The right hand melodic scale pattern is the same as for 'Gliding About' (the major pentatonic with both chromatic passing tones), but the stress is different.
In fact, the very last note of the run is on the beat. The right hand starts on "(1) AND..." - as long a run-up as you can get!
The left hand plays the sixth chord arpeggio. Finger 5-4-2-1-2 over, same fingers on the same notes going down as well.
Where the left hand plays is dictated by where the right hand plays: the right hand never takes priority, always.
The chord sequence is really a twelve-bar with the last line repeated to give 16 bars total.
Note the one G7 arpeggio. More later!
The left hand echoes the right ('call and response').
Note the dominant (seventh) in the last left hand C arpeggio and the unison ending.
In popular music, the sixth and the dominant (flat, flatted, flattened) seventh are the tones most frequently added to the major chord.
It is essential to be able to distinguish between the resulting sound (and effect).
This last version has more of the dominant influence. Notice how the sixth is used on the way up and the seventh on the way down. "That's just the way it is!" (Try it the other way round if you're skeptical!)
Gliding About two-CPT major pentatonic scale pattern from C into D and E
Here are the three sections of the music – the riff in C, D and E.
On the way up, you use sharp 2; on the way down, you use both flat 6 and sharp 2.
The right hand runs up to RH3 on D sharp, then puts the thumb under.
The left hand is a broken sixth chord: Root, third, fifth, sixth.
Use the same fingering in D and E – run up to RH4 before putting the thumb under. (You have to, because the third is a black key in both cases.)
This is a bigger thumb-under reach and will take more practice.
You can let some anticipation creep into the left hand as well – as in the video.
Continue up through F, G and A if you can.
Thanks for studying with MUSICARTA!
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PENTATONICS SERIES NAVThe Pentatonic Scales
Melody Work and
Playing by Ear
and Diaries -