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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.

Natural minor scale (Aeolian)

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 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:

Minor pentatonic unboxed

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.

More on building large pentatonic scale patterns here.

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!

Download/Play	Key	E string root note	A string root note
Click here >	D	Fret 10	Fret 5, Fret 17
Click here >	D	Fret 10	Fret 5, Fret 17
Click here >	E	Open, Fret 12	Fret 7, Fret 19
Click here >	F#	Fret 2, Fret 14	Fret 9, Fret 21
Click here >	A	Fret 5, Fret 17	Open, Fret 12
Click here >	A	Fret 5, Fret 17	Open, Fret 12

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