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The first two phrases of the melody from Stephen Foster's "Oh! Susanna" are based on the major pentatonic scale [1]. A pentatonic scale is a musical scale with five notes per octave, in contrast to heptatonic scales, which have seven notes per octave (such as the major scale and minor scale).
Some scales use a different number of pitches. A common scale in Eastern music is the pentatonic scale, which consists of five notes that span an octave. For example, in the Chinese culture, the pentatonic scale is usually used for folk music and consists of C, D, E, G and A, commonly known as gong, shang, jue, chi and yu. [14] [15]
Several of these pitch sets interlocking could form a larger set such as a pentatonic scale (such as C–D–F–G–B ♭ –C').It was first coined by theorist Pyotr Sokalsky [] in his 1888 book Русская народная музыка ("Russian Folk Music") to explain the observed traits of the rural Russian folk music (especially from southern regions) that was just beginning to be ...
The "Sakura Sakura" melody has been popular since the Meiji period, and the lyrics in their present form were attached then. [citation needed] The tune uses a pentatonic scale known as the in scale (miyako-bushi pentatonic scale) and is played in quadruple meter and has three parts (ABBAC) which stretch over 14 bars (2 + 4 + 4 + 2 + 2).
The opening melody of Allegro barbaro is largely pentatonic (the first 22 notes of the melody use a cell that consists only of a whole tone and a minor third, the building block of the pentatonic scale). [5] Indeed, the opening melody uses a Phrygian mode subset. [5] Like many of Bartók's compositions, this piece circles around a tonal pitch.
Two pentatonic scales common to jazz are the major pentatonic scale and the minor pentatonic scale. They are both modes of one another. The major pentatonic scale begins with a major scale and omits the fourth and the seventh scale degrees. The minor pentatonic scale uses the same notes as the major pentatonic scale, but begins on the sixth ...
Holy Manna is a pentatonic melody in Ionian mode. It was originally published by William Moore in Columbian Harmony, a four-note shape-note tunebook, in 1829, and is attributed to him. [1] Like most shape-note songs from that century, it is usually written in three parts. The meter is 87.87D.
Pentatonic Scales: Ethiopian music has a pentatonic modal system with long intervals between notes contributing to the distinctive nature of the music. [13] Complex rhythms: Ethiopian music is known for its intricate rhythmic patterns, as with the case for many African music, often featuring irregular meters and syncopation.