This may be derived by proceeding with the principle that historically gives the Pythagorean diatonic and chromatic scales, stacking perfect fifths with 3:2 frequency proportions (C–G–D–A–E). Naturals in that table are not the alphabetic series A to G without sharps and flats: Naturals are reciprocals of terms in the Harmonic series (mathematics), which are in practice multiples of a fundamental frequency. Just pentatonic tuning of Lou Harrison's " American gamelan", Old Granddad. Problems playing this file? See media help. Relationship to diatonic modes Įach mode of the pentatonic scale (containing notes C, D, E, G and A) can be thought of as the five scale degrees shared by three different diatonic modes with the two remaining scale degrees removed:Įach pentatonic scale can be thought of as the five notes shared by three different heptatonic modes. Ricker assigned the major pentatonic scale mode I while Gilchrist assigned it mode III. The pentatonic scale (containing notes C, D, E, G and A) has five modes, which are derived by treating a different note as the tonic: Rearranging the pitches to fit into one octave creates the major pentatonic scale: C, D, E, G, A. One construction takes five consecutive pitches from the circle of fifths starting on C, these are C, G, D, A, and E. The major pentatonic scale may be thought of as a gapped or incomplete major scale, using scale tones 1, 2, 3, 5, and 6 of the major scale. (This should not be confused with the identical term also used by musicologists to describe a scale including only two notes.)Īnhemitonic pentatonic scales can be constructed in many ways. (For example, in Japanese music the anhemitonic yo scale is contrasted with the hemitonic in scale.) Hemitonic pentatonic scales are also called "ditonic scales", because the largest interval in them is the ditone (e.g., in the scale C–E–F–G–B–C, the interval found between C–E and G–B). Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. Musicology commonly classifies pentatonic scales as either hemitonic or anhemitonic. Note: When learning to improvise using these shapes try to rest on root notes or chord tones to be safe and avoid any odd sounding notes or let your ears be the judge.Main article: Anhemitonic scale Minyō scale on D, equivalent to yo scale on D, with brackets on fourths Miyako-bushi scale on D, equivalent to in scale on D, with brackets on fourths If you move down the entire scale shape down a half step (1 fret) you are playing in the key of F#, so you’re playing F# major pentatonic. For example, if you move the entire scale shape up a whole step (2 frets) you are playing in the key of A, so now you’re playing A major pentatonic. In the examples below all the scale shapes are in the key of G, so all the root notes are G notes.Įach shape is moveable so you can play these shapes in every key. The root note of each shape determines the name of the scale. In the scale diagrams below the red dots indicate the root notes and the green dots indicate the remainder chord tones. If you want to know more about the CAGED system check out: What is The CAGED System? (The Keys to The Fretboard) The names refer to the chord shape (made up of the red and green dots) that is surrounded by the scale shape. Note: The name of the shapes have nothing to do with the key of the scale. Each shape has it’s own shape-name C, A, G, E and D, derived from the C-A-G-E-D system.
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