It gets really interesting when you start to use these schemes with pentatonics flat 3, flat 6, flat 2, etc.įor that matter, the X-Centric approach should work, theoretically, with any non-symmetrical scale of any length.M. Hey, I think you’ve got it! You can try it with any of the eight Bergonzi shapes or any of your own 5 note patterns. Ii mode of Bb: (C) skip step up to (F) step up to (G) skip step down to (D) step up to (F), etc. I mode of C: (C) skip step up to (E) step up to (G) skip step down to (D) step up to (E), etc. (X) skip step up (X) step up (X) skip step down (X) step up, repeat…. When we flip Bergonzi’s formula #1 upside down, we get formula #5. (C) skip step down to (G), step down to (F) skip step up to (Bb) step down to (G), repeat formula………. In measure 3, we use the same formula starting on C, only this time “C” is the first note of the ii mode of Bb Major Pentatonic. (C) skip step down to (G), step down to (E) skip step up to (A) step down to (G) (X) skip step down (X) step down (X) skip step up (X) step down.Īpplying this formula to the i mode of the C Major Pentatonic scale (C – D – E – G – A), this translates, in to: (A “step” in this case refers to the distance between adjacent notes of the pentatonic scale, not the diatonic major.) 2, Pentatonics, we can apply any of Gonz’s 8 formulas or “shapes” X-Centrically. Taking a page from another excellent book, this time Jerry Bergonzi’s popular Vol. When we get this stepwise pentatonic exercise comfortably under our fingers, we can then start checking out some intervalic possibilities. Now if we take it through the 12 notes of the chromatic scale (12×5), we’ve got 60 distinct pentatonic modes. This generates 5 different pentatonic modes from the same starting note, each from a different key center.
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