In folk music, the pentatonic scale is quite common. This phenomenon is closely connected with the emergence of primitive communities.
The so-called instruments, which at that time were far from the usual appearance and sound, began to gradually develop along with the human brain and its communication skills.
During the study, such nationalities as the Mongols, Koreans, Chinese and Asians were carefully studied, in whose musical sounds there is not a hint of semitonality. To understand what exactly is at stake, it is recommended to read more about Turkish folk music on http://www.irfangurdal.com/.
This music is actively used primarily for therapeutic purposes and health and rehabilitation programs. It is necessary to highlight several significant facts regarding the origin:
- the scale provides for the sound of five voices;
- the starting point is considered to be modern Central Asia;
- in modern realities, the pentatonic scale is common in China, Japan, India, the Urals and the Bali Islands, as well as in some parts of North America.
Pentatonism in Turkish folk music
At one time, serious research was carried out in the field of music, or rather, Turkish folk motives were affected. The local music of Anatolia is characterized by the following undeniable features:
- first of all, it is imperative to note the diversity and richness due to the active participation of various nationalities in this process of developing local culture;
- accepting foreign cultural values on their lands on a permanent basis for a long time, music could not stand aside and not undergo changes;
- from a political point of view, Anatolian musical works have always been considered as Turkish motifs, without going beyond beliefs;
- the study showed that Turkish music personifies pentatonicism in its face, which has been proven more than once.
This concept assumes that there are five separate sounds, evenly distributed in the sound range. This can be done using a choice of one of the three methods proposed below:
- the octave is divided into five equal segments;
- the sequence of sounding without fail includes not only triads of a major orientation, but also, of course, semitones;
- in this case we are talking about the complete absence of any halftones, which means that it is required to provide for sufficiently long gaps.