![]() ![]() ![]() This hits the 5, b7, root, 2, 4, and 5 of the chord. Over the ii chord, use a minor pentatonic a perfect 4th down from the root of the ii chord (Dm7-A minor pentatonic). You can use: A minor pentatonic, Bb minor pentatonic, B minor pentatonic, and C minor pentatonic, respectively (one pentatonic scale per chord).īELOW IS A PDF OF THE SCALES FOR EACH CHORD IN ALL 12 KEYS:ĬLICK HERE FOR A ii-V7-I-VI7 PLAY ALONG TO PRACTICE THESE IDEAS Over a ii-V7alt-I-VIalt progression, such as: I’ve included a summary below of his main point for reference (or if you aren’t a guitar player and have trouble following what Vic is doing). There are no fret numbers because this diagram can be seated at any fretboard position.This is one my favorite jazz education videos on youtube… the perspective of is that of a brilliant guitarist, but any instrumentalist could use these concepts. The gray are other additional diatonic notes. (The “blue” notes, which are not part of those scales but often used in blues and rock music, are shown in blue.) The red notes are major roots. The diagram below shows the spacing between the notes of the major and natural minor scales. You could then play that scale with any tonic note by shifting it up and down the fretboard. ![]() It would be beneficial if you learned the shape of the scales on the guitar. B♭ is by far more common because it’s more practical in standard notation. Note that there are other minor scales besides natural minor.Ī♯ and B♭ are enharmonic notes, keys, and chords, so you would play them the exact same way. If you want to end with B♭, don’t play the last two notes. Assuming you want the natural minor scale, this is one example of how to play it, shown in standard tablature: -6-8-9. There are many ways to play the B♭ minor scale on the guitar. ![]()
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