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The pentatonic scale, which means five note scale, is often the first scale guitarists learn when exploring improvisation.
This 5-note melodic device has been the source for some of the greatest music written, and greatest solos played, in recorded history.
Because of this, you might know how important it is for every guitarist to study this scale in their playing.
But.
What you may not know is that there are many different variations to this scale system beyond the classic minor and major pentatonic scales.
The material in this lesson will teach you how to create 14 different pentatonic scales, how to apply patterns to these scales, and how to use them in your guitar solos.
By working on a variety of pentatonic scales, youll expand your vocabulary, increase your fretboard knowledge, and explore the myriad possibilities that these 5-note scales can bring to your guitar solos.
Introduction
Are built by altering one note of the major or minor pentatonic scales
By working on the 7 major mode pentatonic scales in this manner, youll be able to:
Learn new scale shapes quickly as you relate them to a scale you already know
Lastly, as is the case with major scale modes, youll use each of these pentatonic scales to solo over specific chords in your playing.
As you use the Dorian mode to solo over m7 chords, youll use the Dorian pentatonic scale to solo over those same m7 chords.
Thisll give you a second melodic texture to use when soloing over chord progressions, as compared to only using 7-note modes in your solos.
The exception to this approach will be the major pentatonic scale, as it can be used to solo over two chord types in your playing.
So, time to get started by learning one of the most important pentatonic scales in modern music, the major pentatonic scale.
Major Scale R 2 3 4 5 6 7
Major Pentatonic R 2 3 5 6
As you can see, the major pentatonic scale is built by leaving out the 4 th and 7th intervals of the major scale, forming a 5-note scale shape in the process.
Again, because it is related to the major scale, the major pentatonic scale can be used to solo over major family chords such as:
Major
Maj7
Maj6
Maj9
Maj6/9
As well, this is one of the few pentatonic scales that can be used to solo over two families of chords.
When you compare the major pentatonic scale to the Mixolydian mode, you see that it shares 5 notes with the 5th mode of the major scale.
Mixolydian R 2 3 4 5 6 b7
Major Pentatonic R 2 3 5 6
Since it contains 5 notes from the Mixolydian mode, you can also use the major pentatonic scale to solo over dominant family chords such as:
7th
9th
13th
7sus4
Because theres no 7th of any kind in the major pentatonic scale, its a bit ambiguous as to which chord family, major or dominant, it comes from.
Therefore, you can use it to solo over both chord families in your playing.
Dorian R 2 b3 4 5 6 b7
Dorian Pent R b3 4 5 6
And for an A Dorian and A Dorian pentatonic scale the notes would be.
A Dorian A B C D E F# G
A Dorian Pent A C D E F#
The second way to build and visualize the Dorian pentatonic scale on the guitar is to lower one note from the minor pentatonic scale.
If you lower the b7 of a minor pentatonic scale by one fret you build a Dorian pentatonic scale.
Thisll make it easier to visualize, quickly build, and solo with this new scale, as youre comparing it to a scale you already know.
You can see and hear these two pentatonic scales back to back in the example below to begin comparing their sound qualities and shapes on the fretboard.
Once youve listened to the minor and Dorian pentatonic scales, play both scales back to back to see how they are only one note different on the guitar, but produce different sounds.
Then, put on the Am7 backing track and solo over that chord with both scales as you begin to hear how they sound when applied to a guitar soloing situation.
Phrygian R b2 b3 4 5 b6 b7
Phrygian Pent R b2 4 5 b7
As well, here are the notes in A Phrygian as compared to the notes in A Phrygian pentatonic.
A Phrygian A Bb C D E F G
A Phrygian Pent A Bb D E G
Besides comparing this scale to its related major mode, you can alter one note from the minor pentatonic scale to form the Phrygian pentatonic scale on the fretboard.
You can lower the b3 of any minor pentatonic scale by 2 frets to form a Phrygian pentatonic scale.
You can see these two scales back to back below for a quick comparison.
After youve listened to the example, play them on the fretboard to hear how they sound when compared to each other on the guitar.
Click to hear
Vm
As was mentioned in the intro to this section, the Phrygian pentatonic scale can be used to solo over two chords in your lead lines.
The most obvious application is to use this scale to solo over minor-family chords such as minor and m7.
When doing so, youll bring out the Phrygian b2 interval, making it sound like a Phrygian minor chord in your solos.
But, there is also a second application for this scale, dominant chords.
When applying the Phrygian pentatonic scale to a dominant 7th chord in your solos, youll be outlining a 7susb9 sound over that chord.
This might be a bit tense for some musical situations.
But, over a jazz or fusion song itll sound great.
And, it can even be used to turn a few heads in a blues tune as well.
As you learn the Phrygian pentatonic scale fingerings below, make sure to solo over both m7 and 7th chords to hear how both sound in your own playing.
Lydian R 2 3 #4 5 6 7
Lydian Pent R 2 3 #4 6
A Lydian A B C# D# E F# G#
A Lydian Pent A B C# D# F#
The other way to build a Lydian pentatonic scale, and the more practical on the fretboard for many players, is to lower one note of the major pentatonic scale.
By lowering the 5th of the major pentatonic scale by one fret, youll wind up with a Lydian pentatonic scale.
Here are both of those scales back to back so that you can see how they are one note different on the fretboard, but each produces a unique sound on the guitar.
Click to hear
Vm
After youve played through these major and Lydian pentatonic shapes, put on the jam track below and solo over the Amaj7 chord with both scales.
This will get your ears to learn the difference between these pentatonic scales, allowing you to build confidence with each in your guitar solos and riffs.
Mixolydian R 2 3 4 5 6 b7
Mixolydian Pent R 2 3 5 b7
And from an A root the notes for each scale would be.
A Mixolydian A B C# D E F# G
A Mixolydian Pent A B C# E G
The second way to build a Mixolydian pentatonic scale is to alter the major pentatonic scale by one note on the fretboard.
Raising the 6th of any major pentatonic scale by one fret will create a Mixolydian pentatonic scale shape on the guitar.
By approaching the Mixolydian pentatonic scale in this way, youll be able to learn a new scale and add a new sound to your solos without learning a new fingering.
Youll be adjusting previous fretboard knowledge to create a new scale in your playing.
Thisll help you be efficient in your practice time, as well as make it easy to switch between these two scales in your dominant 7 th chord solos.
Here are both of those scales side by side to compare their fingerings on the fretboard.
Click to hear
Vm
After listening to these scales back to back, put on the A7 jam track below and solo over that chord with both the major and Mixolydian pentatonic scales in order to hear how both sound when played over a dominant
chord on guitar.
Natural Minor R 2 b3 4 5 b6 b7
Minor Pentatonic R b3 4 5 b7
Because youll use the minor pentatonic scale to build all of the other minor-based pentatonic scales in this guide, make sure you memorize the interval pattern of this scale.
Thisll make it easier to lower or raise one note at a time to create other minor sounding pentatonic scales in your playing.
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Locrian R b2 b3 4 b5 b6 b7
Locrian Pent R b3 4 b5 b7
You can also build the Locrian pentatonic scale by altering one note in the minor pentatonic scale shapes.
By lowering the 5th of the minor pentatonic scale by one fret, youll build Locrian pentatonic scale shapes on the guitar.
Heres how those two scales look and sound to see how that works on the fretboard.
Click to hear
Vm
Once youve listened to these two scales, play them on the guitar to hear how they sound different, but are related from a fingering standpoint on the fretboard.
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Melodic Minor R 2 b3 4 5 6 7
mMaj7 Pentatonic R b3 4 5 7
As well, you can take any minor pentatonic scale shape you know, raise the 7th by one fret, and youve build a mMaj7 pentatonic scale.
Heres how those two scales look on the fretboard so you can see that fingering relationship on the guitar.
Click to hear
Vm
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Lydian Augmented R 2 3 #4 #5 6 7
Maj7#5 Pentatonic R 2 3 #5 6
The second way to think about this scale is to compare it to the major pentatonic scale shape.
By raising the 5th of any major pentatonic scale shape, youll create a maj7#5 pentatonic scale fingering on the guitar.
Heres how those two scales compare on the fretboard.
Click to hear
Vm
Once youve listened to these two scales, put on the Amaj7 backing track below and practice soloing over that chord with both the major and maj7#5 pentatonic scales.
Thisll help your ears get used to the new sound, and youll see how these two scales are directly related on the guitar.
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Lydian Dominant R 2 3 #4 5 6 b7
7#11 Pentatonic R 2 3 #4 6
The second way to think about the 7#11 pentatonic scale is to lower the 5th of the major pentatonic scale by one fret.
Heres how that comparison would look on the fretboard.
Click to hear
Vm
After you listen to the audio example, play both scales back to back, and solo with both scales over the A7 jam track to hear how they compare in your improvisations.
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Mixolydian b13 R 2 3 4 5 b6 b7
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7b13 Pentatonic R 2 3 b6 b7
The second way to think about this scale is to raise the 5th of the Mixolydian pentatonic scale that you learned earlier in this lesson.
Heres how those two scales line up on the fretboard so you can hear and see how they are related, yet sound different from an audible standpoint.
Click to hear
Vm
As is always the case when learning a new pentatonic scale, put on the backing track below and solo using the Mixolydian and 7b13 scales to hear how they compare in an improvisational context.
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Locrian #9 R 2 b3 4 b5 b6 b7
m9b5 Pent R 2 b3 b5 b7
The second way to picture this scale on the fretboard is to compare it to the Locrian pentatonic that you learned earlier.
By moving the 4th down to the 2nd of the scale, youll turn a Locrian pentatonic scale into a m9b5 pentatonic scale.
Heres how those two scales look for a comparison.
Click to hear
Vm
After learning to play the two sample fingerings above, put on the Am7b5 backing track and solo over that chord with both scales.
This will help you learn the similarities and differences between these two scales in an improvisational setting.
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5th Mode HM R b2 3 4 5 6 b7
7b9 Pentatonic R b2 3 5 b7
You can also think of this scale as a Mixolydian pentatonic scale with the 2nd note lowered by one fret.
Heres how those two scales look and sound to compare them on the guitar.
Click to hear
Vm
After playing through both scales, put on the A7 jam track and solo over that chord as you move between both scales in your lines.
Thisll help your ears become used to the new sound, and help you visualize both in comparison in a soloing situation.
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Phrygian Dominant R b2 3 4 5 b6 b7
Phryg Dom Pentatonic R b2 3 b6 b7
The second way to build the Phrygian dominant pentatonic scale is to raise the 5 th from the 7b9 pentatonic scale by one fret.
When doing so, you create the interval structure of the Phrygian dominant pentatonic scale on the fretboard.
Heres how both of those scales look on the fretboard to compare.
Click to hear
Vm
When youve listened to the above example, put on the A7alt jam track below and solo using both scales over that chord.
This is the best way to teach your ears the difference between these two scales.
As well, youll coach your fingers into recognizing the similarities between these shapes as well as the one-note difference on the fretboard.
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