Pentatonics

I like to see the pentatonic scales and the minor scales in terms of how they
relate to the major eight note scales. How are they alike and how are they
different?

We know we can form a major eight note scale by following the pattern: Root, whole step,
whole step, half step, whole, whole, half to root (the eighth called octave)
In the key of A major, that scale is:  A B C# D E F# G# A

By planting that scale in our minds, we accomplish several side benefits. Right off,
we are starting to see scales in terms of numbers, or degrees, which is a great help
in getting a handle on progressions and intervals. Very important. But most
important is the progress towards mastery that just learning the patterns hardly
ever leads to.

Now then, let's talk about the pentatonic scales. We'll use  the A minor pentatonic as
an example. Pentatonic scales give us this access to blues, folk, and gospel sound.
In all too many case, that has turned  into instant access, which, in music, can be
the devil in disguise, long term.
On-line teachers teach  the patterns and positions, not the notes.
Once you learn the notes and learn to see the scales relative to the major and to
each other, things get way easier. Trust in that.
You tough it out with the notes. After a while, the patterns become natural. You have added the advantage learning how to read music.

The A major  scale is:  A B C# D E F# G# A

The A minor pentatonic scale is a five note primitive variation. The notes are A C D E G A
There are three approaches to learning that scale, not counting pattern playing, which is instant  access. They are:

(1) I like that because you can actually remember Acey-dayga. Play the notes.
(2) In terms of A major scale, play the 1, flat the 3, play 4, play  5,  flat 7, play 8.
(3) According to the pentatonic formula: Root, one and one half step, whole step, whole step, one and one half step, whole step to root (the eighth, called octave.)

Given the choice, one, two or three of the above, most sane students would pick number one, and consent to the pain of learning the scales and the notes on the instrument. The good thing is that you start with the root scale, called the one, then move on to the four, (D in this case) then the five (E scale) you can start to have fun.

Let's play that A minor Pentatonic scale in the third position.

Start with index on A. That is 5th fret E string.
Next, same  E string,  8th fret, play the  C.  Those are the first two notes of the scale.
The distance between, two frets, is the interval. It is one and a half steps.

Those are the first two notes. Now, down to A string (you know the interval -- one to four is
down a string, same fret) and play D with index.  Next, E with your ring finger, same string,
Down to D string. Same habnd position. Play  G note on the 5th fret. Play the octave (A)
with the ring finger.  We have spelled out acdega.

If all of these correlations between the correct finger for the respective notes seems like I am making a big deal of it, I am because it is a big deal. If you find yourself putting great effort and energy into getting the right hand position and the correct finger, pat yourself
on the back because you are doing something very right.

There are various approaches. I prefer to take a scale, let's say C scale, learn it in a position,then learn the four and five in the same position. It just seems easier, once
you get started, to expand knowledge of a position, rather than a scale. In other words, learn the C scale, then the  F major scale, then the G major scale. Then move on to another position. There are six in all.

Now then, getting back to the subject, since you have done your work and now know how to find the A on the guitar, and you have learned a scale in a position preference,  when A minor Pentatonic is called for, you simply play A C D E G A.  As you progress, you will recognize ACDEGA scales everywhere on the neck there is an A note. Way more flexible, now.

Hand position corresponds to dot on the neck. At first, you make little moves, maybe up a half fret, down a half, occasionally up a fret. The more you play, the bolder you get. Six positions turn into two threes.

Two threes turn into one six, and you are done. You have learned the neck.

We can go through the same process with the C maj scale if you would like. That's the traditional scale of choice.  For several reasons, the A major scale, and the A-D-E progression, has become the favorite of blues and country players who use Pentatonic Scales a lot. That is because the A minor pentatonic scale is so flexible.
The C minor pentatonic is C Eb F G Bb C
To play the C major scale at the third position:
The third hand position, third dot. Index finger is on the 5th fret. Pinky starts  C note on the 8th fret,  top fat E  string.  This is the first note of this C scale. Take it from there. You can play the C maj scale in two octaves starting  from that position and only have to move off that position once, and that is to play the B note on the first octave. The B note I am talking about is on the 4th fret G string.

I understand this seems like a lot. But the reason music theory is stressed is because in the long run it makes it easier, and opens more doors.

The only other thing I would comment to more advanced players (I consider myself a player, not a teacher) is that scales make sense when we pick out little tunes and runs using the scale as the guide to avoid sour notes. You can play around with the major scale and incorporate the pentatonic or minor pentatonic into your noodling around or creative composition. It's not so easy to incorporate the major or minor scale into a framework of knowledge of the pentatonic scale.

There's my contribution to my fellow musicians. Hope it was not too long winded.

A similar saying I picked up from a sax player in one of my bands was "if you hit a bad note repeat it most people will think you intended to play it"

Wow, EdShaw! That was a pretty thorough post, man!



I have started a series that will maybe be of some help to people? It will demonstrate all of the modes of the pentatonic scale in traditional and 3-note-per-string versions, talking about incorporating the blue note into all of those modes, as well as the 9 and 13, b13/#5, how and when those are applicable, etc... also how to super impose them over every kind of chord from different. Anyway, hope this helps :-)!

https://www.youtube.com/watch?v=00IvdMp … mp;index=2

I hear ya, Shaw. What blew my mind when I was in school, was learning that the Pentatonic can be played in multiple places on the neck to achieve every mode of the Major scale (which includes the minor scale of course because the aeolian mode, the minor scale, is the 6th mode of the major scale). In fact, you can even play notes from the altered scale with the pentatonic scale.

I know this is a tad rushed because I have to run at the moment, but as an example of what I mean: people might want to try these sweet tips/tricks.

Over an Amaj7 chord, you can play:
Bmin pent (bit tense, many scale tones)
C#min pent (Really good sounding)
F#min pent (That's the relative minor)
and G#min pent (The hippest of all, has the 7, 9, 3, #11 and 13)!

I gotta finish up some some stuff here in the studio, but I'll come back to add some more tips later! Also, my vids will cover all that eventually. I plan to be concise but also step-by-step thorough :-).

You can do a ton with pentatonics by only changing one note here or there.

Also play around on chord tones.