No pianist has influenced the modern approach to jazz piano more than McCoy Tyner. Epson Ub-u03ii Driver Windows 7. From players like Chick Corea and Mulgrew Miller to non-pianists like Woody Shaw and Michael Brecker, McCoy has left his mark on generations of serious improvisers. And one distinctive element of his approach to improvising is his creative use of the pentatonic scale. But it’s more than the five simple notes that most musicians think of using over a minor chord. As you’ll soon learn below, the pentatonic scale can add a wealth of harmonic and melodic possibilities to your solos. Take a listen to McCoy Tyners’ solo on from the album The Real McCoy: The Blues is a form that every improviser must learn and master if they want to become a proficient player.

You can approach it with blues language, bebop, or even modern and outside approaches – it all comes together in the blues. And today we’re going look at 3 creative ways McCoy Tyner uses the pentatonic scale on the blues 1) Using the Minor Pentatonic Scale over Dominant Chords If you’ve subscribed to JazzAdvice I’m guessing you’ve learned more than a few options for And you probably have a few tricks up your own sleeve when it comes to creating solos over this sound However, one scale that many players don’t think about on V7 chords is the minor pentatonic scale. And that’s exactly what we’re going to look at today. In his solo on, McCoy Tyner uses the minor pentatonic scale over dominant chords in two specific ways: (1) from the root of the chord and (2) from the 5th of the chord. R oot of the Chord: To begin, let’s take a look at how he approaches dominant chords with a minor pentatonic scale built from the root.

In the line below, McCoy uses a Bb minor pentatonic over Bb7, take a listen: Notice how this scale emphasizes the b3, b7 and 11th of the Bb7 chord in a way that is very similar to traditional blues language or the blues scale. Here’s another example that starts on the 5th note of the Bb minor pentatonic scale: 5th of the Chord: The second way McCoy uses the pentatonic scale in this solo is from the 5th of the V7 chord. Check out how he employs this technique in the line below: On both dominant chords he uses a minor pentatonic scale built on the 5th – Bb minor pentatonic over the Eb7 and an F minor pentatonic over the Bb7: But wait a second, why does this work? This scale is missing the one note that defines the harmony – the 3rd. Well, this concept goes back to the of approaching the V7 chord as the related minor ii chord, for example thinking F- over Bb7: You can also think of that static dominant chord as the related ii-V7.

Orange Jam Improvisation. This creates a form of motion and avoids the predictable practice of starting licks on. Maestro Michael Brecker on a Brecker bros.

For example, F-7 Bb7 over Bb7. • Review your minor pentatonic scales in all 12 keys • Practice the minor pentatonic scale from the root and 5th of V7 chords • Turn on a play-a-long and practice applying these scales over the dominant chords in your solo A Note on McCoy’s Left Hand The signature “McCoy Tyner sound” hinges on one thing – his left hand. Dance Movements Sparke Pdf Printer. McCoy’s left hand is central to the lines he plays in his right, both rhythmically and harmonically.

Those iconic 4th and 5th voicings that you hear are perfectly suited for the pentatonic and intervallic lines he plays on top. Hp Usb Disk Format Dos Files. Additionally, the absence of tertian structure in his voicings allows for more harmonic freedom. Below are 3 unique aspects of McCoy’s left hand The open 5th: McCoy often plays the root and 5th of a chord in his left hand, creating a pedal point for his 4th voicings and improvised lines. If you’ve listened to the classic Coltrane Quartet or any of you’ve heard this sound: Augmented 4ths and perfect 4ths voicings: Throughout this solo McCoy voices dominant chords in stacked 4ths – either from the root of the chord or the 7th of the chord. For example, over Eb7 he will play Db, G, C and then switch to 4th’s built on the root ( Eb, Ab, Db): The tritone interval in the augmented 4th ( Db to G) creates more tension while the perfect 4ths are an open sound that don’t require resolution.