You might find this interesting

**dangersgs** · 07-05-2012

I came across this and I found it very interesting and actually learned a lot of things about music which I didn't know.I just thought I should share this.Maybe someone else would be interested in seeing it.The first episode(melody) has 5 parts.You can find the link to the next part in the description of the video:How Music Works 1 - Melody - Part 1 - YouTube
Then you can find another 3 episodes:rythm,bass and harmony.

**1oakproduction** · 07-05-2012

Great info!!!

**B Basic** · 07-06-2012

Thanks for sharing!

**scenex** · 07-13-2012

Oh nice! thanks for finding this!

**jjj111** · 07-20-2012

Thanks!

**bandcoach** · 07-20-2012

Howard Goodall - great composer (Mr Bean, Red Dwarf, Black Adder, etc), careful researcher, but subject to awful scripts at time - the concept of the pentatonic scale being part of the human genome is ridiculous on the face of it and even upon close inspection.

For this statement to be construed as having more meaning in a musical sense is possible, but we have yet to determine if music is part of the genome of a human being or if it can indeed have its own genome.

Scales are the equivalent structures to a genetic sequence if we wish to stretch the metaphor and that is about as far as it will stretch.

So a pentatonic scale is a basic building structure of music around the world, this has been known for more than 100 years; however the accompanying harmony is often not derived from the 5-note scale but from a larger 7 note scale which is either minor or major in tonality.

Examples

Ex	Notes	Prototype
1)	C-D-F-G-A	0-2-5-7-9
2)	C-D-E-G-A	0-2-4-7-9
3)	C-D-E^b-G-A^b	0-2-3-7-8
4)	C-E^b-F-G-B^b	0-3-5-7-10
5)	C-D-F-G-B	0-2-5-7-11
6)	C-E-F-G-B	0-4-5-7-11

are all pentatonic scales. The prototypes allow you to create the scale based on any starting note (the 0 note) and moving to the next note which is so many semi-tones or half-steps above the starting note, i.e.

0	1	2	3	4	5	6	7	8	9	10	11
A	A^#/B^b	B	C	C^#/D^b	D	D^#/E^b	E	F	F^#/G^b	G	G^#/A^b
A^#/B^b	B	C	C^#/D^b	D	D^#/E^b	E	F	F^#/G^b	G	G^#/A^b	A
B	C	C^#/D^b	D	D^#/E^b	E	F	F^#/G^b	G	G^#/A^b	A	A^#/B^b
C	C^#/D^b	D	D^#/E^b	E	F	F^#/G^b	G	G^#/A^b	A	A^#/B^b	B
C^#/D^b	D	D^#/E^b	E	F	F^#/G^b	G	G^#/A^b	A	A^#/B^b	B	C
D	D^#/E^b	E	F	F^#/G^b	G	G^#/A^b	A	A^#/B^b	B	C	C^#/D^b
D^#/E^b	E	F	F^#/G^b	G	G^#/A^b	A	A^#/B^b	B	C	C^#/D^b	D
E	F	F^#/G^b	G	G^#/A^b	A	A^#/B^b	B	C	C^#/D^b	D	D^#/E^b
F	F^#/G^b	G	G^#/A^b	A	A^#/B^b	B	C	C^#/D^b	D	D^#/E^b	E
F^#/G^b	G	G^#/A^b	A	A^#/B^b	B	C	C^#/D^b	D	D^#/E^b	E	F
G	G^#/A^b	A	A^#/B^b	B	C	C^#/D^b	D	D^#/E^b	E	F	F^#/G^b
G^#/A^b	A	A^#/B^b	B	C	C^#/D^b	D	D^#/E^b	E	F	F^#/G^b	G

the usual advice about using only one of each naming note (A-B-C-D-E-F-G) in a scale applies, although some of the above pentatonics allow for the use of alternate note names