Part 8/9:
Superimposing Pentatonics in 2-5-1 Progressions
Rick emphasizes the power of shifting pentatonic shapes within ii–V–I progressions, a staple in jazz harmony. He provides examples such as:
Over D minor 7 to G7 to C major 7,
Using the A minor pentatonic to imply the ii chord,
Transitioning through B-flat minor (altered dominant) for G7,
Moving to B minor (Lydian or major) for the I chord.
This method involves choosing the fifth of the chord as a reference point, then shifting pentatonics up a half step at each chord to highlight different tensions and upper extensions, producing rich, colorful improvisations.
Final Tips and Practice Strategies
Master all five pentatonic positions on the guitar neck.
Practice shifting smoothly between these positions.