Pentatonic Scale Studies2003c

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    PentatonicScale

    StudiesSecondEdition(2003)

    EdwardPetersen

    RovingBovineMusic

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    PentatonicScale

    StudiesSecondEdition

    ManythankstoBrianSeegerforhisworkinrepairingandorganizingthePentatonicScaleCompendiumandforhismanyothercontributions

    tomymusiceducation.

    Copyright2003byEdwardPetersenRovingBovineMusic

    ASCAP

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    Table of Contents

    Introduction1

    The Scales

    1.1 Pentatonic Scale Compendium 19

    1.2 Pentatonic Scale Compendium 2...17

    1.3 Selected Pentatonic Scales-Suggested Harmonic Applications...25

    Shapes (Pentatonic 326)

    2.1 Getting Familiar with the Intervals...292.2 Intervallic Scale Studies...32

    2.3 Four Note Patterns...38

    2.4 Three Note Patterns59

    2.5 More Shapes67

    Shapes (Pentatonic 305)

    3.1 Getting Familiar with the Intervals...73

    3.2 Intervallic Scale Studies...76

    3.3 Four Note Patterns...82

    3.4 Three Note Patterns103

    3.5 More Shapes111

    Coda

    4.1 Shape Morphing117

    4.2 Intervallistics121

    4.3 Pentatonic Shapes Over Changes126

    4.4 Pent-Up Stella129

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    Introduction

    This book is intended to serve as a point of departure for the study of pentatonic

    scales. It looks like a method book and can be used as one, but it is better to thinkof it as a collection of potentially useful intervallic sequences*1 that are designed

    to be modified to suit the players (your) purposes. I use the phrase potentially

    useful because they will be of little benefit until you have developed your own

    way of understanding them and using them in the creation of your music.

    There are many pentatonic scales. The Pentatonic Scale Compendia found in

    section one list all three hundred thirty pentatonic scales*2 that contain the note

    C. The best way to learn them is to chooseone scale that appeals to you andspend a considerable amount of time and energy practicing and thinking of ways

    in which you can use it before exploring other scales. Become familiar with the

    intervallic patterns that characterize the scale. The exercises in Section 2.1 (Page

    29) are studies in the movement of every note in a scale to every other note,

    throughout the range of your instrument. They are notated within the practical

    written range of the saxophone, but please decrease or increase the range to fit

    your instrument. If you have chosen a scale other than the one that is used in

    these exercises (which is number three hundred twenty six*3

    in the PentatonicScale Compendium, often referred to as the Major (326) or Minor (330)

    Pentatonic Scale*4), play the shapes found in the exercises, but replace the

    written notes with the notes of your chosen scale. Once you are familiar with the

    intervallic characteristics of the scale, it should be very easy to play in any key.

    Do this by using your musicianship and feeling, not your muscle memory or

    mathematical transposition skills. Every pattern in this book is based on C. It

    is essential to play the scales and other shapes that interest you in every key. If I

    had wasted the paper necessary to notate these transpositions, you and I, asusers of this book, would not be well-served. It is much more beneficial for us to

    develop the ability to imagine and then play musical gestures at various pitch

    levels than it is to read notes that provide directions on the proper buttons to

    push.

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    In addition to developing familiarity with the melodic interaction of the notes in

    the scale, it is important to understand their relationship to various harmonic

    configurations. Some pentatonic scales contain so many contiguous small

    intervals that it is difficult to discern a strong relationship with most

    mainstream harmonies, but they may relate very clearly to certaincontemporary outside or cluster harmonies. Many other pentatonics can be

    used to create music that relates very clearly to mainstream harmonies. For

    example, Pentatonic 326 is comprised of a major second, another major second, a

    minor third, another major second, and another minor third. Starting on C,

    that is the following notes: C, D, E, G, and A. Please consider these notes in the

    following harmonic contexts:

    In relation to a:

    * CMaj7 or C7 chordthis scale contains the root, ninth, third, fifth, thirteenth(sixth)

    * D7(sus4)seventh, root, ninth, (suspended) fourth, fifth

    * E Phrygian (F/E)minor thirteenth (minor sixth) or augmented fifth, seventh,

    root, (minor) third, eleventh

    * F Maj7fifth, thirteenth, seventh, ninth, third,

    * F#7(+5 +9) or F#7(+5 -9) aka F#7alt.augmented eleventh, augmented fifth,

    seventh, minor ninth, augmented ninth

    * Gmin7 or G7(sus4)fourth, fifth, thirteenth, root, ninth* Amin7 or A Phrygianthird, fourth, fifth, seventh

    * BbMaj7 chordninth, third, augmented eleventh, thirteenth, seventh

    All of the above examples demonstrate the use of these notes as components of

    the designated chords. The scale can be used very effectively in other ways, too.

    For example, in relation to an Abmin7 chord, this useful pentatonic contains all of

    the notes that are outside of the chord and the scale that is usually associated

    with it, the Ab Dorian scale. In other words, Pentatonic 326 contains all of thechromatic notes in relationship to this chord/scale sound! Familiarity with this

    very convenient way of organizing diatonic and chromatic elements can be very

    liberating for the improviser.

    After you have found a scale/interval set that you like and become familiar with

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    its characteristics and possible harmonic applications, look at some of the other

    exercises in Section 2. You will find a vast number of melodic shapes that are

    constructed from a pentatonic scale (326). You can read these in the way that you

    would read the pages of a method book, but you can learn more and have more

    fun by doing the following:1) Find one shape, or melodic gesture that appeals to you

    2) Identify the intervallic characteristics

    3) Plug-in the notes of your selected scale. In other words, replace the

    written notes with notes from the scale that you are practicing, while retaining

    the shape of the written phrase

    4) Play your version of the shape in every key throughout the full range of

    your instrument

    5) Explore rhythmic and metrical variations. If the phrase is in 2/4,experiment with techniques for playing it in 3/4 or 5/4 or??? This can be

    accomplished by adding or deleting notes or rests or by changing durations

    6) Play your new variations in every key throughout the full range of your

    instrument

    7) Plug-in other scales. Retain the shape of the gesture, but replace the

    notes with notes from other pentatonic, diatonic, diminished, augmented, or

    other scales/interval sets.

    8) Play your new variations in every key throughout the full range of yourinstrument

    9) Try to play your shape over a set of chord changes. Change the

    component scales and make the corresponding adjustments to your shape in

    response to the changes in the harmony (Please see example on page 126)

    10) See how far you can bend the gesture until it becomes something

    elseif you like your new creation, forget about this book and continue to

    explore your new phrase! This type of practice develops the ability to think

    compositionally, while improving technique and aural skills. It will cultivatebetter understanding of the ways in which musical gestures can evolve and serve

    as the basis for the creation of new expressions. It improves our ability to fine-

    tune musical ideas so that they work properly (i.e. the way that we want them to

    work) in relation to the time and harmony. The ability to modify a musical

    gesture using different pitch and rhythmic parameters to fit the demands of the

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    music is one of the fundamental skills involved in the process of creating and

    developing meaningful jazz improvisations.

    10) Repeat this process with another shape

    The layout of this book is as follows:Section One is a comprehensive listing of all of the pentatonic scales that include

    the note C. Please see note *3 below for more information regarding the

    structure of the Pentatonic Scale Compendia. In this section, there is also a

    collection of my favorite pentatonics and suggestions as to ways in which they

    can relate to various harmonic configurations. I hope that you will experiment

    and find your own favorite scales and their harmonic applications. The way in

    which we choose to relate to the harmonic structure of the music as we improvise

    is an important component of our personal style and sound. Please do notbelieve anything that I have written regarding the relationship of scales to chords

    until your own ears tell you what sounds good! One of the things that we do not

    need is another book that tells us what scale to play on a chord. There are many

    different ways to use the pentatonics in this book.

    Section Two is divided into five parts, all of which are based on Pentatonic 326.

    At the beginning of this section (and the next) there are listings of suggested

    related harmonies, but please try to identify your own chord-scale associations.As I mentioned above, Section 2.1 is a collection of studies in the movement of

    every note in a scale to every other note. Section 2.2 contains intervallic scale

    exercises. 2.3 is a comprehensive listing of four note melodic patterns. 2.4 is a

    comprehensive listing of three note melodic patterns. 2.5 is a collection of other

    pentatonic melodic gestures.

    Section Three is identical to Section Two, except for the fact that a different

    pentatonic scale (305) is plugged-in in order to demonstrate the modularconcept upon which this book is based.

    All of the exercises in this book are intended to be highly malleable. It is not

    necessary or recommended to practice every pattern exactly as it appears. It is

    possible; maybe even desirable, to play through the entire book while never or

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    only rarely playing the written notes! Every note that you play could be

    plugged-in or something from a different key. You might decide that you

    would like to play anything other than that which is in the book. Just try to find

    things that sound good to you and explore them. Many of the exercises have no

    indicated meter or bar lines. Use these only as a source of intervals and practicethem using rhythmic parameters of your own creation. I encourage you to do the

    same thing with the exercises that do have specific rhythms indicated.

    Each exercise starts and ends with repeat signs. The reason for this is that there

    should not be any fixed starting or ending point. Practice the patterns starting

    and ending wherever you want, but play them throughout the full range of your

    instrument and try to loop the exercises at the high and low end of your range

    so that you do not stop simply because you have run out of notes. As Imentioned above, the exercises are notated within the range of the saxophone,

    but please play everything throughout your full range.

    Section Four contains a few practice suggestions.

    Here are some notes:

    *1 I prefer to think of scales (or any melodic or harmonic configuration) asintervallic patterns that easily can be rearranged or moved to different keys.

    Once we embrace the concept of thinking of scales and other musical elements as

    patterns of intervals, playing them in different keys no longer seems like

    transposing-a technique that many of us consider to be difficult and tedious.

    When we become familiar with the intervallic characteristics of a musical

    element, we can play it in any key simply by playing that which we already

    know using different notes!

    *2 There are actually sixty six unique pentatonic intervallic patterns. The pattern

    can start in five different locations; therefore the total number of pentatonics in

    any key is three hundred thirty (66 x 5 = 330). There are a total of three thousand

    nine hundred sixty pentatonic scales in all keys!

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    *3 This refers to the numbering system in the Pentatonic Scale Compendium.

    There are numbers below the staff lines of each scale. These numbers are used

    throughout this book to identify the scales. In addition to these numbers, the

    first scale on each line is identified by its pattern of intervals, designated as thenumber of half steps between each note, including the interval between the fifth

    note and the note one octave higher than the first. Each of the five scales on each

    line is comprised of the same pattern of intervals starting in different places in

    the sequence. In Compendium 1, these families of scales are notated in a

    traditional format that appears to be one parent scale and its four additional

    modes. In Compendium 2, each of the scales begins on the note C. Note that

    the first scales on each line are the same in both of the Compendia, but because of

    the different formats, the second through fifth scales on each line containdifferent pitches, but the patterns of intervals are the same.

    *4 These are common, but very unhelpful ways of naming the scale that is

    constructed from two whole steps, a minor third, another whole step, and

    another minor third. Both the Major Pentatonic and Minor Pentatonic have

    the same intervallic resources. They are only different when the scale is spelled

    C, D, E, G, A as opposed to A, C, D, E, G. This is a significant difference on

    paper, but when we want to use these resources to shape a melodic or harmonicidea in our improvisation, any of the notes might be played at any time. They

    will not necessarily be configured in an orderly graduated arrangement of

    pitches as they are in traditional scales. We might play them as follows: E, G, G,

    A, G, E, G, D, A, D.or maybe C, A, E, D, C, D, E, C, A, E, C, D, D..the

    melodies that are sounded by playing these sequences of notes are different, but

    they are both wrought from the same tonal building blocks. The way we practice

    scales should help us to develop awareness of the ways in which we can use

    them. It should also help us to be able to play any of the notes in or out of thescale at any musical time from any musical place, not just from tonic on the

    downbeat to tonic on the downbeat! Traditional scale practice is a very effective

    way to develop muscle memory, which can be useful to a musician who strives

    to play a limited number of preset musical gestures with increasing precision, but

    it is not very helpful in developing proficiency in using scales as improvisational

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    resources. Improvisers benefit more from structured practicing that develops the

    ability to play things that they have never played before.

    If you are confused after reading this introduction, that is good! Please

    proceed

    I hope that you enjoy this book.

    Edward Petersen

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    wb w w w w288

    w w w w wb289

    w w w wb w290

    w w wb w w

    &291

    w wb w wb wb13422

    292

    wb w wb wb w293

    w wb wb w wb294

    wb wb w wb w295

    wb w wb w wb

    &296

    w wb w w w14223

    297wb w w w w

    298w w w w wb

    299w w w wb w

    300w w wb w w

    &301

    w wb w w wb14232

    302

    wb w w wb w303

    w w wb w wb304

    w wb w wb w305

    wb w wb w w

    &306

    w wb w wb wb14322

    307wb w wb wb w

    308w wb wb w wb

    309wb wb w wb w

    310wb w wb w wb

    &311

    w wb wb wb wb15222

    312

    wb wb wb wb w313

    wb wb wb w wb314

    wb wb w wb wb315

    wb w wb wb wb

    15

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    &316

    w w w wb wbNoHalfSteps22224

    317

    w w wb wb w318

    w wb wb w w319

    wb wb w w w320

    wb w w w wb

    &321

    w w w wb w22233

    322

    w w wb w w323

    w wb w w w324

    wb w w w w325

    w w w w wb

    &326

    w w w w w22323

    327

    w w w w w328

    w w w w w329

    w w w w w330

    w w w w w

    16

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    &1

    w wb wn wb wnFourHalfSteps11118

    2

    w wb wn wb w3

    w wb wn wb wn4

    w wb w wb wn5

    w wb wn wb wn

    &6

    w wb wn wb wThreeHalfSteps11127

    7

    w wb wn w w8

    w wb wb wb wn9

    w w w wb wn10

    w w wb wn wb

    &11

    w wb wn wb wb11136

    12

    w wb wn w w13

    w wb w wb wn14

    w wb w wb wn15

    w wb wn wb w

    &16

    w wb wn wb w11145

    17

    w wb wn wb w18

    w wb w wb wn19

    w w w wb wn20

    w w wb wn wb

    &21

    w wb wn wb wb11154

    22

    w wb wn w w23

    w wb wb wb wn24

    w w w wb wn25

    w w w wb wn

    &26

    w wb wn wb w11163

    27

    w wb wn wb w28

    w wb w wb wn29

    w wb w wb wn30

    w wb wn w wb

    &31

    w wb wn wb wb11172

    32

    w wb wn w w33

    w wb wb wb wn34

    w w w wb wn35

    w w wb wn w

    &36

    w wb wn w wThree

    Non

    Contiguous

    Half

    Steps

    11217

    37

    w wb wb wn w38

    w w wb wb wn39

    w wb wb wn wb40

    w w wb wn w

    &41

    w wb wn w wb11316

    42

    w wb w w w43

    w wb wn wb wn44

    w wb w wb wn45

    w wb wn wb w17

    1.2PentatonicScaleCompendium2AllThreeHundredThirtyPentatonicScalesStartingon C

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    &46

    w wb wn wb wn11415

    47

    w wb w wb w48

    w w w wb wn49

    w wb wb wn wb50

    w w wb wn w

    &51

    w wb wn w wb11514

    52

    w wb wb wn w53

    w w wb wb wn54

    w wb w wb wn55

    w w w wb w

    &56

    w wb wn wb wn11613

    57

    w wb w wb w58

    w wb wn wb wn59

    w wb w w wb60

    w wb wn w w

    &61

    w wb wn w wb1171262

    w wb wb wn w63

    w w wb wb wn64

    w wb wb wn w65

    w w wb wn w

    &66

    w wb wn w wbTwoHalfSteps11226

    67

    w wb wb w w68

    w w w wb wn69

    w w wb wn wb70

    w wb wn wb wb

    &71

    w wb wn w w11235

    72

    w wb wb wb w73

    w w w wb wn74

    w wb wb wn wb75

    w w wb wn w&

    76

    w wb wn w wb11244

    77

    w wb wb w w78

    w w wb wb wn79

    w w wb wn wb80

    w w w wb wb

    &81

    w wb wn w w11253

    82w wb wb wb w

    83w w w wb wn

    84w w wb wn wb

    85w wb wn w w

    &86

    w wb wn w wb11262

    87

    w wb wb w w88

    w w wb wb wn89

    w wb wb wn wb90

    w w wb wn wb

    18

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    &91

    w wb wn w w11325

    92

    w wb w wb w93

    w wb w wb wn94

    w w w wb wn95

    w w wb wn wb

    &96

    w wb wn w wb11334

    97

    w wb w w w98

    w wb wb wb wn99

    w wb w wb wn100

    w w w wb w

    &101

    w wb wn w w11343

    102

    w wb w wb w103

    w wb w wb wn104

    w w w wb wn105

    w wb wn w w

    &106

    w wb wn w wb11352107

    w wb w w w108

    w wb wb wb wn109

    w w w wb wn110

    w w wb wn w

    &111

    w wb wn wb wb11424

    112

    w wb w w w113

    w w wb wb wn114

    w w wb wn wb115

    w w w wb wb

    &116

    w wb wn wb w11433

    117

    w wb w wb w118

    w w w wb wn119

    w wb wb wn wb120

    w wb wn w w&

    121

    w wb wn wb wb11442

    122

    w wb w w w123

    w w wb wb wn124

    w w wb wn wb125

    w w wb wn wb

    &126

    w wb wn w w11523

    127w wb wb wb w

    128w w w wb wn

    129w w w wb wn

    130w wb wn w wb

    &131

    w wb wn w wb11532

    132

    w wb wb w w133

    w w wb wb wn134

    w wb w wb wn135

    w w wb wn w

    19

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    &136

    w wb wn wb wb11622

    137

    w wb w w w138

    w wb wb wb wn139

    w w w w wb140

    w w wb wn wb

    &141

    w wb wb wn wbTwo

    Non

    Contiguous

    Half

    Steps

    12126

    142

    w w wb w w143

    w wb wb w wb144

    w w wb wn w145

    w wb wn w wb

    &146

    w wb wb wn w12135

    147

    w w wb wb w148

    w wb w w wb149

    w wb wb wn w150

    w w wb wb wn

    &151

    w wb wb wn wb12144152

    w w wb w w153

    w wb w w wb154

    w w wb wn w155

    w w w w wb

    &156

    w wb wb wn w12153

    157

    w w wb wb w158

    w wb wb w wb159

    w w wb wn w160

    w wb wn wb wn

    &161

    w wb wb wn wb12162

    162

    w w wb w w163

    w wb w w wb164

    w wb wb wn w165

    w w wb w wb&

    166

    w wb wb w wb12216

    167

    w w w w w168

    w w wb w wb169

    w wb w wb wb170

    w wb wn w w

    &171

    w wb wb wb wn12315

    172w w w wb w

    173w wb wn w wb

    174w wb wb wn w

    175w w wb wb w

    &176

    w wb wb w wb12414

    177

    w w wb wn w178

    w w w w wb179

    w wb w wb wb180

    w w w w w

    20

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    &181

    w wb wb wb wn12513

    182

    w w w wb w183

    w w wb w wb184

    w wb w w w185

    w wb wn wb w

    &186

    w wb w w wb13134

    187

    w wb wn w w188

    w wb w wb wn189

    w wb w wb w190

    w w w wb wn

    &191

    w wb w w w13143

    192

    w wb wn wb w193

    w wb w wb wn194

    w w w wb w195

    w wb wn w wb

    &196

    w wb w w wb13152197

    w wb wn w w198

    w wb wb wb wn199

    w w w wb w200

    w w wb wb wn

    &201

    w wb w wb wn13215

    202

    w wb w wb w203

    w w wb wb wn204

    w wb wb wn wb205

    w w wb w w

    &206

    w wb w w wb13314

    207

    w wb wb wn w208

    w wb wn wb wn209

    w wb w wb w210

    w w w wb w&

    211

    w wb w wb wb14142

    212

    w w w w w213

    w wb w w wb214

    w w wb wn w215

    w w wb w wb

    &216

    w wb wb w wOneHalfStep12225

    217w w w wb w

    218w w w w wb

    219w w w wb wb

    220w w wb wb wb

    &221

    w wb wb w wb12234

    222

    w w w w w223

    w w w w wb224

    w wb w wb wb225

    w w w w w

    21

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    &226

    w wb wb w w12243

    227

    w w w wb w228

    w w wb w wb229

    w w w wb wb230

    w wb wn wb wb

    &231

    w wb wb w wb12252

    232

    w w w w w233

    w w w w wb234

    w w w wb wb235

    w w wb w w

    &236

    w wb wb wb wb12324

    237

    w w w w w238

    w wb w w wb239

    w w wb wn w240

    w w w w wb

    &241

    w wb wb wb w12333242

    w w w wb w243

    w wb wb w wb244

    w wb wb wn w245

    w wb wn wb w

    &246

    w wb wb wb wb12342

    247

    w w w w w248

    w wb w w wb249

    w w wb wn w250

    w w wb w wb

    &251

    w wb wb w w12423

    252

    w w wb wb w253

    w w wb w wb254

    w w w wb wb255

    w wb wn wb wb&

    256

    w wb wb w wb12432

    257

    w w wb w w258

    w w w w wb259

    w wb w wb wb260

    w w wb w w

    &261

    w wb wb wb wb12522

    262w w w w w

    263w w w w wb

    264w w w w w

    265w w wb w wb

    &266

    w wb w wb wb13224

    267

    w wb w w w268

    w w w wb wn269

    w w wb wn wb270

    w w w wb wb

    22

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    &271

    w wb w wb w13233

    272

    w wb w wb w273

    w w w wb wn274

    w wb wb wn wb275

    w wb wn w w

    &276

    w wb w wb wb13242

    277

    w wb w w w278

    w w wb wb wn279

    w w wb wn wb280

    w w wb wb wb

    &281

    w wb w w wb13332

    282

    w wb wb w w283

    w wb wb wb wn284

    w wb w wb w285

    w w wb wb w

    &286

    w wb w w w13323

    287

    w wb wb wb w288

    w wb w wb wn289

    w w w wb w290

    w wb wn w wb

    &291

    w wb w wb wb13422

    292

    w wb w w w293

    w w wb wb wn294

    w w w w wb295

    w w wb wb wb

    &296

    w wb w w w14223

    297

    w w wb wb w298

    w w w w wb299

    w w w wb wb300

    w wb wn wb wb&

    301

    w wb w w wb14232

    302

    w w wb w w303

    w w w w wb304

    w wb w wb wb305

    w w wb w w

    &306

    w wb w wb wb14322

    307w w w w w

    308w wb w w wb

    309w w w w w

    310w w wb w wb

    &311

    w wb wb wb wb15222

    312

    w w w w w313

    w w w wb wn314

    w w w w wb315

    w w wb wb wb

    23

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    &316

    w w w wb wbNoHalfSteps22224

    317

    w w w wb wb318

    w w w wb wb319

    w w wb wb wb320

    w w wb wb wb

    &321

    w w w wb w22233

    322

    w w w w wb323

    w w w wb wb324

    w wb wb wb wb325

    w wb w w w

    &326

    w w w w w22323

    327

    w w w w wb328

    w wb w wb wb329

    w w w w w330

    w wb w w wb

    24

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    25

    1.3SelectedPentatonicScales

    SuggestedHarmonicApplications

    #141C,Db,Eb,E,Gb(12126)containschordtonesandothergoodsoundingnotesasrelatedtothe

    followingchords:

    F#/C,F#min/C,A/C,C7(orEb7,F#7,orA7)withanyorallofthefollowing

    alterations/extensions: 9,+9,+11,13,C#(orE,G,orBb)diminished7,C7(+5+9),

    EMaj7(+5),F#9(+11),Bbmin7(5)

    #151C,Db,Eb,E,Ab(12144)...C7alt(+5andanyorallofthefollowing: 9,+9,+11),Ab7(13),AMaj7(+9),Db6,

    EMaj7(+5),Gb9(+11),Bbmin7(5)

    #176C,Db,Eb,G,Ab(12414)AbMaj7,Bbmin7,CPhrygian,DbMaj7(5),Eb7,Eb7(sus4),Db/F,Db/G

    #181C,Db,Eb,Ab,A(12513)C7(+9)withbothnaturalandflat13,F#7withbothnaturalandflat9,

    AMaj7(+9),Ab11(9),Dbmin(Maj7+5)/Eb

    #196C,Db,E,F,Ab(13134)C7(sus4 9+5)add10,DbMaj7(+9),alsogoodforCPhrygian(with3and

    sus4)

    #201C,Db,E,Gb,G (13215)isasubsetofthesamediminishedscaleas141,241,271,276,281,286andhasmanysimilarchordassociations.

    F#/C,F#min/C,A/C,C7(orEb7,F#7,orA7)withanyorallofthefollowingalterations/extensions: 9,+9,+11,13,C#(orE,G,orBb)diminished 7

    #211C,Db,F,Gb,Bb(14142)GbMaj7/C(CLocrian),Ebmin7,Gb/Bb,Ab7(sus4)

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    26

    #226C,Db,Eb,F,A(12243)Bbmin(Maj7),DbMaj7(+5),Eb7(+11),Gmin7(5),A7alt,F/Gb

    #236C,Db,Eb,Gb,Ab(12324)Ebmin7,

    FPhrygian,

    GbMaj7,

    Gb7,

    Ab7(sus4)

    #241C,Db,Eb,Gb,A(12333)F#/C,F#min/C,A/C,C7(orEb7,F#7,orA7)withanyorallofthefollowing

    alterations/extensions:9,+9,+11,13,C#(orE,G,orBb)diminished7

    #256C,Db,Eb,G,Bb(12432)CPhrygian,DbMaj7(+11),Eb7,Db/F,A7(+5 9),Bbmin6

    #261C,Db,Eb,Ab,Bb(12522)Eb7(sus4),DbMaj7,Db/F,GbMaj7,Gb7,Bbmin7,CPhrygian,FPhrygian

    #266C,Db,E,Gb,Ab(13224)C7alt,Dbmin(Maj7),EMaj7(+5),Gb7,Bbmin7(5)

    Thesefourscalesaresubsetsofthesamediminishedscaleandhavesimilar

    harmonicimplications:

    #271C,Db,E,Gb,A(13233)#276C,Db,E,Gb,Bb(13242)#281C,Db,E,G,Bb(13332)#286C,Db,E,G,A(13323)

    Bbmin(Maj7+5)/C,DbMaj7(sus4+5)/C,F#/C,F#min/C,A/C,C7(orEb7,F#7,

    orA7)withanyorallofthefollowingalterations/extensions:9,+9,+11,13,C#(orE,G,

    orBb)diminished7

    #291C,Db,E,Ab,Bb(13422)C7alt,Dbmin(Maj7),EMaj7(+5),Gb7,Bbmin7(5)

    #296C,Db,F,G,A(14223)Bbmin(Maj7),DbMaj7(+5),Eb7,Gmin7(5),A7alt

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    27

    #301C,Db,F,G,Bb(14232)CPhrygian,DbMaj7(5),Eb7,Db/F,Gmin7(5),A7alt

    #306C,Db,F,Ab,Bb(14322)C

    Phrygian,

    DbMaj7,

    Eb7(sus4),

    Db/F,

    Bbmin7

    #311C,Db,Gb,Ab,Bb(15222)C7alt,Ebmin7,FPhrygian,GbMaj7,Gb/C,Ab7(sus4add10)

    #316C,D,E,Gb,Ab(22224)C7(+5),D7(+5),E7(+5),Gb7(+5),Ab7(+5),Bb7(+5)

    #321C,D,E,Gb,A(22233)CMaj7(5),D7,Gbmin7(5),Ab7alt

    #326C,D,E,G,A(22323)A7,APhrygian,CMaj7,C7,D7(sus4),EPhrygian,FMaj7,F#7alt,G7(sus4),

    Gmin7

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    & w w w w w

    & .. .. play scale through full range

    & .. getting from one note to another

    & ..

    & ..

    & ..

    & ..

    & ..

    - 29 -

    Suggested harmonic applications: C6, CMaj7, C7(13), Dm7, F/E, FMaj7, F#7alt(+5 and any or all of

    the following: -9, +9, +11), G7(sus4), Gm7, Am7, F/A, Bb69, BbMaj7...please search for your own applications!

    Please read the Introduction for suggestions regarding ways to practice these exercises.

    2.1 Getting Familiar with the Intervals

    Pentatonic 326

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    & ..

    & ..

    & ..

    & ..

    & ..

    & ..

    & ..

    & ..

    & .. & ..

    - 30 -

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    & ..

    & ..

    & ..

    & ..

    & ..

    & ..

    & ..

    & ..

    & ..

    & ..

    - 31 -

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    & .. skip one note-scale in thirds in groups of two

    & ..

    &..

    & ..

    & ..

    & ..

    & ..

    & ..

    & .. scale in thirds in groups of three

    - 32 -

    These exercises are similar to traditional "scales in thirds, fourths," etc. but they appear here in two, three,

    four, and five note configurations

    2.2 Intervallic Scales

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    & ..

    & ..

    & ..

    &..

    & ..

    & ..

    & ..

    & .. scale in thirds in groups of four

    & ..

    & ..

    - 33 -

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    & ..

    & ..

    & ..

    &..

    & ..

    & .. ..

    scale in thirds in groups of five

    & .. ..

    & .. ..

    & .. ..

    & .. .. skip two-scale in forths in groups of two

    - 34 -

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    & .. ..

    & .. ..

    & .. ..

    &.. ..

    scale in fourths in groups of three

    & .. ..

    & .. ..

    & .. ..

    & .. .. scale in fourths in groups of four

    & .. ..

    & .. ..

    - 35 -

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    & .. ..

    & .. .. scale in fourths in groups of five

    & .. ..

    &.. ..

    & .. ..

    & .. .. skip three-scale in fifths in groups of two

    & .. ..

    & .. ..

    & .. ..

    & .. ..

    scale in fifths in groups of three

    - 36 -

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    & .. ..

    & .. ..

    & .. ..

    &.. ..

    scale in fifths in groups of four

    & .. ..

    & .. ..

    & .. ..

    & .. ..

    scale in fifths in groups of 5

    & .. ..

    & .. ..

    - 37 -

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    & .. 1234

    & ..

    & .. 1235

    & ..

    & .. 1243

    &..

    & .. 1245

    & ..

    & .. 1253

    - 38 -

    2.3 Four Note Patterns

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    & ..

    & .. 1254

    & ..

    &..

    1324

    & ..

    & .. 1325

    & ..

    & .. 1342

    & ..

    & .. 1345

    - 39 -

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    & ..

    & .. 1352

    & ..

    &..

    1354

    & ..

    & .. 1423

    & ..

    & .. 1425

    & ..

    & .. 1432

    - 40 -

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    & ..

    & .. 1435

    & ..

    &..

    1452

    & ..

    & .. 1453

    & ..

    & .. 1523

    & ..

    & .. 1524

    - 41 -

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    & ..

    & .. 1532

    & ..

    &..

    1534

    & ..

    & .. 1542

    & ..

    & .. 1543

    & ..

    & .. 2134

    - 42 -

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    & ..

    & .. 2135

    & ..

    &..

    2143

    & ..

    & .. 2145

    & ..

    & .. 2153

    & .. b

    & .. 2154

    - 43 -

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    & ..

    & .. 2314

    & ..

    &..

    2315

    & ..

    & .. 2341

    & ..

    & .. 2345 (same as 1234)

    2351

    & ..

    & .. 2354-same as 1243

    2413

    - 44 -

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    & ..

    & .. 2415

    & ..

    &..

    2431

    & ..

    & .. 2435 same as 1324

    2451

    & ..

    & .. 2453 same as 1342

    2513

    & ..

    & .. 2514

    - 45 -

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    & ..

    & .. 2531

    & ..

    &..

    2534 same as 1423

    2541

    & ..

    & .. 2543 same as 1432

    3124

    & ..

    & .. 3125

    & ..

    & .. 3142

    - 46 -

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    & ..

    & .. 3145

    & ..

    &..

    3152

    & ..

    & .. 3154

    & ..

    & .. 3214

    & ..

    & .. 3125

    - 47 -

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    & ..

    & .. 3142

    & ..

    &..

    3145

    & ..

    & .. 3152

    & ..

    & .. 3154

    & ..

    & .. 3214

    - 48 -

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    & ..

    & .. 3215

    & ..

    &..

    3241

    & ..

    & .. 3245 same as 2134

    3251

    & ..

    & .. 3254 same as 2143

    3412

    & ..

    & .. 3415

    - 49 -

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    & ..

    & .. 3421

    & ..

    &..

    3425 same as 2314

    3451

    & ..

    & .. 3452 same as 2341

    3512

    & ..

    & .. 3514

    & ..

    & .. 3521

    - 50 -

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    & ..

    & ..

    3524 same as 2413

    3541

    & ..

    &..

    3542 same as 2431

    4123

    & ..

    & .. 4125

    & ..

    & .. 4132

    & ..

    & .. 4135

    - 51 -

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    & ..

    & .. 4152

    & ..

    &..

    4153

    & ..

    & .. 4213

    & ..

    & .. 4215

    & ..

    & .. 4231

    - 52 -

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    & ..

    & ..

    4235 same as 3124

    4251

    & ..

    &..

    4253 same as 3142

    4312

    & ..

    & .. 4315

    & ..

    & .. 4321

    & ..

    & .. 4325 same as 3214

    4351

    - 53 -

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    & ..

    & ..

    4352 same as 3241

    4512

    & ..

    &..

    4513

    & ..

    & .. 4521

    & ..

    & .. 4523 same as 3412

    4531

    & ..

    & .. 4532 same as 3421

    5123

    - 54 -

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    & ..

    & .. 5124

    & ..

    &..

    5132

    & ..

    & .. 5134

    & ..

    & .. 5142

    & ..

    & .. 5143

    - 55 -

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    & ..

    & .. 5213

    & ..

    &..

    5214

    & ..

    & .. 5231

    & ..

    & .. 5234 same as 4123

    5241

    & ..

    & .. 5243 same as 4132

    5312

    - 56 -

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    & ..

    & .. 5314

    & ..

    &..

    5321

    & ..

    & .. 5324 same as 4213

    5341

    & ..

    & .. 5342 same as 4231

    5412

    & ..

    & .. 5413

    - 57 -

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    & ..

    & .. 5421

    & ..

    &..

    5423 same as 4312

    5431

    & ..

    5432 same as 4321

    - 58 -

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    & .. 123

    & ..

    & .. 124

    & ..

    & .. 125

    & ..

    & ..

    132

    &..

    & .. 134

    - 59 -

    2.4 Three Note Patterns

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    & ..

    & .. 135

    & ..

    & ..

    142

    & ..

    & .. 143

    & ..

    & .. 145

    & ..

    & .. 152

    - 60 -

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    & ..

    & .. 153

    & ..

    & ..

    154

    & ..

    & .. 213

    & ..

    & .. 214

    & ..

    & .. 215

    - 61 -

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    & ..

    & .. 231

    & ..

    & ..

    234 same as 123

    235 same as 124

    241

    & ..

    & ..

    243 same as 132

    245 same as 134

    251

    & ..

    & .. 253 same as 142

    254 same as 143

    312

    & ..

    & .. 314

    - 62 -

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    & ..

    & .. 315

    & ..

    & ..

    321

    & ..

    & ..

    324 same as 213

    325 same as 214

    341

    & ..

    & ..

    342 same as 231

    345 same as 234, 123

    351

    & ..

    & ..

    352 same as 241

    354 same as 243, 132

    412

    - 63 -

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    & ..

    & .. 413

    & ..

    & ..

    415

    & ..

    & .. 421

    & ..

    & ..

    423 same as 312

    425 same as 314

    431

    & ..

    & ..

    432 same as 321

    435 same as 324, 213

    451

    - 64 -

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    & ..

    & ..

    452 same as 341

    453 same as 342, 231

    512

    & ..

    & ..

    513

    & ..

    & .. 514

    & ..

    & .. 521

    & ..

    & ..

    523 same as 412

    524 same as 413

    531

    - 65 -

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    & ..

    & ..

    532 same as 421

    534 same as 423, 312

    541

    & ..

    542 same as 431

    543 same as 432, 321

    - 66 -

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    & 42 .. j

    & ..

    & .. j

    & ..

    & .. .. j

    & 85 ..

    & ..

    & .. ..

    & 87 ..

    - 67 -

    2.5 More Shapes

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    & ..

    & 812 ..

    & ..

    & 42 ..

    &

    & ..

    & 43 ..

    &

    & ..

    & 42 ..

    - 68 -

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    &

    & ..

    & 43 ..

    &

    & ..

    & ..

    &

    & ..

    & ..

    &

    - 69 -

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    & ..

    & c ..

    &

    &..

    & 45 ..

    &

    & ..

    & 47 ..

    &

    &

    - 70 -

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    & ..

    & 42 .. ..

    & .. ..

    &.. ..

    & .. ..

    - 71 -

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    & w w wb w w

    & .. .. play scale through full range

    b b b b b

    & .. getting from one note to another

    b b

    & ..b

    b

    b

    & .. b b

    & ..b

    b b

    & .. b b

    b b b b b b b b

    b

    b

    & ..b

    bb

    b

    b

    b

    b

    b b b b b b

    - 73 -

    Suggested harmonic applications: Cmin6, min(Maj7), or min7, D Phrygian, Eb6 or Maj7(-5), F7, Amin7(-5), B7alt

    ...please search for your own applications!

    Please read the Introduction for suggestions regarding ways to practice these exercises.

    3.1 Getting Familiar with the Intervals

    Pentatonic 305

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    & .. b b b

    & ..

    b

    b & .. b b

    b

    & ..

    b

    b

    & .. b b b

    & ..

    b b

    & .. b b b

    & .. b b

    & .. b b b b b b b b b b b b b & ..b b b b b

    b b b b b b b

    - 74 -

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    & .. b b

    b

    & ..

    b b

    & .. b b

    b

    & .. b b

    & .. b

    b

    b

    & ..

    b

    b

    & .. b b

    & ..

    b

    b

    b

    & ..b b b

    b

    bb

    b

    b

    b

    b

    bb

    b

    b

    & ..b

    b

    bb

    b

    b

    b b b b b b b

    - 75 -

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    & .. bskip one note-scale in thirds in groups of two

    b b b

    b

    & .. b b b

    &.. b b

    b b b

    & .. b b b

    & .. b b b b

    & .. b b b b

    & .. b b b b

    & ..b b b b

    & .. b scale in thirds in groups of three

    b b b b

    - 76 -

    These exercises are similar to traditional "scales in thirds, fourths," etc. but they appear here in two, three,

    four, and five note configurations

    3.2 Intervallic Scales

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    & .. b b b b b

    & .. b b b

    b

    b& ..

    b b b b b

    &.. b

    b

    b

    b b

    & .. b b b b b

    & .. b b b b

    b b

    & ..b b b b

    & .. b scale in thirds in groups of four

    b b b

    b

    & .. b b b b b

    & .. b b

    b b

    b

    - 77 -

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    & ..b b b b b

    & .. b b b

    b

    b & ..

    b b b b

    b

    &..

    b b

    b b b

    & ..b b b b b

    & .. .. b

    scale in thirds in groups of five

    b

    b b

    b b

    b

    b

    & .. .. b b

    b b b b b b

    & .. .. b b b

    b b b b

    b

    & .. .. b b b b b b b b

    & .. .. skip two-scale in forths in groups of two

    b b b b b b b

    - 78 -

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    & .. .. b b

    b b b b b

    & .. .. b b

    b b

    b b b

    & .. .. b b b

    b b b b

    &.. ..

    scale in fourths in groups of three

    b

    b

    b

    b

    b

    b

    & .. .. b b

    b

    b

    b b b

    & .. ..b b b

    b

    b b b

    b

    & .. .. b b b b b b b

    & .. .. scale in fourths in groups of four

    b

    b

    bb

    & .. .. b b b b b

    & .. .. b b

    b b b

    - 79 -

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    & .. .. b b

    b b b

    & .. .. bscale in fourths in groups of five

    b

    & .. ..

    b b

    &.. ..

    b b

    & .. ..

    b b

    & .. .. skip three-scale in fifths in groups of two

    b b b

    b b b b

    & .. .. bb b b b b b

    & .. .. b b

    b b b b b

    & .. .. b b b b b b b

    & .. ..

    scale in fifths in groups of three

    b

    b

    b

    b

    b

    - 80 -

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    & .. ..

    b b

    b b

    b

    & .. ..

    b

    b

    b b b

    & .. .. b b

    b b b

    &.. ..

    bscale in fifths in groups of four

    & .. ..

    b

    & .. .. b

    & .. ..b

    & .. .. b

    scale in fifths in groups of 5

    b

    & .. .. b b

    & .. .. b

    b - 81 -

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    & .. b 1234

    b b b b b b

    & .. b b b b b b b

    & .. b 1235

    b b b b b

    & .. b

    b

    b

    b b b b

    & .. b1243

    b b b b b b

    &..

    b b b b b

    b b

    & .. 1245

    b b b b b b

    & .. b b b b b b b

    & .. b1253

    b b b b b

    - 82 -

    3.3 Four Note Patterns

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    & ..b b b b b b b b

    & .. 1254

    b b b b b

    b

    b

    & ..b b b b b b

    &.. b

    1324

    b

    b

    b b b b

    & .. b b b b b b b

    & .. b 1325

    b b b b b b

    & .. b b b b b b b

    & .. b 1342

    b b b b b b

    & .. b b b b b b b

    & .. b 1345

    b b b b b

    - 83 -

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    & .. b b b b b b

    & .. b 1352

    b b b b

    b b

    & .. b b b b b b b

    &.. b

    1354

    b

    b b b

    b

    & .. b b b b b b

    & .. b1423

    b b b b b b

    & .. b b b b b b b

    & .. 1425

    b b b b b b

    & .. b b b b b b b

    & .. b 1432

    b b b b b b

    - 84 -

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    & ..b b b b b b b

    & .. b 1435

    b b b b

    b

    & .. b b b b b b

    &..

    1452

    b b

    b b

    b b

    & .. b b b b b b b

    & .. b1453

    b b b b

    & ..b b b b b b b

    & .. b1523

    b b b b b b

    & .. b b b b b b b

    & .. 1524

    b b b b b b

    - 85 -

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    & ..b b b b b b b

    & .. b 1532

    b b b

    b b b

    & ..b b b b b b b

    &..b

    1534

    b

    b b b b

    & ..b b b b b b

    & .. 1542

    b b b b b b

    b

    & ..b b b b b b

    & .. b1543

    b b b b b

    b

    & ..b b b b b

    & .. b 2134

    b b b b b b

    - 86 -

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    & .. b b b b b b b

    & .. b 2135

    b b b b

    b

    b

    & .. b b b b b b b

    &.. b

    2143

    b b

    b b b b

    & .. b b b b b b b

    & .. 2145

    b b b b b b

    b

    & .. b b b b b b

    & .. b2153

    b b b b b b

    & .. b b b b b b b b

    & .. 2154

    b b b b b b

    - 87 -

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    & .. b b b b b b b

    & .. b 2314

    b b b b b

    b

    & .. b b b b b b b

    &.. b

    2315

    b

    b

    b b b b

    & .. b b b b b b b

    & .. b 2341

    b b b b b b

    & .. b b b b b b b

    & .. b 2345 (same as 1234)

    2351

    b b b b b

    b

    & .. b b b b b b b

    & .. b2354-same as 1243

    2413

    b b b b b b

    - 88 -

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    & .. b b b b b b b

    & .. 2415

    b b b b

    b

    b

    & .. b b b b b b b

    &.. b

    2431

    b

    b

    b b b

    b b

    & .. b b b b b b

    & .. 2435 same as 1324

    2451

    b b b b b

    b

    & .. b b b b b b b

    & .. b2453 same as 1342

    2513

    b b b b b

    b b

    & .. b b b b b b

    & .. 2514

    b b b b b

    b

    - 89 -

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    & ..b b b b b b b

    & .. b 2531

    b b b

    b b

    b

    b

    & .. b b b b b b

    &..

    2534 same as 1423

    2541

    b

    b b

    b b

    b

    & ..b b b b b b b

    & .. b 2543 same as 1432

    3124 b b b b b b

    & .. b b b b b b b

    & .. b 3125 b b b

    b b b

    & .. b b b b b b b

    & .. b 3142 b b b b

    b b

    - 90 -

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    & .. b b b b b b b

    & .. b 3145

    b b b b

    b

    & .. b b b b b b

    &..b

    3152

    b

    b

    b b b b

    & .. b b b b b b b

    & .. b 3154 b b

    b b b

    & .. b b b b b b

    & .. b 3214 b b b b

    b b

    & .. b b b b b b b

    & .. b 3125 b b b

    b b b

    - 91 -

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    & .. b b b b b b b

    & .. b 3142

    b b b b

    b

    b

    & .. b b b b b b b

    &..b

    3145

    b

    b b b

    b b

    & .. b b b b b

    & .. b 3152 b b b

    b b b b

    & .. b b b b b b

    & .. b 3154 b b

    b b b

    & .. b b b b b b

    & .. b 3214 b b b b

    b b

    - 92 -

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    & .. b b b b b b b

    & .. b 3215

    b b b b

    b

    b

    & .. b b b b b b b

    &..b

    3241

    b

    b

    b b b b

    & .. b b b b b b b

    & .. b 3245 same as 2134

    3251 b b b b b

    b

    & .. b b b b b b b

    & .. b 3254 same as 2143

    3412

    b b b b b b

    & .. b b b b b b b

    & .. b 3415

    b b b b b

    - 93 -

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    & .. b b b b b b

    & .. b 3421

    b b b b

    b

    b

    & ..

    b b b b b b b

    &..b

    3425 same as 2314

    3451

    b b

    b b

    b

    & .. b b b b b b

    & .. b 3452 same as 2341

    3512

    b b b b

    b b b

    & .. b b b b b b

    & .. b 3514

    b b b b

    b

    & .. b b b b b b

    & .. b 3521

    b b b b

    b b b

    - 94 -

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    & .. b b b b b b

    & .. b

    3524 same as 2413

    3541

    b b b b

    b

    b

    & .. b b b b b

    &.. b

    3542 same as 2431

    4123 b

    b

    b b b

    b

    & ..b b b b b b b

    & .. 4125 b b b b

    b b

    & .. b b b b b b b

    & .. b 4132 b b b

    b b b

    & ..b b b b b b b

    & .. b 4135 b b b

    b b

    - 95 -

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    & .. b b b b b b

    & .. 4152

    b b b b

    b

    b

    b

    & .. b b b b b b

    &..

    b

    4153

    b

    b b b b

    & .. b b b b b

    & .. b4213 b b b

    b b b

    & ..b b b b b b b

    & .. 4215 b b b b

    b b

    & .. b b b b b b b

    & .. b 4231 b b b

    b b b

    - 96 -

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    & ..b b b b b b b

    & ..

    4235 same as 3124

    4251

    b b b b

    b

    b& ..

    b b b b b b b

    &.. b

    4253 same as 3142

    4312 b

    b

    b b b

    b

    & ..b b b b b b b

    & .. b 4315

    b b b b b

    & .. b b b b b b

    & .. b 4321 b b b

    b b b

    & ..b b b b b b b

    & .. b 4325 same as 3214

    4351 b b b b

    b

    - 97 -

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    & .. b b b b b b

    & ..

    4352 same as 3241

    4512

    b b b b

    b

    b

    & .. b b b b b b b

    &.. b

    4513

    b b

    b b

    b b

    & .. b b b b b

    & .. 4521

    b b b b

    b b

    & .. b b b b b b b

    & .. b 4523 same as 3412

    4531

    b b b b

    b b

    & .. b b b b b

    & .. b4532 same as 3421

    5123 b b b b

    b b

    - 98 -

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    & ..b b b b b b b

    & .. 5124

    b b b b

    b

    b

    & ..b b b b b b b

    &..

    b

    5132 b

    b

    b

    b

    b b b

    & .. b b b b b b

    & .. b 5134 b b

    b b b b

    & .. b b b b b

    & .. 5142 b b b

    b b b

    & ..b b b b b b b

    & .. b5143 b b

    b b b

    - 99 -

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    & ..b b b b b b

    & .. b5213

    b b b b

    b

    b

    & ..b b b b b b b

    &..

    5214 b

    b

    b b

    b b b

    & .. b b b b b b

    & .. b 5231 b b b

    b b b b

    & .. b b b b b b

    & .. 5234 same as 4123

    5241 b b b b

    b b b

    & .. b b b b b b

    & .. b 5243 same as 4132

    5312 b b b b

    b b b

    - 100 -

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    & .. b b b b b b

    & .. b 5314

    b b b

    b

    b

    & ..b b b b b b

    &..

    b

    5321 b

    b

    b

    b b b b

    & .. b b b b b b

    & .. b 5324 same as 4213

    5341 b b b b

    b

    & ..b b b b b b

    & .. 5342 same as 4231

    5412 b b b b

    b b b

    & .. b b b b b b

    & .. b5413 b b

    b b b b

    - 101 -

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    & .. b b b b b

    & .. 5421

    b b b b

    b

    b

    & ..b b b b b b b

    &..

    b

    5423 same as 4312

    5431

    b

    b

    b b b

    & ..b b b b b b

    5432 same as 4321

    - 102 -

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    & .. b123

    b b b b b

    & .. b b b b b b

    & .. 124

    b b b b b

    & .. b b b b b b

    & .. 125

    b b b b

    & ..b

    b

    b

    b

    b b b & .. b

    132

    b b b b b

    &..

    b b b b

    b b

    & .. b 134

    b b b b b

    - 103 -

    3.4 Three Note Patterns

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    & .. b b b b

    & .. b 135

    b b

    b

    b

    & .. b b b b b

    & ..

    142

    b b

    b b b b

    & .. b b b b b

    & .. b143

    b b b b

    & .. b b b b b

    & .. 145

    b b b

    & ..b b b b b b

    & .. 152

    b b b b b

    - 104 -

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    & ..b b b b b b

    & .. b153

    b b

    b

    b b

    & ..b b b b

    & ..

    154

    b

    b b b b

    & ..b b b b

    & .. b213

    b b b b b

    & .. b b b b b b

    & .. 214

    b b b b b

    & .. b b b b b b

    & .. 215

    b b b b b

    - 105 -

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    & .. b b b b b b

    & .. b 231

    b b b b

    b

    & .. b b b b b b

    & ..

    234 same as 123

    235 same as 124

    241

    b

    b

    b b b b

    & .. b b b b b

    & ..

    243 same as 132

    245 same as 134

    251

    b b b b

    b b

    & .. b b b b b

    & .. b 253 same as 142

    254 same as 143

    312 b b b b b

    & ..b b b b b b

    & .. b 314 b b b

    b b

    - 106 -

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    & .. b b b b

    & .. b 315

    b b

    b

    b

    & .. b b b b b

    & ..b

    321 b

    b

    b b b

    & ..b b b b b b

    & .. b

    324 same as 213

    325 same as 214

    341

    b b b b

    & .. b b b b b

    & .. b

    342 same as 231

    345 same as 234, 123

    351

    b b b

    & .. b b b b b b

    & ..

    352 same as 241

    354 same as 243, 132

    412 b b b b b

    b

    - 107 -

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    & .. b b b b b

    & .. b413

    b b b

    b b

    & .. b b b b

    & ..

    415

    b

    b b b

    & .. b b b b b

    & .. 421 b b b

    b b

    & ..b b b b b b

    & .. b

    423 same as 312

    425 same as 314

    431 b b b b

    & .. b b b b b

    & ..

    432 same as 321

    435 same as 324, 213

    451

    b b b

    b b

    - 108 -

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    & .. b b b b

    & ..

    452 same as 341

    453 same as 342, 231

    512

    b b b

    b

    b b

    & .. b b b b b

    & .. b

    513

    b b b

    b

    & ..b b b b b

    & .. 514 b b

    b b

    & ..b b b b b

    & .. 521 b b b

    b b

    & ..b b b b b b

    & .. b

    523 same as 412

    524 same as 413

    531 b b b

    b

    - 109 -

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    & ..b b b b b

    & ..

    532 same as 421

    534 same as 423, 312

    541

    b b

    b

    b

    b

    & .. b b b b

    542 same as 431

    543 same as 432, 321

    - 110 -

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    & 42 .. j b b b b

    b

    & .. b b b b b b

    & .. j b b b b

    & .. b b

    b b b

    & .. .. j b b

    & 85 .. b b b

    b

    b

    b

    & .. b b b b b

    & .. .. b

    b

    & 87 .. b b

    b b b

    b

    - 111 -

    3.5 More Shapes

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    & .. b

    b b b b b

    & 812 .. b b b

    & .. b

    b b

    & 42 .. b

    b b

    b

    & b b b b

    & .. b b b b

    & 43 .. b b b b b

    & b b b b b

    & .. b b b b b b

    & 42 .. b b b b b

    - 112 -

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    & b b

    & ..

    b

    b

    b b b & 43 .. b b b

    b b

    & b b b b b

    & .. b b b b b b

    & .. b b b b b

    & b b b b b b

    & ..b b b b b

    & .. b b b b

    & b b b b

    - 113 -

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    & .. b b b b

    & c .. b b b

    b

    & b b b b

    &.. b b

    b

    b

    & 45 .. b b b b

    b

    & b b b

    b b b

    & .. b b b b b

    & 47 .. b b b

    b b

    & b b b

    & b b b

    - 114 -

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    & ..b b b b b

    & 42 .. ..

    b

    b

    & .. .. b

    b

    &.. ..

    b b

    & .. ..

    b b

    - 115 -

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    & 42 ..j Pentatonic 326

    &

    & ..

    & .. jb b b bPentatonic 304

    b b b b b b b b

    & b b b b b b b b b b

    & ..b b b b b b b b b b b b b

    & .. j Major Scale

    &

    &

    117

    The following exercises are examples of developing the shapes found in this book by using different

    pitch/interval sets. Some of these are exact modal transpositions, but most are slightly adjusted in order to retai

    the essential character of the shape.

    4.1 Shape Morphing

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    & ..

    & .. j b

    Melodic Minor Scale

    b b

    & b b b

    & b b b

    & .. b b b b

    & .. j b b Harmonic Minor Scale

    b b b b

    & b b b b b

    & b b b b b b b

    & ..b b b b b b b& .. j b b

    Diminished Scale

    b b b b b

    118

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    & b b b b b b b

    & b b b b b

    bb

    & b b n b b b b b b b b

    & .. b b b b

    n b

    b b

    & .. j # bAugmented Scale

    # b # b

    & # b # b # b

    & # b # b # b

    & ..# b # b #

    & .. jb bchord shape-C7(sus4)

    b b b

    b

    & .. b b b b b

    119

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    & .. j #chord shape-Cmin(Maj7 +5)

    b # b # b # b # b

    & .. # b

    b#

    b #

    b # b # b # & .. j #

    chord shape-CMaj7(sus4 +5)

    # # # # #

    & .. # # # #

    #

    & .. j bchord shape-CMaj7(-5)

    b b b b

    & .. b b b b b b

    & .. j #chord shape-CMaj7(+5)

    # # # #

    & .. # # # # # #

    120

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    121

    4.2 Intervallistics

    The next few pages contain exercises that explore the technique of using

    a simple thematic element, derived from a pentatonic pitch set, in thecontext of a harmonic setting that does not change. Some pentatonics do

    not have any half steps and therefore lack the implied tensions and

    resolutions that characterize diatonic and other scales. The lack of

    harmonic specificity in these scales, especially the ones that are

    comprised of three whole steps and two minor thirds (numbers 326-330

    in t