Pentatonic Sequencing

[jazzman1945]

Originally Posted by learnjazzstandards

Can you explain how you might use this in a harmonic context?

Maybe over a Gm7 C7(b9) progression? Other ideas?

I know that

C7(b9), Eb7(b9), Gb7(b9) , A7(b9),

Dbdim7, Edim7, Gdim7, and Bbdim7

are all consonant with the pitch collection (C diminished scale) you mentioned.

According with Bartok's wheel.
http://www.harmonicwheel.com/bartok_axes.pdf

(I made ​​myself this out of cardboard)

[michaelsorg]

Originally Posted by jazz oud

Cool, michael, I'll have to fool around those.
I did mention that any of the Cm pentatonics in the table could be replaced by a Dm or Gm pentatonic, so they're implicitly included . . . but it's good to point out options that are especially effective.

Ah, so you did...I see it now...like the fine print one missed when signing that important contract! Then I would have to say, you definitely covered all the bases!

[flextones]

Man this topic has been covered from the Alpha to the Omega. I still own Ramon Ricker's Quartal Pattern book. I have lost the one on Pentatonic Scales. I remember when that concept came in and was real popular. Joe Farrell "Penny Arcade", Eddie Harris' "Freedom Jazz Dance" and he had a pattern book called The Intervallistic Pattern Book. That book is out of print. McCoy took it to another level with John Coltrane and after he was no longer with Trane. After a while that sound gets boring because there are no tritones to help us hear a tonality. When you avoid all 4th and 7th degrees in your lines it sounds repetitious. You need to mix some other intervals in there besides Major 2nds, Minor 3rds, Major 3rds and Perfect 4ths. Semitones and other intervals give lines forward motion. Walter Bishop Jr had a book called "A study in 4ths" but it is out of print too. It was good. Somebody help me. I am out of control.

[michaelsorg]

Originally Posted by jazzman1945

According with Bartok's wheel.
http://www.harmonicwheel.com/bartok_axes.pdf

(I made ​​myself this out of cardboard)

Your model of the Harmonic Wheel is exquisite. Thanks, Jazzman!

[michaelsorg]

Originally Posted by flextones

Man this topic has been covered from the Alpha to the Omega. ...McCoy took it to another level with John Coltrane and after he was no longer with Trane. After a while that sound gets boring because there are no tritones to help us hear a tonality. When you avoid all 4th and 7th degrees in your lines it sounds repetitious. You need to mix some other intervals in there besides Major 2nds, Minor 3rds, Major 3rds and Perfect 4ths. Semitones and other intervals give lines forward motion. ...

I think you need to check this out again (some more), especially 2 pentatonics a tritone away. If there aren't enough tritone relationships contained in that, you're doing something wrong! Try just playing three notes from one scale, then play the same 3 notes a tritone away. For C maj (A mi) pent. and Gbmaj (Eb min) pent my preferred applications are:

Gm6 or C#m6 (think mel mi plus some good stuff!)
C7 or Gb7 (think dimin. scale plus some good stuff)
Fmaj7 or Bmaj7 (think pivoting between I and V7)

Happy practicing!