 6 8 6 6
B 9 8 8 6 8 6 8 6
7 7 6
E b7sus(b9) A b7sus(b9) Ebmi7b5 Pent.
Bbmi7b5 Pent.
b b b b n b n b
b b b b b b
[] []

& b b b b b b b b b b b b b b b b n
4 9
T 7 4 7 7 9 10 7 9 10
6 6 8 6 8 6 8
A 6 6 8 6 8 6 8 7
B 6 7 6 7 7
D b7sus(b9)
9
Abmi7b5 Pent.
b b b b b b G b7sus(b9)
n b n b b b[] b Dbmi7b5 Pent.
b b b
[]

& b b b
10 9 7 9 7 7
T 9 9 7 9 7 9 7 8 7 7 5
7 7 6 9 6 6 9 6 6
A 9 9 9
B 8 10 9
F#mi7b5 Pent. Bmi7b5 Pent.
B7sus(b9) []

[]
E7sus(b9) w
#
& # #
7 7 10 7 10 12 12
T 7 10 10 10 10
9 9 7 9 10 9 10 10
A 7 9 7 9 10 7 9 10 9 10
B 7 9 9
27
chapter three: dominant seventh pentatonics

T the major pentatonic, its specific notes are: root, 9th (2nd), 3rd (major), 5th and b 7. (This scale
he next pentatonic scale well explore is the (major) dominant seventh pentatonic. A variation on

could also be considered the Gmi6 pentatonic). In the key of C those notes would be:
C dom7 Pentatonic
w bw
CMaj7( # 11) and
w
Notice that

C7( # 11) use the

& w w
b 7th
same pentatonic
scale. That is root 9th 3rd 5th
because the scale
used this way does
chord dom7 pentatonic interval from chord
CMaj7# 11
not produce a 7th.

Ddom7 Maj 2nd

C7 Cdom7 Root
C7# 11
Notice that C7alt
and Cmi7( b 5) use Ddom7 Maj 2nd
G bdom7 and A b dom7
the same
pentatonic scale. C7alt Tritone, min 6
That is because
Cmi6 Fdom7 Perfect 4th
Cmi7b 5 A b dom7
the scale used this
way does not min 6th
produce a 3rd.
Cmi(Maj7) Gdom7 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 bw
C7 = Cdom7 pentatonic
w #w w w w w
& w & w
9th 3rd # 11th 6th root root 9th 3rd 5th b 7th
13th

C7#11 = Ddom7 pentatonic C7alt = G b dom7 pentatonic (tritone best)

w w
w #w w
& w & bw bw bw bw
9th 3rd # 11th 6th root b 5th b 13th b7th b 9th 3rd
13th

C7alt = A b dom7 pentatonic (not best)

w bw bw
Cmi6 = Fdom7 pentatonic

& bw bw & w w w w bw
b 13th b 7th root # 9th b 5th 11th 9th 6th root b3rd
13th

Cmi7b5 = A b dom7 pentatonic

bw w
Cmi(Maj7) = Gdom7 pentatonic

& bw bw w bw & w w w w
b 13th b 7th root # 9th b 5th 5th 13th 7th 9th 4th

Check out the sound of this scale on the original studies later in the chapter.

28
 dominant seventh pentatonic

H
ere is an exercise for the G dominant seventh pentatonic scale. Ex. 17 is a combination of lateral
and perpendicular fingerings.

Ex. 18 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] G7
& 44
6
4

3 3 5
T 3 3 6 3 6 3 6
2 2 4 2 4 2 4 4
A 3 3 5 3 5 3 5 5
B 2 5 2 5 2 5 5
3 5 5

[B] FMAJ7(#11)
4
4fr. & 4

7 5 5
T 8 6 8 6 8 6 6
7 7 4 7 4 7 4 4
A 7 7 5 7 5 7 5 5
B 8 8 5 8 5
7
b9]
[C] D b7[=5

& 6
4
7fr.
7 7 10
T 8 8 10 8 10 8 10
7 7 10 7 10 7 10 10
A 7 7 9 7 9 9
B 8 10 10
10

Dmi6


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

G7

&

T
A 12 9 9
B 12 10 12 10 12 10
13 13 10 10

29
dominant seventh pentatonic

T progressions. Ive used only the tritone application on the alt. dominant chords G7alt.=D b 7 pent.)
he next two exercises use only dominant seventh pentatonic scales over major and minor ii-V-I

b6. (G7alt.=E b 7 pent.).

for its stronger sound. Another (weaker) choice would be the dom. seventh pentatonic built on the

Ex. 19 Major ii-V-I sequences > ? No. 23

[1] Fmi7 B b7alt E bMAJ7(#11)

4 b b b b b n N # n b b
&4
B b dom. 7 pent. E dom. 7 pent. F dom. 7 pent.
T 6 7 6 8 6
5 5 7 5 7 7 9 8 8 5
A 6 8 6 8 8 9 7 5

B 8 8

[2] Dmi7

G7alt CMAJ7(#11)
b b A b #
& b # n
D b dom. 7 pent.
G dom. 7 pent. D dom. 7 pent.
10 7
T 10 8 10 8 5 7
10 7 10 8 6 7 5 7 9 7
A 9 9 6 9 10 7 10

#
B 8 9

[3] Bmi7
b b n AMAJ7(#11) # #
# #
E7alt
& # #
E dom. 7 pent. B b dom. 7 pent. B dom. 7 pent.
5 5 7 5 7 9 7 7 9
T 6 6 9 6 9 7 7 10 10
7 7 5 7 7 8
A 9 6 9 6 9

7
A bmi7
B
[4] b b b b b D b7alt G bMAJ7(#11)
b b n b b b b b b
& n b
D b dom. 7 pent.
7 9 7 G dom. 7 pent. A b dom. 7 pent. 6 4
T 9 6 9 4 7 7 4 4
8 6 4 7 4 5
A 7 5 7 5 6

B 8

b b n J
FMAJ7(#11)

[5] Gmi7

C7alt

& b b b b
G b dom. 7 pent.
C dom. 7 pent. G dom. 7 pent.
5 7 7 5 5
T 5 7 9 6 8 6 8 8 6
5 7 5 7 6 9 7
A 8 5 5 8 8

B 7

[6] Emi7 A7alt DMAJ7(#11)

b # n #
& # b b b b # #w
A dom. 7 pent. E b dom. 7 pent. E dom. 7 pent.
T 6 7 7
6 4 4 6 8 6 9 7
A 7 5 7 5 5 8 8 9 9 6
B 7 8 7 9

30
 dominant seventh pentatonic

Ex. 20 Minor ii-V-i sequences > ? No. 24

Dmi7(b5)
b
G7alt Cmi6
b b
[1]
b b b b
& 44 b b b b
B b dom. 7 pent. D b dom. 7 pent. F dom. 7 pent.
8 7
T 6 9 9 6
5 7 6 8 6 5
A 6 8 9 6 5 5 7 5 7
B 5 6 8 8

[2] Cmi7(b5) F7alt B bm i 6

b b b b b # # b b b b
& # n
A b dom. 7 pent. B dom. 7 pent. E b dom. 7 pent.
T 7 6 6
8 5 8 5 8 6 6 8
A 8 8 7 7 9 7 8 5 8
B 9 8 8

[3] B bmi7(b5) E b7alt A bm i 6

b b b b b # j b b b b b
& b .
G b dom. 7 pent. A dom. 7 pent. D b dom. 7 pent.
T 5 7 9 5 6
6 6 6 6 8 8 8 8
A 8 9 7 5 9 6 9
B 7 6 7 8

[4] F mi7(b5)
#

B7alt Emi6
n # n b
& # J
#
D dom. 7 pent. F dom. 7 pent. A dom. 7 pent.
5 8 5
T 5 7 7 5 6 5 8 5 8 8
5 7 5 8 6
A 7 5 5 9 7
B 8 7

9
Fm i 6
[5] Gmi7(b5) b.
C7alt
b b
& b b b b b b b b b n J b
E b dom. 7 pent. G b dom. 7 pent. B b dom. 7 pent.
6
T 6 5 9 9 6 6 6
6 8 6 6 7 7 6
A 8 8 5 6 8
B 9

b
[6] Gmi7(b5) b b b
C7alt Fmi6
b b b b b b b b b.
&
E b dom. 7 pent. G b dom. 7 pent. B b dom. 7 pent.
6 9 6
T 6 8 6 8 7 5 9 7
6 8 6 6 5 5 5
A 6 8 6 6
B 8

31
T
dominant seventh pentatonic
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 B b7

[A] F7
b n b
F7 F7alt
b 4 b # # n b b
& 4 J #
F dom. 7 pent. Bb dom. 7 pent. F dom. 7 pent. B dom. 7 pent. Bb dom. 7 pent.
8
T 10 8 9 11 10 10 8
10 8 7 10 10 10 8 10 10 8 6 7 5
A 10 7 9 7 8 8 6 6
B 9 8

B b7 Gmi7
b
b b b
F7
n
n b b
C7alt D7alt
. b
&b b n
J
Ab dom. 7 pent. Gb dom. 7 pent.

Bb dom. 7 pent. F dom. 7 pent. C dom. 7 pent.
8 6 5 8 6
T 7 7 9 7 9 8 8 8 5 8 5 5 8 7 9
5 5 5 8 7 7 9 9
A 8 8 6 7
B 8 8 8

F7 C7alt [B] F7 B b7 F7
b
& b J # # b b b n b

F dom. 7 pent. Gb dom. 7 pent. F dom. 7 pent. Bb dom. 7 pent. F dom. 7 pent.
T 6 8 4 4
5 5 5 5
A 7 7 8 4 5 5 6 8 8 7 7 7 5
B 8 7 6 6 8 8 6 8 8 6

B b7 B b7
b
F7alt F7 D7alt
# # n b
b
& b n J b

b b
B dom. 7 pent. Bb dom. 7 pent. Bb dom. 7 pent. F dom. 7 pent. Ab dom. 7 pent.
T 7 9 6 4
5 8 7 7 7 5 3 5 7
A 7 9 8 6 6 5 5 4 4 6
B 8 8 6 6 8

Gmi7
# #
C7alt # n F7
C7alt
# # b #
&b

# # n
Gb dom. 7 pent.
3

Gb dom. 7 pent.
C dom. 7 pent. F dom. 7 pent. 3
6 9 8 8 5
T 7 9 7 9 6 8 6 6 6
7 5 7 5 6 6 9 8 6
A 8 5 6
B 9 7 8 8

32
 domiant seventh pentatonic

Study No. 5 C minor blues (same deal) > ? No. 26

C7alt
b b n b b b
[A] Cmi7 Cmi7 Cmi7 Fmi7
4 b. b b

& 4 b J b
F dom. 7 pent. G b dom. 7 pent. B b dom. 7 pent.
5 10 8 8 5
T 6 6 8 6 8 7 9 6
5 5 8 5 8 8 6 9 6 5 5 7 5
A 5 7 7 5 8 6
B 6 8

Dmi7(b5)
Fmi7
b
Cmi7
. b
Cmi7
b
J J b b b
b
G7alt

& b b b b b
B b dom. 7 pent. F dom. 7 pent. A b dom. 7 pent. D b dom. 7 pent.
8 6 4
T 6 8 6 6 9 6
5 8 8 5 5 7 7 5 6 8
A 6 6 8 6 5 5 8 6 9 6
B 8 5 8 8

n b Cmi7 b b n
[B] Cmi7
b
Cmi7
b b
Cmi7 G7alt
b b b b
& b j b b J

D b dom. 7 pent.
F dom. 7 pent. F dom. 7 pent.
7 8 8 11 8 7 11 7 10 8 8
T 6 9 10 10 9 10
5 8 6 8 8
A 5 7 6 9 10
B 6 6 8
8

b b b n b
C7alt Fmi7 Fmi7 Cmi7
Cmi7
b b b b b b
& b
b
G b dom. 7 pent. B b dom. 7 pent. F dom. 7 pent.
8
T 9 7 8 10 10
6 9 6 5 5 7 8 8 8 5 7
A 8 6 8 6 6 8 8
B 8 5 5 8

G7alt b b Cmi7
b bb b b b
Dmi7(b5) G7alt Cmi7
&
b b bb b n b

A b dom. 7 pent. D b dom. 7 pent. D b dom. 7 pent.
F dom. 7 pent.
8 7 11 7 10 10
T 9 9 11 9 6 6 6 6 9
10 10 7 6 8 6 5 8 5 8 8
A 9 6 9
B 8

33
dominant seventh pentatonic

Study No. 6 Solarize changes and dom. seventh pentatonic > ? No. 27

b n 3
[A] Cmi(7) Cmi(7) Gmi7 C7alt FMAJ7(#11)
j
& 44 .. b b b b b n
G b dom. 7 pent.
3 3
G dom. 7 pent.

.
C dom. 7 pent. G dom. 7 pent.
10 7 5

.
T 8 10 8 8 10 8 6 5 7 8 86 6
7 10 7 7 9 9 7 9 6 7 7
A 10 8 10 8 8 6 8 957
B

Fmi7 B b7alt E bMAJ7(#11) E bmi7 A b7alt b

b n
FMAJ7(#11)
n # # n b b #
& J J
G dom. 7 pent. B b dom. 7 pent. E dom. 7 pent. F dom. 7 pent. A b dom. 7 D dom. 7 pent.
8 10 5 8 11
T 6 6 9 6 5 7 6 6 7
7 7 5 7 7 5 5 8 7
A 5 79 9 6 9 7 6 6
B 8

Db MAJb 7b
b
n Dmi7(b5)
b G7alt
b b
[B] Cmi(7) Cmi(7) Gmi7
j b
& . n b
E b dom. 7 pent. B b dom. 7 D b dom. 7 G dom. 7 pent. C dom. 7 pent.
11 6 11 9 10 8 7
T 8 9 9 6 8 6 5
8 7 7 7 5
A 9 9 7 9 7 8 5 8
B 7

B b7alt
b
C7alt
b b b n .
FMAJ7(#11)

FMAJ7(#11) Fmi7
# # n
& J b . b
J # #
G b dom. 7 pent. G dom. 7 pent. B b dom. 7 pent. E dom. 7 pent.
6 5 5 5
T 5 9 7 8 6 8 5 9 7 8
6 7 7 5 7
A 8 9 5 7 9 9 8 6 6 9
B 8 9

E bMAJ7(#11) E bmi7 A b7alt

D bMAJ 7
b # b
Dmi7(b5) G7alt
b n
Cmi(7)

Cmi(7)
b b n b b b b b nb J
w ..
&
A b dom. 7 D dom. 7 E b dom. 7 pent. B b dom. 7 D b dom. 7 G dom. 7 pent.

.
F dom. 7 pent.
5 6 6 5 7

.
T 8 8 6 5 7 8 6 6 9 8 8 6 6
8 5 5 8 8 6 8 7 8
A 7 6 8 6 9
B

34
chapter four: major flat 6 pentatonic

T 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
his is an interesting and useful pentatonic scale. Again, the name is a description. Take a major

pentatonic = C, D, E, G, A b ).

C Major b 6 Pentatonic
b 7th
bw
root 2nd 3rd 5th

& w w w w

chord Major b 6 Pent. interval from chord

CMaj7# 5 E Maj b 6 Maj 3rd
C7# 11 D Maj b 6 Maj 2nd
Cmi(Maj7) G Maj b 6 Perfect 5th
Cmi9 b 5 B b Maj b 6 Maj 2nd
C7 # 9 b 13 A b Maj b 6 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 C7 # 11 = D Maj b 6

# 11th # 5 # 11 b 7th
w w w bw
3rd 7th root 9th 3rd 13th

& w #w #w & w w #w

Cmi(Maj7) = G Maj b 6 pentatonic Cmi9( b5) = B b Maj b 6 pentatonic

w w w bw w w bw
& w & bw w
b 3rd b 5th
5th 6th 7th 9th b 7th root 9th 11th

C7 # 9 b 13 = A b Maj b 6 pentato

& bw bw w bw bw Enharmonically, F b is E n ,
# 9th
the major 3rd of C.
b 13th b 7th root 3rd

The use of this scale can be seen in the original studies later in the chapter.

35
Major b6 pentatonic

T
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 ii-V-i sequence using skips > ? No. 28

b b
4 b
& 4 b

b
8 10 8 12 10
5 8 5 9 8 9
[1] Skip one note
5 6 5
5
6
7 5 7
7 5 7
8
b

& b b b
b b
8
T 8 9 5 8 5
7 5 7 5 5
A 6 5 6 5 5 6 5
B 7 5 7 5 3 5 7 5 7

b
8 4 3 4 8

b
& b b b

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

b
8 4 4

b
& b b b

8 10 12 10 8
5 8 9 8 5 9
[3] Skip three notes 6
5 7
5 6
5 7 9 7 5
5 7
8

& b b j .
b
T 8 5
7 5
A 6 5 6 5
B 7 5 7 7
8 4 3

36
 maj b6 pentatonic
Ex. 22 ii-V-i sequence using skips > ?r No. 29

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

[2] Dmi9(b5)
b b b
G7alt Cmi(7)

& b b b b n
b b w
b
C Maj 6 Pent. E b Maj b 6 Pent. G Maj b 6 Pent.
10 8
T 9 8 9 5 8 6
7 8
A 9 8 9 5 8 7 5
B 8 6 5 6 5

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

b b
Cmi(7)
b
[4] Dmi9(b5) G7alt
b

& b b b b bw
C Maj b 6 Pent. E b Maj b 6 Pent. G Maj b 6 Pent.
6 7 10 7 5
T 5 6 8 6 8 8
5 7 8 8 7 8
A 6 5 6 8 9 9
B 5 7

Cmi(7)
[5] Dmi9(b5)
b b b b b
G7alt

& b b
b b b n b
C Maj b 6 Pent. E Maj b 6 Pent.
b
G Maj b 6 Pent.
8 5 7
T 9 8 5 8
7 5 8 7 8 7 8
A 6 5 9 8 5 7 9 5 7 9
B 8 6 5 6

7 6 7

[6] Dmi9(b5) b b b
Cmi(7) G7alt
b b bw
& b b b
C Maj b 6 Pent. E b Maj b 6 Pent. G Maj b 6 Pent.
6 7 11 10 7 5
T 5 8 8 6 8
5 7 8 8 7 8
A 5 6 8 9 9 7
B 5 7

37
Major b6 pentatonic

S
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

[A] Gmi9(b5)
b b b Fmi(7) C7alt
4 b
b b n
&4 b b
F Maj.b 6 Pent. A b Maj.b6 Pent. C Maj.b6 Pent.
8
T 6 9 11 9 9 8 5
5 6 5 8 9 9 7 5
A 5 7 6 5 5 6 5 5
B 8

b CMAJ 7(#5)
b
Dmi9(b5) G7alt
b n.
& b b b j
b J
C Maj.b6 Pent. E b Maj.b6 Pent. C Maj. b6 Pent.
6
T 5 6 8 5 8 8 9 8 8 5
5 7 8 7 5
A 5 6 8 9 5 6
B 7

[A1] Gmi9(b5) C7alt Fmi(7)

b b b j b

& b b b b b . b
F Maj. b 6 Pent. C Maj.b6 Pent.
A b Maj.b6 Pent.
8 10 5
T 6 8 5 5 8 8 9 8 8
6 5 8 5 5 7
A 7 6 8 6 5 6
B 7 6

CMAJ 7(#5)
b b b . b
Dmi9(b5) G7alt
b b b J
& b b J
C Maj.b6 Pent. E b Maj.b6 Pent. C Maj.b6 Pent.

T 5 8 6 5 8 9 5
7 8 7 5 7 5
A 5 6 5 6 8 9 5 8 9 6
B 7

38
 maj b6 pentatonic

Study No. 7 continued

b b F7alt
b n b
B MAJ 7(#5) b
b
[B] C7(#11)
4 b # b n b b
&4 b
D b Maj.b6 Pent. B b Maj.b6 Pent.
D Maj.b6 Pent.
5 6 10 9 5
T 5 7 9 6 7 6
7 8 6 5 7 7
A 7 8 7 6 8
B 9 8

A b7(#11) A b7(#11)
b b n
G7(#11) G7(#11)
#
3

& b b
3 3

A Maj.b6 Pent.
B b Maj.b6 Pent.
6 10 7 5
T 6 6 7 6 5
7 5 6
A 8 9 7
B 8 9 8 7 7

[A2] Gmi9(b5) C7alt

b b
Fmi(7)
b

b b b b
3

b
3

&
F Maj.b6 Pent. A b Maj.b6 Pent. C Maj.b6 Pent.
3

12
T 6 9 5 9 5 9 8 5
6 5 5 8 7 5
A 5 7 8 6 5
B 8

CMAJ 7(#5)
b b
Dmi9(b5) G7alt
& b b
b b
C Maj.b6 Pent. E b Maj.b6 Pent. C Maj.b6 Pent.

T 8 8 9 8 5
5 7 7 8 5 7 7
A 9 8 5 5 5 6
B 8 6 5 5 7

39
appendix: practice tracks and scale suggestions

I
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 Leaves changes, key of G, minor 7 pentatonics

> ? No. 31

4
Ami7 D7alt GMAJ7(#11) CMAJ7(#11)
&4 .. Emi7 Pent. Fmi7 Pent. F# mi7 Pent. Bmi7 Pent.

F #mi7(b5) B7alt Emi7 E7alt

Ami7 Pent. Dmi7 Pent. Bmi7 Pent. Gmi7 Pent.

Ami7 D7alt GMAJ7(#11) CMAJ7(#11)

Emi7 Pent. Fmi7 Pent. F# mi7 Pent. Bmi7 Pent.

F #mi7(b5) B7alt Emi7 Emi7

Ami7 Pent. Dmi7 Pent. Bmi7 Pent. Bmi7 Pent.

F #mi7(b5) B7alt Emi7 E7alt

Ami7 Pent. Dmi7 Pent. Bmi7 Pent. Gmi7 Pent.

Ami7 D7alt GMAJ7(#11) CMAJ7(#11)

Emi7 Pent. Fmi7 Pent. F# mi7 Pent. Bmi7 Pent.

F #mi7(b5) B7alt Emi7 E b7 Dmi7 D b7

Ami7 Pent. Dmi7 Pent. Emi7 Pent. B b mi7 Pent. Ami7 Pent. B b mi7 Pent.

CMAJ 7 F #mi7(b5) B7alt Emi7 Emi7

Ami7 Pent. Dmi7 Pent. Bmi7 Pent. Bmi7 Pent. ..

40
 appendix

Practice Track # 2 Leaves changes, key of B b , minor 7 pentatonics

> ? No. 32

B bMAJ7(#11) E bMAJ7(#11)
4 ..
Cmi7 F7alt
&4 Gmi7 Pent. Ab mi7 Pent. Ami7 Pent. Dmi7 Pent.

Ami7(b5) D7alt Gmi7 G7alt

Cmi7 Pent. Fmi7 Pent. Dmi7 Pent. B b mi7 Pent.

Cmi7 F7alt B bMAJ7(#11) E bMAJ7(#11)

Gmi7 Pent. Ab mi7 Pent. Ami7 Pent. Dmi7 Pent.

Ami7(b5) D7alt Gmi7 Gmi7

Cmi7 Pent. Fmi7 Pent. Dmi7 Pent. Dmi7 Pent.

Ami7(b5) D7alt Gmi7 G7alt

Cmi7 Pent. Fmi7 Pent. Dmi7 Pent. B b mi7 Pent.

Cmi7 F7alt B bMAJ7(#11) E bMAJ7(#11)

Gmi7 Pent. Ab mi7 Pent. Ami7 Pent. Dmi7 Pent.

Ami7(b5) D7alt Gmi7 G b7 Fmi7 E7

Cmi7 Pent. Fmi7 Pent. Gmi7 Pent. D b mi7 Pent. Cmi7 Pent. Bmi7 Pent.

E bMAJ 7
..
Ami7(b5) D7alt Gmi7 Gmi7
Cmi7 Pent. Fmi7 Pent. Dmi7 Pent. Dmi7 Pent.

41
appendix

Practice Track # 3 Love changes, key of B b , mixed pentatonics

> ?r No. 33

[A]
4
Gmi9(b5)
& 4 ..
C7alt Fmi7
F Maj b 6 Pent. B b mi7 b 5 Pent. Cmi7 Pent.

Dmi9(b5) G7alt CMAJ7(#11)

C Maj b 6 Pent. D b Dom7 Pent. Bmi7 Pent.

[A] Gmi9(b5) C7alt Fmi7

F Maj b 6 Pent. G b Dom7 Pent. Cmi7 Pent.

Dmi9(b5) G7alt CMAJ7(#11)

C Maj b 6 Pent. E b Maj b 6 Pent. G b mi7 b 5 Pent.

[B] Cmi7 F7alt B bMAJ7(#11)

Gmi7 Pent. A b mi7 Pent. Ami7 Pent.

E bmi7 A b7 Dmi7 G7
B b mi7 Pent. Cmi7 b 5 Pent. Ami7 Pent. Gdom7 Pent.

[A2]
Gmi9(b5) C7alt Fmi7
F Maj b 6 Pent. B b mi7 b 5 Pent. Fmi7 Pent. Cmi7 Pent.

G7alt
..
Dmi9(b5) CMAJ7(#11)
C Maj b 6 Pent. E b Maj b 6 Pent. G b mi7 b 5 Pent.

42
 appendix

Practice Track # 4 Solarize changes, mixed pentatonics > ?r No. 34

[A] Cmi(7)
& 44 ..
Cmi(7) Gmi7 C7alt
Cmaj b 6 Pent. Dmi7 Pent. B b mi7 b 5 Pent.

FMAJ7(#11) FMAJ7(#11) Fmi7 B b7alt

Emi7 Pent. Cmi7 Pent. D b mi7 Pent.

E bMAJ7(#11) E bmi7 A b7alt D bMAJ 7 Dmi7(b5) G7alt

Dmi7 Pent. Ddom7 Pent. Fmi7 Pent. Fmi7b 5 Pent.

[B]
Cmi(7) Cmi(7) Gmi7 C7alt
Cmaj b 6 Pent. Cdom7 Pent. G b dom7 Pent.

FMAJ7(#11) FMAJ7(#11) Fmi7 B b7alt

Bmi7 b 5 Pent. Fmi7 Pent. Edom7 Pent.

E bMAJ7(#11) E bmi7 A b7alt D bMAJ 7 Dmi7(b5) G7alt

Dmi7 Pent. Ddom7 Pent. Fmi7 Pent. Fmi7b 5 Pent.
..

43
appendix

Practice Track # 5 Blues in F, mixed pentatonics > ? No. 35

[A] B b7
& 44 ..
F7 F7 F7alt
F Dom7 Pent. B b Dom7 Pent. F Dom7 Pent. B Dom7 Pent.

B b7 B b7 F7 D7alt
B b Dom7 Pent. F Dom7 Pent. Fmi7 Pent.

Gmi7 C7alt F7 C7alt

Dmi7 Pent. B b mi7 Pent. F Dom7 Pent. G b dom7 Pent.

[B]
F7 B b7 F7 F7alt
Ami7 b 5 Pent. Dmi7 b 5 Pent. Ami7 b 5 Pent. E b mi7 b 5 Pent.

B b7 B b7 F7 D7alt
B b Dom7 Pent. Ami7 b 5 Pent. Cmi7 b 5 Pent.

..
Gmi7 C7alt F7 C7alt
Dmi7 Pent. E b mi7 Pent. Ami7 b 5 Pent. G b dom7 Pent.

44
 appendix

Practice Track # 6 Yesterdaze changes, mixed pentatonics > ? No. 36

E b7(#11) E b7(#11)
[A]
4 ..
Dmi7 Dmi7
&4 Ami7 Pent. Fmaj b 6 Pent. Ami7 Pent. Fmaj b 6 Pent.

Dmi7 Dmi(7) Dmi7 Dmi6 Cmi7 F7 Bmi7 E7

Gdom7 Pent. Gmi7 Pent. F # mi7 Pent.

A7(#5) D7(#11) G7 C7
E b dom7 Pent. E Maj b 6 Pent. G Dom7 Pent. C Dom7 Pent.

Cmi7 F7 B bMAJ 7 E bMAJ 7 Emi7(b5) A7alt

F Dom7 Pent. Dmi7 Pent. Emi7 b 5 Pent. Gmi7 b 5 Pent.

[B]
Dmi7 E b7(#11) Dmi7 E b7(#11)
Ami7 Pent. B b mi7 Pent. Ami7 Pent. B b mi7 Pent.

Dmi7 Dmi(7) Dmi7 Dmi6 Cmi7 F7 Bmi7 E7

Gdom7 Pent. Gmi7 Pent. F # mi7 Pent.

A7(#5) D7(#11) G7 C7
E b dom7 Pent. E Maj b 6 Pent. G Dom7 Pent. C Dom7 Pent.

B bMAJ 7 E bMAJ 7
..
Cmi7 F7 Emi7(b5) A7alt
F Dom7 Pent. Dmi7 Pent. Emi7 b 5 Pent. Gmi7 b 5 Pent.

45
appendix

Answer Key pg. 18 Minor seventh pentatonics patterns > ? No. 14

GMAJ7(#11) n E7alt
b b
b b b # n #
Ami7
4
D7alt
# n
&4
Emi7 Pentatonic Fmi7 Pentatonic F # mi7 Pentatonic Gmi7 Pentatonic

b D7alt
Ami7 GMAJ7(#11)
b b
E7alt

&
b n # n # # n b b
Emi7 Pentatonic F # mi7 Pentatonic

Fmi7 Pentatonic Gmi7 Pentatonic

C7alt b b b
GMAJ7(#11)
b b
D7alt
# # b b
Ami7
b n b
& b b b n # #
Emi7 Pentatonic
#
Fmi7 Pentatonic F mi7 Pentatonic E b mi7 Pentatonic

B b7alt E bMAJ7(#11)
b b b b b b b
Fmi7 C7alt
b b b b n n b b b b b
& b b b
Cmi7 Pentatonic D b mi7 Pentatonic Dmi7 Pentatonic E bmi7 Pentatonic

B b7alt
Fmi7
b E MAJ7(#11)
b b b b b b b
C7alt
b b
b
b b
& b b b b b b b n
Cmi7 Pentatonic D b mi7 Pentatonic Dmi7 Pentatonic E bmi7 Pentatonic

b Fmi7
b b B b7alt E bMAJ7(#11)
b b b
b b b n n b b
G7alt
& b b b b b
D bmi7 Pentatonic
B b mi7 Pentatonic
Cmi7 Pentatonic Dmi7 Pentatonic

Cmi7
b
F7alt
b b B bMAJ7(#11)
b
G7alt b
b b b b

& b b b b b b b n
b
A bmi7 Pentatonic
Gmi7 Pentatonic B mi7 Pentatonic
Ami7 Pentatonic

b b B bMAJ7(#11)
Cmi7
b
G7alt
b b b b b b b n
F7alt

& b b b b b b
Gmi7 Pentatonic A bmi7 Pentatonic B b mi7 Pentatonic
Ami7 Pentatonic

Cmi7
b B bMAJ7(#11)

b b
F7alt
& b b b b b b b n
A bmi7 Pentatonic
Gmi7 Pentatonic Ami7 Pentatonic
46
 appendix

Answer Key pg. 19 Minor seventh pentatonics patterns > ? No. 15

b b b
Dmi7(b5)

A7alt

G7alt Cmi7
b b b
& 44 b b b b b b b
B b mi7 Pentatonic
Gmi7 Pentatonic Gmi7 Pentatonic Cmi7 Pentatonic

Dmi7(b5)
b b b G7alt
b b b b b
Cmi7
A7alt

& b b b b

Gmi7 Pentatonic B b mi7 Pentatonic Gmi7 Pentatonic Cmi7 Pentatonic

F #7alt
b b b b b b
Dmi7(b5) Cmi7

G7alt
b b
& b b
Gmi7 Pentatonic B b mi7 Pentatonic Gmi7 Pentatonic Ami7 Pentatonic

Bmi7(b5)
b
E7alt
F #7alt

Ami7
&
Gmi7 Pentatonic
Emi7 Pentatonic Ami7 Pentatonic
Emi7 Pentatonic

F 7alt
Ami7

Bmi7(b5) E7alt #

& b b
Gmi7 Pentatonic Emi7 Pentatonic
Emi7 Pentatonic Ami7 Pentatonic

E7alt
Bmi7(b5)

Ami7 D7alt
b b b b b
& b
Emi7 Pentatonic Gmi7 Pentatonic Fmi7 Pentatonic
Emi7 Pentatonic
C7alt
D7altb b b b
Gmi7(b5)
b b b b b b
Fmi7
b b b b
& b b b b b

Cmi7 Pentatonic E b mi7 Pentatonic Cmi7 Pentatonic Fmi7 Pentatonic

b Gmi7(b5)
b b b b b b b
C7alt Fmi7 D7alt
b b b b b b b b b b b
&
Cmi7 Pentatonic E b mi7 Pentatonic Cmi7 Pentatonic Fmi7 Pentatonic

b Fmi7 b b b b

Gmi7(b5)
b b
C7alt
b b b b b b b b
& b
Cmi7 Pentatonic E b mi7 Pentatonic Cmi7 Pentatonic
47