Constructing countrv patterns (contd)

From an interval standpoint, the devices in the second measure of Fig. 16.33. are alternating between
perfect 4th (i.e. G up to C, D up to G) and minor 3rd (i.e. A up to C, E up to G) intervals. Rhythmically these
hammers can be notated in various ways, and in any case are often interpreted without strict adherence to the
written rhythm. Here is a two-measure phrase using hammers and drones within a C pentatonic scale, notated
different ways as follows:-

Fiaure 16.34. C pentatonic phrase usinu hammers & drones (8th notes)
(CASSETTE TAPEEXAMPLE 668)

Fiaure
- 16.35. C pentatonic phrase usina hammers & drones (16th-dotted 8th notes)
(CASSETTE TAPEEXAMPLE 669)

Fiaure 16.36. C pentatonicphrase usina hammers & drones (arace notes)

(CASSETTE TAPEEXAMPLE 670)

These examples can be summarized as follows:-

- in Fig. 16.34., everything is written as 8th notes and there is only one system (i.e. not two 'parallel'
systems as in Fig. 16.35.) on the staff. However, in actual interpretation the drone notes (G & C in this
case) may well last for a whole beat, or even two beats in some cases i.e. continuing to sound while
the lower 'hammer' tones are being played. Also the first 8th note of each 'pair' may well be interpreted
'short' i.e. as a 16th note or grace note as in the subsequent examples.
- in Fig. 16.35., the hammers are now written as '16th-dotted 8th' pairs, on beats 1 & 3. Again in this
situation the 16th note may well be interpreted 'short' i.e. more like a grace note (as in the last example).
- in Fig. 16.36., the first note of each hammer is now written as a grace note. Interpreting the hammers
this way can create a more 'immediate' and 'punchy' result.

As you can see, there are a number of different notation and interpretation possibilities and you are
encouraged to experiment. I think it is very useful to be able to play these hammerldrone phrases in all keys,
which the following exercise gives you the opportunity to do! As you can see it is notated in 8th notes (like Fig.
16.34. above), however you should feel free to vary the rhythmic interpretation (as in Figs. 16.35. & 16.36.):-
Constructing countrv patterns (contd)

Fiaure 16.37. Pentatonic phrase exercise usina hammers & drones, around the circle-of-5ths
(CASSETTE TAPEEXAMPLE 671)
C Pent. F Pent.

I ~b pent. ~b Pent.

DL Pent.

E Pent.

G Pent. C

Now we will consider how we can apply this type of pentatonic scale phrase over different chords. A good
rule-of-thumb is that if a major triad will work as an upper structure on a given chord, then the corresponding pent-
atonic scale can be used as a source of embellishments over that chord. (The concept of upper structure triads
has been used extensively in the preceding styles chapters). On the following page are some specific examples:-
 COUNTRY & COUNTRY-ROCK

Constructing countrv patterns (contd)

- A C major triad can be considered as a l-3-5 upper structure of a C major chord (as first seen in Fig.
5.1 .), therefore the C pentatonic scale can be used as a source of embellishments over this chord.
With respect to the overall C major chord, the C pentatonic scale represents the root, 9th, 3rd, 5th
and 6th (13th) of the chord. Another way to conceptualize this is to say that we can 'build a pentatonic
scale from the a of a major chord'.
- A C major triad can be considered as a b3-5-b7 upper structure of a or Ami7 chord (as first seen in
Fig. 5.6.), therefore the C pentatonic scale can be used as a source of embellishments over this chord.
With respect to the overall A minor chord, the C pentatonic scale represents the b3rd, 4th(llth), 5th,
b7th and root of the chord. Another way to conceptualize this is to say that we can 'build a pentatonic
scale from the of a minor chord'.
- A C major triad can be considered as a upper structure of an F, Fma7 or Fma9 chord (as first
seen in Fig. 5.4.), therefore the C pentatonic scale can be used as a source of embellishments over this
chord. With respect to the overall F major chord, the C pentatonic scale represents the 5th, 6th(l3th),
7th, 9th & 3rd of the chord. Another way to conceptualize this is to say that we can 'build a pentatonic
scale from the 5th of a major chord'.
- A C major triad can be considered as a b7-9-11 upper structure of a Dmi, Dmi7/9/11, D719sus or D11
chord (as first seen in Fig. 5.2.), therefore the C pentatonic scale can be used as a source of
embellishments over this chord. With respect to the overall D minor or suspended chord, the C
pentatonic scale represents the b7th, root, 9th, 4 t h ( l l th) & 5th of the chord. Another way to concept-
ualize this is to say that we can 'build a pentatonic scale from the b7th of a minor or suspended chord'.
- A C major triad can be considered as a 9-#11-13 upper structure of a B b or Bbma7/9/#11/13 chord (as
first seen in Fig. 5.7.), therefore the C pentatonic scale can be used as a source of embellishments
over this chord (however the # I 1th should be used with care). With respect to the overall Bb major
chord, the C pentatonic scale represents the 9th, 3rd, # I 1th, 6th(13th) & 7th of the chord. Another way
to conceptualize this is to say that we can 'build a pentatonic scale from the 9th of a major chord'.

Here is an example of the original C pentatonic phrase in Fig. 16.34. being used over all of the above
chords, as outlined above:-

Fiuure
- 16.38. C pentatonic phrase with hammers & drones. used over different chords
(CASSETTE TAPEEXAMPLE 672)

C Ami

FORFURTHER INFORMATION ON USING PENTATONIC SCALES OVER DIFFERENT CHORDS, PLEASE REFER
TOCHAPTER 9 OF OUR CONTEMPORARY MUSICTHEORY LEVEL2 BOOK (SEE PAGE IX IN THIS BOOK).
Constructing countrv patterns (contd)

Fiuure 16.38. (contd)

F Dmi

As we progress through the above chords, you can hear that the vertical impressions become more
sophisticated. This is due to the increasing number of higher extensions/tension tones in the C pentatonic scale,
with respect to each successive chord. This type of pentatonic 'superimposition' is typical of artists such as Bruce
Hornsby for example. In the above exercise, the usage of the C pentatonic scale can be summarized as follows:-

- Measures 1-2 The C pentatonic scale has been built from the root of the C chord.
- Measures 3-4 The C pentatonic scale has been built from the b3rd of the Ami chord.
- Measures 5-6 The C pentatonic scale has been built from the 5th of the F chord.
- Measures 7-8 The C pentatonic scale has been built from the b-/th of the Dmi chord.
- Measures 9-10 The C pentatonic scale has been built from the 9th of the Bb chord.
- Measures 1 1- 12 As for measures 1-2.

I have constructed a final pentatonic exercise which combines the ideas in Fig. 16.37. (pentatonic scale
phrase around the circle-of-5ths) with Fig. 16.38. above (using the pentatonic scale over different chords). In the
following example, the pattern in Fig. 16.37. has now been placed over various chord roots - each pentatonic
scale is now built from either the root, 3rd, 5th, 7th or 9th of a chord. (This means there were five choices of chord
for each pentatonic scale - feel free to vary the exercise by experimenting with the different chord choices for each
scale!). The chord symbols indicate which pentatonic scale is being used, and which root is being placed below -
as explained in the text prior to Fig. 16.38., this will create various 'composite' chord relationships overall:-
Constructina countrv patterns (contd)

Fiaure 16.39. Pentatonic ~ h r a s eexercise u s i n hammers and drones, around the circle-of-5th~~
usina different chord roots for each scale (CASSETTE TAPEEXAMPLE 673)
 CHAPTER SIXTEEN

Constructinq countrv patterns (contd)

p i ---- ',
-- -

- -p

- - - -
- --
tt- I. - I0
cf
(; Pent./E C

The pentatonic scale usage in the above example can be summarized as follows:-

- Measures 1-2 The C pentatonic scale has been built from the root of a C chord.
- Measures 3-4 The E pentatonic scale has been built from the bard of a Dmi chord.
- Measures 5-6 The Bb pentatonic scale has been built from the 5th of an Eb chord.
- Measures 7-8 The Eb pentatonic scale has been built from the b7th of an Fmi or Fsus chord.
- Measures 9- 10 The Ab pentatonic scale has been built from the 9th of a Gb chord.
- Measures 11-12 The Db pentatonic scale has been built from the root of a Db chord.
- Measures 13-14 The Gb pentatonic scale has been built from the bard of an Ebmi chord.
- Measures 15-16 The 0 pentatonic scale has been built from the 5th of an E chord.
- Measures 17-18 The E pentatonic scale has been built from the b7th of an F#mi or F#sus chord
- Measures 19-20 The A pentatonic scale has been built from the 9th of a G chord.
- Measures 21-22 The D pentatonic scale has been built from the root of a D chord.
- Measures 23-24 The G pentatonic scale has been built from the bard of an Emi chord.

Again, bear in mind that upper chord extensions will be added to these major or minor chords by 'super-
imposing' pentatonic scales on top - these extensions are summarized in the text prior to Fig. 16.38.
Constructina countrv patterns (contd)

Now we will see how to combine these 'hammers & drones' with the previous walkup ideas, in order to
create an accompaniment pattern. Here is another basic country progression, this time in the key of C : -

a a u r e 16.40. Chord chart example #3

We will now interpret this chart, using 'hammer & drone' embellishments from the pentatonic scale built
from the root of each maior chord (the simplest and safest option in more basic styles), as follows:-
Constructinq countrv patterns (contd,!

Fiuure 16.41. Countrv compins solution a) for chord chart #3 (Fia. 16.40.)
(CASSETTE TAPEEXAMPLE 674 - 'STRAIGHT ~ T H S ' )
(CASSETTE TAPEEXAMPLE 675 - 'SWING ~ T H S ' )

Note that we have used a combination of hammers, drones and walkups in the above example. The
hammers have been written as 16th notes - as discussed, the first 16th of each 'pair' might typically be played
shorter i.e. more like a grace note. The above example can be analyzed as follows:-
 COUNTRY & COUNTRY-ROCK I
Constructinu countrv patterns (contd)

- Measures 1-2 On the C chord we are using 'hammer & drone' embellishments from the C pentatonic
scale in the right hand. The drone note is the 5th of the chord (G), and the hammer is
occurring between the 9th (D) and the 3rd (E), as first seen in Fig. 16.33. The 9th is also
resolving to the root of the chord at the end of the measure. The left hand is using half-
note patterns - 'root-5th' in measure 1 (as in Fig. 16.1.) and 'root-root' in measure 2 (as
in Fig. 16.2.).
- Measures 3-4 On the F chord we are using 'hammer & drone' embellishments from the F pentatonic
scale in the right hand. The drone note is the root of the chord (F), and the hammer is
occurring between the 5th (C) and the 6th (D). The 3rd of the chord (A) is also being
used in the pattern. The left hand is again using half-note patterns - 'root-5th' in measure
3 (as in Fig. 16.1 .) and 'root-root' in measure 4 (as in Fig. 16.2.).
- Measures 5-6 As for measures 1-2.
- Measure 7 On the G chord we are using 'hammer & drone' embellishments from the G pentatonic
scale in the right hand. The drone note is the 5th of the chord (D), and the hammer is
occurring between the 9th (A) and the 3rd (B). The 9th is also resolving to the root of the
chord at the end of the measure. The left hand is again using a 'root-5th' half-note pattern
(as in Fig. 16.1.).
- Measure 8 Here we have a walkup (using quarter notes) from the G chord to the C chord (see Fig.
16.23. and accompanying text).
- Measure 9-12 As for measures 1-4.
- Measure 13 On the G chord we are again using 'hammer & drone' embellishments from the G
pentatonic scale in the right hand. This time the drone note is the root of the chord (G),
and the hammer is occurring between the 5th (D) and the 6th (E). The 3rd of the chord
is also used at the end of the measure. The left hand is again using a 'root-5th' half-note
pattern (as in Fig. 16.1 .).
- Measure 14 As for measure 8.
- Measure 15 The embellishments at the beginning of this measure are the same as for measure 1.
The figure during beat 4 can be found in both the C & G pentatonic scales, as is function-
ing as an anticipation of the next chord. With respect to the following G chord, during beat
4 the drone note is the root of the chord (G), and the hammer is occurring between the
5th (D) and the 6th (E). The left hand is using a 'root-root' half-note pattern (as in Fig.
16.2.).
- Measure 16 As for measure 8 (with right hand anticipating first beat, as discussed above).

Now we will look at another approach to comping over this progression, again using pentatonic scales
and walkups. This approach involves arpeggiating the pentatonic scale tones in the right hand, emulating a
'guitar picking' or 'bluegrass' style. Now instead of limiting ourselves to just the root, 3rd & 5th of the chord
(as we did in the arpeggiated example in Fig. 16.19.), we will now use all of the tones of the pentatonic scale
built from the root of the chord (i.e., including the 6th and 9th of the chord in the arpeggiated pattern - review
the first measure of Fig. 16.33. as necessary). We could even use this idea to construct patterns using pentatonic
scales built from other parts of the chord i.e. from the 3rd, 5th, 7th or 9th as shown in Figs. 16.38. & 16.39. -
although this would be less common in 'traditional' bluegrass idioms. Here now is the second comping version
of this progression, using this 'arpeggiated pentatonic scale' concept:-
Constructinq country patterns (contd)

Fiqure 16.42. Countrv compinu solution b) for chord chart #3 (Fig 16.40.)
(CASSETTE TAPEEXAMPLE 676 - 'STRAIGHT ~ T H S ' )
(CASSETTE TAPEEXAMPLE 677 - 'SWING ~ T H S ' )

Notice that in the right hand, beat 1 of every even-numbered measure is anticipated by an 8th-note
(landing on the '81of 4' of the previous odd-numbered measure). This type of anticipation is very typical in this
arpeggiated country comping style. We will analyze each measure using pentatonic 'scale degree numbers' as
in Fig. 16.33. - these will equate to the different chord tones/extensions, as each pentatonic scale has been built
from the root of a (major) chord:-