Last winter, we looked at using Bb and E Pentatonic scales over a ii-7 V7 progression in the key of F. Now, let's combine Bb Pentatonic and A Pentaonic to create an umbrella over the same progression.

For the sake of variety (and because it sounds good), different numbered note groupings will be used (3 notes of Bb, 4 of A, 2 of Bb, 3 of A, etc.)

For the sake of variety (and because it sounds good), different numbered note groupings will be used (3 notes of Bb, 4 of A, 2 of Bb, 3 of A, etc.)

Dude! What's with all the wrong notes over the F Maj7 Chord?

Oh yeah, the other thing that is happening here for the sake of variety, interest, la di do da, is extending the resolution of the dominant chord (C7) over the bar into the tonic chord (F Maj7). If you transcribe solos of the great improvisors in Jazz, you will find that this happens more often than you might otherwise suspect.

Also, notice that the line ends on B natural, #4 over the F Maj chord. Even though this idea was first advanced about fifty years ago, it still sounds fresh. And dark.