Hello and welcome. In this episode, you will listen
to how I use. Mostly pentatonic materials to
compose a track. And before I forget, make sure
to check out the description of the episode where you will find
supporting links for what? I'll be discussing here.
This will direct you to the beyond music theory blog where
you can read all about it. So the choices regarding the
used material, Will always depend on where the music takes
me, which, in the end has to sound good and fulfilling.
If it sounds good to you, then it's good.
There are no rules to this. So here's how I gather the
pentatonic materials. I started out with a melodic
fragment from a minor pentatonic and this is from where many of
the music materials came from the supporting core structure is
derived from the notes in the actual melodic, fragments
meaning, that I took the notes in this Mint and rearrange them
harmonically. Here's how it sounds in context.
After that, I harmonize the a minor pentatonic scale but
because you can make, whatever, pentatonic scale you want, I
chose other ones for contrast and harmonize them as well.
This pentatonic scales are all centered in a but they are based
on mode subsets like a aeolian. A locrian and a ledian flat 7.
So, all the harmonic material or chord progressions that you can
hear in the final music is derived from these scales and
after some feeling around, I used these cores to harmonize a
guitar field that was made from that initial melodic fragment
that is now transposed in descending.
Fifths. It is executed by the electric
guitar about that the different speed.
Many of the course, derives, from the scales are
monetization, are suspended chords, which can be seen as
inversions of chords built in fourths or fifths.
Taking that in consideration. I decided to use those intervals
and build a melodic succession of fourths and fifths starting
from see when the pitches are put in order, you get the d flat
major scale after stacking fourths.
And the major if stacking fifths.
And now the melody based on fourths and fifths that I put
together and how it turned out in the song.
And for a variety sake, I decided to have some poly chord
structures originated, from d flat and D, major to create some
extra tension later on if needed.
And now, we are back to the melodic.
Fragment as said, when you group The Melody pitches, you will get
the Jesus to court with the notes G.
A and D. What I did next was to harmonize
each individual, melodic pitch, using chords in fourths, and
then use the contrasting Harmony from the ELA Korean pentatonic
subsets. And here is the guitar solo.
I ended up recording over this chord progression idea.
There is a lot more material that could be squeezed out of
this, but it would be unrealistic to think that we
would use everything in a single track.
Anyway, I hope that this inspires and excites you to
revisit your pentatonic, materials, and come up with
different approaches to your music.
I will now leave you with the full track.
Thank you for listening and I'll see you on the next episode.
Happy composing.