Okay, now the fun part.
When you compare the pitch structure of the pentatonics on F and B flat,
you'll notice that there's only one note difference between the two scales.
Here's your F Sus Pentatonic.
[MUSIC]
And here is your B flat pentatonic.
[MUSIC]
So let me start B flat pentatonic on F.
[MUSIC]
So there are four notes that are common for both pentatonics and
there's one note difference.
So in F Pentatonic, we have G.
[SOUND] And if B-flat Pentatonic, [SOUND] we have A-flat.
So what does it mean?
It means that we can use voicings built on the common tones between the scales and
make very smooth voice reading connections between F and B flat chords.
That's very useful.
Let me demonstrate what I mean.
On the screen you can see a slide that indicates all the voicing from B flat
pentatonic and voicings from F pentatonic with some notes that are circled.
When you compare the voicing's from both pentatonic collections,
you'll notice that there are [SOUND] the difference between a voicing for F Sus.
[SOUND] Build on scale on F.
[SOUND] And a voicing for B-flat on F is only one note.
Notice the change.
[SOUND] This is our F chord.
[SOUND] And this is our B flat chord.
[SOUND] So, there are four notes held in common and
you just do this slow small gesture just to generate.
So let me play with the root.
[MUSIC]
That's very, very useful.
The same things goes for other voices.
When you create your voicing on B flat.
[MUSIC]
And you want to change it to B flat sus, you have to change it to one note.
[MUSIC]
The same things goes for other voicings.
So, this is very, very important property that you can capitalize,
because remember once your hands start to kind of jump around
you will probably not engage with good voice reading.
Once you [SOUND] kept everything under control and you capitalize
on like a one note change, your doing a good voice reading connections.
Okay, so, let's examine what happens in measure 9 and 10,
and C if we can find some notes held in common between these two pentatonics.
All right, so here is your B flat sus pentatonic.
[MUSIC]
And here is your A flat pentatonic.
[MUSIC]
So in fact, there are three notes held in common between these pentatonics,
B-flat, [SOUND] E-flat, [SOUND] and A-flat.
And interestingly enough, they create a nice chordal structure.
So again we have three notes held in common.
And we can capitalize on this relationship and
use voicing on these notes to negotiate these harmonies.
So, again, you have your suspended pentatonic voicings on B flat.
[MUSIC]
And here [SOUND] your suspended pentatonic voicings for A flat.
[MUSIC]
All right, so now, when you have your voicings on B flat, B flat.
[MUSIC]
If you change two notes only.
[MUSIC]
You're going to get [SOUND] A flat voicing.
The same thing the voicing's built on E flat.
[SOUND] Change two notes [SOUND] and you have A flat voicing.
[SOUND] So this, the aspect of persimony between voicings.
The relationship between B-flat and A-flat pentatonics, major seconds relationships,
a little more complicated, because there are two notes that you have to move.
But with chords that are related by fifths, descending fifths,
F to B-flat, there's only one note change between voicings.
And that never changes, regardless of what voicings you're going to use.
Same thing with the relationship between harmonies related by major seconds.
If there are three notes in common, you're going to have two notes that
you have to change while keeping the other three in the same place.