Introduzione all’Utilizzo delle Pentatoniche nell’Improvvisazione Jazz - Parte 1: le Progressioni IIm7 | V7 | Imaj7 e IIm7 | V7 | Im7 [Short Introduction to Pentatonic Improvisation – Part 1]

Carmine Cataldo

Affiliation: Independent Researcher, PhD in Mechanical Engineering, MD in Disciplines of Jazz and Improvisation (Jazz Piano), Battipaglia (SA), Italy

Keywords: Pentatonic Scales, Pentatonic Improvisation, Jazz, Combinations, Cadence, Tritone Substitution, Hard – Bop, Post – Bop

Categories: Performing Arts, Music

DOI: 10.17160/josha.6.11.611

Languages: Italian

The aim of this article lies fundamentally in providing musicians with a method that may effectively assist them in learning the so-called Pentatonic Improvisation. The method is entirely based, like any language, on the concept of combination. In this first part we exclusively address the improvisation techniques suitable for the harmonic progressions Dm7 | G7 | Cmaj7 and Dm7 | G7 | Cm7. For each of the above-mentioned progressions, we deduce 256 combinations characterized by different degrees of complexity and linguistic purity.

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