Everybody knows that minor pentatonic reflects features of most minor chords, scales or modes (must be with b7 and 4), because of it`s evident structure: 1 b3 4 5 b7.
Measured from b3 (considered as new root), the same tones give structure of major pentatonic: b3 4 5 b7 1 = 1 2 3 5 6. It covers qualities of many major chords, scales or modes.
Following explanation is written with particular letters, to emphasize close relation between pairs of relative pentatonics, which in fact are the same thing.
- Minor pentatonic equaly reflects features of m7, maj7 and similar chords:
Am7 fits Cmaj7 as 1 b3 4 5 b7 (A C D E G) fits 1 2 3 5 6 (C D E G A)
Let`s discuss remaining asymmetric seventh chord types: dom7, 7alt, m7b5, m maj7, maj7#5.
- Features of dominant seventh chords are well reflected by minor pentatonic with major third (M3). Measured from 3rd degree it also perfectly fits with 7alt (enharmonically = m7b5).
A7 fits C#7alt (= C#m7b5) as 1 3 4 5 b7 (A C# D E G) fits 1 b2 #2(b3) b5 #5(b6) (C# D E G A)
- m maj7 features are reflected by minor pentatonic with major seventh (M7). Measured from b3rd degree it also covers maj7#5.
Am maj7 fits Cmaj7#5 as 1 b3 4 5 7 (A C D E G#) fits 1 2 3 #5 6 (A C D E G#)
Newly introduced types of pentatonic contain not only plenty of missing m2, M7 and tritone intervals, but also all four possible kinds of triad: major, minor, diminished and augmented. I dare to state, that three types of pentatonics, shown above, are various and versatile enough to act properly in whole range of musical situations.
That also could be proved by mathematical research, which shows us where pentatonics could be used as superimpositions (five-voiced chords).