[Tony Grey]

Hey there Carlos, thanks so much for saying that. Means a lot. Sorry for the delay. I’ve been really burning at both ends with the CD release and updating the website. Live Evil is so good, crazy energy. I’m going to have to dig that out and take a fresh listen. Also happy to hear your son is following in your footsteps. 🙂

[Tony Grey]

Hey Ken, good question. Yes I do think of the parent mode as well as the mode itself. I’m making sure that as I do this and get more comfortable, I start to think about the non-chord tones, 9, 11, and 13 and hearing them as color.

So the order of my development was; Thinking of parent key as well as the chord tones. Next, I started to really focus on the mode itself and its character, then I tried to hear how the chords are connecting together stepwise or chromatically. I stay away from chromatics and non related notes unless they are related in the key. I want to train myself with this discipline.

It can be a process, but very worthwhile sticking with it.

[Tony Grey]

Hey Carlos, thanks for introducing yourself. How are your lessons going here? How was Miami Dade College? Sounds amazing.

[Tony Grey]

Like a note pad? Like an online note pad? This is where I personally would use some kind of practice journal. A way to document your growth and experiences learning the material, good and bad. That way when you progress you can look back and see if you have improved over time. I can look into adding a feature like this, however, I strongly believe you having a notebook will be the best tool for you..

[Tony Grey]

Hi Gael, It totally makes sense to work on the fingerboard study lessons in conjunction with the liner solo concepts. This is the perfect combination to become fluent in these different colors. Let me know if you need any extra guidance.

[Tony Grey]

Hi Ken, hope you are well. Unfortunately I was sick with Covid for the last 10 days or so and have been out of it. I’m in catch up mode now. Yes I have a couple of webinars filmed and am currently trying to build an archive page to host them. I also want to set up a webinar for maybe this sunday if you are interested.

[Tony Grey]

Hey Scott, if you want to schedule something privately, just hit me up @ support@tonygreybassacademy.com and we can schedule it.

[Tony Grey]

All good, keep me posted.

[Tony Grey]

No the same fingering patterns are not necessary. However, the position shift rules are what you want to retain. That will give you the freedom. Whatever I am demonstrating is just a version of using those rules to find a way of moving around.

[Tony Grey]

Hey Scorr, we can always meet up privately if you ever want to go through a good routine to get this stuff under your fingers.

[Tony Grey]

Hi Scott, always great to see you on the webinars, thank you for joining in.

Yes the Pentatonic is a very powerful tool for soloing and grooving. Over the changes to Now’s the Time you can use the F major Pentatonic over the whole progression as long as you use your ears to avoid any clashes. Creating short phrases really helps with this as it creates a lot on intention which the ears love.

You can also try experimenting with the F minor pentatonic as well to create a more bluesy sound. Leaning on the b3rd can be a strong color.

One idea I talked about was to use the F major pentatonic over the F7 chord and the F minor pentatonic over the Bb7 (IV) chord. The note Ab is also the b7th of the Bb7 chord and has a great sound.

n the Understanding Harmony course you have all the chord tones for the triads and 4-note chords and as a fundamental rule, I believe it is important to be comfortable with all the chord tones for the commonly used chords for example: Major, Minor, Dominant and Minor 7(b5). These chords appear all the time and if we have these as second nature we can bounce our ideas from them. I think I will also do a class on this subject as I think it’s one of the most important elements of your playing.

I also suggested writing out 2 short phrases with the major and minor pentatonic scales and to think of them as statements kind of like a call and response dialogue. I’ll have a think about a short video that will help reinforce these concepts.

As far as chords for the major pentatonics. Cmaj7 chord can use C major Pentatonic (gives you chord tones C, E and G and the non chord tones (D and A), G major Pentatonic (gives you chord tones E, G and B and the non chord tones (D and A) and D major Pentatonic (gives you chord tones E and B and the non chord tones (D, F# and A).

C-7 chord can use C minor Pentatonic (gives you chord tones C, Eb, G, and Bb and the non chord tone (F), G minor Pentatonic (gives you chord tones C, G and Bb and the non chord tones (D and F) and D minor Pentatonic (gives you chord tone C and G and the non chord tones (D, F and A).

If you want me to check out anything you are working on please send them over..

Thanks so much.. Tony

[Tony Grey]

Hey Michael, happy memorial day. I will definitely check that out tomorrow. Thanks for sharing.

[Tony Grey]

Hi Michael, I’m going to send you an email to see what’s going on.

[Tony Grey]

Hi Michael, I’m going to do another one on the 24th of May, I’ll keep you posted. I will also be posting the archived webinars if you want to watch any of them. The new site will be live in the next 2 weeks so lots going on here.

[Tony Grey]

Sorry David, there was a short cut in service due to some hosting work.

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