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Pentatonic Scale
The
Minor Pentatonic Scale
Unbox the minor pentatonic
scale on guitar
This lesson we'll be looking at the minor pentatonic scale on guitar -
probably the most used scale in rock music, definitely the
most used scale in blues (although there is an extended "blues scale"
which we'll look at another time!).
This scale uses only 5 tones, hence the name pentatonic.
One of the major limitations I see guitarists put
on their playing is boxing themselves in. What I mean is, they would
just play the pentatonic scale in one position and neglect the rest of
the guitar neck - is this you? Later on, I'll show you
how to unbox your pentatonic licks so you have the freedom to roam the
fretboard. It's really just a case of memorising scale patterns
and it doesn't take much work with a simple 5-note scale.
So... let's get to know the minor pentatonic scale!
Minor
pentatonic scale - the basic pattern
I mention time and time again, like a broken mp3, not getting boxed in
with
your scales, but obviously you have to start somewhere, so it may as
well be the boxed pattern that is most commonly used by guitarists.
Below is the fuller, natural
minor scale (also the 6th mode, Aeolian), from which the tones of
minor
pentatonic can be drawn.
The 1
note is known as the root note
of the scale, and the note on which
this lies is the key of the scale. So if the root note lied on the note G, the
scale would be G minor.
What makes the scale minor? The minor
3rd (also known as a flat 3rd/b3).
Now let's remove some notes to create a simpler, pentatonic scale:
Hear G minor pentatonic >
As the minor 3rd (b3) is still there, it's still a minor scale, but now
it
just contains 5 notes from the fuller minor scale above. Knowing where
cut-down scales originate from allows you to mix pentatonic and fuller
scales into your music seamlessly.
Now let's look at the
suggested fingering for this boxed pattern:
We can also learn the boxed
pattern with an A string
root note:
So now we're able to apply the minor pentatonic scale around
those familiar chord shapes that use E and A string root notes (e.g.
the E and A shape barre chords).
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Playing
minor pentatonic over chords
As mentioned before, minor pentatonic works predominantly over minor
chords due to the minor 3rd note, so let's have a play around with the
boxed patterns to begin with.
The idea is not just to play it in sequence, from root note to root
note, but rather skip around the scale and find interesting phrasings.
Move up and down the scale, vertically and horizontally.
Many guitarists use the "call and response" technique, which is where
you play a phrase that sounds unresolved (e.g. it might have the
characteristics of asking a question), then you
"respond" with a more resolving phrase (e.g. a sequence that ends on
the root note or another "safe note").
Click to hear a simple "call and response"
example >
That particular phrase started and ended on the root note, which is
seen as a "safe note" or stable
tone which is useful for naturally resolving a
sequence. Another safe note is the 5th
of minor pentatonic.
Another common technique is to stagger your way up or down the scale in
a "run". The first run example is like taking 3 steps (notes) forward,
1 step back, another 3
forward, 1 back, 3 more forward etc.
Click to hear >
Now try 5 steps forward, 2 back, 5 forward etc.
Click to hear >
You can just mirror or invert that pattern when coming back down
the scale for a similar effect.
Finally, let's try a more complex sequence which I'll tab out to help
(click the tab to hear):
I've only scratched the surface there! Try and come up with your own
runs and staggered sequences.
Now let's try some more vertical
movements across the 6 strings as opposed to just horizontal movements.
The below sequence is: 1
- 5 - 1 - b3 - b7 - 1 - 5 - 4 - b3 - 1 - 5 - b3 - 1
Click to hear string skipping example >
Remember, these are all using the boxed pattern from earlier.
These "one note per string" vertical movements are the foundation for playing arpeggios (another lesson
altogether!), and as we're playing minor pentatonic, you can play a
basic minor arpeggio by playing the root note (1), minor 3rd (b3) and
5th (5). Those 3 notes make up the basic minor triad and can be used to
compliment the other types of phrases we heard above. Mix it up!
We'll look at more complex sequences in another lesson. One step at a
time!
The
big minor pentatonic picture
Ironically, the easiest way to expand out of boxed scale patterns is to
create more
boxes, and link them through your knowledge of the sequence of notes in
the scale. In the case of minor pentatonic, that's:
1 b3 4
5 b7 1
b3
etc.
It's also useful to learn the intervals
between these notes so you know how to get to the next note no matter
where you are.
Let's start by simply extending that original boxed pattern either side:
Tip:
It's a good idea to learn the relationship between intervals in the
scale. For example, the root
- 3rd
interval has
a distinct sound,
as does the 5th
- root
interval.
Don't just look at it as scales stuck together, try to see it as one
big scale. Look at the individual strings and learn what interval
pattern is created on each. This will soon get your brain out
of "box mode" and into free-flow mode.
Play around with that pattern
- incidentally, because all the root
notes land on the note A in the diagram above, that's the key this
whole scale will be in! To change key just shift
the whole pattern up or down the neck.
See
if you can link up the end of that pattern with the beginning, knowing
that the 12th fret notes are the same as the open string notes, just an
octave higher. Fret 14 notes will be the same as fret 2, fret 17 the
same as fret 5 etc.
The
big minor pentatonic jam
When you're ready, time to put things into practise (and practice).
Use the below backing tracks to experiment with minor pentatonic (and
any other minor scale that's compatible). Some things to focus on:
- String skipping and jumping around the scale rather than just one note after the other in sequence.
- Try
the occasional run and think about which notes you start and finish the
run/phrase on (e.g. ending a phrase on the minor 3rd can sound good).
- When
the chord changes, try and highlight this in your solo by choosing a
note that compliments the change. When the chord changes back to the
tonic ("home" chord), think about which landing notes sound good.
Enjoy!
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