” Pentatomic – All you can do with the minor pentatonic " is an educational column that explains the use of the pentatonic scale on the modes where its application is possible. The familiarity of this scale for guitarists means that its application is immediate even in the less usual ways. Pentatonic is widely used by guitarists of all kinds and backgrounds.
Here are many possible applications.
PentAtomic - The melodic minor is a minor mode very similar to the major scale, from which it differs only by one note. In fact, it has all the notes in common except the third, which is minor in the melodic minor. It is the only minor scale that has a major sixth and seventh. The major sixth and seventh played in succession create a very distinctive sound and bring this scale closer to the final "melodicity" of the major scale.
It is built upon the natural minor scale by lifting the sixth and seventh grades by a half-tone. In the classical school, the sixth and seventh grades return as in the natural minor in the descending phase.
In our case, the melodic minor scale retains the same arrangement of tones and semitones in both ascending and descending directions. This is called the melodic minor jazz.
PentAtomic - Melodic Minor: a possible disposition of voices to bring this sound to life could be the following :
Root, b3rd, 7th, 9th or Root, b3rd, 6th, 9th.
There are many examples of famous recordings that drew in the Melodic Minor mode as their characteristic. I mention perhaps the most famous one. The song Summertime which is found in George Gershwin's celebrated 1935 play Porgy and Bess.
To describe this mode I chose the minor pentatonic because of its easy use and fluidity. With the minor pentatonic a tone above the tonic chord in fact we play these strains : 9th, 4th, 5th, 13th, Root all notes that perfectly describe the Melodic Minor Mode! In fact, this scale generates a minor chord on its second grade with its relative pentatonic, precisely minor!
You just have to try! Nicola Di Tommaso