Study Notes from Livestream on Pentatonics and Triads
Introduction
Speaker has been absent for nine days since the last livestream, recently returned from LA.
Mention of interviews with Frank Ambali and Larry Carlton as previous discussions.
Objective is to discuss combining pentatonics and triads over chords, expanding on previous topics covered.
Promotional Information
Discount code provided: RB616 for 25% off, rare offer associated with a Father's Day sale.
Acknowledgement of Father's Day, emphasizing the day’s importance universally.
Major Chords and Their Associated Scales
Introduction to Major Chords
Discussion initiated on major chords with reference to the Beato book.
Content covered includes how to build chords, particularly polychords or triads for bass notes, including their corresponding notes.
Pentatonics of Major Chords
Using an $A$ major chord as an example (playing an $A6/9$ chord):
$A$ Major Pentatonic Scale: A great foundational sound over the $A$ major chord.
$E$ Major Pentatonic Scale: Built on the fifth, provides a complementary sound.
$B$ Major Pentatonic Scale: Built on the second, enhances a major seven sharp 11 chord sound.
Summary of major pentatonics that work over $A$ major:
$A$ Major Pentatonic: Base scale.
$E$ Major Pentatonic: Sound from the fifth.
$B$ Major Pentatonic: Sound from the second.
Triads for Major Chords
Four major triads applicable to major chords are:
$A$ Major Triad: Includes root, third, and seventh to produce a major seventh sound.
$E$ Major Triad: Same approach as $A$ Major.
$B$ Major Triad: Echoes previous applications.
$C#$ Major Triad: Augmented leading sound, connected to major third.
Explanation of combining triads for a cohesive sound in improvisation:
Example progression: $A$, $E$, $B$ Major Triads leading to exceptional sound combinations.
Mention of relationship with Pat Metheny's style of chord progression.
Minor Chords and Their Associated Scales
Introduction to Minor Chords
Shift to minor chords with reference to a $C$ Minor 11 Chord as basis for analysis.
Pentatonics for Minor Chords
Discussion focuses on different minor pentatonics:
$C$ Minor Pentatonic: Off the root.
$G$ Minor Pentatonic: Off the fifth gives a minor nine sound.
$F$ Major Pentatonic: Provides a Dorian sound and can be played over $C$, leading to minor chord sonorities.
Key distinctions: On major chords use major pentatonics off the root and second; on minor chords use minor pentatonics off the root and the second.
Triads and Melodic Minor Applications
Major triads applicable over minor chords:
$B$ Major Triad: Built on the second, combining nicely with $C$ Minor.
$D$ Minor Triad: Enhances complexity in minor chords.
Melodic Minor Triad Integration:
Utilizing the melodic minor scale as a source for triads over minor chords to create sophisticated textures.
Example: In $C$ melodic minor, using the $D$ minor and $E\flat$ augmented triads allows for a rich, modern sound over a minor tonality.
Triads derived from diminished contexts:
$E\flat$ Minor Triad: Essential in the composition of $C$ Minor 7 flat 5 chords.
Options of $B\flat$ Major Triad and further extensions for expanded minor colors.
Dominant Chords and Their Associated Scales
Introduction to Dominant Chords
Brief introduction about $G7$ chord:
Fundamental notes include root, third, and seventh. A range of compatible major triads discussed:
$E$ Major: Related to diminished scales.
$B\flat$ Major: Incorporation into sound patterns.
$D\flat$ Major: Moving through minor thirds.
Presentation of triads with alterations and how they weave into grooves of larger progressions.
Pentatonics for Dominant Chords
Use of major and minor pentatonics based off the root and altered pentatonic sound strategies:
Examples include $G$ Major, $D\flat$ Major Pentatonic over altered dominants, showcasing how tensions and resolutions in melodies occur.
Conclusion and Further Offers
Recap of combined approaches with examples reflected in musical phrasing styles.
Reminder of the discount code RB616, promotion on additional merchandise.
Tone of excitement for upcoming material in the following week, introducing a focus on the band Pliny and future musical analyses.