Pentalogy
A Multi Pentatonic Scale Practical Practice Guide
A Multi Pentatonic Scale Practical Practice Guide
A “pentalogy” (from Ancient Greek – penta, meaning “five” and logos, “word” or “story”), is defined as “a set of five works (of art, literature, music, etc.) that are connected, and that can be seen either as a single work or as five individual works."
This is an accurate description of both the subject and contents of this volume of “Pentalogy”, which is an exploration into the improvisational usage of five selected Pentatonic Scale types.
By that definition, a “pentatonic scale” , being literally any scale containing five different pitches, might itself be considered a pentalogy.
The 5 “Pentas” chosen for this Shortbook™ are:
This is an accurate description of both the subject and contents of this volume of “Pentalogy”, which is an exploration into the improvisational usage of five selected Pentatonic Scale types.
By that definition, a “pentatonic scale” , being literally any scale containing five different pitches, might itself be considered a pentalogy.
The 5 “Pentas” chosen for this Shortbook™ are:
Major Pentatonic
(derived from the Major Scale matrix)
(derived from the Major Scale matrix)
1 2 3 5 6
The Major Pentatonic Scale (or just plain ol' “Pentatonic Scale”) is probably the oldest, most commonly heard, played or sung single group of notes on Planet Earth. This is no coincidence, as it's derived directly from the Major Scale matrix, which is itself derived from the natural harmonic overtone series, via a series of Perfect 5ths (or 4ths).
F-C-G-D-A-E-B (in 5ths) = C-D-E-F-G-A-B = C Major
If we remove the 2 end notes - F & B, which form a tritone - from the first group, as well as those same 2 notes from the second, we're left with:
C-G-D-A-E (in 5ths) = C-D-E-G-A = C Major Pentatonic
The first part of this volume is dedicated to exploring the modes of each of the 5 Pentatonic types from a common tone, the purpose of which is to enable one to play 5 possible pentatonic scales from any single note.
In the key of C, that means:
C-D-E-G-A = C Maj. Pentatonic – Mode 1
C-D-F-G-Bb = Bb Maj. Pentatonic – Mode 2
C-Eb-F-Ab-Bb = Ab Maj. Pentatonic – Mode 3
C-D-F-G-A = F Maj. Pentatonic – Mode 4
C-Eb-F-G-Bb = Eb Maj. Pentatonic – Mode 5 (aka. C Minor Pentatonic)
Some points to remember to hopefully avoid confusion:
While C is the root of Modes 1, 2 & 3 of the C, Bb & Ab Major and Pentatonic Scales respectively, C is the root of Mode 5 (Mixolydian) of the F Major Scale, but Mode 4 of F Maj. Pentatonic.
Likewise, C is the root of Mode 6 (Aeolian) of the Eb Major Scale, but Mode 5 of Eb Pentatonic. This 5th mode is often referred to as “Minor Pentatonic” and given its own autonomy. However, in reality it's the relative minor pentatonic (C min being the relative minor of Eb Maj.)
If the Major Pentatonic is a child of the Major Scale matrix, then the so called “Minor Pentatonic” is a child (Mode 5) of its relative Major Pentatonic.
F-C-G-D-A-E-B (in 5ths) = C-D-E-F-G-A-B = C Major
If we remove the 2 end notes - F & B, which form a tritone - from the first group, as well as those same 2 notes from the second, we're left with:
C-G-D-A-E (in 5ths) = C-D-E-G-A = C Major Pentatonic
The first part of this volume is dedicated to exploring the modes of each of the 5 Pentatonic types from a common tone, the purpose of which is to enable one to play 5 possible pentatonic scales from any single note.
In the key of C, that means:
C-D-E-G-A = C Maj. Pentatonic – Mode 1
C-D-F-G-Bb = Bb Maj. Pentatonic – Mode 2
C-Eb-F-Ab-Bb = Ab Maj. Pentatonic – Mode 3
C-D-F-G-A = F Maj. Pentatonic – Mode 4
C-Eb-F-G-Bb = Eb Maj. Pentatonic – Mode 5 (aka. C Minor Pentatonic)
Some points to remember to hopefully avoid confusion:
While C is the root of Modes 1, 2 & 3 of the C, Bb & Ab Major and Pentatonic Scales respectively, C is the root of Mode 5 (Mixolydian) of the F Major Scale, but Mode 4 of F Maj. Pentatonic.
Likewise, C is the root of Mode 6 (Aeolian) of the Eb Major Scale, but Mode 5 of Eb Pentatonic. This 5th mode is often referred to as “Minor Pentatonic” and given its own autonomy. However, in reality it's the relative minor pentatonic (C min being the relative minor of Eb Maj.)
If the Major Pentatonic is a child of the Major Scale matrix, then the so called “Minor Pentatonic” is a child (Mode 5) of its relative Major Pentatonic.
Pentatonic b3
(derived from Melodic Minor)
(derived from Melodic Minor)
1 2 b3 5 6
The Pentatonic b3 is the first of the “Altered Pentatonics” presented here. Like its cousin below, the Pentatonic b6, it's derived from the Melodic Minor Scale System. As its name suggests, this scale is formed from simply altering – in this case – flatting the 3rd degree of the Major Scale, then removing once again, the tritone between its 4th & 7th scale degrees.
Because Penta b3 does contain a tritone between its 3rd and 5th degrees, it's often used to express an altered dominant 7th sound, as an abbreviation of the complete “altered scale” – for example C Penta b3 over a B7alt (C-D-Eb-G-A = b9-#9-3-b13-b7).
Mode 2 of Penta b3 is a tonal equivalent of the Japanese In-Sen scale.
Pentatonic b3 is the only member of the 5 Pentatonics selected for this book that contains a true flatted 3rd.
Because Penta b3 does contain a tritone between its 3rd and 5th degrees, it's often used to express an altered dominant 7th sound, as an abbreviation of the complete “altered scale” – for example C Penta b3 over a B7alt (C-D-Eb-G-A = b9-#9-3-b13-b7).
Mode 2 of Penta b3 is a tonal equivalent of the Japanese In-Sen scale.
Pentatonic b3 is the only member of the 5 Pentatonics selected for this book that contains a true flatted 3rd.
Pentatonic b6
(derived from Melodic Minor)
(derived from Melodic Minor)
1 2 3 5 b6
As mentioned, Pentatonic b6 is also derived from Melodic Minor (scale steps 5-6-7-2-b3). In the example above, C Pentatonic b6, is shown as derived from the 5t scale degree of F Melodic Minor (It can also be considered as being derived from Melodic Major, but that's for another book).
As with the Penta b3, Pentatonic b6 is often used as a shortcut for an “altered scale”. In this case in F Melodic Minor, it works well over an E7alt (C-D-E-G-Ab = b13-7-R-#9-3).
Mode 2 is also commonly used to express a ii7b5 9 sound (D-E-G-Ab-C = R-9-11-b5-b7 = D-7b5 9 11).
As with the Penta b3, Pentatonic b6 is often used as a shortcut for an “altered scale”. In this case in F Melodic Minor, it works well over an E7alt (C-D-E-G-Ab = b13-7-R-#9-3).
Mode 2 is also commonly used to express a ii7b5 9 sound (D-E-G-Ab-C = R-9-11-b5-b7 = D-7b5 9 11).
Pentatonic b2
(derived from Half Step / Whole Step Diminished Scale)
(derived from Half Step / Whole Step Diminished Scale)
1 b2 3 5 6
The Pentatonic b2 is – you guessed it – a Maj. Penta with a flatted 2nd degree. This simple maneuver creates a tritone between the 2nd & 4th scale steps (Db & G, above) which in turn creates a pure 7#9 sound (A7#9, above), which can be very effective in evoking a Blues / Funk / Modal vibe.
Functionally, Penta b2 configures C7b9 and Eb7b5 b9 13 - which are good sounding options as well - as their roots are part of the same Diminished Scale.
Functionally, Penta b2 configures C7b9 and Eb7b5 b9 13 - which are good sounding options as well - as their roots are part of the same Diminished Scale.
Pentatonic #2
(derived from Half Step / Whole Step Diminished Scale)
(derived from Half Step / Whole Step Diminished Scale)
1 #2 3 5 6
Due to its #9 quality, Pentatonic #2 is similar in color to the Penta b2, as well as to their both stemming from the same Diminished Scale. Differences, besides #2 vs. b2, include different inherent diminished triads - A dim for Penta #2 vs. Db dim for Penta b2.
Used in tandem, these two 5-note configurations create a hip sounding triad pair / hexatonic (C min & A Maj)
A comprehensive list of chord-type possibilities for each of the 5 Pentatonics is found in the Addendum.
But getting back to the original premise of being able to play 5 pentatonics from any note...
Some examples from "Pentalogy" :
Used in tandem, these two 5-note configurations create a hip sounding triad pair / hexatonic (C min & A Maj)
A comprehensive list of chord-type possibilities for each of the 5 Pentatonics is found in the Addendum.
But getting back to the original premise of being able to play 5 pentatonics from any note...
Some examples from "Pentalogy" :
As per the table in the paragraph above describing the Major Pentatonic, this sequence pattern continues with:
Ab Maj Pentatonic - Mode 3
F Maj Pentatonic - Mode 4
Eb Maj Pentatonic - Mode 5
With that order in mind, here are some 5 bar examples of how this concept might be used in a melodic line, utilizing all notes of each of the 5 Major Pentatonics exclusively, which start on the common tone - C.
As mentioned above, the Major Pentatonic Scale and the interval of a perfect 4th are intrinsically woven.
Ab Maj Pentatonic - Mode 3
F Maj Pentatonic - Mode 4
Eb Maj Pentatonic - Mode 5
With that order in mind, here are some 5 bar examples of how this concept might be used in a melodic line, utilizing all notes of each of the 5 Major Pentatonics exclusively, which start on the common tone - C.
As mentioned above, the Major Pentatonic Scale and the interval of a perfect 4th are intrinsically woven.
C Maj Penta Bb Maj Penta Ab Maj Penta F Maj Penta Eb Maj Penta
Listen
With a similar shape and concept, dig how these b2s alter the line.
C Penta b2 B Penta b2 Ab Penta b2 F Penta b2 Eb Penta b2
Listen
Or you can take a ride along Route b6...
C Penta b6 Bb Penta b6 Ab Penta b6 F Penta b6 E Penta b6
Now combine them to create some ii-V7s...
Or...
All exercises and sequences are extended to all keys. With a little patience, passion and due diligence, you too, will become an expert Pentalogist.
B. Stern
B. Stern
Click images to enlarge
|
|
|
|
Checkout is SSL safe and secure through my E-Junkie Online Store and PayPal.
RSS Feed
