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Pentatonic Hanon Exercises

 ~ PentHan 30-07-19 ~

These web pages host the Pentatonic Hanon video performances and exclusive Musicarta Patreon Tier One music manuscript and teaching notes.

You can discover more about pentatonic scales and pentatonic music in general via the Musicarta Pentatonics home page.

Pentatonic Hanon 30-07-19 (minor)

Watch the video, trying to memorise the riff.

Download the MS for this Pentatonic Hanon using this link.

Teaching notes

Given the (minor) pentatonic's close connection with the blues, you might as well learn your pentatonic riffs in the three twelve-bar related scales - I, IV, and V.

Here's the MS for the first two versions, in C and D pentatonic minors.

Only the C minor version is fingered. The C minor pentatonic scale is a good one to learn - it feels comfortable under the hand with the three black keys (m3, #4/b5, m7) nicely spaced, and the resulting fingering is a good model to try first - and adapt if necessary - elsewhere.

Because each iteration of the study scrolls through the three twelve-bar I-IV-V 'candidate' scales, you will pass through a total of seven different scales (Cm, Dm, Em, Fm, F#m, Gm, Am) if you play in all four keys, as offered.

Here is the MS for the second set of two starting keys.

The left hand is a vital rhythmical contribution to a decent performance - your 'rhythm section', in effect. The two-semitone run up to the tonic must come in up to tempo and exactly paired with the right hand notes on these beats. Listen carefully to make sure for yourself.

There is a 'count-in' to the start of the demo performances. Prepare your position according to the chord symbol at the top right of the frame and try to 'hit the ground running', one hand at a time first.

Note: Always practice these exercises one key/position at a time first. Modulating to the next key is a second-order challenge.

If you are playing a twelve-bar type study like this (30-07-19) one, you are already up for that, since the twelve-bar form is practically 'the same thing in three keys' anyway.

As with all the Pentatonic Hanon studies, the emphasis must be not on relying on the dots, but on quickly apprehending the pattern of steps or skips between pentatonic scale tones. and playing from that.


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