Improvising with the major pentatonic

Approaches to Major Pentatonic Scales in G and D

So you've just improvised with two major pentatonic scales in G and D. Let's talk a little bit about approaches to these pentatonic scales.

Fragmentation

It's not always the best approach to just run up and down the scale like that. I would suggest that you focus on little fragments of the scale, maybe just a four-note group like with the thumb on the root, and just see what you can do with those four notes.

1. Stay Inside the Box:

   • Try not to go outside the box.
   • See how many different rhythms you can come up with.
   • Play the notes in a variety of different orders and articulations.
   • Change the phrasing: play staccato, play legato.

2. Move Through the Scale:

   • Let's move up to the next four notes of the scale with the thumb on the second.
   • Try a little bit of improv, restricting ourselves to just those four notes.
   • Move up again to the thumb on the third, remembering not to play C or F.
   • Continue on to the next group: thumb on the fifth.
   • Finally, explore the last position: thumb on E.

Singing and Playing

It would be good if you sang these shapes as well.

• For those of you that have done the Beginning Jazz Piano Course or have the Beginning Jazz Piano Book, you will remember that there are some sing-and-play pieces or workouts.
• In these, you not only put your hand in these positions but also sing them.

Go through that process, singing different phrases and finding the notes on the piano. This practice will really help you connect with the sound of the major pentatonic.

Adding More Complexity

The other things that you can do to take it to the next level include what we did earlier with the five-finger position, which is to add the blue third.

• On D, this gives it a more bluesy quality, doesn't it?

Top Harmony Technique

The last tip I'll give you is to use some double notes:

• This really takes it to another level entirely.
• For example, if you had these three notes (1, 2, 3), you could add the fifth on top.
• You can play the fifth with every note or just with some of them.

This technique is often referred to as top harmony:

• Essentially, the top note doesn't move, while the melody note underneath changes.
• The top note remains the same, providing a thicker sound.

Example:

• If we had these notes in the melody, we could add a G on top, transforming the sound.
• You can still hear the melody, but it now sounds much thicker.

Combining Techniques

Unlike normal harmony notes, the top harmony note is above the melody, and it doesn't detract from the changing notes underneath.

• Don't forget, of course, you can also do both together: the blue third and top harmony.
• For instance, if you add the top harmony, that would be a D above.

Grace Notes:

• When I play the grace note, I'm playing it with the top note.
• Remember: Don't do this. It's not really a grace note; that's more of a pickup.
• The grace note should be played on the beat with the top note, or it is in D.

Play the blue third with the top note.