GEOMETRY OF MELODIC TENSION (A New Approach to Outside Playing) Altered Polygons: minor pentatonic
In this study I want to present a unique method for introducing tension/dissonance to a melodic line that I have been developing over the years. This approach to “outside playing” is based purely on the geometry and visual architecture of what I call “altered polygons” (abstract geometrical shapes that can be easily recognized on the fretboard) and does not particularly relate to the conventional harmonic principles and teachings of the western music tradition.
In Part 1I will be presenting these ideas as applied to the minor pentatonic scale. All examples presented here are based on the G minor pentatonic and so their usage can be applied over a wide variety of harmonic structures and chord changes. Basically speaking, you can use these outside lines and phrases over any chord where you would usually solo using the G minor pentatonic. Some of these basic harmonies can be: Gmin7, Cmin7, Fmin7, F7sus4, C7sus4, C7, G7, Bb7, Bbmaj7, Ebmaj7, E7alt, Abmaj7#11, Dmin7(b5), etc.
In the accompanying tutorial video I break down the concept step by step and carefully show you the way these altered polygons are created and how we can interweave them with the diatonic notes of the scale system within which they will be hosted. I will also show you many different ways in which you can practice this material and how to incorporate it into your own playing style.
GEOMETRY OF MELODIC TENSION study (PDF file - TAB and Standard Notation).
Backing Track (Gmin9 harmony).
35 mins. "HD Video" Tutorial Masterclass.
"HD Video" of excerpts from the study.
For more info please e-mail: firstname.lastname@example.org
GEOMETRY OF MELODIC TENSION study (PDF file - TAB and Standard Notation). Backing Track. 35 mins. "HD Video" Tutorial Masterclass. "HD Video" of short excerpts from the study.