THE INFINITE GUITAR - The success of the chrisjuergensen.com site led me by popular demand to publish the lessons from the site as a book called "The Infinite Guitar." This blog is dedicated to answering your questions about the book, music or the guitar in general. Got a question? E-mail it to me, you never know: juergensenguitar@gmail.com
Q: I read a column about the dominant pentatonic and I'm feeling a little confused. Here's why...The dominant pentatonic comes from the Mixolydian Scale, and I know this mode and have no problems with that. Now the pentatonic takes only five notes of this scale. My problem here is what are these five notes? The Mixolydian looks like this: 1-2-3-4-5-6-b7 What should be the formula for the dominant pentatonic?Should it be this:1-3-4-5-b7(referenced here >>>):
Or should be this one:1-2-3-5-b7(referenced here >>>):
Because in fact both use only five notes, and in both, the five notes come from the Mixolydian Scale, so which one to use? I've seen in several places the first one, and in others the second one.Thanks a lot for any info!
Q: I can see how this might confuse you. Let me see if I can shed some light on the subject. First of all, you'll be happy to know that there is no set standard pentatonic scale called the dominant pentatonic scale, so there might be several different examples floating around out there. As you probably know the most common pentatonic scale used for dominant chords would be the minor pentatonic: 1-b3-4-5-b7.
The examples you picked up are synthetic pentatonic scales, for the lack of a better name. Now this does not mean that they are wrong or anything and are fine to use in the right circumstances. Pentatonic simply means five notes so there are plenty of combinations you could make from any 7-note scale. Now the first one you describe is a common synthetic pentatonic scale that was probably made popular by Jan Hammer (matter of fact, I have heard it referred to as the "Jan Hammer Scale" before.
Here is the trick with this scale and how you can do the trick to make different pentatonic scales. Before I do this, let's make sure you know exactly what the "standard" two western pentatonic scales are. They basically eliminate the half steps from both the major and minor scales:
Major Pentatonic: 1-2-3-5-6
Minor Pentatonic: 1-b3-4-5-b7
These "standard" pentatonic scales work well with the 7-note modal scales because the same pentatonic scales work as good replacements for most of the modal scales. In other words the major pentatonic (1-2-3-5-6) can be found in the three major modes (ionian, lydian and mixolydian) and the minor pentatonic (1-b3-4-5-b7) can also be found in the minor family modes (aolian, dorian and phrygian):
Ionian: 1-2-3-4-5-6-7 Major Pentatonic: 1-2-3-5-6
Lydian: 1-2-3-#4-5-6-7
Major Pentatonic: 1-2-3-5-6
Mixolydian: 1-2-3-4-5-6-b7 Major Pentatonic: 1-2-3-5-6
Nothing changes here right? How about the minor modes:
Aolian: 1-2-b3-4-5-b6-b7
Minor Pentatonic: 1-b3-4-5-b7
Dorian: 1-2-b3-4-5-6-b7 Minor Pentatonic: 1-b3-4-5-b7
Phrygian: 1-b2-b3-4-5-b6-b7
Minor Pentatonic: 1-b3-4-5-b7
Now let me explain what we will call, modal pentatonic scales. Again this is my description and just like there is no standard term like "Dominant Pentatonic" there also is no standard term "modal pentatonic." But let's just use the term for the lack of a better one. What we are going to do is use the formula for the minor pentatonic (1-3-4-5-7)and use it for the major family modes adjusting the intervals accordingly. After that, we will take the major pentatonic formula (1-2-3-5-6) and apply it to the minor modes.
First let's take the minor pentatonic (1-3-4-5-7) formula and apply it to the major family modes starting with mixolydian. We will have to lower the 7th because the mixolydian scale has a minor 7th:
Mixolydian: 1-2-3-4-5-6-b7 Mixolydian modal pentatonic: 1-3-4-5-b7 (based on the formula for the minor pentatonic scale)This is the scale that was referred to as the "dominant pentatonic scale," we made it by applying the minor formula to the mixolydian scale.
Lydian: 1-2-3-#4-5-6-7 Lydian modal pentatonic: 1-3-#4-5-7
We can take the major pentatonic formula (1-2-3-5-6) and apply it to the minor modes as well:
So there is how your first dominant pentatonic scale comes about.Your next example is also just synthetic and the person who made it simply eliminated the 6th from the major pentatonic scale and replaced it with the b7th from mixolydian.
Mixolydian: 1-2-3-4-5-6-b7
major pentatonic: 1-2-3-5-6 synthetic: 1-2-3-5-b7
Another great pentatonic scale for the Blues can be made by replacing the b7 in the minor pentatonic scale with the major 6th. That scale looks like this: 1-b3-4-5-6.I love this sound and use it all the time in the Blues. The major 6th in the scale gives you a super major sound over the I chord and the same 6th in the scale becomes the major 3rd over the IV chord.
There are actually countless pentatonic scales used all over the world, for example this one used by the Japanese in Okinawa: 1-3-4-5-7
To make this even more confusing, you can also superimpose various pentatonic scales over individual chords for outstanding results. Just for example:Lydian = minor pentatonic on the 3rd, 6th and 7th (E lydian = G#, C# and D# minor pentatonic scale).
But as far as I know, there is no one standard dominant pentatonic scale. So as far as which one to use, whichever you like is fine.
How are you? I was just going over some of your lessons online and found them very interesting. I do have a question:
Q: I am currently using the C Mixolydian mode to jam/solo over the root of the mode (C). I am very confused on what chords to use. I saw a video of Frank Gambale explaining this but I can't understand this. He mentions to use the 4th and 5th chord of the major scale. To me, the major scale of C mixolydian is F major...correct??? do I play a B and C? If I am wrong, what am I doing wrong??? I would appreciate any help
A: Glad you like the lessons. You have to understand the diatonic system to use the modes properly. As you described, you always use the mode over the diatonic chord of the same name right? So C mixolydian works over a C7 chord. Here is the diatonic system for C mixolydian, the key is F major:
I - F (or Fmaj7) - Ionian ii - Gmin (or Gmin7) - Dorian iii - Amin (or Amin7) - Phrygian IV - Bb (or Bbmaj7) - Lydian V - C (or C7) - Mixolydian vi - Dmin (or Dmin7) - Aolian viio - Edim (or Emin7b5) - Locrian
Now probably what Frank is saying, is that the IV and V chords of this key, played over the root of the mode are good slash chords to play for a modal vamp. The IV and V chord in the key of F are Bb and C right? So play these over the C root, as in: Bb/C - C/C (C/C is really just a C triad). So this is a good progression to jam on. This will work for any of the modes:
Bb lydian for example: Bb and C over the lydian root: Bb/Bb - C/Bb (really Bb - C/Bb). This is good for Bb lydian.
D aolian: Bb/D - C/D A phrygian: Bb/A - C/A
All these examples are simply the IV and V chord played over the modal root.Of course this is just a simple way to practice and you can simply make up progressions from the modal chord. Just don't mix up the chords too much or you will lose the modal sound. Two chords are usually best. C mixolydian: C7 - Dmin7 or C7 - Bbmaj7 for example.
Q: I have to play a solo over a C9 vamp, and I realize I have several scale choices. let me see if my theory is correct here: The mixolydian scale is totally diatonic, but the #4 in the lydian dominant scale works because the ear also accepts the blues scale (b5), right? So in a way, the lydian dominant works like a pivot between inside (diatonic mixolydian) and out (blues with b3 as well), which also lets the Dorian work sparingly too. Does that sound about right? (or am I trying to get into heaven here?)
A: You pretty much have it but not completely: Some people would argue that lydian dominant is actually more inside than mixolydian because the natural 4th in mixolydian would technically clash with the major 3rd in the C9 chord. There is some truth in this I think. Technically lydian dominant has no "avoid note" so to speak, the #4 being far enough away from the 3rd in the chord. Some players would tell you, me too for that matter, that mixolydian is better used for a 7sus4 chord. It is all a matter of taste I suppose. C Dorian would only work over a C9 chord because it sort of looks like a combination of the C major pentatonic and C minor pentatonic scale. But it leaves out the most important note, the major 3rd. And it seems clumsy (too big) for blues. So I think that a C dorian scale over a C dominant chord isn't really a great choice. Also, I wouldn't put the cart before the horse, meaning that I wouldn't think that (as you said) a scale is diatonic to a chord, it is really the other way around: chords are diatonic to scales. So C9 is diatonic to both C mixolydian and C lydian dominant. But you are right to think that we like the sound of the b5 because it reminds us of the blues scale (again, a matter of opinion).
Besides the major and minor pentatonic scales, mixolydian and lydian dominant, you can also create some tension by using the half/whole diminished scale.
I've posted on dorian over a blues before. Here>>Other links:
Q: What can you tell me about the whole tone scale? I didn't find anything on your site regarding it.
A: The whole tone scale is used in very specific situations, so I didn't mention it too much in the lessons on chrisjuergensen.com. But it is a valuable scale to know and has one very interesting application that took me about 20 years to figure out.First of all, it is a 6-note scale which is unusual in itself. It is a symmetrical scale, meaning it is based on a set of specific intervals that repeat. The half/whole diminished scale (an 8-note scale) is also a symmetrical scale based on a repeating half-step, whole-step pattern. The whole tone scale is a pattern of all whole steps. So for C: C-D-E-F#-G#-A#. If you harmonize it, you will get a C7#5 or C7b5 chord. When you add in the 9th (D, in this case) something strange happens, you get a C9 chord with a b5 or #5. How strange is that? I've actually run it to one or the other on a few charts but it is rare and sounds somewhat strange. You have to be weary of using the scale because a lot of guys will add in an altered 9th on a 7#5 chord, thinking altered rather than whole tone. I like to use it on chords that are specifically #5, like in "Stella by Starlight" when that G7#5 chord pops up. It is a real abstract sound, I've heard it described as Bambi disintegrating. I suppose the fact that all the intervals being the same distance apart give the scale a sort of nebulous vibe. You hear it sometimes in movies or TV when somebody goes into a dream or fantasy scene. Anyways, that's how I hear it.
I actually use it more in another application than the standard, over the 7#5 chord.I like to use it a half step down on a minor chord. You have to be daring and have good improv sense to make this work because it is outside. It is a good way to play outside on minor chords and works well if you sandwich it between two inside minor scales, like dorian. It can be justified as well. Here is a B whole tone scale: B-Db-Eb-F-G-A, now let's look at the intervals comparing it to C minor: B is the major 7th (like melodic minor), Db is the b9th (as in phrygian), Eb is the minor 3rd (like all minor modes), F is the 11th (like all of the minor modes), G is the 5th (like all the minor modes except locrian) and A is the 6th (like dorian). No root!
This was a good subject so I put together a whole lesson on the subject:The Whole Tone Scale
Q: I had a quick go of "Cissy Strut" last night. I'm trying to figure out the progression. If you look at it in Eb you get a vi-ii-V which seems on the money. I've tried some improvising and C blues or minor pentatonic fits, as does C Dorian and C natural minor. However, I was trying to figure if you can analyze the sequence from C harmonic minor perspective, since the tonal is so clearly a centerCm key (the Eb relative major is only implied, right?) But that gives a i-VII-IV which seems screwy... any ideas?
A: I wouldn't think too much about this one. I mean if God came out of the heavens and said; "ChrisJuergensen, entering heaven will depend on how you analyze'Cissy Strut,' the famous New Orleansfunk hit covered by many musicians, what are the three chords in relation to each other?" I would say; "Thanks for this chance to get into heaven God, here is my answer: The C chord is a 'I' chord, the Bb chord is a 'bVII' borrowed from C minor, and finally the F chord is a 'IV' chord." And he would most likely let me into heaven despite all the rotten things I have done to various women over the years. But if he was anything like me, and this is very unlikely, he would say; "You are thinking too much about it, just play a blues have a good time."
Thinking minor is not such a good idea with this tune. It is only minor the same way a Blues is minor, meaning the minor pentatonic scale will work, but the chord is really a C7 chord.
Cissy Strut if a fun song to play if you are adventurous, It is basically a A-A-B-B form with both the As and the Bs in C. Scofield changes the B section to the key of Ab I think. When I have my students play it in their ensemble class, I make every guitarist change the B section to something different. It makes the song fun but also makes the solo a bit more challenging.
Q: I´m playing the song IMPRESSIONS in D-7, but when I play F melodic minor it sounds good, tell me why?
A: Good question. I'll take you through my thinking process rather than just give you my answer: Let's see, F melodic minor: F-G-Ab-Bb-C-D-E, now let's look at the scale from D, as that is the chord you are playing it over: D-E-F-G-Ab-Bb-C. That gives us a 1-2-b3-4-b5-b6-b7. Ah, this is the locrian #2 mode from melodic minor. This is a very common scale for a min7b5 chord, much better than the locrian scale or harmonic minor that a lot of guys might use. Although, not the most common choice, it is one choice for a min7 vamp like Impressions. Other choices: D dorian, A, D and E minor pentatonic, D melodic minor and if you are really daring, Ab melodic minor. Check out this scale/arpeggio guide and try some different things. This is a lesson dealing with locrian #2.
Q: Is there a simple way to remember the which major scale equals what mode and the chords they work over?
A: I wish there was a quick method but I'm not sure there is one. You just have to remember the rules, which are:
Dorian = major scale down a 2nd. (Ex: C dorian = Bb major) Phrygian = major scale down a 3rd. (Ex: C Phrygian = Ab major) Lydian = major scale up a 5th. (Ex: C lydian = G major) Mixolydian = major scale up a 4th. (Ex: C mixolydian = F major) Aolian = major scale up a minor 3rd. (Ex: C aolian = Eb major) Locrian = major scale up a minor 2nd. (Ex: C locrian = Db major)
The chart above might help put things in perspective.
Q: I read a column about the dominant pentatonic and I'm feeling a little confused. Here's why... The dominant pentatonic comes from the Mixolydian Scale, and I know this mode and have no problems with that. Now the pentatonic takes only five notes of this scale. My problem here is what are these five notes? The Mixolydian looks like this: 1-2-3-4-5-6-b7 What should be the formula for the dominant pentatonic? Should it be this: 1-3-4-5-b7 (referenced here >>>): 
