PHONIC PENTATONIC

A simple system to make simple ‘jamming’ technology.

Harmony is the prime attribute, where formal music education has advantages, but is not
a necessity! In fact the attempt here is to stimulate elderly folks of limited capacity to
play an instrument to jam with others that are more skilled in 'perfection'. A 5 tone scale
is very neutral to a verity of keys, thus familiarity of execution makes the sideman
playing very acceptable. This scale permits blind and handicapped souls to play from the
3d fret outward as skill increases.

Compressed ‘Octave’ Keys C, E, G, B, and E: Note: These key are played

simultaneously because of circle of 5ths and 3ds.
Notes played: GEDBA that will work with the above keys.
[Notice the italic Fs - These deleted notes are for runs between chord shifts without
regard to keys C or G. Use them (i.e. un-delete) if you can handle it. Sound itself has
eminent domain.]

Note that a Capo is needed for key shifts because we have an octal range of notes, instead
of a decade one. Grand bar with open string tuning is an acceptable deviation, if open
string is harmony tuned to minor 6th or 7th (depending on artist’s tastes).
This octal arrangement creates a range in double talk for musicians that wish to describe
their variants to absolute indexing to the natural key of C. [I personally use a capo for a
sharp or flat shifter. First fret shifts your scale to sharp, 2nd fret a double sharp will shift
your scale flat.]

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A “C” chord is related to the key of C primarily. When the finger formation is used in the
key of G for example, the “C” chord phonically becomes a “G” when treating the 3d fret
as the nut. This structure with a 3d fret grand bar, would become a G minor 7 that can be
used for G minor in the key of C. I hope this fact stimulates adherence to the major
prime key for phonically selecting harmonious sounds to play your instrument “by ear”;
instead of absolute note precision – as taught by academia. When one gets his runs and
rifts harmonious with his (absolute) chords, then one can stage comfortable sounding
synthetic melody. BB King is a pro at soulful applications of pentatonic science, and
Theodore Bikel the master, interposing it with Russian minor style playing of a Balalaika.
The 5 notes for a compressed octave are A,B,D,E,G (mentioned above), and it also works
with Asian, Turkish and Arabian music, along with New Orleans jazz. Making the A and
D sharp one is set up for the minor scale. Hammering A# to open G, or D# to open B is
obtaining the first step in the Blues.

Simple Instrument that appeals to the blind.

The playing of a Baritone Ukulele is easily done from the 3d fret out, as the basis for a G,
Gminor, G7, Gminor 7.
The 5th fret yields the following chords with the same 3d fret fingering. A, Aminor, A7,
Aminor7.

Between these two positions, and the open string tuning of the instrument, all music can
be phonically jammed i.e. with harmony the prime attribute for delta frequencies.

Note: Because of the open string tuning of the Uke to E minor 7 (just like a guitar), and
the softer action of strings, it is imperative to learn the grand bar positions early in
playing this simple instrument. Even if you use minor 7th (grand bar basic) and boldly
jump in and jam to acquire rhythm, and right hand control, harmony with other players
would be sustained in the keys of C or G (if F and F# chord is ignored). Playing in other
keys would be best served with a capo, until one can shift grand bar locations with
comfort.

Rules of Jamming:
1. Rhythm: Primary concern of keeping the beat
2. Timing: For syncopation, or rhythm variation, is secondary.
3. Harmony: Key Root chord, with 1/3 chord center shifts to maintain harmony, is
next priority.
4. Rifts and Runs (in Key): Knowing the lead steps to run from one chord to another
within rhythm structure is all that is needed for basic jamming. (i.e. filling in).
5. Octave range: with more than two instruments in a jam session, shifting notes an
octave, or a third, or cord inversions are acceptable especially when playing in the
pentatonic key of (C+G)-(F&F#)

Single finger playing of the Baritone Uke is practical once a grand bar is accomplished
comfortably, and helps those of us with advanced arthritis.

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Open strings DGBE = Em7, and can be used for E chord; while slack tuned CGBE open
strings will also equal a C chord that contains the elements for a E triad, thus CE can be
used for both C or C7, E or E7.
Grand bar the 3d fret for GD# to handle G7, or G chord. [Plus a similar family of D#
chords.]
Grand bar the 5th fret for Am7 to handle A7, or A chord. [Plus a similar family of F
chords.]

Basically, keeping the sound structure intact will yie ld ‘character’ to your playing even
though it sounds a bit different, but is musically acceptable. Play with chord structure
seeking sounds that are appealing, and simply work in these ‘inventions’ for the fun of it.

Let’s organize the system for simple indexes to play the instrument sightlessly. For a
typical right-handed Baritone Uke or New Age Quattro we have the Nut indexing open
string chords. The first deviation is to visualize the prime instrument tuning which
happens to be Eminor7 making the first fret Fminor7 if your forefinger is used to 'grand
bar' i.e. hold all strings down. Obviously the 3d fret would be Gminor7 and the 5th fret
Am or7. Conversion to a synthesized Major could be done by replacing the 7th note with
a root note - or the application of amplifying the root note to improve dramatization of
the prime cord sound. That is the advantage of slack tuning the bass string, to make the
root note presence strong.

This also simplifies the writing of “guiding music” by making Capitol letters the minors
(minor7 grand bar) base that can be enhanced with a small letter root note. / becomes the
sign for a run or rift that raises in pitch, and \ a run that decreases in pitch. Totally Open
string chords are identified with a 0. This kind of tablature placed above lyrics would
look something like this for a fret count:

0 1 3 5 2-0 7 etc.

Obviously this system stimulates the musical artist to embellish sounds for originality and
artistry along with being able to phonically play blindfolded, once the piece is learned.

Sneaky stuff: As one gets used to the system and realizes that c is a single note, and C
chord is where c is the prime (lowest note in the tone cluster) plus all the other strings
being supportive harmony. One may use the 2 (D bar) for a quick follow through from a
G chord. Having the base pentatonic system modified to use minor chords and blues
notes is done by adding two notes to the pentatonic scale; D# and A#. This sets it up for
Russian, Greek, Chinese, and American folk music, where pentatonic techniques
originated; i.e. for universal acceptance. At this point one is ready to employ inversion
rational. In my scheme a triad is a harmonious cluster of sound that is used for
accompaniment meaning that a G chord is an inversion of a C chord, and the converse is
also true. This opens the door to lots of harmonizing that sounds good, but is not
academic correct. Well my whole purpose is to go primitive, and be able to enjoin with
professionals in order to be supportive - instead of competitive.

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Triad Chords: Gypsy and bohemian music from Bulgaria and similar countries utilize 3
string instruments similar to the Balalaika. Using the conventional D chords and
deadening the bass (or reentry string) with a thumb permits the usage of a moving 3
string chord structure similar to the grand bar. (D and D7 formation)

Philosophy of the Accompanist:

Not all of us are able to play a lead instrument – which truly requires either attachment to
academia or a skilled mentor, or have extreme creative talent (autism?). Runs between
chords (upscale or down) are to be developed and practiced for speed and comfort.
Phonics is prime, while capitalizing on keys of G and C for the concept of frequency
ratios. Choose chords that you like to hear, and learn to finesse them into sound s that
harmonizes with the lead instruments of the group. Sharpen skill by playing with
recorded music or if fortunate, live bands.

At first learn rhythm by clinging to the Root Chord that equals the key a song is written
in. Then go for the 2nd harmony chord when boredom sets in, also known as the 5th giving
one the power to basically complement any music written. The 1st harmony chord is
commonly called a 3d, to allow you greater expression of phonics. After one acquires
strumming skill with the basic chords, then one practices runs between cords for string
control, and more colorizing of sounds.

The prime trick in attempting to harmonize with new/different music is to use minor
chords like minor 7th or minor 6th s. [Yes, open string tuning of E minor 7 (DGBE) is a
usable sound] Learn to embellish them by augmentation, or adding the root note of the
chord (hopefully replacing the 7th note of the chord). Using positions with a grand bar
(single finger) will open a range of sounds for accompaniment that also can be converted
to a synthesized major (with other fingers selection to intone melody; and that would be
another advancement step).

Interestingly, by sticking to 5 pentatonic notes for repetitious runs, one will eventually
have an autonomic effect for one to be able to play a synthesized melody in harmony to a
singer or lead player. When that happens, the student is ready to handle original
emotional rifts similar to BB king, or Segovia (Flamenco).

So we went from playing a Baritone Uke with one finger using a double dyad that has C
and E harmony ingredients where dominance of the receptive minds listening to it will
replace the E and interweave it into the stronger dominant chord constructed by the sea of
sound. And using the G7s for a harmony balance that is also related to the key of G
which also uses the same pentatonic notes for a phonic structure will have you interface
almost all forms of music; from Arabic to New Orleans jazz. The next step is to practice,
and join in with musical groups to phonically support them! If you have the skill to
advance this system into a lead guitar situation, I take my hat off to you as a far better
musical engineer then myself.

Clint Eastwood: “A man should know his limitations.”