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Pentatonic scales
Pentatonic scales are scales with five notes per octave. They are frequently used in
music all over the world. The word "pentatonic" comes from the Greek
word "pente" meaning five and "tonic" meaning tone. Talk of "the" pentatonic scale
generally make reference to the major pentatonic scale and its relative minor. It's a
mistake, indeed there are many types of pentatonic scales (Egyptian, Ritusen, Man
gong, Altered, Locrian...). Pentatonic scales are considered earlier than heptatonic scales
(seven-note scales) and are divided into two categories : 1

 Containing semitones (hemitonic)

 Without semitones (anhemitonic)

The purpose of this eBook is not to cover all the pentatonic scales, but to propose
some soloing ideas, using only pentatonic scales, that will help you to expand your
vocabulary over the main chord changes found in jazz standards. Please note that
pentatonic scales can be considered as five-notes arpeggios so any of the scales in
this book could be called "five-note arpeggios".

Major and minor pentatonic scales

The best known are surely the major pentatonic and the minor pentatonic scales
(also known as "the relative minor pentatonic"). They do not have semitones they belong
to the anhemitonic family. They contain the same notes, for every major scale, there is
a relative minor scale and for every minor scale there is a relative major.

 Relative minor scales begin on the sixth degrees of major scales.

 Relative major scales begin on the third degree of minor scales.

Let's take an example with C major pentatonic (C - D - E - G - A). It has the same notes
as the A minor pentatonic (A - C - D - E - G). The sixth degree of C major pentatonic is
the tonic of A minor pentatonic scale.

Now another example with the G minor pentatonic scale (G-Bb-C-D-F). The relative
major pentatonic starts on the third degree of G minor. Thus giving the Bb pentatonic
scale (Bb-C-D-F-G).

Pentatonic boxes

Major and minor Pentatonic scales are commonly grouped in five positions named
"boxes" corresponding to the five pentatonic modes of the major pentatonic scale.
Learning these "boxes" can be useful when you want to cover all the guitar neck. Here
they are :

Pentatonic one-octave shapes

However, the most efficient way to master pentatonic scales is to play them in "one
octave shapes" and transpose them in the twelve keys. Any guitar student must be
able to play any pentatonic scale in one-octave shapes starting on any string at any fret.
This also applies to every scale.

Major pentatonic one-octave shapes

Minor pentatonic one-octave shapes

Now that you are familiar with the common pentatonic shapes both major and minor, we
will see how to develop them on the guitar neck.

How to develop pentatonic scales

4 directions

Many beginner guitarists used to practice scales in two directions only, generally "up-up"
and "down-down". It is a good place to begin. However, it is important to practice them
in all four directions :

 Up & up

 Up & down

 Down & down

  Down & up

You must be able to play the major and minor pentatonic scales (and any other
scale) in all four directions using the one-octave shape diagrams previously seen. This 4

is an excellent warm up exercise.

The circle of fifths

Now you can try to play the pentatonics following the

circle of fifths. The circle of fifths is a useful device
when you want to practice scales, chords or
arpeggios over the 12 keys. Generally it is presented
in the form of a circular diagram that shows the
sharps and flats in each key, and show how
a key works in relation to one another. You can check
the interactive circle of fifths by Rand Scullard.
The first example below, show you how to play the
major pentatonic scale following the circle of fifths in up & up movement, whereas the
second is up & down. You need to do the same down & up and down & down with both
minor and major pentatonic scales.

 Up & up

 Up & down

The circle of fourths

The circle of fourths is also great for practicing

scales, chords and arpeggios. It is very efficient
to learn about the guitar neck and give the
student a solid intuition of chord progressions.
This is the relationship between the twelve notes
of the chromatic scale. Every note resolves to
another note a fourth above it. In other words,
by following the circle of fourths, you play all the
notes separated from each other by five semitones
(a fourth).
 While the cycle of fifths moves from left to right, if you move from right to left, then you
have the cycle of fourths.

So now, try to play the major and minor pentatonic scales following the circle of
fourths in all four directions (up & up, down & down, up & down, down & up).

Other intervals 5

Another good way to practice the pentatonic scales consist to play them by intervals
(seconds, thirds, sixths and sevenths) following once again the four directions
previously seen. You can check out this page which lists the intervals.
Here is an example of major pentatonic scales played in intervals of minor thirds
(Three semitones).

 Up & up

Melodic patterns

A melodic pattern is a repetitive sequence or a figure that can be used with any scale.
Melodic patterns are very useful for learning scale fingerings and develop your
sense of improvisation. The concept is simple, the variations endless. The principle is
to play the notes of a scale in a certain order. For example, with the C major pentatonic
scale which is C-D-E-G-A :

 C is the I degree (1)

 D is the II (2)
 E the III (3)
 G the V (5)
 A the VI (6)

You can choose to play the pattern 1-3-2-5-6 thus giving the following exercise :

Now, try another pattern : 2-3-1-5-6

The possibilities are endless. Now that you have understood the principle, try to create
your own melodic patterns by playing them in intervals following the four
directions.
 Please note that all the exercises shown previously can be applied to all the pentatonic
scales discussed in this eBook. Don't forget to vary the rhythm and the fingerings on the
guitar neck in order to create your own exercises.

Soloing over the main important chord

progressions 6

II-V-I sequences
Major II-V-I (Dm7 - G7 - Cmaj7)

The II-V-I sequence is the most common chord progression played in jazz music and a
must know for any guitarist who wants to learn jazz language. In this progression the
II, the V and the I (chords and scales) are constructed based on the corresponding
second (II), fifth (V) and first (I) step of the major scale.

Soloing over the iim7

MINOR OPTIONS

Since there are three minor pentatonic scales in a major scale on the II, III and VI
degrees, it will be possible to play them on the ii chord.

 The first and most obvious choice is to play the minor pentatonic scale starting
on the tonic of the minor chord which is the ii of the major scale. (Licks 1-6-7-
8-9-17-18-19-20-22-24)

Dmin pentatonic scale against the Dm7 chord

Dmin pent. D F G A C
Dm7 chord 1 b3 4 (11) 5 b7

 The second choice is to play the minor pentatonic scale starting on the third
degree of the major scale. This means that you can play a minor pentatonic
scale starting on the second of the ii chord. This way you will highlight the ninth
(2), the eleventh (4) and the thirteenth (6) of the ii chord. Example, over Dm7
(D, F, A, C) just play an E minor pentatonic scale (E-G-A-B-D). E is the ninth (9)
of D, G the eleventh (11), A the fifth (5), B the thirteenth (13) and D the root (1).
(Licks 2-12)

Emin pentatonic scale against the Dm7 chord

Emin pent. E G A B D
Dm7 chord 2 (9) 4 (11) 5 6 (13) 1
  The third option is to play the minor pentatonic scale starting on the sixth
degree of the major scale. So play the minor pentatonic scale starting on the fifth
of the ii chord. Example, over Dm7 play A minor pentatonic (A-C-D-E-G). You will
highlight two interesting notes, the ninth (9) and the eleventh (11) of Dm7. (Licks
3-13-14)

Amin pentatonic scale against the Dm7 chord

Amin pent. A C D E G
Dm7 chord 5 b7 1 2 (9) (4) 11
7

 Now the fourth option would be the Dorian pentatonic scale (1-2-b3-5-6)
sometimes referred to as "Kumoï scale". This will highlight the ninth (9) and the
thirteenth (13). As you can see, there is no fourth (4). (Lick 4-10-11)

D Dorian pentatonic scale against the Dm7 chord

D dorian D E F A B
pent.
Dm7 chord 1 2 (9) b3 5 6 (13)

Dorian pentatonic scale - One-octave shape

MAJOR OPTIONS

The major scale contains three major pentatonic scales on the I, IV and V
degrees, it means that :

 You can play a major scale starting on the minor seventh (b7) of the iim7
chord, which is actually the I degree of the major scale. C major pent over Dm7.

C maj. pentatonic scale against the Dm7 chord

C maj pent. C D E G A
Dm7 chord b7 1 2 (9) 4 (11) 5

 You can play a major scale (the relative major) starting on the minor third (b3)
of the iim7 chord which is the IV degree of the major scale. Play Fmaj. pent. over
Dm7. (Lick 5)

F maj. pentatonic scale against the Dm7 chord

Fmaj pent. F G A C D
Dm7 chord b3 4 (11) 5 b7 1
  You can play a major scale starting on the fourth (4) of the iim7 chord which
corresponds to the V degree of the major scale. Play Gmaj. penta over Dm7. This
option will highlight the 9, 11 and 13 of the minor chord.

G maj. pentatonic scale against the Dm7 chord

Gmaj pent. G A B D E
Dm7 chord 4 (11) 5 (6) 13 1 (2) 9

Soloing over the V7 8

THE DOMINANT PENTATONIC SCALE

It is now time to introduce a very important pentatonic scale, the Dominant pentatonic
scale also known as Mixolydian pentatonic. This scale contains the four notes of a
dominant chord (1-3-5-b7) with a supplementary note, the ninth (9). It could also be
viewed as a Dominant 9th arpeggio (1-3-5-b7-9). It is therefore an interesting scale
choice for improvising over a dominant chord. (Licks 1-10-17-20-21-23)

G dominant G A B D F
pentatonic
scale
Formula 1 2 (9) 3 5 b7

Dominant pentatonic scale - One-octave shape

 The second option would be to play a major pentatonic scale (1-2-3-5-6) over
a V7 chord for a 9 or a 13 sound. So, just play G major pentatonic over G7. (Licks
2-18)

G major pentatonic scale against the G7 chord

G maj.pent G A B D E
G7 chord 1 2 (9) 3 5 6 (13)

 You can play the relative minor of G major pentatonic. Because G7 is a major
chord type, it is possible to play an E minor pentatonic scale over. Which is
tantamount to playing a minor pentatonic scale from the sixth of a dominant
chord (Lick 3)

E minor pentatonic scale against the G7 chord

Emin.pent E G A B D
G7 chord 6 (13) 1 2 (9) 3 5

 Playing a minor pentatonic scale from the second of a dominant chord will
highlight the ninth (9), the eleventh (11) and the thirteenth (13). For example,
play A minor pentatonic over G7. (Licks 4-19)
 A minor pentatonic scale against the G7 chord
A min.pent A C D E G
G7 chord 2 (9) 4 (11) 5 6 (13) 1

 Playing a minor pentatonic scale starting on the fifth of a V7 chord produce a

sort of a 7sus4 sound. For example, playing Dm pentatonic over G7. (Licks 5-6-
22)

D minor pentatonic scale against the G7 chord 9

D min.pent D F G A D
G7 chord 5 b7 1 2 (9) 4 (11)

Major II-Valt-I ( Dm7 - G7alt - Cmaj7)

There are many options when you want to play altered lines over a dominant 7
altered chord, you can use diminished scales (half-tone / whole-tone), the altered
scale, the Dorian b2 scale, but you can also play altered lines using pentatonic scales
only, here are some suggestions :

Soloing over the V7alt

APPLYING THE MINOR PENTATONIC SCALE TO ALTERED DOMINANT CHORDS

Remember this : Over an altered dominant chord you can play a minor pentatonic
scale based on the minor third (b3), the fourth (4) and the minor seventh (b7).

 When playing a minor pentatonic based on the minor third from a dominant
chord you get an altered sound. For example, Bbm pentatonic contains the notes
of G7alt. This is surely the best option when you want to get all four of the altered
extensions (b5, b13, b9, #9). (Licks 7-13-14)

Bbmin pentatonic scale against the G7 chord

Bb min Bb Db Eb F Ab
penta
G7 chord #9 b5 (#11) b13 (#5) b7 b9

 Playing a minor pentatonic scale based on the fourth highlight the b13 and
#9 so it's a good option over dominant 7 (b13,#9) chords. However, you will have
to be careful in your handling of the natural 4th, indeed this one can be bother to
ear. So, play C min penta over G7. (Lick 8)

Cmin pentatonic scale against the G7 chord

C min C Eb F G Bb
penta
G7 chord 4 (11) b13 (#5) b7 1 #9

 The third option is to play a minor pentatonic scale based on the minor
seventh. You will get three extensions for the altered dominant chord (b13, b9
and #9). Once again, be careful with the natural 4th. (Lick 9)
 Fmin pentatonic scale against the G7 chord
F min F Ab Bb C Eb
penta
G7 chord b7 b9 #9 4 (11) b13 (#5)

THE TRITONE SUBSTITUTION

 On the V7 you can play the dominant 7th pentatonic scale a tritone (three 10
whole tones) away. This is what we call the "tritone substitution". For example,
for G7 use Db7 pentatonic (Db-Eb-F-Ab-B). (Lick 10)

Db7 pentatonic scale against the G7 chord

Db7 Db Eb F Ab B
pentatonic
G7 chord #11 (b5) b13 b7 b9 3

OTHER ALTERED PENTATONIC SCALES

 The dominant #11 pentatonic scale (1-2-3-#4-b7) as its name implies

highlight the #11 (b5) of a V7 chord. (Lick 11)

G7#11 pentatonic scale against the G7 chord

G dominant G A B C# F
#11 penta.
G7 chord 1 2 (9) 3 #4 (#11 or b5) b7

Dominant #11 pentatonic scale - One-octave shape

 You can also try the 7b13 scale (1-2-3-b6-b7) that fit with 7b13 chords. (Lick
12)

G7b13 pentatonic scale against the G7 chord

G7b13 G A B Eb F
penta.
G7 chord 1 2 (9) 3 b6 (b13) b7

Dominant b13 pentatonic scale - One-octave shape

  Another concept is to raise or lower any one or several notes within the
dominant pentatonic scale, thus giving a number of possibilities. Here are some
examples with G dom7 pentatonic :

The b7 is raised or lowered

G7 penta G A B D F
G A B D F#
G A B D E
G A B D Eb 11

The 5th is raised or lowered

G7 penta G A B D F
G A B D# F
G A B Db F

An important trick used on II-V-I sequences, is to play three minor pentatonic

scales spaced apart of 1 semitone one from the other.

 iim chord: Play the minor pentatonic starting on the 5th degree of the II
chord. This way you will highlight the fifth (5), the minor seventh (b7), the root
(R), the ninth (9) and the eleventh (11) of the minor II chord. Example, for
Dm7 play A Minor pentatonic).
 V7alt chord : Play the minor pentatonic scale up a half step starting on the
#9 of the V7alt chord (Bb-pentatonic over G7alt for example). Therefore, you
will play the main altered tones of the V7alt namely #9, #11, b13, b7, b9.
 Imaj7 chord : Play the minor pentatonic up a half step again starting on the
7th of the I maj7#11 (Example with B minor pentatonic for Gmaj7#11). Thus
giving the 7, 9, 3, #11 and 13 of the I chord. (Lick 13-14)

Minor II-Valt-I (Dm7b5 - G7alt - CmMaj7)

The minor II-V-I sequence is equivalent to the major II-V-I sequence but played in
minor harmonic key. It is present in many jazz tunes (Autumn leaves, Blue Bossa, Black
Orpheus). It is a must know for any guitarist who wants to learn soloing over tunes in
minor keys.

Soloing over the iim7b5

There are limited options to play over m7b5 chords with pentatonic scales.

 A simple pentatonic based option is to play the Locrian pentatonic scale (1-b3-
4-b5-b7). Over Dm7b5 just play D Locrian pentatonic (D-F-G-Ab-C). (Lick 15)

D Locrian pentatonic scale against the Dm7b5 chord

D Locrian D F G Ab C
pent.
Dm7b5 1 b3 4 (11) b5 b7
chord
Locrian pentatonic scale - One-octave shape

12

 The second has no particular name. It's a minor seventh flat ninth arpeggio
with a b2.The formula is 1-b2-b3-b5-b7. It can also be seen as a pair of triads (1
diminished triad + 1 minor triad). (Licks 16).

Dm7b5 pentatonic scale against the Dm7b5 chord

Dm7b5 D Eb F Ab C
penta
Dm7b5 1 b2 (b9) b3 b5 b7
chord

m7b5 pentatonic scale - One-octave shape

Soloing over the V7 (b9-b13)

min7b5 pentatonic on V chords

 You can also play another m7b5 pentatonic scale (1-2-b3-b5-b7) starting on
the b7 of the dominant 7 chord. For example, just play Fm7b5 pentatonic over
G7b9b13. (Lick 21-24)

F7mb5 pentatonic scale against the G7b9b13 chord

Fm7b5 F G Ab B Eb
penta
G7b9b13 b7 1 b9 3 b13

m7b5 pentatonic scale - One-octave shape

  The Dorian b2 pentatonic scale, aka Phrygian pentatonic (1-b2-4-5-b7) is
actually taken from the second mode of the melodic minor scale. It can be
used over V7(b9) chords. It is a good option to highlight the b9 of a Dom7 chord.
However, pay attention to the use of the 4th (11), it can clash with the major
third of the V7 chord. Example with G7b9, just play G Dorian b2. (Lick 16-19)

G dorian b2 pentatonic scale against the G7b9 chord

G Dorian G Ab C D F 13
b2 pent.
G7b9 1 b2 (b9) 4 (11) 5 b7

Dorian pentatonic scale - One-octave shape

 The altered pentatonic scale, aka 7b9 pentatonic scale (1-b2-3-5-b7) is also
a great option to highlight the b9 of a dominant 7 chord. In contrast to the
previous scale, you may notice that there is a third instead of a fourth. (Lick 15-
18-22-24-25)

G altered pentatonic scale against the G7b9 chord

G altered G Ab B D F
penta scale
G7b9 1 b2 (b9) 3 5 b7

Altered pentatonic scale - One-octave shape

II-V-I licks

Lick # 1

14

Lick # 2

Lick # 3

Lick # 4
Lick # 5

15

Lick # 6

Lick # 7

Lick # 8
Lick # 9

16

Lick # 10

Lick # 11

Lick # 12
Lick # 13

17

Lick # 14

Lick # 15

Lick # 16
Turnarounds and other progressions
The following exercises represent the most important chord progressions found in jazz
standards. Each line is built with one or more pentatonic scale.

Imaj7- vim7 - iim7 - V7 (Cmaj7- Am7 - Dm7 - G7)

Lick # 17
18

Imaj7 - VI7(b9) - iim7 - V7 (Cmaj7- A7b9 - Dm7 - G7)

This turnaroud variation can be found in "rhythm changes"

Lick # 18

iiim7 - V7(b9) - iim7 - V7 (Em7 - A7b9 - Dm7 - G7)

Here is a variation of the previous turnaround with a diatonic substitution. The original
Cmaj7 is replaced by Em7.

Lick # 19
Imaj7 - I#dim7 - iim7 - V7 (Cmaj7- C#dim7 - Dm7 - G7)

A turnaround variation with a passing diminished chord (C#dim7).

Lick # 20

19

III7 - VI7(b9b13) - II7 - V7 (E7 - A7b9b13 - D7 - G7)

Here is another turnaround variation with 4 dominant chords. This exercise involves
playing two minor pentatonic scales over E7 and D7, Gm7b5 pentatonic over
A7(b9b13) and a G dominant pentatonic over G7.

Lick # 21

I7 - VI7(b9) - iim7 - V7 (C7 - A7b9 - Dm7 - G7)

The I7-VI7-iim7-V7 turnaround is an essential component of jazz blues tunes. Notice that
you can use the D minor pentatonic scale both over Dm7 (ii) and G7 (V). This way you
will highlight the 9 (A) and the 11 (C) of G7.

Lick # 22
I7 - IV7 - I7 - I7 (C7 - F7 - C7 - C7)

The next example represents the first four bars of a classic blues progression in C. As you
can see in the bar 2, you can play a m7b5 pentatonic scale (1-b2-b3-b5-b7) starting
on the major third of a dominant chord.

Lick # 23

20

Imaj7 - II7 - iim7 - V7(b9b13) - Imaj7 (Cmaj7 - D7alt - Dm7 - G7b9b13 - Cmaj7)

The following progression can be found in jazz standards like "Take the A train", "The girl
from Ipanema" or "Desafinado".

Lick # 24

IVmaj7 - ivm7 (Fmaj7 - Fmin7)

The IVmaj7 - ivm7 sequence can be found in many jazz tunes like "All of me" (bars 25-
26) and All the things you are (bars 25-26). The example takes five bars (25-26-27-28-
29) of all of me including the IVmaj7 - ivm7 sequence.

Please note the use of a major pentatonic scale variation (1-2-3-5-7) over Fmaj7,
Cmaj7 and Em7, containing a 7th instead of a 6th. It can also be seen as a maj9
arpeggio.
 Lick # 25

21

Conclusion

Now that you have a quick overview of the main pentatonic scales, try to transpose
the lines proposed in this eBook in other keys. You can also try to apply them to your
favorite chord changes and standards. Obviously, the aim is absolutely not to only play
pentatonic scales, but to mix them in your improvisations with different scales and
arpeggios.

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