Most of these minor pentatonic scale practice patterns give the left hand "something to do" - useful practice at thinking in the thick of things, and preparation for two-part (self-caamoanpying) playing.
This melodic minor pentatonic study cycles through the keys.
Spend some time memorising the pattern. Note that the right hand doesn’t start on the beat or on the tonic. Use the shorthand (T, m3 etc.) above the MS to locate the pattern
The pattern is four groups of four pentatonic scale tones rising, overlapping by one scale-tone, then the same falling, then rising again with a melodic ending.
The left hand harmonises the study using the key name-note (tonic), flat seventh (a whole tone below) and flat sixth (a whole tone below again). There are five varieties of left hand (bass) part to choose from, plus any of your own inventions.
By using the last right hand note (T) of the pattern as the first (5) of the next, the pattern rises a fourth.
Because it starts in E minor, the study modulates through A and D minors, both all-white-key minor pentatonic scale. It then moves through one-, two- and three-black-key territory.
Four- and five-black-key pentatonic scales are practically un-playable. Resume the cycle in F sharp minor (see MS in Workbook)..
The right hand plays the minor pentatonic scale filled out with a one-step-down-and-back decoration. The left hand plays just the principal minor pentatonic scale-tones.
See the Workbook for the full MS.
For varied fingering challenge, play the pattern in D, B, C and F© pentatonic minors.
The right hand is all steps (next-door minor pentatonic scale-tones) with an up-up-up-down-down-up repeating pattern (ascending).
Makes sure you play in three-four – the left hand is the one that’s ‘across’ the beat.
The left hand plays the same scale-tone only at the start of every bar. The ending is a rehearsal of the three PSTs above and below the tonic.