Project 5: Pentatonic Melody

PROJECT 5: The Pentatonic Scale & Melody

As discussed earlier, the current system of notation has developed over many centuries of music.  Across this time, discoveries and additions have been made, forming the current system including major and minor keys based on a heptatonic system. 

The pentatonic scale is believed to have been an early form of this system, still popular today within many genres.  Kennedy & Kennedy (2007: 572:1:5) state that a pentatonic scale is a “Scale of 5 notes widely found in folk music and found as early as 2000BC.” 

Like our current notation system, the pentatonic scale can be divided into two sections, the major and minor; or anhemitonic or hemitonic respectively.  The major mode of the scale consists of the 1^st, 2^nd, 3^rd, 5^th & 6^th note of a scale and includes no semitones.  The minor mode begins three semitones below the tonic of its major using the 1^st, 3^rd, 4^th, 5^th & 7^th notes, therefore including semitones.

Below is an example of the two contrasting scales.  These scales, found in Japenese music, are called the ‘Yo’ and ‘In’ scale.  They demonstrate the contrast between the two modes. 

Todd Titon, J. et al (2009)

Asai, SM (1999) (IN SCALE)

The pentatonic melody appears throughout musical history across the world.  Folk music from countless countries has used this scale, along with numerous classical composers including Debussy and Chopin.  In Pop and Rock genres, Jimi Hendrix’s Purple Haze (1967) and ‘Smokey’ Robinson’s My Girl (1964) both make use of the pentatonic scale. 

The pentatonic scale is also used widely in education and music therapy through the Orff and Kodaly methodologies.  The simplicity and tonal harmony of this scale fits especially well with Orff’s belief that the pentatonic scale was a child’s native scale (Landis & Carder, 1972: 82), and his belief in simple and harmonic improvisation.  Earl, G (2004) from the British Kodaly Academy also seems to agree with Orff by stating  “Pentatonic music is used in the early stages. The distinctive shape of the pentatone, d r m s l in which any of the sounds can be the final, makes it easier to acquire tonal orientation. Also, tunes without semitones are easier to sing in tune.”

Composing three Pentatonic Melodies

Having explored the use of pentatonic melody and the contour and motion that contributes to a balanced piece, I wanted to explore the use of the conjunct and disjunct motions, first separately, then blended together. 

My first piece explores the simplicity of the pentatonic scale through the creation of an uncomplicated childlike melody.  I decided to use the pentatonic major scale of Ab and used a simple conjunct motion throughout.  To create a flowing movement I have used a variation of crotchets and quavers and contrasted this with the use of three minims so as not to create any dramatic changes in the piece.   Despite intending the piece to be reminiscent of childhood, I have chosen to compose this melody for the upper range of the tenor voice, as I wanted to experiment with lower tones achieving my desired effect. 

The piece begins by seeing the melody gently rise and fall before arcing the middle and echoing an even more gentle rise and fall at the end of the piece.  Dynamics played a large role in achieving the feel of the piece and making a feature of the central arc of the melody. 

For my second composition I chose to explore a disjunct melodic motion in the pentatonic key of B major.  I hoped to create a dramatic and slightly eerie piece and chose to use a high-pitched treble voice.  Whilst writing this piece I had in mind a television score that could accompany a highly dramatic and tense moment in a film.  I believe the use of the skipwise motion really adds to the complexity of the drama and the sharp contours of the melody help to keep it unpredictable and exciting. 

Having used an arc in the melody line of my previous piece, I was keen to experiment with a different form of movement whilst keeping the arc throughout the piece.  I therefore used an undulating motion through, but with subtle rises and falls in order to create three underlying arcs that occur during the piece.   I believe that it is this movement that brings balance to a composition with such a varying melodic motion. 

For my final piece I wanted to bring together the disjunct and conjunct motions to try to create a balanced piece contrasting the drama of the skipwise motion with the control and elegance of a flowing conjunct movement.  Once again I chose to use the high-pitched tones of the treble voice but this time chose to use a simple pentatonic key of C major. 

Unlike my other pentatonic compositions, this piece begins and finishes on a different note in the scale.  Although I usually find that this leaves a piece unfinished, the simplistic nature of pentatonic scale seems to make this possible.  The piece begins with a simple conjunct ascending motion before entering into the middle ‘pendulum’ section, which sees a very sharp disjunct movement.  The melody then balances out these dramatic phrases by descending back down the scale before giving a reprise of the pendulum section at the end.  I chose to introduce semi-quavers into this piece to fit with the balance and add some interesting motifs and phrases.