The majority of Faroese melodies, however, have only one gap and have more in common with the system of notation found in Gregorian music than with the pentatonic scale of many Hebridean lays.
Indeed traces of the pentatonic scale are not infrequently met with, especially in the tunes attached to the earlier ballads.
The pentatonic scale simply omits it, as well as the fourth step.
Whether by imitation or not, the pentatonic scale of the Scotch is an intimate part of negro song.
One of these is a very prevalent use of the pentatonic or five-tone scale, corresponding to the black keys of the piano.
This also follows the precepts of the sages in using only the five-note or pentatonic scale found among so many other nationalities.
Thus is formed the pentatonic scale as it is found all over the world, and it is clear, therefore, that the development of the scale is due to emotional influences.
The instruments mostly belong to the class called Instruments of Percussion, but several of them are constructed with plates of metal which produce a series of sweet tones, arranged according to the pentatonic scale.
The Pentatonic Scale was in ancient times apparently more universally in use than it is at present.
Probably the air was founded on the pentatonic scale, which is common in the music of the Chinese and Javanese, and of which traces are to be found in the Scotch popular tunes.
Indeed, we may therefore formulate and apply to nations at large what Goethe has there suggested; and we shall find it can be arranged in what I may call a pentatonic scale of culture.
That peculiar essence or quality which a melody has when it is built up entirely or almost wholly of the tones of the pentatonic or five-note scale.
Though stronglypentatonic in character, the song is cast in the diatonic scale of F major.
It is cast in the relative minor (C) of the pentatonic scale of E-flat major.
Notwithstanding that this measure contains two A-flats and also the passing tone B-natural, both of which tones are foreign to this particular five-note scale, the song is not robbed of its pentatonic character.
Although not confined to the intervals of the pentatonic scale, the number is distinctly pentatonic in character.
All of these belong to thepentatonic major scale of D-flat.
The melody may employ sparingly one or both of the two tones foreign to the pentatonic scale, and yet its pentatonic character will not be destroyed.
At three places where the singer uses one or the other of the tones foreign to the pentatonic scale, he makes half-step progressions.
This gives a very marked pentatonic flavor, yet the song is not in the pentatonic scale, for the singer introduces half steps, and there are no such intervals in the pentatonic scale.
The song is cast in the pentatonic scale of A major.
These tones belong to the pentatonic scales of C major and its relative minor A.
The pentatonic scale might have resulted from such chanting.
That quality which a melody takes on when the two tones which are foreign to the pentatonic scale of the same key or tonality are freely employed.
The above list will hopefully give you a few useful examples demonstrating the appropriate usage of "pentatonic" in a variety of sentences. We hope that you will now be able to make sentences using this word.
