0006. Pentatonics as superimpositions – abilities and techniques, part 1

Let`s discuss pentatonics in role of superimpositions, what benefits they give and how we could control them.

First of all, pentatonic (of any kind), built entirely of vertically stable tones, allows us to use pentatonic-based melodic lick in different harmonic contexts, with no modifications. Only condition – avoid tones and chromatics (remaining 7 tones of 12) should be rhythmically passive, unemphasized.

Let`s hear an example.

I think such feature is encouraging (because there`s no chance to fail). Moreover, ear and sense of phrasing are very positively provoked, when one exactly knows what notes are reliable for sure.

And if you are conscious about modal context, when playing pentatonics, they will help you to find the right fingering of modes (because only two modal tones still missing).

Pentatonics are even more powerful and interesting as a vertical structure, chord.

If we organize sounds of pentatonic not in a row, but skip every other one, we would get quite even intervalic pattern where fourths heavily prevail. (Such deployment is perfectly convenient for guitar players, for whom I have special fingering course.)

For example: A C D E G A C D E G A and so on. Bold notes are separated by such intervals: p4, p4, p4, M3, p4.

Wide deployment of pentatonics causes heavy quartal sound. 1 4 b7 b3 5 1 instead of 1 3b 4 5 b7 1.

(to be continued)