albetan's file inspired me to play around with quartels in the left hand and pentatonics in the right hand. it's true. you can play any pentatonic over any fouth voicing.  

i have used this technique to deviate from the chords and melody of some tunes e.g. moon river and then to drift back to the chord/melody structure again.

but which pro's use this technique? i.e. pentatonics over quartels. i mean in the 'free' way that albaton suggests.

brad m's moon river seems to go into a 'free' section - i think??


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it can be very cool, but to me, a little of it goes a long way - in other words "less is more"  all these little tricks can spice up your playing, but like any spice, too much can spoil the broth - or is that too many cooks???

again, try to create interesting melodies that take your listeners on a ride.  think back to the solos that stick in your mind; that you can sing...those are the most memorable
something i enjoy practicing is playing fourths in the left hand and using the 3rd in the right, or playing a non-quartal type of voicing in my left and using 4ths in my right when improvising.  nice clash/energy that way.

chic corea comes to mind.
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"but which pro's use this technique?"

mccoy tyner and some of chick corea's albums such as the famous now he sings, now he sobs.
jeff gardner has a lot of information about quartals and fourth voicings and pentatonics in his book jazz piano - creative concepts.
it s also about moving fourth voicings through the scales and combining them with pentatic scales.
most of his compositions (which are in the book) use fourths.
this book deserves more attention.
everyone, thank you.

i will listen to now he sings - i have it.

i'll also investigate the book.

i am seeing the relationships between pentatonics, fourths, triads, tritones more clearly now - about to bust through a door!  

there's always ramon ricker's book -- it includes a number of transcriptions (with analysis) from people like chick, joe farrell, herbie, and others.

i'm skeptical of the value of spending a bunch of time on books like this, though, when it's at the expense of actually seeing what people do.  

if you want to distill the theory down to a nutshell, there's one pentatonic scale and a number of modes of that scale which can be employed to taste.  it's a simplification, of course, but i find the simplicity to be refreshing in such a reduction.  melody is king, i think you'll find, even among the "heavy-weights" of pentatonic playing, including mccoy tyner, who is sometimes (justly, imo) criticized for using pentatonics as a way of flattening *everything* out, even tunes with intricate changes, into one easy, cruising plane.  

i don't feel that way about his playing, because he often paid close attention to melodic content, which is sometimes hard to discern when hearing the stacks of fourths as a harmonic backdrop.
here are some more of the online sites that have good info re-this-
this last one probably won't come's a bunch of really good files this guy sent me links to from a show on tv..let me see if i can figure out how to post them.........
pent.subs.i_chord_scalecharts.pdf (592k)  scan and save to computer  
a_study_in_pent_subs_i.doc (389) [preview]  scan and save to computer  
a_study_in_pent_subs_i.doc (27k) [preview]  scan and save to computer  
5pent.scaleforms_chords_ii.pdf (809k)  scan and save to computer  
a_study_in_pent_subs_ii.doc (392) [preview]  scan and save to computer  
a_study_in_pent_subs_ii.doc (33k) [preview]  scan and save to computer
anyways...i tried...if anyone is interested and wants this info i'll see if i can figure out how to do it.......
if you want to see how to use pentatonics in modern lines,check this link-
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