Subject: RE: Help: Pentatonic Tunes From: Marje Date: 31 Mar 15 - 10:51 AM No, Red Haired Boy isn't pentatonic, there are no gaps in the scale. I think it's mixolydian, which is no more or less accessible than our normal (Ionian) mode to musicians from different traditions. Perhaps the person who advised this tune wasn't entirely clear what a pentatonic tune is. Anyway, glad it went down well. Marje |
Subject: RE: Help: Pentatonic Tunes From: Steve Shaw Date: 30 Mar 15 - 06:47 PM I'll have to have a think about Red-haired Boy. Is it really pentatonic? I thought it was just a regular Mixolydian tune. Mrs Steve's in bed so I can't try it out on my harmonica right now! If I can play a tune in three different keys on a blues harp without bending notes I think of it as pentatonic. There's Auld Lang Syne, Amazing Grace and Dirty Old Town. I'm sure someone will jump in and tell me I've got the wrong idea! |
Subject: RE: Help: Pentatonic Tunes From: Tattie Bogle Date: 30 Mar 15 - 06:31 PM Probably just good musicians with a good ear for a catchy tune. A lot of my friends also play "The Red Haired Boy" but without any knowledge of music theory, modes or pentatonic scales! |
Subject: RE: Help: Pentatonic Tunes From: GUEST,Guest, Pauline Lerner Date: 29 Mar 15 - 09:47 PM Sorry, but I still don't get the point in terms of sound and feeling. A song in Mixolydian (dropped seventh) sounds way different from our "normal scale", and I just love the sound of it. I love songs in Mixolydian. They sound way cool. Now for the pentatonic scale, let's consider one with only 5 notes and no semitones. (I don't play piano, so the black keys / white keys thing doesn't mean anything to me.) IMPORTANT: What's the point? Does a pentatonic scale / tune have a different sound? Is there some special mathematical relationship among the notes? How does it feel and why? I was once at a gathering of international musicians, including some Hmong (I think). I didn't speak their language and they didn't speak mine. I wanted to play my fiddle with them. Someone knowledgeable told me that they used a pentatonic scale, and he advised me to play something in A mixolydian. This was a great opportunity to play one of my favorite tunes, "Red Haired Boy." I played it, and by gosh, they followed me. I taught them one of my favorite songs although I didn't know anything about their native music except that it used a pentatonic scale. Wow! That was so much fun. Now, what do you think of that? Why did it work? |
Subject: RE: Help: Pentatonic Tunes From: toadfrog Date: 24 Apr 03 - 03:13 PM Thanks Kytrad! I think all of us would want the tune, although it would be more likely to get attention as a lyric add rather than part of this thread. |
Subject: RE: Help: Pentatonic Tunes From: kytrad (Jean Ritchie) Date: 22 Apr 03 - 01:15 AM Here's the most beautiful one from the old church in Jeff, Kentucky, then (in my youth) known as The Little Zion Church; it was our dismissal hymn...wish I could give the tune- if anyone wants it, I'll look for help: Jesus grant us all a blessing, Send it down, Lord, from above; May we all go home a-praying As we try to teach thy love. Farewell brethern, farewell sisters Till we all shall meet again. |
Subject: RE: Help: Pentatonic Tunes From: Burke Date: 21 Apr 03 - 10:03 AM Here's another site for information on pentatonic music: Pentatonic Music Collection |
Subject: RE: Help: Pentatonic Tunes From: toadfrog Date: 18 Apr 03 - 01:00 AM Thanks Burke! It has been many years since I've been near a piano, but I will try to find one and try your pattern. |
Subject: RE: Help: Pentatonic Tunes From: GUEST,GUEST - |binary_sunset| Date: 16 Apr 03 - 02:44 AM Or how about hemitonic scales (that is, scales with half steps) F# G B C# D f# comes to mind as a pretty good one on the flute. Of a very different breed than your average "black key" pentatonic scale, with some rather abstract modal relationships. Th predominance of M7 intervals between harmonic regions is indicative of great emphasis on melodic structures, rather than harmonies, as the latter prove to become easily tetrachordal and dissonant. This is evidenced in the music of Japan, where this scale is utilized often. Hadn't seen this one described here, so I thought I would post it... |binary_sunset| |
Subject: RE: Help: Pentatonic Tunes From: Burke Date: 02 Apr 03 - 06:18 PM toadfrog, you said If the purpose is to know why the "modes" have a different feel and sound, and compare the feel and effect of those scales, does it not seem a lot clearer if you begin each scale on the same note? It's one way of approaching it. That's why I did all the semi-tones between 7-8, etc. That does assume you start on the same note. I was trying to put it into the framework that you said works for you. Did it help to answer your no semitone question? For other's it's white key/black key that works. Neither is necessarily clearer, just the framework that works to them. As a shapenote singer I find that it's sol-fege that works for me. I can sing a major scale picking a tone for do. Using the some tone to start a minor scale, if I sing it as la-ti-do.., I can get it right in a way that I can't if I'm not singing the syllables. And in truth, I'm more inclined to start a Dorian scale on la & just raise the 6th, rather than actually starting on re. I don't think that describing specific Pentatonic modes as variants on specific diatonic modes is particularly clear simply because the gapped nature of pentatonic makes some distinctions moot. Still if it works for you, fine. And maybe your discription works for someone else. |
Subject: RE: Help: Pentatonic Tunes From: greg stephens Date: 02 Apr 03 - 10:14 AM leeneia..you are quite right about one hand whistles you play the drum with..pipe and tabor used to be common in England and is being revived again. My main query with you was simple maths...five holes on a whistle, uncovering them one at a time, makes six notes..CDEFGA say, if that's how the holes are cut. Of course, if one of the holes happens to be cut half way along you will get an octave note that doesnt count: but basically, however many holes you cut, you get that-many-plus-one notes. Try it: a one hole whistle plays 2 notes. |
Subject: RE: Help: Pentatonic Tunes From: GUEST,leeneia Date: 02 Apr 03 - 09:19 AM Greg Stephens, you are right. About the child playing the flute with five notes, I should mention that with such flutes, the other hand is left free to play (or do) something else, such as beat a drum. The high octave note you get by blowing hard doesn't count as a sixth tone. |
Subject: RE: Help: Pentatonic Tunes From: greg stephens Date: 02 Apr 03 - 04:09 AM Confusion is arising because "pentatonic" has more than one meaning, and they are not unterchangable (much like "folk"). It can mean a scale with five notes in it(any five notes). But it also has the specific meaning(more commonly used) of a five note scale using five notes with a specific relation to each other (eg CDEGA, and the scale can start on any one of those). If two people are talking about this, you have to decide which meaning you are using if you want to avoid confusion. |
Subject: RE: Help: Pentatonic Tunes From: toadfrog Date: 01 Apr 03 - 11:16 PM Burke: Thanks, that's a lot of work, and I appreciate it. And I think I'm probably too inarticulate to get the point over. But it's something like this. If the purpose is to know why the "modes" have a different feel and sound, and compare the feel and effect of those scales, does it not seem a lot clearer if you begin each scale on the same note? Additional question. Is it fair to say that a tune originally composed in a pentatonic scale is more likely to be a coherent tune? |
Subject: RE: Help: Pentatonic Tunes From: Burke Date: 01 Apr 03 - 08:00 PM PS. I really think finding a piano & playing all the white or all the black keys would be easier. Jumping the gaps between the sets of black keys, omits the semi-tones. Pentatonic all black Pi 1 (begins on the 1st of the 3 black keys together, f#) Pi 2 (begins on the 1st of the 2 black keys together, c#) Diatonic, all white Ionian-starts on C (white before the 2 black) Mixolydian-starts on G Dorian-starts on D (white between the 2 black) Aeolian-starts on A Phrygian-starts on E (white after the 2 black) |
Subject: RE: Help: Pentatonic Tunes From: Burke Date: 01 Apr 03 - 07:44 PM toadfrog, I find that we all have different kinds of filters that help us make sense of these things. I'll go back to your original examples in hopes that is makes sense. Because I think sol-fege, I'll also give the scales in do-re-me as an alternate way of sounding the scales, because that's how I make sense of it. It's the location & movement of the semitones that defines these modes you listed. The semitones are always mi-fa and ti-do Major key = Ionian scale Semitones at 3-4 & 7-8 do-re-mi-fa-sol-la-ti-do With flatted 7th = Mixolydian Semi tones at 3-4 & 6-7 (your flatted the 7th to move the semitone) sol-la-ti-do-re-mi-fa-sol With flatted 3d = Dorian Semi tones at 2-3 & 6-7 re-mi-fa-sol-la-ti-do-re With flatted 6th = Aeolian, or melodic minor Semitones at 2-3 & 5-6 la-ti-do-re-mi-fa-sol-la With flatted 2d = Phrygian Semitones at 1-2 & 5-6 mi-fa-sol-la-ti-do-re-mi In both of the Pentatonic examples you gave you've eliminated the 3-4 and 7-8 semi-tones of the Ionian scale and you've eliminated the 3-4 and 6-7 of the Mixolydian scale But you've done it differently, in both the 7 is gone, eliminating the greatly loved leading tone of the diatonic scale. In Pi1 3-4 is skipped by going 3-5; in Pi2 it's omitted by going 2-4 and 6-8. In both there is a gap of 1.5 replacing the semitones. Pi 1= 1-2-3---5-6---8 Pi 1= Ionian, without the 4th and 7th or do-re-mi---sol-la--do Pi 1= Mixolydian, without the 4th and 7th sol-la-ti---re-mi--sol Pi 2= 1-2---4-5-6---8 Pi 2= Mixolydian, without the 7th and 3d or sol-la---do-re-mi---sol Pi 2= Ionian, without the 7th and 3d do-re---fa-sol-la---do Pi 2= Dorian, without the 7th & 3d re-mi---sol-la-ti---re In theory you could have other diatonic or pentatonic scales. Isn't the blues scale one? To have semi-tones in a 5 tone scale you'd have to have 2 step gaps elsewhere in the scale so, probably not. In practice I think the pentatonic scales sometimes reduce the 1.5 gaps by slightly raising or lowering the adjacent tones, but not a full half step. So while you might not have semitones in pentatonic scales you could get 3/4 tones. I've been told Bartok noted this in Hungarian folk music. Staff notation, designed for the diatonic scale can't handle it. Fiddles, fretless banjo's & voices can. I think when people start moving the whole & half tones around they usually end up with scales with more or less notes as well. The 12 tone scale is all semitones & used in modern music. You could also have a 6 note scale of all whole tones. |
Subject: RE: Help: Pentatonic Tunes From: Callie Date: 31 Mar 03 - 11:16 PM Toadfrog: Sit at a piano and play CD FGA that's a pentatonic scale. If you play anything in between, including sharps and flats, it's no longer pentatonic. good luck Callie |
Subject: RE: Help: Pentatonic Tunes From: toadfrog Date: 31 Mar 03 - 10:20 PM O.k. Burke, and what does it mean to say a scale "lacks semitones"? Does it mean, "if you have a scale with only five notes in it, it is uneconomical to have two of those tones only a single tone apart"? Is a tune with only 5 tones, two of which are only a single half tone apart, a theoretical impossibility? Mind you, I'm a musical illiterate; I'm just asking. |
Subject: RE: Help: Pentatonic Tunes From: Burke Date: 31 Mar 03 - 05:07 PM A Pentatonic tune is just 5 tones, so using just the black keys on the piano is one way to explore them. What a pentatonic scale lacks is semitones. In that all white key example, you'd never use both of the white keys that are adjacent in the same tune. The Ionian/Aeloian/Dorian/Mixolydian, etc. distinctions become pretty meaningless. Omit a 7th entirely from an otherwise major tune & you can't call it Ionian or Mixolydian. Thus Pi 1= Ionian, without the 4th and 7th (and sounds Scottish or Appalachian, or Chinese Pi 2 = Mixolydian, without the 7th and 3d (and sounds Irish) and so on around. You can with equal precision say: Pi 1= Mixolydian, without the 4th and 7th Pi 2= Ionian, without the 7th and 3d |
Subject: RE: Help: Pentatonic Tunes From: greg stephens Date: 31 Mar 03 - 11:59 AM Guest leenia: I think your theory of a five hole whistle played with the five digits of one hand sounds a bit suspect. Covering five holes using one hand on a whistle or flute seems to me a seriously awkward thing for a small child to do: even when you've figured out that one of the holes needs to be round the back. I dont think that would have proved a popular way to make music. And another practical reason why I'm unconvinced: if you make five holes in a whistle, and master the art of playing it with the digits of one hand, you'll then find that a five-holer plays six notes. So you will have invented hexatonic music! |
Subject: RE: Help: Pentatonic Tunes From: GUEST Date: 31 Mar 03 - 10:56 AM Nigel Parsons: I was just quoting from anold book! Jim McLean |
Subject: RE: Help: Pentatonic Tunes From: GUEST,leeneia Date: 31 Mar 03 - 09:52 AM this is getting so complicated, what with everybody talking about modes, do-re-mi and pi, whatever that is. A pentatonic song is one that has five tones in it. They don't have to form a scale or anything else. The popularity of pentatonic tunes has to do with the fact that most people have five fingers on any one hand. Let us say you are making a whistle for a child to play while s/he watches the cows all day. You can tell her to put her hand on a length of bamboo. You cut five holes where her fingers naturally fall, and lo you have a pentatonic flute. It won't be in any known scale, and it can't harmonize with other flutes, but it will play pentatonic tunes and will help stave off insanity while she is alone in the pasture all day (or even all summer.) Or you can write a tune using any five notes of the scales commonly used in "Western" music. |
Subject: RE: Help: Pentatonic Tunes From: Nigel Parsons Date: 31 Mar 03 - 09:42 AM Jim McLean: surely sticking to the 'black notes' on a harpsichord is the same as sticking to the white notes on a piano, you get the key of 'C' (A minor) Nigel |
Subject: RE: Help: Pentatonic Tunes From: greg stephens Date: 31 Mar 03 - 09:34 AM This story, like all stories of the origins of folk tunes, has been disputed. The Stephen Clarke referred to (an Englishman) may well have been joking, and that the "Banks and Braes" tune is in fact only a slight reworking of an earlier(?) English(?) tune "Lost,lost is my quiet". |
Subject: RE: Help: Pentatonic Tunes From: Jim McLean Date: 31 Mar 03 - 09:24 AM There's an interesting, but rather long, article in Johnson's Musical Museum concerning the song 'Ye banks and braes o'Bonnie Doon'. basically Burns explains the origin of the tune he used ' .....A good many years ago, Mr James Miller, .....expressed an ambition to write a Scots air. Mr Clarke, partly by way of a joke, told him to keep to the black keys of the harpsichord, and preserve some kind of rhythm, and he would infallibly compose a Scots air. Ritson, you know, has the same story of the Black keys.' (Burns alludes to the following passage in Ritson's Historical Essy on Scottish Song, page 102.)....."when I was in Italy it struck me very forcibly that the plain chants which are sung by the friars or priests, bore a great resemblance to some of the oldest of the Scottish melodies ......... About twelve years ago (1782) on trying my Piano-Forte, after tuning, by putting my fingers on the the short keys, avoiding the long ones, it surprised me to hear an agreeable Scottish melody ...... the short keys only, which, in modern instruments, are made of ebony, to distinguish them from the long ones, which are generally made of ivory." Jim McLean |
Subject: RE: Help: Pentatonic Tunes From: Callie Date: 31 Mar 03 - 08:22 AM The instrumental bit in Stevie Wonder's "Master Blaster" and the verses of the Beatles' "Don't Bring Me Down" are pentatonic. Oh, and also most of Yoko Ono's "Waking on Thin Ice" |
Subject: RE: Help: Pentatonic Tunes From: greg stephens Date: 31 Mar 03 - 08:21 AM Toadfrog: the Phrygian mode is rare, but not unknown in the English tradition..though it is incredibly common in Spain, for example. And there are also minor tunes with a variable second(eg Queen of Hearts and the Northern Lass)ie they veer between the Aeloian and Phrygian mode. I recorded an album of NW English tunes once, entitled "The Beggar Boy of the North"...the title track is a Phrygian tune. It's worth mentioning, of course, that not all songs end on the keynote of the scale, so assigning of tunes to modes can be very arbitrary. A tune that only consists of white notes on the piano, and ends on an E, would be a case in point. It would be a matter of opinion in some cases whether this was a Phrygian tune ending on its keynote, or a common or garden major tune ending on the third, or indeed an Aolian tune ending on the fifth. You would have to go by the "feel" of the tune to decide, and that is obviously an area where musicians might not agree. |
Subject: RE: Help: Pentatonic Tunes From: Nigel Parsons Date: 31 Mar 03 - 03:30 AM I seem to recall the theme to "Wagon Train" was pentatonic Nigel |
Subject: RE: Help: Pentatonic Tunes From: toadfrog Date: 30 Mar 03 - 10:20 PM Admitting I'm musically untrained, I ask how useful is it, practically, to look at scales or "modes" on the basis of the white note or place on the clef they begin with? If I am mistaken, I would appreciated being set straight, but it appears to me that Bronson's theory is that is more helpful to start on the assumption that all the scales begin on the same note. That way it is easier to hear the characteristic differences in sound. It is also much easier for untrained people like me, who don't normally think in terms of white keys, to grasp. Thus: Major key = Ionian scale With flatted 7th = Mixolydian With flatted 3d = Dorian With flatted 6th = Aeolian, or melodic minor With flatted 2d = Phrygian With flatted anything further = scales no one ever uses (Locrian and Lydian). I do not even believe I know any songs in the Phrygian scale. I have picked out Bessie Belle and Mary Grey, over and over, on the fingerboard of my guitar, and it always comes out Aeolian, or Minor. For sure, I may be missing something, but if so, what? Bronson's pentatonic scales all correspond to one of the above 7-tone scales, without the tones which distinguish it from adjacent scales. Thus Pi 1= Ionian, without the 4th and 7th (and sounds Scottish or Appalachian, or Chinese Pi 2 = Mixolydian, without the 7th and 3d (and sounds Irish) and so on around. |
Subject: RE: Help: Pentatonic Tunes From: ketzlma Date: 30 Mar 03 - 09:41 PM Hello Brian Brocklehurst and all Orff teachers, for whom pentatonic songs are bread. "Shortnin' Bread," despite its ethnic connections is often the first song kids can sing and pick up immediately. The AA' pattern is appealing, they try at home on the black keys and come roaring in playing it the next day! Many playground chants (ball bouncers, jump rope) as well as Swing Low Sweet Chariot fit the scale, as do spontaneous improvisations. VERY best of the lot? Bright Morning Stars are Shining How Can I Keep From SInging? |
Subject: RE: Help: Pentatonic Tunes From: Uncle Jaque Date: 13 Feb 02 - 09:32 PM Correct me if im wrong... but I think that one of the instruments I frequently take to reenactments is "Pentatonic"; the Bugle! |
Subject: RE: Help: Pentatonic Tunes From: George Seto - af221@chebucto.ns.ca Date: 13 Feb 02 - 09:29 PM HEre are some of the other threads covering Pentatonic Songs, and or what Pentatonic/Modal/Modes Pentatonic Songs |
Subject: RE: Help: Pentatonic Tunes From: Murray MacLeod Date: 13 Feb 02 - 08:46 PM Just on first glance, Leezie Lindsay and Skye Boat Song are not pentatonic, each makes use of six notes. Canadee-I-O, as I know it, isn't pentatonic either, but there may be other versions which are. Murray |
Subject: RE: Help: Pentatonic Tunes From: John in Brisbane Date: 13 Feb 02 - 06:26 PM Here's a list to keep you going which I had posted to a larger thread a couple of years ago.
PENTATONIC SONG BOOK (VOLUME 1)
Birds' courting song
Alister MacAlpine's lament
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Subject: RE: Help: Pentatonic Tunes From: GUEST Date: 13 Feb 02 - 05:50 PM Tunes on piano black keys only Keynote = C#/Db, mode = pi 2
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Subject: RE: Help: Pentatonic Tunes From: Burke Date: 13 Feb 02 - 05:49 PM All those "pi" modes can be played on the black keys of the piano. You just start in a different spot.
Pi1 begin on 1st of the 3 black keys together |
Subject: RE: Help: Pentatonic Tunes From: GUEST Date: 13 Feb 02 - 05:36 PM Sorry, I was wrong about piano black keys being pi 1 pentatonic mode. Mode depends on which key is the basis for the scale. |
Subject: RE: Help: Pentatonic Tunes From: Mark Cohen Date: 13 Feb 02 - 05:24 PM I heard just a bit of that particular Schickele Mix program. First Jean Ritchie doing a traditional Appalachian ballad, then a Hawaiian chant. Only on Schickele's show! By the way, I always remember the common pentatonic scale (the "black key" scale, I now know it's called pi 1) by singing the first five notes of the old classic "Louise": "Ev'ry little breeze [seems to whisper Louise]", or of the Irving Berlin song "Always": "I'll be loving you [always]". Aloha, Mark |
Subject: RE: Help: Pentatonic Tunes From: GUEST Date: 13 Feb 02 - 04:52 PM In the file COMBCODE.TXT at www.errols.com/olsonw you can find sources of normal pentatonic tunes as follows: pi 1 / mode# = 330, 100 tunes There are also abnormal 5 note tunes. The program there can find the number of notes and scale of any of the 6500+ tunes coded in the file.
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Subject: RE: Help: Pentatonic Tunes From: Murray MacLeod Date: 13 Feb 02 - 03:46 PM Amy, looking at Shady Grove again, I am wondering why you would have re as the tonic note. Any time I hear a melody which is minor in feel I automatically think of the tonic note being la. In this case the tune would become: l l l l l t l s, Cheeks as red as a bloomin' rose l l l t r m Eyes of the deepest brown, m s s m m r t l s, You are the darlin' of my heart, l t t r t l Stay till the sun goes down. There may well be a very good formal musical reason why you wouldn't notate it thus. I acquired at a very early age the ability to convert any tune into tonic sol-fa instantaneously, but probably didn't do enough formal studying. I used to amuse myself by taking various tunes and singing them in tonic sol-fa, using each note of the scale as the tonic note in turn. Well, there wasn't any television where I grew up .... Murray |
Subject: RE: Help: Pentatonic Tunes From: GUEST,SlickerBill Date: 13 Feb 02 - 12:57 PM This is interesting stuff; didn't realize folk music used the pentatonic scale to this extent. I used the pentatonic scale to teach myself how to play blues. I didn't realize it at the time, but I basically learned the pentatonic scales up and down the neck and used that to begin to improvise. It's basicallythe "blues box". It gets pretty limiting after awhile, but that provides a basis for things, and then you go on to learn other scales; just add on notes til you can do what you want. I use it to teach improvisation because it's kind of basic and easy to learn, like tetris on the neck. Great thread. SB |
Subject: RE: Help: Pentatonic Tunes From: GUEST,GUEST Date: 13 Feb 02 - 12:40 PM The PRI radio program someone else referred to above is "Gin and Pentatonic", from Schickele Mix. |
Subject: RE: Help: Pentatonic Tunes From: GUEST Date: 13 Feb 02 - 10:16 AM The black keys on the piano only give the pi 1 pentatonic scale (which is, however, the most common normal pentatonic mode). |
Subject: RE: Help: Pentatonic Tunes From: Murray MacLeod Date: 13 Feb 02 - 09:58 AM Bob, I have to disagree. The last line of Buttons and Bows goes s d l d t d r d. "Rings and things and buttons and bows" In other words if you sing the tune in the key of C there is a B note in "Buttons" in the above line, which precludes it from being pentatonic. Murray |
Subject: RE: Help: Pentatonic Tunes From: Deckman Date: 13 Feb 02 - 09:43 AM A good way to remember the Pentonic scale is to just play the black keys on a piano. I remember that the movie song sung by Jane Russell was Pentonic: East is East and West is West, and the wrong one I have chose .... BUTTON and BOWS. Weird, eh? Bob |
Subject: RE: Help: Pentatonic Tunes From: GUEST Date: 13 Feb 02 - 09:36 AM Normal pentatonics are derived from normal 'Greek' modes by dropping notes. There are 5 of them, pi 1, pi 2, pi 3, pi 4, and pi 5. (Jack Campin doesn't use this Bronson notation.) The positions of the gaps in the scales are shown in the file on Modes at www.erols.com/olsonw. |
Subject: RE: Help: Pentatonic Tunes From: Murray MacLeod Date: 13 Feb 02 - 09:27 AM Amy, I will have to dig out my old Doc Watson tape and a listen to it again. The version you give as sung by Jean Ritchie certainly sounds the real thing, and my memory of what Doc does could well be faulty. I seem to hear him singing r r r f s l Eyes of the deepest brown But, as I say, my memory could be playing tricks. Murray |
Subject: RE: Help: Pentatonic Tunes From: Amy Date: 13 Feb 02 - 09:10 AM Murray, In reply to your thread concerning Shady Grove. The version I was refering to was sung by Jean Ritchie. It is in the key of G but really it is in "d" since there are no "c's" to be sharped. r r r r r m r d Cheeks as red as a bloomin' rose r r r m s l Eyes of the deepest brown, l d' d' l l s m r d You are the darlin' of my heart, r m m s m r Stay till the sun goes down. r r r m r r d Shady Grove, my little love, r r m s l Shady Grove, I know. d' d' l s m r d Shady Grove, my little love, r m m s m r Bound for the Shady Grove. (D' is for high do) |
Subject: RE: Help: Pentatonic Tunes From: Murray MacLeod Date: 13 Feb 02 - 08:41 AM Amy, are you sure Shady Grove is "re pentatonic?" I am only familiar with Doc Watson's version and my ears hear it as having la as the tonic. The tune as I think I know it goes
la, la, la,-,re, ti, <so,-, la, la, do, re, mi.- Murray |
Subject: RE: Help: Pentatonic Tunes From: wysiwyg Date: 13 Feb 02 - 08:18 AM Amy, I think your post on modes is the most concise and clear I have ever seen. Perhaps someone can dig up the old threads on modes and make a clicky in one of them, to her post here. VERY good. ~Susan |
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