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Pentatonic scale

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(Redirected fromMongolian Scale)
"Pentatonics" redirects here. For the a cappella group and their 2015 album, seePentatonixandPentatonix(album).
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The first twophrasesof the melody fromStephen Foster's "Oh! Susanna"are based on the major pentatonic scale[1]

Apentatonic scaleis a musicalscalewith fivenotesperoctave,in contrast toheptatonic scales,which have seven notes per octave (such as themajor scaleandminor scale).

Pentatonic scales were developed independently by many ancient civilizations[2]and are still used in various musical styles to this day. AsLeonard Bernsteinput it: "the universality of this scale is so well known that I'm sure you could give me examples of it, from all corners of the earth, as from Scotland, or from China, or from Africa, and from American Indian cultures, from East Indian cultures, from Central and South America, Australia, Finland...now, that is a true musico-linguistic universal."[3]There are two types of pentatonic scales: those withsemitones(hemitonic) and those without (anhemitonic).

Types

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Hemitonic and anhemitonic

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Main article:Anhemitonic scale
Minyōscale on D,[4]equivalent toyoscale on D,[5]with brackets on fourths
Miyako-bushiscale on D, equivalent toinscale on D, with brackets on fourths[6]

Musicologycommonly classifies pentatonic scales as eitherhemitonicoranhemitonic.Hemitonic scales contain one or moresemitonesand anhemitonic scales do not contain semitones. (For example, in Japanese music the anhemitonicyoscaleis contrasted with the hemitonicinscale.) Hemitonic pentatonic scales are also called "ditonic scales", because the largest interval in them is theditone(e.g., in the scale C–E–F–G–B–C, the interval found between C–E and G–B).[7](This should not be confused with theidentical termalso used by musicologists to describe a scale including only two notes.)

Major pentatonic scale

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Anhemitonic pentatonic scales can be constructed in many ways. 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.[1]One construction takes five consecutive pitches from thecircle of fifths;[8]starting on C, these are C, G, D, A, and E. Rearranging the pitches to fit into oneoctavecreates the major pentatonic scale: C, D, E, G, A.

{ \override Score.TimeSignature #'stencil = ##f \relative c' { \time 5/4 c d e g a c } }

Another construction works backward: It omits two pitches from adiatonic scale.If one were to begin with a Cmajor scale,for example, one might omit the fourth and the seventhscale degrees,F and B. The remaining notes then make up the major pentatonic scale: C, D, E, G, and A.

Omitting the third and seventh degrees of the C major scale obtains the notes for another transpositionally equivalent anhemitonic pentatonic scale: F, G, A, C, D. Omitting the first and fourth degrees of the C major scale gives a third anhemitonic pentatonic scale: G, A, B, D, E.

The black keys on a piano keyboard comprise a G-flat (or equivalently, F-sharp) major pentatonic scale: G-flat, A-flat, B-flat, D-flat, and E-flat, which is exploited inChopin'sblack key étude.

{ \override Score.TimeSignature #'stencil = ##f \relative c'' { \time 5/4 ges aes bes des ees ges } }

Minor pentatonic scale

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Although various hemitonic pentatonic scales might be calledminor,the term is most commonly applied to therelative minor pentatonicderived from the major pentatonic, using scale tones 1,♭3, 4, 5, and♭7 of thenatural minor scale.[1](It may also be considered a gappedblues scale.)[9]The C minor pentatonic scale, the relative minor of the E-flat pentatonic scale, is C, E-flat, F, G, B-flat. The A minor pentatonic, the relative minor of C pentatonic, comprises the same tones as the C major pentatonic, starting on A, giving A, C, D, E, G. This minor pentatonic contains all three tones of an A minor triad.

{ \override Score.TimeSignature #'stencil = ##f \relative c'' { \time 5/4 a4 c d e g | a } }

The standard tuning of aguitaruses the notes of an E minor pentatonic scale: E–A–D–G–B–E, contributing to its frequency in popular music.[10]Stevie Wonderemployed the minor pentatonic for thefunkyclavinetriff on the track "Superstition"(1972).[11]

Japanese scale

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Main article:Japanese mode

The Japanese mode is based on thePhrygian mode,but uses scale tones 1, 2, 4, 5, and 6 instead of scale tones 1, 3, 4, 5, and 7.

{ \override Score.TimeSignature #'stencil = ##f \relative c' { \time 5/4 e f a b c | e } }

Modes of the pentatonic scale

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See also:Mode (music)

The pentatonic scale (containing notes C, D, E, G and A) has five modes, which are derived by treating a different note as thetonic:

Tonic Name(s) Chinese pentatonic scale Indian pentatonic scale On C White key transpositions Black key transposition
C major pentatonic F major pentatonic G major pentatonic F♯/G♭major pentatonic
1 (C) Major pentatonic Cung (gōng) mode Hindustani –Bhoopali
Carnatic –Mohanam
Tamil - Mullaittīmpāṇi 		C–D–E–G–A–C C–D–E–G–A–C F–G–A–C–D–F G–A–B–D–E–G G♭–A♭–B♭–D♭–E♭–G♭
2 (D) Suspended, Egyptian Thương (shāng) mode Hindustani –Megh
Carnatic –Madhyamavati
Tamil - Centurutti 		C–D–F–G–B♭–C D–E–G–A–C–D G–A–C–D–F–G A–B–D–E–G–A A♭–B♭–D♭–E♭–G♭–A♭
3 (E) Blues minor, Man Gong (Guqin tunings) Giác (jué) mode Hindustani –Malkauns
Carnatic –Hindolam
Tamil - Intaḷam 		C–E♭–F–A♭–B♭–C E–G–A–C–D–E A–C–D–F–G–A B–D–E–G–A–B B♭–D♭–E♭–G♭–A♭–B♭
5 (G) Blues major,ritsusen[ja],yo scale Trưng (zhǐ) mode Hindustani –Durga
Carnatic –Shuddha Saveri
Tamil - Koṉṟai 		C–D–F–G–A–C G–A–C–D–E–G C–D–F–G–A–C D–E–G–A–B–D D♭–E♭–G♭–A♭–B♭–D♭
6 (A) Minor pentatonic Vũ (yǔ) mode Hindustani –Dhani
Carnatic –Shuddha Dhanyasi
Tamil - āmpal 		C–E♭–F–G–B♭–C A–C–D–E–G–A D–F–G–A–C–D E–G–A–B–D–E E♭–G♭–A♭–B♭–D♭–E♭

Ricker assigned the major pentatonic scale mode I while Gilchrist assigned it mode III.[12]

Relationship to diatonic modes

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Each 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:

Venn-like diagram showing the correspondence between each pentatonic scale and three different diatonic modes.
Each pentatonic scale can be thought of as the five notes shared by three different diatonic modes.
Pentatonic
scale 		Tonic
note 		Based on modes (Diatonic scale) Base scale
degrees 		Modifications Intervalsequence
Major C I–II–III–V–VI Omit 4 7 W–W–3/2–W–3/2
Blues major G I–II–IV–V–VI Omit 3 7 W–3/2–W–W–3/2
Suspended D I–II–IV–V–VII Omit 3 6 W–3/2–W–3/2–W
Minor A I–III–IV–V–VII Omit 2 6 3/2–W–W–3/2–W
Blues minor E I–III–IV–VI–VII Omit 2 5 3/2–W–3/2–W–W

Intervals from tonic

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Further information:Interval (music)

Each mode of the pentatonic scale (containing notes C, D, E, G and A) features different intervals of notes from the tonic according to the table below. Note the omission of the semitones above (m2) and below (M7) the tonic as well as the tritone (TT).

Chromatic circle diagrams comparing the pentatonic scale intervals to the diatonic scale
The intervals used in the pentatonic scale compared to the diatonic scale.
Pentatonic
scale 		Tonic
note 		Intervals with respect to the tonic
unison second
note 		third
note 		fourth
note 		fifth
note 		octave
Major C P1 M2 M3 P5 M6 P8
Blues major G P4
Suspended D m7
Minor A m3
Blues minor E m6

Tuning

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Pythagorean tuning

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Further information:Pythagorean tuning

Ben Johnstongives the following Pythagorean tuning for the minor pentatonic scale:[13]

A minor pentatonic scale in Pythagorean tuning
Problems playing this file? Seemedia help.
Note Solfege A C D E G A
Ratio 1⁄1 32⁄27 4⁄3 3⁄2 16⁄9 2⁄1
Natural 54 64 72 81 96 108
Audio 1
 3
 4
 5
 7
 8
Step Name m3 T T m3 T
Ratio 32⁄27 9⁄8 9⁄8 32⁄27 9⁄8

Naturals in that table are not the Alpha betic series A to G without sharps and flats: Naturals are reciprocals of terms in theHarmonic series (mathematics),which are in practice multiples of afundamental frequency.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). Considering the anhemitonic scale as a subset of ajust diatonic scale,it is tuned thus: 20:24:27:30:36 (A–C–D–E–G =5⁄6–1⁄1–9⁄8–5⁄4–3⁄2).

Just intonation

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Further information:Just intonation
Just pentatonic tuning of Lou Harrison's "American gamelan",Old Granddad.[14]This gives the proportions 24:27:30:36:40.
Modes Ratios (just)
Major 24:27:30:36:40
Blues major 24:27:32:36:40
Suspended 24:27:32:36:42
Minor 30:36:40:45:54
Blues minor 15:18:20:24:27

(A minor seventh can be 7:4, 16:9, or 9:5; a major sixth can be 27:16 or 5:3. Both were chosen to minimize ratio parts.)

Other

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Assigning precise frequency proportions to the pentatonic scales of most cultures is problematic as tuning may be variable.

Slendro approximated in Western notation.[15]

For example, theslendroanhemitonic scale and its modes of Java and Bali are said to approach, very roughly, an equally-tempered five-note scale,[16]but their tunings vary dramatically fromgamelanto gamelan.[17]

ComposerLou Harrisonhas been one of the most recent proponents and developers of new pentatonic scales based on historical models. Harrison andWilliam Colvigtuned the slendro scale of thegamelanSi Betty to overtones 16:19:21:24:28[18](1⁄1–19⁄16–21⁄16–3⁄2–7⁄4). They tuned the Mills gamelan so that the intervals between scale steps are8:7–7:6–9:8–8:7–7:6[19](1⁄1–8⁄7–4⁄3–3⁄2–12⁄7–2⁄1= 42:48:56:63:72)

Use of pentatonic scales

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Pentatonic scales occur in many musical traditions:

In classical music

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Examples of its use include:

Beethoven,Quartet in F major, Op. 135,finale:

Beethoven Quartet Op 135, finale bars 250-7
Beethoven Quartet Op 135, finale bars 250-7

Chopin'sEtude in G-flat major, Op. 10, No. 5,the "Black Key" etude,[1]in the major pentatonic.

Chopin Etude Op. 10 No. 5
Chopin Etude Op. 10 No. 5

Western Impressionistic composers such as French composerClaude Debussy[49]andMaurice Ravelused the pentatonic scale extensively in their works.

Pentatonic scale inDebussy'sVoiles,Preludes, Book I, no. 2, mm. 43–45.[50]
Pentatonic scale inRavel'sMa mère l'OyeIII. "Laideronnette, Impératrice des Pagodes", mm. 9–13.[1]

Giacomo Pucciniused pentatonic scales in his operasMadama ButterflyandTurandotto imitate east Asian musical styles. Puccini also usedwhole-tone scalesin the former to evoke similar ideas.

Indian ragas

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Main article:Raga

Indian classical music has hundreds of ragas, of which many are pentatonic. Examples includeRaag Abhogi Kanada(C, D, E-flat, F, A),[51]Raag Bhupali(C, D, E, G, A),[52]Raag Bairagi(C, D-flat, F, G, B-flat),[53]Raag Chandrakauns(C, E-flat, F, A-flat, B),[54]Raag Dhani(C, E-flat, F, G, B-flat),[51]Raag Durga(C, D, F, G, A),[55]Raag Gunakari(C, D-flat, F, G, A-flat),[56]Raag Hamsadhwani(C, D, E, G, B),[57]Raag Hindol(C, E, F#, A, B),[58]Raag Kalavati(C, E, G, A, B-flat),[51]Raag Katyayani (C, D, E-flat, G, A-flat),[59]Raag Malkauns(C, E-flat, F, A-flat, B-flat),[60]Raag Megh (C, D, F, G, B-flat),[51]Raag Shivaranjani(C, D, E-flat, G, A),[61]Raag Shuddha Sarang(C, D, F#, G, B),[62]Raag Tilang(C, E, F, G, B),[63]Raag Vibhas(C, D-flat, E, G, A-flat),[64]Raag Vrindavani Sarang (C, D, F, G, B), and others.[65]

(For Tamil Music System, See here -Ancient Tamil music#Evolution of panns)

Further pentatonic musical traditions

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D Yo scale

The major pentatonic scale is the basic scale of themusic of Chinaand themusic of Mongoliaas well as many Southeast Asian musical traditions such as that of the Karen people as well as the indigenous Assamese ethnic groups.[citation needed]The pentatonic scale predominates most Eastern countries as opposed to Western countries where theheptatonic scaleis more commonly used.[66]The fundamental tones (withoutmeriorkaritechniques) rendered by the five holes of theJapaneseshakuhachiflute play a minor pentatonic scale. Theyo scaleused in JapaneseshomyoBuddhist chants andgagakuimperial court music is an anhemitonic pentatonic scale[67]shown below, which is the fourth mode of the major pentatonic scale.

Javanese

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Temperated pentatoncs

InJavanesegamelanmusic, theslendroscale has five tones, of which four are emphasized in classical music. Another scale,pelog,has seven tones, and is generally played using one of three five-tone subsets known aspathet,in which certain notes are avoided while others are emphasized.[68]

Somali

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Somali musicuses a distinctmodal systemthat is pentatonic, with characteristically long intervals between some notes. As with many other aspects of Somali culture and tradition, tastes in music and lyrics are strongly linked with those in nearbyEthiopia,Eritrea,DjiboutiandSudan.[69][70]

Scottish

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InScottish music,the pentatonic scale is very common. Seumas MacNeill suggests that the Great Highland bagpipe scale with its augmented fourth and diminished seventh is "a device to produce as many pentatonic scales as possible from its nine notes" (although these two features are not in the same scale)[clarification needed].[71][failed verification]Roderick Cannon explains these pentatonic scales and their use in more detail, both inPiobaireachdand light music.[72]It also features inIrish traditional music,either purely or almost so. The minor pentatonic is used inAppalachian folk music.Blackfoot musicmost often uses anhemitonic tetratonic or pentatonic scales.[73]

Andean

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Pacha Siku

InAndean music,the pentatonic scale is used substantially minor, sometimes major, and seldominscale. In the most ancient genres of Andean music being performed without string instruments (only withwindsandpercussion), pentatonic melody is often led with parallelfifthsandfourths,so formally this music is hexatonic.[citation needed]

Jazz

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Rock guitar solo almost all over B minor pentatonic

Jazzmusic commonly uses both the major and the minor pentatonic scales. Pentatonic scales are useful forimprovisersin modern jazz, pop, and rock contexts because they work well over several chordsdiatonicto the same key, often better than the parent scale. For example, theblues scaleis predominantly derived from the minor pentatonic scale, a very popular scale forimprovisationin the realms of blues and rock alike.[74]For instance, over a C major triad (C, E, G) in the key of C major, the note F can be perceived as dissonant as it is a half step above the major third (E) of the chord. It is for this reason commonly avoided. Using the major pentatonic scale is an easy way out of this problem. The scale tones 1, 2, 3, 5, 6 (from the major pentatonic) are either major triad tones (1, 3, 5) or common consonant extensions (2, 6) of major triads. For the corresponding relative minor pentatonic, scale tones 1,♭3, 4, 5,♭7 work the same way, either as minor triad tones (1,♭3, 5) or as common extensions (4,♭7), as they all avoid being a half step from a chord tone.[citation needed]

Other

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U.S. military cadences,orjodies,which keep soldiers in step while marching or running, also typically use pentatonic scales.[75]

Hymnsand other religious music sometimes use the pentatonic scale; for example, the melody of the hymn "Amazing Grace",[76]one of the most famous pieces in religious music.[citation needed]

The common pentatonic major and minor scales (C-D-E-G-A and C-E♭-F-G-B♭,respectively) are useful in modal composing, as both scales allow a melody to be modally ambiguous between their respective major (Ionian,Lydian,Mixolydian) and minor (Aeolian,Phrygian,Dorian) modes (Locrianexcluded). With either modal or non-modal writing, however, theharmonizationof a pentatonic melody does not necessarily have to be derived from only the pentatonic pitches.[citation needed]

MostTuaregsongs are pentatonic, as is most other music from theSahelandSudanregions.

Role in education

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The pentatonic scale plays a significant role inmusic education,particularly inOrff-based,Kodály-based,andWaldorfmethodologies at theprimary or elementarylevel.

The Orff system places a heavy emphasis on developing creativity throughimprovisationin children, largely through use of the pentatonic scale.Orff instruments,such asxylophones,bellsand othermetallophones,use wooden bars, metal bars or bells, which can be removed by the teacher, leaving only those corresponding to the pentatonic scale, whichCarl Orffhimself believed to be children's native tonality.[77]

Children begin improvising using only these bars, and over time, more bars are added at the teacher's discretion until the completediatonic scaleis being used. Orff believed that the use of the pentatonic scale at such a young age was appropriate to the development of each child, since the nature of the scale meant that it was impossible for the child to make any realharmonicmistakes.[78]

In Waldorf education, pentatonic music is considered to be appropriate for young children due to its simplicity and unselfconscious openness of expression. Pentatonic music centered on intervals of the fifth is often sung and played in early childhood; progressively smaller intervals are emphasized within primarily pentatonic as children progress through the early school years. At around nine years of age the music begins to center on first folk music using a six-tone scale, and then the modern diatonic scales, with the goal of reflecting the children's developmental progress in their musical experience. Pentatonic instruments used include lyres, pentatonic flutes, and tone bars; special instruments have been designed and built for the Waldorf curriculum.[79]

See also

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[edit]
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  46. ^Dale A. Olsen; Daniel E. Sheehy, eds. (1998).The Garland Encyclopedia of World Music, Volume 2: South America, Mexico, Central America, and the Caribbean.New York: Taylor & Francis. p. 217.ISBN0-8240-6040-7.(Thomas Turino (2004) points out that the pentatonic scale, although widespread, cannot be considered to be predominant in the Andes:Local practices among the Aymara and Kechua in Conima and Canas, Southern PeruinMalena Kuss, ed. (2004).Music in Latin America and the Caribbean: an encyclopedic history.Austin: University of Texas Press. p. 141.ISBN0-292-70298-1.)
  47. ^Burton William Peretti (2009).Lift Every Voice: The History of African American Music.New York: Rowman & Littlefield Publishers. p. 39.ISBN978-0-7425-5811-3.
  48. ^Anna Czekanowska; John Blacking (2006).Polish Folk Music: Slavonic Heritage – Polish Tradition – Contemporary Trends.Cambridge: Cambridge University Press. p. 189.ISBN978-0-521-02797-7.
  49. ^Jeremy Day-O'Connell (2009)."Debussy, Pentatonicism, and the Tonal Tradition"(PDF).Music Theory Spectrum.31(2): 225–261.doi:10.1525/mts.2009.31.2.225.Archived(PDF)from the original on 2022-10-09.
  50. ^Bruce Benward and Marilyn Nadine Saker,Music in Theory and Practice,eighth edition (Boston: McGraw Hill, 2009): vol. II, p. 245.ISBN978-0-07-310188-0.
  51. ^abcdChaudhuri, A. (2021).Finding the Raga: An Improvisation on Indian Music.Faber & Faber. p. 52.ISBN978-0-571-37076-4.Retrieved26 May2021.
  52. ^Menon, R.R. (1973).Discovering Indian Music.Somaiya Publications. p. 50.Retrieved26 May2021.Some prefer the first Raga to be pentatonic in scale. Let us take for an example, the pentatonic Bhoopali. Its notes are: SA RI GA PA DHA SA up and down the scale.
  53. ^Chib, S. K. S.; Khan, A. A. (2004).Companion to North Indian Classical Music.Munshiram Manoharlal Publishers. p. 337.ISBN978-81-215-1090-5.Retrieved26 May2021.
  54. ^Qureshi, R. B. (2016).Master Musicians of India: Hereditary Sarangi Players Speak.Taylor & Francis. p. 385.ISBN978-1-135-87396-7.Retrieved26 May2021.
  55. ^Thatte, A.; Sabanīsa, M. P. (2000).Vande Mataram, Down the Memory Lane.Jayanti Samaroha Samitee Vande Mataram. p. 77.Retrieved26 May2021.Named after the powerful Hindu goddess, Raga Durga is pentatonic, omitting the third and the seventh degrees, while emphasising the sixth and the second.
  56. ^The Historical Development of Indian Music: A Critical Study.Firma K. L. Mukhopadhyay. 1973. p. 175.ISBN978-0-88386-344-2.Retrieved26 May2021.
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  60. ^Thom Lipiczky (1985). "Tihai Formulas and the Fusion of 'Composition' and 'Improvisation' in North Indian Music".The Musical Quarterly.71(2): 157–171 (160).They are set to one of the most widely performed ragas in North India, the pentatonic midnight raga Malkauns. The most important notes of Malkauns are Sa (the tonic) and Ma (the fourth). Both the gats and the tihais "cadence" on one of...
  61. ^Chakraborty, S.; Mazzola, G.; Tewari, S.; Patra, M. (2014).Computational Musicology in Hindustani Music.Computational Music Science. Springer International Publishing. p. 3.ISBN978-3-319-11472-9.Retrieved27 May2021.
  62. ^Karnani, C. (2005).Form in Indian Music: A Study in Gharanas.Rawat Publications. p. 81.ISBN978-81-7033-921-2.Retrieved27 May2021.Ghulam Ali showed unusual fondness for pentatonic modes like Gunkali, Malkauns, Kausi Dhani and Bhopali. Even Shudh Sarang and Megh Malhar are largely pentatonic.
  63. ^Katz, J. (1992).The Traditional Indian Theory and Practice of Music and Dance.Panels of the VIIth World Sanskrit Conference / World Sanskrit Conference 7, 1987, Leiden: Panels of the VIIth World Sanskrit Conference. E. J. Brill. p. 19.ISBN978-90-04-09715-5.Retrieved27 May2021.
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  73. ^Bruno Nettl,Blackfoot Musical Thought: Comparative Perspectives(Ohio: The Kent State University Press, 1989): p. 43.ISBN0-87338-370-2.
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Further reading

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Look uppentatonicin Wiktionary, the free dictionary.
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