Pentatomic – Misolidio 9 sus4

PentAtomic

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 MODO MISOLIDIO 9 sus4

The misolydian way is a way deriving from the major scale. It is the one built on the fifth degree. It has in common all the notes of the ionic mode (major scale) apart from the seventh note of the scale, which in the misolydian mode is lowered by a semitone, so it is a dominant seventh (b7). The dominant seventh is the characteristic note of the mode and can be accompanied by the 9th and 13th, both major. The presence of the major third in the scale together with the dominant seventh, often accompanied by the major ninth and thirteenth, gives a very bluesy character to this mode. In fact, the resulting chord T, 3, b7, 13 or T, 3, b7, 9 is the basis of the blues. It is a way strongly connected with the pentatonic scale, the latter at the base of improvisation in styles such as blues and rock. The misolydian mode is certainly a major mode, but if used together with the minor pentatonic on an unaltered dominant chord (see the Blues loop) it creates a strongly bluesy flavor, derived from the play of the major and minor thirds present in the two scales.
Pentatomic, in this case I used the minor pentatonic a perfect fifth above the tonic chord, on a variant of the mixolydian mode. In fact we can hear a C7 sus4 with the presence of the 9a. The characteristics of the mode do not change, but the suspension from the 4a is a sonic possibility that should not be underestimated. This suspension may or may not be resolved. With the pentatonic we can describe without problems this variant of the misolydian mode, in fact with the minor pentatonic a perfect fifth above the tonic chord we play the following tensions: 5a, b7, T, 9a, 4a all notes useful for describing a dominant chord 9 sus4!

Nicola di Tommaso

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