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Scale Patterns
Pentatonic
Scale Patterns
5
positions of the pentatonic scale
This lesson is intended to accompany the pentatonic scale series, so make
sure you've learned the basics there first!
Now we're going to expand out of these "boxed" pentatonic scale
patterns that we initially learn, based around 5 positions, to free up
our playing for more
fretboard coverage.
The easiest way to learn any scale across the entire fretboard is to
break it up into patterns built around each degree of that scale.
In other words, each note/degree of the scale marks the first note of a
new boxed pattern, and once you've learned the patterns at each degree
you can link them together to create one large scale pattern.
Now, as there are both minor and major pentatonic scales,
we're going to cover both in this lesson. First, minor pentatonic...
Minor
pentatonic scale patterns - the 5 positions
As we learned in the minor pentatonic lesson, this
scale has just 5
tones - 1,
b3,
4,
5
and 7. Tone
1
is our root note, and wherever that note lies is the key of the scale.
So if the 1st note was G,
the scale would be build upon that note and it would become G minor
pentatonic.
Remember though, even though we're going to build a large G minor
pentatonic scale below, the final pattern will be movable, meaning you
can change its key simply by moving the root note to a new position.
The rest of the scale moves with it accordingly.
As we're in G for this example, let's first lay the scale's intervals
out across the low E string. These positions will be our marker points
for building 5 boxed patterns, one for each degree...
Tip: When learning scales, learn how their intervals
appear across single
strings like above.
So, let's start with the first degree, building a boxed pattern you
should already be familiar with...
Then to the next position of minor pentatonic, built on the minor 3rd...
The 4th...
The 5th...
The 7th (actually a flat 7th/b7)...
I've also labelled it at the 1st fret because fret 13 is of
course the octave position of the 1st fret! This means that the D and G
strings would be played open in this particular position.
And then we're back to the 1st/root pattern at its octave. We can now
merge these boxed degree patterns into one large G minor pentatonic
pattern...
Remember, once we get to the octave, the pattern repeats with the same
5 pentatonic scale positions mapped out. So it doesn't
matter what key you're in or where you are on the fretboard - the 5th
pattern will always follow the 4th and precede the 7th. The 3rd pattern
will always follow the 2nd and precede the 4th etc.
Major
pentatonic scale patterns
So, using exactly the same technique as above, let's build up a large
major
pentatonic scale pattern. This time I'm in the key
of A.
The intervals for this scale are: 1,
2,
3,
5
and 6 from
the major scale.
Again, start with laying out the intervals of the scale across the low
E string...
Now let's build the boxed patterns at each degree. Starting with the
1st position which we already know...
The 2nd...
The 3rd...
The 5th...
And finally the 6th...
Below is what we've created...
It really is as simple as that. Obviously, you'll have to spend time
memorising these visual patterns, so here are some tips for seeing the
"big pentatonic picture":
- Learn two boxed patterns at a time and build
phrases that move
inbetween them. Then try moving between 3 patterns. Then 4, etc.
- Once you're confident with moving between all 5
boxed patterns, try and
single out 3 specific intervals (e.g. 1, 3, 5) and move between them
right across the large pattern.
- Apply the large scale pattern in sharp (#) and
flat (b) keys (e.g. F#,
Bb, C# etc.). This will help you really engrain that pattern into your
mind. Don't just rely on the fret markings!
- Apply the pentatonic scale patterns beyond
their octaves.
Be aware that learning scales across the entire fretboard like this
will take time, but I cannot stress enough how rewarding this knowledge
will be once you crack it. You're soloing will be free and fluid and
you'll be able to use tapping, slides, large hammer-pull intervals and
other techniques covered in the lead guitar section far more
intuitively.
Study hard, but please take your time!
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