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Hello and welcome. 
In this episode, you will listen

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to how I use. 
Mostly pentatonic materials to 

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compose a track. 
And before I forget, make sure 

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to check out the description of 
the episode where you will find 

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supporting links for what? 
I'll be discussing here. 

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This will direct you to the 
beyond music theory blog where 

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you can read all about it. 
So the choices regarding the 

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used material, Will always 
depend on where the music takes 

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me, which, in the end has to 
sound good and fulfilling. 

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If it sounds good to you, then 
it's good. 

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There are no rules to this. 
So here's how I gather the 

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pentatonic materials. 
I started out with a melodic 

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fragment from a minor pentatonic
and this is from where many of 

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the music materials came from 
the supporting core structure is

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derived from the notes in the 
actual melodic, fragments 

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meaning, that I took the notes 
in this Mint and rearrange them 

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harmonically. 
Here's how it sounds in context.

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After that, I harmonize the a 
minor pentatonic scale but 

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because you can make, whatever, 
pentatonic scale you want, I 

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chose other ones for contrast 
and harmonize them as well. 

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This pentatonic scales are all 
centered in a but they are based

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on mode subsets like a aeolian. 
A locrian and a ledian flat 7. 

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So, all the harmonic material or
chord progressions that you can 

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hear in the final music is 
derived from these scales and 

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after some feeling around, I 
used these cores to harmonize a 

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guitar field that was made from 
that initial melodic fragment 

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that is now transposed in 
descending. 

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Fifths. 
It is executed by the electric 

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guitar about that the different 
speed. 

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Many of the course, derives, 
from the scales are 

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monetization, are suspended 
chords, which can be seen as 

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inversions of chords built in 
fourths or fifths. 

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Taking that in consideration. 
I decided to use those intervals

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and build a melodic succession 
of fourths and fifths starting 

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from see when the pitches are 
put in order, you get the d flat

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major scale after stacking 
fourths. 

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And the major if stacking 
fifths. 

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And now the melody based on 
fourths and fifths that I put 

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together and how it turned out 
in the song. 

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And for a variety sake, I 
decided to have some poly chord 

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structures originated, from d 
flat and D, major to create some

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extra tension later on if 
needed. 

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And now, we are back to the 
melodic. 

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Fragment as said, when you group
The Melody pitches, you will get

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the Jesus to court with the 
notes G. 

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A and D. 
What I did next was to harmonize

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each individual, melodic pitch, 
using chords in fourths, and 

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then use the contrasting Harmony
from the ELA Korean pentatonic 

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subsets. 
And here is the guitar solo. 

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I ended up recording over this 
chord progression idea. 

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There is a lot more material 
that could be squeezed out of 

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this, but it would be 
unrealistic to think that we 

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would use everything in a single
track. 

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Anyway, I hope that this 
inspires and excites you to 

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revisit your pentatonic, 
materials, and come up with 

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different approaches to your 
music. 

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I will now leave you with the 
full track. 

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Thank you for listening and I'll
see you on the next episode. 

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Happy composing.