Planing A Minor Pentatonic Upon the Wholetone Scale

(35 posts)
  1. I'm not a guitarist, but I'm enjoying all of this from a theoretical standpoint. I should try to apply this to the bass...

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  2. animitta
    Member

    Hello,
    i have just uploaded a youtube video about the second part of Kurt Rosenwinkel's italian clinics on pentatonic.

    You can find the video here:

    [+] Embed the video | Video DownloadGet the Video Plugin

    Here you can find the transcription:
    http://www.scribd.com/doc/22272340/rosenwinkel-s-pentatonic-2

    All the Best
    Animitta

  3. thank you for posting such an invigorating exercise. i have felt stuck and had been on youtube checking out many players that have a certain way of moving things around and what feels like flowing through and generating structures and rubic's cubing them around and had been in awe of : rosenwinkel ,tim miller,nir felder or say gary versace's keyboard solos. this technique has opened things up for me a bit.
    i just started with this and think its great . i also did something which adds a step to the process and you might find neat.since i just started i am practicing very slow and then am basically doing 2 chords per bar and soloing with sixteenth notes. then i started to play maj7 ideas a 1/2 step higher than the min 7 chord ( for one beat) eg: over the progression with each chord lasting for 2 beats {gmn7 Amn7}{Bmn7 Dbmn7} {Ebmn7Fmn7}play:{Abmaj7 Gmn7 Bbmaj7 Amn7}{Cmaj7 Bmn7 Dmaj7 C#mn7} etc, 1beat each. clearly you coud use other types of chord other distances away from target chord .

    Magical rainbow ponies
  4. geetarted
    Member

    Nice ideas here. I like to stack minor pents in 5th's. Over Cmaj i could start with a concept in Bmin then F#min, the take the exercise down a maj 3rd to Dmin the Amin. Good fun over just Cmaj.

  5. This is not totally related and also may seem very basic.
    In doing the original excercise, when hanging out in various positions for a while we really start getting the various shapes and sounds and transitions in us. I started taking a motif ( just some short idea) and in this case ( we can percieve the harmony as ascending : G-,A-,B-,Db-,Eb-,F-) instead of taking the idea "uphill" , going "downhill " with it. Maybe not starting on the exact same tonal point as for the first chord's tonal point or even an exact transposition necessarily - but following the contour of the idea and dealing with where I've placed myself as the chords change while keeping the idea's momentum and shape; again, going in the opposite " direction" of the harmony's "direction".


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