kennethreitz
ce93f429a2
Publish the Obsidian vault's Knowledge folder as /knowledge (881 notes, 67 folders), with a Knowledge item in the nav and footer. - scripts/import_knowledge.py regenerates data/knowledge from the vault: slugged paths, folder notes as index pages, wikilinks resolved to site links (or plain text), callouts, highlights, and Dataview tables rendered statically. Personal notes are withheld via an exclusion list plus a privacy guard. - tuftecms/core/knowledge.py builds a concept index from note titles and aliases. First mentions on ordinary pages link to their Knowledge note (capped, never in headings, code, links, or sidenotes); Knowledge pages list related notes and where they're mentioned across the site; other pages get a Related Knowledge block. - Knowledge URLs join sitemap.xml (so the sweep test covers them), never displace existing legacy slugs, list alphabetically, and mermaid diagrams render client-side only on pages that have them.
2.3 KiB
description, source
| description | source |
|---|---|
| Five notes, a whole century of feeling. | obsidian-knowledge |
Minor Pentatonic
Five notes, a whole century of feeling.
The Scale
The minor pentatonic is the natural minor scale stripped to its five most essential notes — the Aeolian mode with its second and sixth degrees removed. What is left is a lean, gapped structure with no half steps, built from a pattern of minor thirds and whole steps that lies naturally under the hand on a guitar and sits naturally in the human voice. Like its major counterpart it appears across the world's folk traditions, but in the West it became something more specific: the raw material of the blues, and through the blues, of nearly everything that followed.
Structure
| Attribute | Value |
|---|---|
| Notes (from C) | C E♭ F G B♭ |
| Interval formula | Five notes |
| Number of notes | 5 |
| Defining feature | The natural minor minus its 2nd and 6th; the backbone of blues and rock soloing |
Character
Where the major pentatonic is sunlit, the minor pentatonic is smoky and grounded. The flat third and flat seventh give it an aching, soulful edge, but the absence of half steps keeps it from ever sounding fragile — it is minor without being delicate, expressive without being fussy. It bends and slurs beautifully, which is why guitarists reach for it instinctively; the scale seems built for the physical act of pushing a string until it cries.
In Practice
This is the single most-used scale in rock, blues, and their descendants. Nearly every blues solo, every classic-rock lead break, every riff-driven hook draws on it. It is the foundation over which the Blues Scale adds its extra ache, and the vocabulary from which guitarists from Chuck Berry to the present have built their entire sound. If a beginner learns one scale for improvising, it is this one.