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Jazz Piano Lessons: Two More Pentatonics

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Let's take a look now
at our G minor pentatonic scales.
I'm gonna show them and finger them first.
And then we're gonna do the same kind of
very simple just play them up and down.
And reverse direction from time to time.
G minor 7 pentatonic, it's the same idea.
One, flat three which is the B flat.
Perfect four, which is the C.
Perfect five, which is the D.
The flat seven is the F.
Now, to finger these things,
the way that I like to do
it is to start on two,
two, four, one, two, one, two, four,
one, two, one, two, four, one, two,
one, two, four, one, two, one, two.
I'm not sure why I use
the four there instead of
Somehow I think it's a little easier for
me to cross under the four here.
Here, cuz especially down low, my wrist
is twisted in a way to get to the third.
That seems like more of a reach than this.
It could just be the way
my hand is put together.
That's the fingering, though,
up and down, is two on the G,
four on the B-flat, one, two on the C and
D, then one, and then the same thing.
That's for
the G minor 7.
For the G minor 6,
it's the same fingering.
It feels a little bit different
because obviously you're doing that.
And again, the more you play these,
the more you get used
to the crossing under
that's required, the crossing over.
You're crossing over with
the four over your thumb to a black note.
Little bit awkward.
That's the kind of fingering that we need
to be able to do on the fly to play
good jazz, especially at tempo.
So we make our peace with it.
Again, we're not doing classical here,
where we can work out our
fingering ahead of time.
We need to learn to get at
things smoothly and in a legato,
connected fashion that
don't really fall natural.
I don't even know if I can do this one,
but when you watch Herbie Hancock warm up,
he plays these beautiful arpeggios
with both hands and it just, honestly,
it looks like he's not
even touching the keys.
And then he does this one.
he can do
it really
What that is, is this figure,
then you take each note out a half step
then a half step further again.
And the idea is just to really get where
you can cross over a wide distance
like this, and even this,
and make it sound natural,
then you do it with the next finger.
By the time you're going like this and
crossing over with your fourth
to that note or to this note,
you're really getting where you can
smoothly cross over or under, to any note.
We're not gonna do that
exercise right now,
unless you feel like
getting some extra credit.
But the point is,
when we're working on jazz,
getting the ability to connect
the dots really smoothly,
no matter how awkward the fingering,
is really essential.
Let's put up the slow blues track, and
just work out on these the G minor 7 and
the G minor 6th.
And then we're gonna go ahead and
put those on our blues.
Two, one, two, three, four.
it's really
simple to
make a melody
out of this.
You can hear that
I started to kind of play
melodically there and
again I wasn't doing
anything that's not
a part of the exercise.
I'm just
I was just playing step wise.
You gotta love the E over
the G minor 7 voicing.
Again, that 13 on a minor chord,
it's like it kind of has that
smokey old Manhattan thing.
And so often, when I'm playing on a minor,
if I'm really trying
to cover territory and
I'm looking for the most power.
The straight minor 7 pentatonic is
where I go.
But if I'm trying to make people think,
I guess is what l'd say,
you heard our little approach pattern.
You heard that go by right there.
And, so the next thing we're going to
do is a quick lesson on integrating
the approach patterns into
our pentatonic scale.
I mean that's a really
nice little line there.
So I will see you on the other side for
that lesson.