Pentatonic Forward Motion for 5-StringMark PlutowskiTablEdited by Mark Plutowski (c) 2004 :xCIII@I`II II I@I`IIII C I@ I` I I I I I I`III@III III II@II`IIII I@III`III@I`II II I I I`$I %I@%I%I%I&I&I&I)I*I *I*I*I@+I`+I+I-I-I-I .I.I@/I`/I/I2C5I8I 9I@9I9I9I9I:I`:I@<I<I<I =I=I>I`>IAIFI`FI GIGIGI@HIHIHIMI MI`MIMI@NININIRI UI@UIUIVIVI`WIWIXI@[I\I \I\I\I`]I]IaIdI`eIfIfIfI gI@gIgI`iIiIjIjI kI@kIkIoCoIpC@pI`pIpIpIq qIqI`sIsIsI@tItIuI uIuI xIxI@yIyI`zIzIzI~I I@III`IIIC@I0`I0I0 I0I0CI0I0`I I@IIIIIII III@I`IIIII II@I`IICCIII I`III IIII`III`I IIIII`I IIICIIII`II I@IIII@I`II IIIII II@I`IIIIIIII I@I`I`I@III IIII@I`III IIIIII I@III`II I@I`ICCI@I`IIII II`III@III IIhCI`I I@IIIIII@I`II IIIIhCIIIIII I@III`II I@I`I C I0@ I0 I C` I0 I I I @I`III II  C@I0` I0 I0 I0  I I0  I@I`III II C *Four melodic inversions of 4-note groups.0Adding forward motion as in Galper's Example 3.'Adding forward motion as in Example 9.%A combination of the two techniques.^Similar to Galper's Exercise 10, starting 2 beats early and deleting first note of sequence. Alternating inversions.dDeleting the first note this effects the next two inversions differently than the previous two. &Transposing the grouping up the neck.ABDGBase sequence.Mixed melodic inversions.Pulled forward by a half beat.'Forward motion by omitting first note.Omitting first note.Forward motion + omission.~pluto1@gmail.com Some exercises with applying forward motion to pentatonic scales. Created by combining Hal Galper's notion of forward motion with Pat Cloud's closed positions for pentatonic scales. REFERENCES: "Pentatonic Scales with Forward Motion" by Hal Galper, Downbeat magazine, December 2003, pp. 98-99. Forward Motion: From Bach to Bebop. Hal Galper, 2003. Amenable Music. Key to Five-String Banjo: Home Improvisation Workshop. Pat Cloud, 1999. Mel Bay Publications. This set of exercises explores the range of variations possible using the rising and descending four-note groupings that can be accessed from a single closed position. The tab is based on the E mode (i.e., the 5th mode) of the G major pentatonic scale (referred to by Cloud as position #1). Except for two measures in the ending, the entire exercise is based on this single closed position and its constituent 7 notes. The exercise is equally applicable to the other four closed positions and therefore to other keys. It is also applicable to melodic (arpa-style open fingerings). But I don't tab all that out - those are left for the reader to work out for themself. The exercise begins with the 7-notes that make up this closed position (EGABDEG), played forward and the in reverse. This is our base sequence. Four melodic inversions of the four ascending or descending four-note scale groups that can be drawn from this sequence. Note that whereas Galper's examples utilize five such scale groups, four is the limit for the 5-string without going outside the position. Next, we add forward motion to each of these inversions by initiating a half beat early. Then we add forward motion (see Example 9 in the magazine article), by deleting the first note and starting on the second and leaving the timing the same otherwise. Note how this affects the first two runs (i.e., over the initial four measures) differently then the second two. Next exercise utilizes a combination of these two techniques - starting a whole beat early, but deleting the first note of each 4-note group. The remaining exercises follow variations on these themes. cw"%).Banjo open GTeno