Learn how to construct and play this type of scale. You can find that by clicking here. Fingering (LH): 4, 3, 2, 1, 2, 1 Fingering (RH): 2, 1, 2, 3, 1, 2, Notes: G, Bb, C, D, F, G In this easy piano lesson you'll get tips on how to use this chord chart for piano playing. • Count up 30 keys to get to middle C. • Once on the middle, count 4 keys to reach E (the second note of the C chord). G Major Pentatonic (G, A, B, D, E) = E Blues. The examples at the end of this lesson I am demonstrating how to use these voicings on a II Valt I progression in the key of G major. I've only very recently started writing songs (I've written four...but all within the last week! Fingering (LH): 2, 1, 5, 4, 3, 2 Once you master the ii-V-I you can begin to solo over other jazz chord progressions. Welcome to lesson 4 of the minor blues course. The chords you use, and the order you play them in make up the harmony of a song. See Five Essential Scale Types in All Major and Minor Keys at a Glance, for Both Guitar and Keyboard THIS WALL CHART COMES WITH: Digital (PDF) Version of the Same Poster in High Resolution for Smartphone or Computer (Item S-110, $6 value) Chord Progression Chart, Laminated Reference Chart, Music Stand Size (Item S-114, $9 value) E: E, G, A, B, D, E Combining Modal & Pentatonic Scales. D: D, E, F#, A, B, D This one starts on the minor ii, before moving to the I and then the V. So in the key of G the chords are Am-G-D. What I love about this progression is how it sounds really unfinished. What makes the Pentatonic scale so amazing is that you can play those notes over pretty much any progression in the key of G. You can play them in any order, together or on their own. So try this as one possible process for creating a song section (verse or chorus) based on pentatonic melodies: That should certainly give you enough of a start that will provide the inspiration to fill in most sections of a song. G: G, A, B, D, E, G But making a song sound “sad” relies heavily on minor chords and their progressions. You should be comfortable with the concepts of chord extensions, altered harmony, and rootless voicings. Melody generally uses the notes of a chord or notes that return to it. Fingering (LH): 3, 2, 1, 2, 1, 3 Hi Gary, I just love all of your e-books. Fingering (RH): 2, 1, 2, 3, 1, 2, Notes: D, F, G, A, C, D But they’re actually simpler than you think! Fingering (LH): 2, 1, 3, 2, 1, 2 In the last lesson, we started out improvisation study by pentatonic scale soloing. So both the chord and scale share the same root and therefore this is the most natural and "resolved" chord to use minor pentatonic over. One additional bit of advice: You’ll find that simple, basic progressions work well, and have a nice, lulling effect in pentatonic harmonizations: But as part of your improvisations, try fitting in some altered chords, and also some non-diatonic ones… chords that don’t naturally belong to the chosen key. Go to the piano/keyboard and practice these different voicings for V7 chords; Use a drone to sustain open 5ths and improvise, exploring different harmonies and pentatonic scales; Record a practice track of either open 5ths or 4ths and improvise with the minor pentatonic scale; Loop a section of McCoy’s comping in Transcribe! Back in June I did a post on creating melodies from chord progressions. At FeelYourSound, we created a MIDI plug-in that does exactly that. Description: We use only ONE single LEFT HAND GRIP to play the ENTIRE 2-5-1 (II-V-I) chord progression in minor. 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