The pentatonic scale has entirely simple symmetric patterns-shapes on 4-string and 3-string instruments, like 3-string Greek lyra, 4-double strings mandolin, 4-strings ukulele, 3 or 4-double strings Greek bouzouki. And this can be taken in full advantage for fast "dancing" soloing.
The Egyptian scale the Mongolian and the minor Pentatonic are different cyclic permutations or modes of the same scale.
The Egyptian scale the Mongolian and the minor Pentatonic are different cyclic permutations or modes of the same scale.
Here is a video with the penantonic scale called "tik" in the Pontian 3-string Lyra.
For 4-string instruments like Ukulele or Greek Bouzouki (or 4 higher strings of Guitar)
the pattern of the pentatonic scale is symmetric identical on the 2-strings and then symmetric identical on the other two strings and it is one of the next variations
dot-empty-empty-dot
dot-empty-empty-dot
dot-empty-dot
dot-empty-dot
OR
dot-empty-dot
dot-empty-dot
dot-empty-empty-dot
dot-empty-empty-dot
OR
dot- empty- empty-dot
empty -dot- empty-dot
dot- empty-dot- empty
dot- empty-dot- empty
Based on this extreme symmetry, the soloing can be very fast by hammering , pull-ups and , taping.
In addition by adding semitones at two of the ends we get diatonic scales, on which we may also solo in fast way.
The patterns for Mandolin, Violin, and in general instruments that two or more strings have interval distance of pure 5th , that is 7 semitones, are even simpler and more symmetric. If all strings have distance 4th or all have distance a pure fifth, then the pattern is symmetric on all 4-strings and not two by two.
Here is fast soloing on the Greek Pontian lyra on the scale "tik" pentatonic (tuning Β3, Ε4, Α4)
https://www.youtube.com/watch?v=ldy189LmLDs
Because the hammering and pull-ups is really fast but also is for at most 3 notes per string, it may be considered an horizontal harping or trill along a single string, where the trill is not on the same note but on notes at in interval of 2 or 3 semitones. Thus the whole of the soloing is like harping vertically among the strings and trilling horizontally across a string within at most 3-4 frets. This is done mainly close to the upper bridge, so as to use also the open strings.
Here is an example of this type of soloing with mandolin and not Lyra. (Here it may not be within Pentatonic scale only)
https://www.youtube.com/watch?v=CRZmloPOnXk
https://www.youtube.com/watch?v=Y_NRdhL-j6U
Because the hammering and pull-ups is really fast but also is for at most 3 notes per string, it may be considered an horizontal harping or trill along a single string, where the trill is not on the same note but on notes at in interval of 2 or 3 semitones. Thus the whole of the soloing is like harping vertically among the strings and trilling horizontally across a string within at most 3-4 frets. This is done mainly close to the upper bridge, so as to use also the open strings.
Here is an example of this type of soloing with mandolin and not Lyra. (Here it may not be within Pentatonic scale only)
https://www.youtube.com/watch?v=CRZmloPOnXk
https://www.youtube.com/watch?v=Y_NRdhL-j6U
In older centuries music (that still is practiced as traditional folk music) that the concept of harmony and chords had not been developed yet, the accompanying of melodies was not with chords but with a secondary counter-melody. E.g. if a melody was in a diatonic scale then a secondary counter-melody in the pentatonic sub-scale of the diatonic was accompanying, and actually, intervals of notes that were played (trilled) sequentially in time (like 3rds-6ths and 4ths or 5ths) were playing the role of chords!
ACCOMPANYING A MELODY WITH INTERVALS INSTEAD OF WITH CHORDS.
Another simple idea is that the countermelody (especially when it is on a simpler scale e.g. a pentatonic ) can be used to accompany the melody not with chords but with intervals from the simpler scale of the countermelody. E.g. we may utilize intervals by 3rds as in the role of minor diminished or augmented chords and the intervals of 4th or 5th as major or power chords
ACCOMPANYING A MELODY WITH INTERVALS INSTEAD OF WITH CHORDS.
Another simple idea is that the countermelody (especially when it is on a simpler scale e.g. a pentatonic ) can be used to accompany the melody not with chords but with intervals from the simpler scale of the countermelody. E.g. we may utilize intervals by 3rds as in the role of minor diminished or augmented chords and the intervals of 4th or 5th as major or power chords
