The idea for this post came from something I saw online recently, pertaining to a series of "spread out" piano voicings for the Major Pentatonic Scale (in C: C-D-E-G-A).
Being the "curious" person that I am (I've been called worse), I imagined how these Pentatonic "spreads" might sound as single-note arpeggios and sequences.
As it turns out, approaching the Major Pentatonic Scale from this angle produces a somewhat novel, intervallic, Kalimba-like effect.
By itself, this perspective can function as an excellent warm-up exercise, building technique as well as creating another look as to how one imagines and expresses the Major (or any other) Pentatonic Scale.
Being the "curious" person that I am (I've been called worse), I imagined how these Pentatonic "spreads" might sound as single-note arpeggios and sequences.
As it turns out, approaching the Major Pentatonic Scale from this angle produces a somewhat novel, intervallic, Kalimba-like effect.
By itself, this perspective can function as an excellent warm-up exercise, building technique as well as creating another look as to how one imagines and expresses the Major (or any other) Pentatonic Scale.
It's construction is really simple.
Every other note of the Major Pentatonic is skipped, ascending from each of its 5 scale steps.
1. C-d-E-g-A-c-D-e-G 2. D-e-G-a-C-d-E-g-A 3. E-g-A-c-D-e-G-a-C
4. G-a-C-d-E-g-A-c-D 5. A-c-D-e-G-a-C-d-E
Ex 1. - Vertical View
Every other note of the Major Pentatonic is skipped, ascending from each of its 5 scale steps.
1. C-d-E-g-A-c-D-e-G 2. D-e-G-a-C-d-E-g-A 3. E-g-A-c-D-e-G-a-C
4. G-a-C-d-E-g-A-c-D 5. A-c-D-e-G-a-C-d-E
Ex 1. - Vertical View
Ex. 2 below is of the single line, melodic view. This is range-adjusted and expanded to all 12 keys in the free downloadable pdf (link below).
A you can see, voicings / inversions 1., 2., 4. & 5., contain one Maj 3rd and three Perfect 4ths. The exception is 3., which is a stack of 4 Perfect 4ths, owing to the fact that the aforementioned Maj 3rd has been split between the top and bottom of the voicings. This illustrates, once again, the fundamental relationship between the interval of a P4th (5th), Pentatonic Scale, and the natural Harmonic Overtone Series.
Ex 2. - Arpeggiatedly Speaking...
A you can see, voicings / inversions 1., 2., 4. & 5., contain one Maj 3rd and three Perfect 4ths. The exception is 3., which is a stack of 4 Perfect 4ths, owing to the fact that the aforementioned Maj 3rd has been split between the top and bottom of the voicings. This illustrates, once again, the fundamental relationship between the interval of a P4th (5th), Pentatonic Scale, and the natural Harmonic Overtone Series.
Ex 2. - Arpeggiatedly Speaking...
The range for these voicings / arpeggios is an octave and a 5th, with the exception again of 3., which is an octave and a b6th (b13th). For horn players, this might require an octave adjustment in certain keys, in order to stay comfortably within the instrument's range.
Functionally, a C Maj Pentatonic - in these or any other forms - will work well over the following:
C Maj 6/9, C Maj7, D7 sus, F Maj7, A min7, Bb Maj7#11.
These are the more consonant, "inside" sounding examples. Adding different roots to the bottom (slash chords) can create some interesting colors.
Functionally, a C Maj Pentatonic - in these or any other forms - will work well over the following:
C Maj 6/9, C Maj7, D7 sus, F Maj7, A min7, Bb Maj7#11.
These are the more consonant, "inside" sounding examples. Adding different roots to the bottom (slash chords) can create some interesting colors.
Listen
Here's to continued discovery with your newfound "Kalimbaphone"!
B. Stern
B. Stern
For an even more in-depth look, the following Shortbooks™ are recommended
and available for immediate download.
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and available for immediate download.
Click for more info.
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