Part 7/9:
The altered pentatonic, such as D-flat major (which is enharmonically B-flat minor), is particularly valuable for adding tension and color within a chord voice. Rick shows how to incorporate this into solos to evoke the "altered" sound that jazz musicians seek, especially in improvising on seventh chords with altered tensions.
The Idea of Major Pentatonic in Major Chords
For a C major chord, besides the usual C major and A minor pentatonics, Rick introduces the Lydian pentatonic, which is a whole step above the root. For example, playing D major pentatonic over C major 7th creates a Lydian sound, characterized by a raised 4th (sharp 4) and other upper extensions. This approach allows musicians to explore modal colors within familiar pentatonic frameworks.