In Ex. 1, we play a minor pentatonic scale
over a minor 7th chord, both with the same
root: a G minor pentatonic scale over a Gm7
chord. This works because the scale very
closely resembles the arpeggio of a minor
7th chord.
Ex. 2 deals with Bbmaj7, the relative
major, which is three frets or a minor third
above. One way to think of this is, if you
see a major 7th chord, play a minor pentatonic
scale based on a root a minor third
below the written chord’s root. Same scale,
different setting.
Now let’s look at some less common,
yet simple and creative ways to use this
scale, five positions of which are shown in
Fig. 1. Playing the exact same scale over different
chords creates a whole new sonic
palette without stepping too much outside
funk or R&B and into jazz. The simplicity
of the minor pentatonic scale ensures an
accessibility to the listener, even when it is
used to create varied altered tensions. All
of the following examples use the G minor
pentatonic scale, superimposing it over
other chords. Notice how the function of
each scale degree changes depending on
the chord underneath. To truly appreciate
these new colors and flavors, you’ll want
to record or have a friend strum the underlying
chords as you play over them.
Ex. 3: G minor pentatonic scale over a
Cm7 chord
The easiest way to think of this technique
is to play a minor pentatonic up a
perfect fifth (or seven frets) from the root
of a minor 7th chord.
Ex. 4: G minor pentatonic scale over an
Fm7 chord
Think of this one as a minor pentatonic
starting a major second (two frets) up from
the root of a minor 7th chord. Used in this
way, the sound created works well over
Dorian harmonic content, because even
though there is no 3, we do get the Dorianapproved
6th degree.
Next month we’ll explore even more
colorful ways to employ our old five-note
friend. Stay tuned!