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This Pentatonic Pair Will Instantly Upgrade Your Solos

Jeff Schneider

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0:00 how to break out of the usual major 7 sound
0:12 a quick refresher you’ll actually use
1:30 the first twist
3:05 the second twist
4:43 now here’s where it gets good
6:47 this is the move that makes it work

20 Comments

@vishnusriram 1 year ago

The final lick with the triplets is sick

@futureframes 1 year ago (edited)

I'm a guitar guy BUT EACH & EVERY video you post that I consume makes me a better musician in little babysteps ... always love your content and your generosity. I'm always surprised and enlightened! Thank you Jeff<3

@charleskleesattel6477 1 year ago

Thank you. Finally a YouTube video with clear explanation, no B.S. pseudo-comedic entertainment, or 'look at me' chops exploitation. Subscribed and I'll be looking forward to other videos. Thank you.

@spareplanet 1 year ago

You CAN do this, but be aware it shifts the key center. To use the example in the video:

1) Hold down a Cmaj7 chord in the left hand

2) Play a G major pentatonic riff in the right hand

3) Play the same riff in D major pentatonic

Sounds great, but notice the Cmaj7 chord has now become the 4 chord, and the piece wants to resolve to G. Play a G chord in the left hand and you'll see what I mean - the G chord feels like "home". 😊😊

@walterholland1251 1 year ago

Ahhh! "Color Tones" is a good way to describe it. Vanilla is fine, but color tones is like adding sprinkles.

@TheCasualChamp-fp7bh 1 year ago

I learned this from Guitar Techniques Magazine, in 2006. I don't see many people talk about it and it's huge. I don't play piano but I subbed :)

@pepecetina 1 year ago

Awesome video! You can solo for hours just using this!

@infn8loopmusic 1 year ago

Great lesson! You can use this with passing ohrases too. The whole jazzy concept of secondary dominants and apply pentatonics like this for passing chords. Basically you plant a pentatonic scale rooted on the fifth (of the chord you're moving towards) for a short passing phrase. Then when you hit the actual root of the following chord you get a nice 5 to 1 resolve. So its like pentatonic as a secondary dominant. Try it with chords too.

@JosephM.Chaffin 3 months ago

That's an interesting take on using pents

@Gnurklesquimp2 1 year ago

Even videos where I already know everything, it's amazing for constant reminders of all that's possible. The sky is the limit when you start combining concepts, and that's a valuable way to explore sounds that are far out but meant to be.

@thespleenenator 1 year ago

I feel like a even simpler way to phrase this is "play Cmaj7 in the left hand, but solo in b phyrgian while playing the c natural im the right hand as little as possible". It works because you're essentially soloing in c lydian while starting on b, but with the dissonant minor second appearing a lot. Sounds very ecm, at least the way I was doing it.

@dazbethell 7 months ago

2 most important notes being the 3rd & 7th of the CMaj7 chord. E and B. So I think Em7 and Bm7. Has all the notes in both the pentatonic scales mentioned. Left hand plays a CMaj7 chord with the right hand playing notes of the Em7 and Bm7 chords. Hope this helps 😀