In this Jazz Break lesson, we take a focused look at using pentatonic scales by starting from the 9th of the chord, allowing the upper extensions of the harmony to come through clearly.
This concept works on both major and minor chords, using major pentatonics over major harmony and minor pentatonics over minor harmony. By shifting the pentatonic starting point away from the root, you’ll hear a more modern, open sound. A simple but effective way to get more harmonic color and clarity out of familiar pentatonic shapes.
Up Next in Jazz Breaks
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Retargeting II-V's - Jazz Break
In this lesson, you’ll learn how to create fresh harmonic colors by redirecting II-V progressions to new destinations. Instead of resolving every D–7 → G7 to Cmaj7, try substituting F–7 → Bb7 → Cmaj7 or even Ab–7 → Db7 → Cmaj7. Re-targeting opens up new melodic pathways and adds sophistication to...
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Triad Pairs - Jazz Break
Triad Pairs
This lesson explores improvising with triads instead of traditional linear lines. By pairing two triads—like F and G major over a D–7 chord—you’ll discover fresh intervallic textures and melodic shapes that break you out of scalar playing and add a modern edge to your solos. -
The Wes Montgomery Tritone Substituti...
In this lesson, you’ll learn how to apply Wes Montgomery’s approach to tritone substitutions by replacing a standard II-V-I with one a tritone away. For example, instead of D–7 → G7 → Cmaj7, try Ab–7 → Db7 → Cmaj7. This simple shift adds rich altered tones and creates the sophisticated harmonic c...
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