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Jazz Sax Lessons: Play Your Scales with Me in All Keys: Pentatonic

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Okay, it's time for
pentatonic scales.
Here we go, ready?
So this exercise deals
with minor pentatonics.
Major pentatonics are not
really talked about very often.
We don't use them much,
a major pentatonic scale.
Major and minor pentatonics
are both five note scales.
A major pentatonic is basically just
a major scale that skips the fourth and
the seventh degree.
So it would sound like,
if I was playing my key of D.
As opposed to a minor pentatonic
which is widely used.
Which is a scale that skips the second and
sixth degrees of a minor scale,
a minor scale that encompasses a flat
third and flat seventh that is.
So as you probably already know,
minor pentatonics
are used very widely over
songs that have a lot of minor chords, but
also dominant chords like blues and
that kind of thing.
So if I were playing like a lick for
instance, if I play a, my alto here.
An A minor pentatonic scale.
And I would play that over an A tonal
center, like an A minor type of a chord.
I can make up, the cool thing about
pentatonic scales is that
every note sounds good.
So you can play licks just
using your minor pentatonic and
using no other notes whatsoever.
Your goal is that you're gonna sound
like a million bucks just using
those five notes.
So, I was just using
those five notes of the minor
pentatonic scale there,
and making up some licks and
every note sounded good.
So it's sort of a fail-safe
scale to have under your belt.
So let's get into an exercise
that helps us get
those scales under our fingers, okay?
So here we are.
I've written this PDF for you so
hopefully you've downloaded this
PDF of the minor pentatonic scales.
So I wrote it just in one said for
all saxophones.
So just like before on all
these scale exercises,
I'm playing my alto,
my E flat alto saxophone.
So I'm gonna start at the beginning.
If you're playing a B flat instrument
like your tenor or your soprano,
you're gonna start on the next one,
on the F minor panatonic.
That is if you're playing along with me.
That way, we can be playing together
in unison and it'll all sound good.
And like with the scales, too,
if you're playing tenor or soprano and
you get to the.
You're gonna get to the end before I do,
one key before me.
So, my last key is gonna be that last
staff there on G minor pentatonic.
So if you're playing tenor or soprano,
you're gonna skip back up to the top and
play C minor, okay?
All righty.
We're gonna play along with
our metronome as always.
I can't say this enough, but
always practice with your metronome.
Always practice with your metronome, and
don't forget, what was the last point?
[SOUND] Always practice
with your metronome.
So I've got mine set at 150.
You're gonna hear it clearly and
here we go.
One last point,
as you can see in here on my PDF,
I've written repeats over each one,
so we hit each one twice.
And we'll leave four beats, one measure,
between each scale so
we have time to take a breath, okay?
So let me fire this up and here we go.
[NOISE] One, two, one, two, three.
two three.
two three.
two, three.
two, three.
two, three.
two, three.
two, three.
two, three.
two, three.
two, three.
Last one,
Good job.
Okay, so
I encourage you to practice those a lot.
It's great if you're going
to play along with me.
Awesome, fantastic, we can, you know,
that's one of the beauties of
this whole artists works school.
But I rally encourage you to
work on these on your own.
These scales are as I
mentioned in the beginning
are really useful in a lot
of different ways actually.
So make sure you know all these, and
don't focus on the one's
that are the easier keys.
Make sure like everything else
scale wise that you hit every key.
It's only 12 keys not like you've gotta
learn 100 different key signatures.
Only 12.
Big deal, 12.
So in fact,
working on the ones that are less
familiar are better for your technique.
You're getting into parts of the horn
that you don't normally get into.
So I encourage that a lot.
And again, change your tempo,
change the articulation.
Make sure you're not always just
trying to play things faster.
Please, please, please don't think
that in order to gain technique and
play better that you've got to play
faster, and faster, and faster.
It's very opposite logic, because if
you play faster, you tend to skip over
the little issues that are causing the
technical problems that you're trying to
get over by practicing in the first place,
so you're doing yourself a big disservice.
You're working almost backwards really.
So make sure you practice things.
You can speed things up certainly,
but only if you're in control.
So vary that tempo both faster and
slower, and sometimes really super slow.
If you If you worked on, which I hope
you are, working on the warm up lessons.
Those I intentionally did quite slow, and
got to tell you they were really
hard work for me, but it was great.
It's just a great way
to just settle in and
make sure you're not only
playing these nice and
clean from one note to the next, but
all your notes are in control and that
you're working the muscles that you need
to work in order to be playing your best.
All right, well,
have fun with these scales and
we will see you on the next set.