Pentatonic Scales Phiyer often superimpose pentatonic scales on the prevailing mode. The process is similar to that used when superimposing on a chord. The use of different pentatonic scales on the same mode offers varity in ‘modal coloring by isolating certain tones a the expense of others. Most pentatonic playing is done in modal situations. Below are the three most commion pentatonic scales superimposed on a Dorian mode, shown, ‘ere for D Dorian, These are minor pentatonic scales buil from the tonic, second degree, and fifth degree ofthe mode. minor penatonic mince pentatonic A minor pntstoni ee By isolating one ofthese pentatonic scales for shor long period of time, the player extracts a mode (scale) fom within the mode. If modes can be thought of as colors, these inner pentatonic scales can be thought of as ifferet tints of those colors. Theorists have described these particular pentatonic scales used ‘on Dorian in terms of most “inside” and most “outside” The minor pentatoni scale from D (tonic) seems tobe more firmly rooted in the ronic modality, the scale From E (second degree) much less so, and the scale from A (fifth degree) somewhere in between, See Chapters 7 and & on MeCoy Tyner and Chick Corea for ‘examples of pentatonic superimposition in modal contexts Melodic Fourths Fourths are used melodically as well as harmonically in modal playing. The relationship between fourths tnd pentatonic scales becomes apparent in much modal playing. MeCoy Tyner and Chick Corea, among others, have amply explored this relationship. The notes ofa traditional pentatonic scale can be rearranged imo a series of perfect ths D mince pentatonic major pentatoie Many modal metodies are made of hs, many of them from pentatonic scales. Below is atypical modal ‘melody built around dths in F Dorian, ba eeeaane ‘Crispin = wins peni Four-Note Melodic Cells Post bop players often isolated groupings of notes and sequenced them both in and out ofthe prevailing key ‘or mode. Often these groupings, or cells, are derived from pentatonic scales. The extracted four-note cells serve as patterns from which 0 construct improvised melodies, Four-note pentatonic cells derived fom the CC major (or A minor) pentatonic scale are shown below, aS Sg Ss