Lesson # 11: Jazz Pentatonics part 1 of 3

The pdf for this lesson is here:

Lesson #11

Will Kriski’s transcription of some of my Pentatonic ii-V7 Licks:

ii-V7 Licks #1

ii-V7 Licks #2

Will Kriski’s transcription of the intro solo can be found here:


Measures 1-4:

On the first measure, I essentially imply an AbMaj. triad over F-7. This is pretty standard for most people as it is the relative Major chord. The next measure features a similar, yet slightly enhanced idea. Here, I enclosed the Ab (5th of the Db Maj. triad) by one chromatic above and one below the target note. You can probably find this type of idea all over any one of my jazz solos. I love this type of sound when it lands outside the key on a strong beat and then slips back in right away. This type of idea is repeated over the Eb7 but the enclosure notes actually imply tensions #11 and #5. As you can hear, I answer this phrase with a slight motif that is very inside.  If you’re into this kind of sound, just make sure you know where all your chord tones are at all times!!! This is one of the components that will allow you to extend the harmony while momentarily slipping inside and out of the key.

Measures 5-8:

The line I play over the DbMaj.7 features a sound that I play a lot but is hard to explain in theoretical terms. To be honest, I think I picked it up from transcribing Pat Metheny quite a bit. If you look at the notes I play in the second half of the measure, you can deduce that I am leading into the G7 by half-step in the same way one might approach a tri-tone sub in a ii-V7 situation. What I often do here is approach the sub by a half-step. This helps create even more tension. Take a look at any Pat Metheny solo and I guarantee that you’ll find this sort of thing all over the place.  Over the CMaj.7 chord, I am obviously playing a set of triads pairs (CMaj./DMaj.) that imply C Lydian.

Measures 9-12:

As you can see, I shift the triad pair into an EbMaj. triad over C-7. The same applies in the next measure (AbMaj. over F-7.)

Measures 13-16:

Measure 11 clearly implies AbMaj.7#11. This leads into a chromatic line that eventually places CMaj. over D7. As I’ve previously stated in other blogs, I undoubtedly stole this sub from Coltrane. The next 2 measures loosely imply G Lydian.  You can clearly see that I lean on the Emin. triad through out these 2 measures.

Measures 17-20:

The first 2 measures of the bridge clearly slip in and out of an A minor and F minor pentatonic. Like Pat Martino, I probably have a tendency to reduce ii-V7’s to minor, so I’m trying to weave in and out of the scale to create tension. Finally, I use elements of a B minor pentatonic over GMaj.7.

Measures 21-24:

Over the first 2 measures, I use an F# minor pentatonic. Over EMaj.7, I use a highly chromatic line leading into AbAug. over C7#5.  This triad gives you a “whole-tone” style sound over the chord. Please note that I start the measure by playing a piece of a B Maj.+9 chord. I’m probably referencing the Coltrane 4-note pattern here and again, approaching the sub by half-step.

Measures 25-32:

There’s actually a sweep arpeggio (Bb min) in the first phrase of measure 25-26 that isn’t clearly notated.  Other than that, you can see that I bring the solo back inside; even referencing the melody at one point.

*By the way, please check out my Skype video lesson trailer for another example of me playing over “All The Things You are.”

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  1. Hi
    I really enjoy jazz pentatonics part 1 of 3, but I just wonder where is part 2 of 3 and so on?

    Care to enlighten? Thanks much

    Patrick Teng

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