Learning the Pentatonic scale

The pentatonic scale is the guru of improvisers. And it is not difficult to find out why everyone
uses this scale to exhaustion: it is easy to do and easy to apply. A few decades ago, some
musicians made millions on just playing that scale.

Today it is not so easy to get rich by playing the pentatonic scale, after all, any beginner
musician already learns to use this scale (and usually spends the rest of his life doing just that).

What is pentatonic scale?

So let’s understand what this scale is. The concept is very simple: the major pentatonic scale is a
collection of notes from the major scale.

We know that the major scale has 7 notes. The pentatonic scale chose 5 of these notes and
created another scale. When the major scale stops having 7 notes and starts to have 5, it gets
the name of Penta.

Okay, it is a reason for celebration: the pentatonic scale has notes that when played generate
a pleasant melody, even if it is only the execution of the scale up and down. This makes
everyone’s life easier!

Just memorize the pentatonic scale and when you improvise a song on the major tonality,
instead of “elaborating” a sentence with the major scale you play the pentatonic scale which is
already guaranteed success!

The pentatonic scale played back and forth is cool, from front to back it is also cool, from
middle to end, from end to beginning, from beginning to middle, cool, cool, cool.

Okay, if you’ve never heard the pentatonic scale in your life, go to a keyboard or piano and play
the black keys one after the other. This is the sound of a pentatonic scale.

There are many shapes for pentatonic scales; this example of the black keys was just one that
facilitates observation because it is very practical. If you don’t have a keyboard, don’t worry, we
will explain in detail how this scale is formed.

Major and Minor Pentatonic Scale

The pentatonic scale can be major or minor. The major pentatonic scale contains 5 notes of the
major scale, and the minor pentatonic scale contains 5 notes of the minor scale.

A shape for the C major pentatonic scale can be:

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*Notes played: C, D, E, G, A

Now see a shape for the A minor pentatonic scale:

*Notes played: A, C, D, E, G

Compare these scales (C pentatonic and A minor pentatonic) with the scales of C major and A
minor, respectively. Note that the major pentatonic took 5 notes of the major scale, as we have
already commented, and these were degrees 1, 2, 3, 5 and 6.

In other words, degrees 4 and 7 were removed! The minor pentatonic took degrees 1, 3, 4, 5
and 7 of the minor scale. In other words, it removed degrees 2 and 6!

Note: The normal thing would be to start and end with the same note in the shape of a scale,
but we prefer to end the scale with another note here in these shapes so that you understand
the logic of the scale on the fretboard.

We chose to show the C major pentatonic and the A minor pentatonic because these two scales
contain the same notes. A minor is relative to C, remember?! If this is not in your blood yet, go
back and study the relative minor, apply it, then continue your journey, because accumulating
knowledge not to use and then forget it is a total waste of time! It would be more worthwhile
to spend your time watching Netflix or playing Angry Birds…

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Pentatonic scale on the Piano/Keyboard

See an example of the major and minor pentatonic scales on the keyboard below:

Major Pentatonic Scale:

Tonic – Major 2nd – Major 3rd – Perfect 5th – Major 6th

C Major Pentatonic:

Minor Pentatonic Scale:

Tonic – Minor 3rd – Perfect 4th – Perfect 5th – Minor 7th

C Minor Pentatonic:

How to use the pentatonic scale

We have already mentioned that the pentatonic scales (major and minor) can be used in the
same place where the major natural and minor natural scales are used, respectively. But the
pentatonic, in addition to being able to be used in these contexts, can still be used in other
contexts where the natural major and minor scales cannot (we have one more reason for you
to like it!).

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An example is blues. Soon you will see in the article “Introduction to blues” that the pentatonic
scale is the master queen of this style. We will show you examples of application of the
pentatonic scale in major and minor contexts here in this article and, in the article “Introduction
to blues”, we will show you the use of the pentatonic scale in blues.

We strongly recommend that you take the opportunity to also practice the pentatonic scale
within blues, as it is a lot of fun! Spend hours and hours, days and days doing this, and you will
become a natural improviser.

How to practice pentatonic solos

But how should you practice the pentatonic scale to make progress and enjoy what you are
doing? Follow these steps:

Step 1: Memorize the minor pentatonic scale well and apply it in the tonal context. That is, you
can play with this scale within a minor or a major key (playing the pentatonic of the relative
minor, in this case). Do this for quite some time.

Step 2: Apply the minor pentatonic in the context of blues, after reading the article
“Introduction to blues“. Do this for quite some time.

Step 3: Now that you are quite familiar with the minor pentatonic, memorize the major
pentatonic and apply it in the tonal context as well, just as you did in step 1.

Step 4: If you play a string instrument, play the pentatonic scale starting at all degrees. Do the
following training, which will expand your skills on the instrument’s fretboard: we will play the
pentatonic scale in the key of C major, but starting from other degrees (other sections of the
instrument’s fretboard). We will start first from the G note, playing the other notes of the C
pentatonic (this will generate a particular shape).

Then, we will do this same pentatonic scale, only now starting from the A note. There is nothing
magical about it, we will play the same notes that we played before, we will just be starting at A
instead of starting at G. Then we will do the same for the other degrees (because on the string
instruments the shapes are different). Check out the shapes below and memorize each one
well:

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This is the same idea we had to form the musical modes. In the case of the modes, there are 7
notes on the scale, so starting with each degree results in 7 scales. Here at the pentatonic we
had 5 scales.

Now the mission is to practice in the same way that you did in the previous steps. Apply these
shapes in tonal and blues contexts.

Okay, you already have material to study for months and months! Your resourcefulness in
improvisation is taking shape. If you only master the concepts we have covered so far you will
be able to improvise on the vast majority of the songs there are. So don’t waste your learning!
Put it into practice!

Introduction to Blues

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The invention of the Blues

Blues was created in the late 19th century in the United States, where slaves, who worked on
cotton plantations, chanted songs and laments that gave rise to the style.

It was gospel music being sung, since the precarious conditions did not allow for the “luxury” of
using instruments. Later, this style entered the church, where it packed the services practiced
there.

Blues has developed over the years, influencing and giving rise to other styles such as jazz, rock,
soul, etc.

But after all, what is blues?

What everyone knows as blues is the chord sequence: First degree, Fourth degree, First degree,
Fifth degree, Fourth degree, First degree. In short, this is the simplest and easiest sequence that
characterizes blues. Now let’s see this in detail with the bars, defining the rests in each degree:

| 1st degree | 1st degree | 1st degree | 1st degree |

| 4th degree | 4th degree |

| 1st degree | 1st degree |

| 5th degree | 4th degree | 1st degree | 1st degree, 5th degree |

Note: The sequence is usually ended by placing the fifth degree (in orange) in the middle of the
last bar, before repeating everything again. Example where the first degree is G:

| G7 | G7 | G7 | G7 |

| C7 | C7 |

| G7 | G7 |

| D7 | C7 | G7 | G7 D7|

Bar lines of the Blues

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Notice how the chords in this example are all sevenths. This is a peculiarity of the blues.
Another detail is that blues contains exactly 12 bars. Just count the bars we described above up
there and check.

Great, now notice that we started with 4 bars in the first degree. Then we have two bars in the
fourth degree and then we return to the first degree by making two more bars in it. Here comes
the “climax” moment, where, with each measure, we play a different degree: fifth degree,
fourth degree and first degree. Finally, we split the last bar into two parts, playing the first
degree and the fifth degree within it, then we start all over again. Hear this example:

In short, we can define blues as being a 12-bar structure where we play with 3 chords (first,
fourth and fifth degrees), all with sevenths.

This is a very simplistic definition and does not cover all variations of blues, but since this topic
is only introductory, this definition helps to memorize the basics about the style.

Another example of blues

Well, another way to build this blues that we show is, instead of playing 4 bars in the first
degree, play 1 bar in the first degree, 1 bar in the fourth degree and 2 bars again in the first
degree. So, instead of staying 4 bars on the same chord, we vary a little while also playing the
fourth degree in one measure. The structure looks like this:

| 1st degree | 4th degree | 1st degree | 1st degree |

| 4th degree | 4th degree |

| 1st degree | 1st degree |

| 5th degree | 4th degree | 1st degree | 1st degree, 5th degree |

Note that the only change we made was in the second bar, which used to be First degree and
now became Fourth degree.

Great, now that we know the basics of how to make blues, it’s time to know how to improvise
on top of a blues song.

How to improvise over the blues

There are many, many, many resources to use in blues. In this topic we will restrict ourselves to
just one: the pentatonic scale. Later on, after you have studied other topics and mastered other

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subjects well, we will return to blues by exploring more advanced features, enabling you to
become a master of the blues. For now, just stay on the pentatonic scale and learn how to use
it. In fact, 99% of musicians do nothing but the pentatonic when improvising a blues solo, just
because they don’t know anything else.

So let’s start, what pentatonic scale can we use to improvise in blues? The minor pentatonic
scale of the first degree. For example, on the previous base we worked on, the first degree was
G, so you’re going to use the minor pentatonic scale of G. That’s it! Now take the base that we
created previously and be happy applying the minor pentatonic scale of G on top of it!

Note: in the case of string instruments, try to use the pentatonic scale on the entire fretboard of
the instrument! This will make you a great improviser, someone who explores all possible
spaces. Check out the shapes at the end of the article “pentatonic scale” to study this scale to
its fullest extent.

Perhaps you are thinking: “Why can we use the minor pentatonic of the first degree?”; “Where
did this rule come from?” Well, the explanation for this is a little complex. For now, just take it
as a rule and practice that this way. In the future, by studying this book, you will reach your
own conclusions thanks to a greater baggage of acquired concepts, rest assured.

Great, you completed our initial blues study. If you want to put these concepts into
practice, search on YouTube for 12 bar blues backing track and you will find numerous bases
with this format.

Don’t stop practicing what you’ve learned. The process of fluency and mastery over any subject
in music is long and requires dedication; but it’s also a lot of fun! Dedicate yourself and you will
reap the rewards! If you didn’t know the blues, this study will certainly be very important for
your musicality. Now it’s your turn to spend a lot of time on the instrument practicing this
study.

Learning the Blues scale

The blue note in blues scale

The blues scale (or Pentablues) is the pentatonic scale plus one note. This note became known
as the “blue note“, and is the flat fifth in the case of the minor pentatonic, or the flat third in
the case of the major pentatonic.

Notice that the note that was added is the same on both scales, just memorize the minor blues
scale and transmit that note to the other shapes when making a solo. Check the shape of the A
minor blues scale (with the blue note highlighted in red) below:

A minor blues scale

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Notes played: A, C, D, Eb, E, G

Now check the C major blues scale and notice how the note added is the same (Eb):

C major blues scale

Notes played: C, D, Eb, E, G, A

Great, but now the basic questions arise: where did this scale come from? And what is it for?

The blues scale is one of the first scales taught to improvisation students, and it usually ends up
being the only scale they use besides the major and the pentatonic scale.

It finds its roots in African-American music at the time of slavery and ended up being widely
used within blues, receiving the name “blues scale”.

The term “blue note” is usually translated as “outside note“, due to the fact that this note does
not belong to the natural scale. The name “pentablues” came about because this scale is the
pentatonic scale plus one note. However, many musicians refuse to call this scale pentablues,
as it does not have 5 notes (penta), but 6, making this name contradictory.

Undoubtedly, the most correct name is “blues scale”, but that doesn’t matter, the most
important thing is to know how to use the scale!

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How to use the Blues Scale

So, the use of the blues scale is the same as the pentatonic scale. We can apply it anywhere we
would apply the traditional pentatonic, just watching out for the fact that the blue note is
a passing note, that is, it should appear only in the middle of other notes, and not as a resting
note.

This is not difficult to understand, as the blue note is a dissonant note on the natural diatonic
scale. We must not rest on it because that would be out of tune.

Try it. Listen to a song in the key of C major and play the Eb note. Doesn’t it look very strange?
Now play the blues scale on top of that same song. Did you notice how this same Eb, when
played along with other notes, is really cool?!

Chromaticism of the blue note is one of the most pleasant chromaticisms there are, which is
why this scale is so widespread. Knowing how to use the blues scale well takes some practice,
but progress is very fast.

Some tips and examples to practice the blues scale

It is worthwhile to practice this scale, as the blue note gives a special flavor to any song when
properly placed! Don’t stick to this scale as if it were the only scale in the world, since it is very
common for musicians to use it to exhaust their ideas and limit themselves to nothing else.

Understand that this scale has been, and continues to be, played millions of times by musicians
worldwide, that is, you will not differentiate yourself out there playing the blues scale. It is one
of the most widely used resources in music, so don’t be enchanted by the easy rewards it
produces.

Of course, this does not mean that you should despise it, quite the contrary. Master it well, but
continue studying other things later. Continue your learning in this book and mix your blues
scale with other scales and resources to create your own flavor. It is important to highlight this
before we continue.

Finally, we will show you the shapes of the blues scale in the entire fretboard of the guitar,
because in string instruments, we have a different shape for each degree (as with the
pentatonic scale). The idea is the same as we mentioned for the pentatonic scale: master the
blues scale over the whole fretboard! As you may already be mastering the full pentatonic
scale, this process is going to be smooth! So good studying!

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11
Music Modes
You may have heard the names “Mixolydian”, “Dorian”, or something similar. It looks like
something out of this world, right? Well, we will show you that these and other names are, in
reality, very simple subjects and easy to understand and practice. They appear in the context of
music modes (or Greek modes). But what are them?

This article is organized as follows:

Ionian Mode
Dorian Mode
Phrygian Mode
Lydian Mode
Mixolydian Mode
Aeolian Mode
Locrian Mode
The origin of the Greek modes
How to use modes (creating Modal Music)
Music modes are nothing more than 7 different models for the natural major scale. Let’s drill
down to make it clearer:

Take the natural major scale. It corresponds to the first mode, the so-called Ionian mode. We
will show you where this denomination came from later, don’t worry about it now. Okay, you
already know a music mode! Congratulations!!

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Ionian Mode

To make it easier, let’s work on the C major scale as an example. We already know what the
Ionian mode is:

C Ionian Scale: C, D, E, F, G, A, B

Observed sequence: tone-tone-semitone-tone-tone-tone-semitone

Shape:

Tip: It is the major scale itself.

Note: For all modes, we will show the observed sequence, a tip and the scale’s shape.

Dorian mode

The next mode is the so-called Dorian mode. It is nothing more than the same major scale that
we are working on, but starting from the D note.

Here is the Dorian mode (in the key of C):

D Dorian Scale: D, E, F, G, A, B, C

Observed sequence: tone-semitone-tone-tone-tone-semitone-tone

Shape:

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Tip: It is the minor scale with the major sixth.

Well, maybe you haven’t noticed the usefulness of that yet. People generally start to get
confused here and find this study boring. Well, let’s explain this right so you don’t give up for no
reason!

We just played D Dorian, right? This automatically means that key is C major. Why?

Precisely because we built the Dorian scale using the notes of the C major scale. The tone-
semitone, etc. format deduced for the Dorian scale was different from the natural major scale
because we started with another note and not the first degree. We started from the second
degree. This is why there is a difference in the shape. Having understood that, we can find a
practical application.

In the study of chords of a key, we show the chords that are part of the C major tonality. Let’s
say, for example, that a song starts in Dm and then continues with the chords: Am, F and Em.
We can conclude that the tonality of this song is C major, even though the C chord has never
appeared in the song (so far, not a new concept!). So, if we want to improvise a solo on top of
this song, we will use the C major scale. But, since the song is around D minor, our solo could
start with the D note instead of the C note to give a more characteristic ambience, right?

This is where the D Dorian comes in! We can say that we are soloing in D, because we are
“emphasizing” the D note (beginning and ending with it), but using the C major scale as a
reference.

Moral of the story: we are using the D Dorian scale for our solo, because the chord is D minor,
but the key is C. Or we can just say that the key is D Dorian.

Phrygian mode

Okay, let’s move on. Now we are going to use the C major scale starting from the E note. The
sequence will look like this:

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E Phrygian Scale: E, F, G, A, B, C, D

Observed sequence: semitone-tone-tone-tone-semitone-tone-tone

Shape:

Tip: It is the minor scale with the minor second degree.

This is called the Phrygian mode. The practical use is exactly the same as the previous example,
but thinking of E minor instead of D minor. If we wanted to solo in E minor in a song that had
the tonality of C major, we would use the scale of E Phrygian.

Lydian Mode

The next mode is the Lydian mode. It starts with the fourth degree of the major scale. Just to
recap, we are using the C scale as an example, so the fourth degree is F (before the third degree
was E, and so on). Greek modes can be constructed from any major scale, we are only showing
the C scale here. Then we’ll show it on another major scale to help clarify. Let’s see how our F
Lydian scale looks like:

F Lydian Scale: F, G, A, B, C, D, E

Observed sequence: tone-tone-tone-semitone-tone-tone-semitone

Shape:

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Tip: It is the major scale with the augmented 4th.

Mixolydian mode

The fifth mode is the Mixolydian mode. On the C major scale, the fifth degree is G. See the
scale of G mixolydian below:

G Mixolydian Scale: G, A, B, C, D, E, F

Observed sequence: tone-tone-semitone-tone-tone-semitone-tone

Shape:

Tip: It is the major scale with the minor 7th.

We have already explained the use of music modes from the point of view of improvisation, but
it would be interesting to take this moment to make an observation for string instruments.

Tip for string instruments

If we wanted to solo a song that is in the key of C major starting with the G note, we would use
the G mixolydian scale (so far, nothing new here). Perhaps you are still not convinced of the
usefulness of this in practice because you are thinking: “If I want to use the C major scale

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starting with the G note, I take the C major shape, in the section where I would do the C major
scale, and make this shape starting from the G note:

Okay, there’s no problem with that. But let’s say a song changes in tonality. Imagine that you
were in G major and now you are in C major. You were soloing in G major using the scale below,
in this section of the instrument’s fretboard:

Now that the song has become C major, you have jumped to this section:

If you knew the shape of G Mixolydian, you could continue in the same section that you were
before, but changing the shape that was this one:

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For this:

This would make the solo infinitely more beautiful and fluid, since the change of tonality in the
solo would be very smooth and pleasant.

If, in this example, you change the section of the fretboard to think of the C major scale, you
will make this change in tonality much more abrupt and hard to swallow.

Listen to musicians like Pat Metheny, Mike Stern, Frank Gambale and watch how they work
on modulations (changes in tonality). This fluidity comes from the complete mastery of shapes
in music modes.

In addition, knowing the shapes of these modes well will help you not to stick to one scale
shape only, which would make your solo “square” and repetitive. In addition, this skill provides
total control of the instrument’s fretboard.

Aeolian mode

Okay, the next mode is the Aeolian mode and it corresponds to the sixth degree. In our
example, the sixth degree of C is A, so check how the scale was below:

A Aeolian Scale: A, B, C, D, E, F, G

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Observed sequence: tone-semitone-tone-tone-semitone-tone-tone

Shape:

Tip: It is the natural minor scale!

We then found a new name for the natural minor scale: Aeolian mode. The natural major scale
had already received a name too, remember? Ionian mode.

You may have noticed that the sixth minor degree is the relative minor (we have already
studied this), so making a solo using the Aeolian mode is nothing more than soloing a song
using the relative minor.

Locrian mode

The seventh and final mode is the Locrian mode. Check it out below:

B Locrian Scale: B, C, D, E, F, G, A

Observed sequence: semitone-tone-tone-semitone-tone-tone-tone

Shape:

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Tip: It is the minor scale with the minor 2nd and diminished 5th.

Training music modes with degrees in mind helps our minds and ears to quickly identify the key
of a song, as you get used to the patterns.

Great, since we did everything on the C major scale, let’s now quickly show what the sequences
would look like using the G major scale (instead of C major), so you can see the shapes of these
modes starting from the 6th string:

Other shapes (for string instruments)

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Notice how the sequences (tone-semitone, etc.) were exactly the same as the sequences of our
study that used the C major scale. The shapes were different because we were starting from the
6th string instead of the 5th.

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These shapes presented starting from the 5th and 6th strings keep the same structure for other
tonalities. This is very favorable, since by learning shapes for these tonalities you will learn it for
all of them and you just need to transpose the same shapes to other tonalities.

Throughout our musical study, you will hear about these modes more often. Seeing their
application in different contexts you will broaden your vision and you will become more and
more convinced of their usefulness. The important thing is that you now practice them and
spend time on these shapes, understanding where they came from.

Before we finish our first study in music modes, let’s satisfy your curiosity by telling you where
these strange names came from.

The origin of music modes

Music modes emerged from ancient Greece. Some peoples in the region had peculiar ways of
organizing the sounds of the tempered western scale. These peoples came from the regions
of Ionia, Doria, Phrygia, Lydia and Aeolia. That’s why they gave rise to the names you just saw.

The Mixolydian mode arose from the mixture of the Lydian and Dorian modes. The Locrian
mode appeared only to complete the cycle, because it is little used in practice.

The Ionian and Aeolian modes ended up being the most used, being very widespread in the
Middle Ages. Later, they ended up receiving the names “major scale” and “minor scale”
respectively.

The funny thing is that every music student ends up learning the names “major scale” and
“minor scale” first, even before hearing about Ionian and Aeolian modes, even though the
Greek modes came before that and are the parents of these scales.

How to use modes (Modal Music)

Another very common application for music modes, mainly in styles related to jazz, is modal
music.

Modal music is different from tonal music. The whole concept of chords of a key, harmonic
functions, progressions, etc. are part of tonal music. Modal music is not interested in
“respecting” such concepts.

Let’s consider, for example, this chord progression:

| Dm7 | G7 | Cmaj7 |

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In the Cmaj7 chord, we can think of using the C Lydian scale instead of C major (C Ionian). We
have already seen that the difference between the Ionian scale and the Lydian scale is just one
note. What would tonal music tell us about this idea?

Tonal music would say: “If you want to use the Lydian scale in this case, the note that
characterizes this scale needs to be used quickly, as a passing note, after all it is not part of the
C major scale”.

Modal music would say: “Emphasize, characterize, rest on the note that identifies the Lydian
scale, to make it very clear that you are playing C Lydian, not C major”.

Did you notice the difference? Modal music will always try to deliver the “flavor” of the mode in
question, no mattering if it will decharacterize the key of the song or the harmonic function.

So the logic is as follows: about the progression | Dm7 | G7 | Cmaj7 | you can think of playing
the C major scale on the Dm7 and G7 chords (nothing new so far), but when you go to Cmaj7
you try to play the C Lydian scale (emphasizing the F# note, which is the note that characterizes
this scale in this case). This will provide your solo in a modal characteristic, making the listener
think that the tonality has changed (after all, C Lydian is equivalent to G major). This experience
is very interesting and used a lot in jazz.

Imagine that we can do this for other chords, thinking about the major and minor modes. For
example: I can play the Dorian scale on a minor chord.

Theoretically, in minor chords we can think of using the Dorian, Phrygian, Aeolian and Locrian
modes. In major chords we can think of using Ionian and Lydian modes. In dominant
chords (V7) we can use the mixolydian mode.

In practice, the most common in jazz is to use the Lydian mode on major chords and the
Dorian mode on minor chords. In addition, of course, to the mixolydian mode in the dominant
chords. So as a homework topic you can practice these modes a lot and invent some phrases
that emphasize the notes that characterize them. This will bring interesting characteristics to
your improvisations!

Major Pentatonic vs Minor Pentatonic - and How to Combine Them

Scales, Music Theory
The first scale most guitarists learn is the minor pentatonic scale.

It’s versatile, it’s easy and is used in a good 90% of the memorable guitar solos we know and
love.

Eventually, you’ll probably feel it’s a bit limiting in isolation. So where should you go next?

23
One often overlooked alternative is the major pentatonic - a scale which is not as different as
you might think.

Recap: What is the Minor Pentatonic Scale?

In musical terms, the minor pentatonic scale is made up of 5 notes. We often refer to these
notes as:

1 - b3 - 4 - 5 -b7

which is really just comparing it to the notes of a major scale.

For example, a C Major Scale is made up of C - D - E - F - G - A - B. We count C as 1, D as 2, E as 3

and so on.

So, using that knowledge, a C Minor Pentatonic Scale is made up of the notes:

C - Eb - F - G - Bb

All of these notes also appear in the C Natural Minor Scale, so you could also think of it as a cut
down Natural Minor Scale if you’d prefer.

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Root notes marked with red circles.

For more info on Minor Pentatonic, check out:

 The only 3 scales you absolutely need to master on the guitar (hint: Minor Pentatonic is
one of the 3, and Major Pentatonic is not, but I’ll explain why that is shortly)
 Easy Minor Pentatonic Guitar Solos to Learn
 Challenging Minor Pentatonic Guitar Solos to Learn

Why bother learning any new scales if Minor Pentatonic is the most popular?

The only reason to learn new scales is to either:

 broaden your options

 give you new ways to play the same notes, which will encourage new creative ways of
putting notes together

So, if you’re already happy with the minor pentatonic and feel no need to broaden your sound
with more options or feel like you have enough creative options already, then the rest of this
article is not for you!

If, however, you want more, read on.

What’s the Major Pentatonic Scale?

If you’re familiar with relative minors and majors, the major pentatonic scale is just a relative
minor pentatonic scale.

In other words, it also has 5 notes, which would be:

1-2-3-5-6

So a C Major Pentatonic scale would be

C-D-E-G-A

Note that they’re not the same numbers, or scale degrees as the minor pentatonic scale, which
means you’ll have gaps in different places to the minor pentatonic.

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Root notes marked with red circles.

It’s arguably a little harder to play than the minor pentatonic scale, but not by much.

Now, in regards to relative majors and minors, the notes for A minor pentatonic are:

A-C-D-E-G

If you compare that to our C Major Pentatonic scale, you’ll see they’re the same notes, just in a
different order. C Major Pentatonic and A Minor Pentatonic are relative scales - the same thing
played in a different context.

In practical terms, that means the two scales are interchangeable, so with a bit of music theory
knowledge, you can make a Major Pentatonic shape sound like a Minor Pentatonic Shape and
vice versa. We’ll talk more about that in a minute.

When to use the Minor Pentatonic scale

The minor pentatonic scale sounds great over songs in a minor key. For example, if the song is
in A minor, the A minor pentatonic scale will work really well.

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Similarly, any time you’re play over a minor chord, the parallel minor pentatonic scale will work
nicely. For example, if the chords progression is Dm - Em - Am, I could match the chords by
soloing with a D minor Pentatonic, E Minor Pentatonic and A Minor Pentatonic scale.

That’s the basic use cases, but you can get some other cool effects by playing the minor
pentatonic over chords other than straight minor chords, so take this more as a starting point
rather than a rule.

When to use the Major Pentatonic scale

Take everything I said above and swap it for major chords. Easy.

How to move between both Minor Pentatonic and Major Pentatonic Scales

There’s two approaches I’d recommend to begin with.

The first is to take a song in either C Major or A Minor and use both the C Major Pentatonic and
A minor Pentatonic to solo over the song.

In effect, you’re really just using one scale, because both scales only have A - C - D - E - G in
them, but this is a great way to give you different ways to play the same notes for more
creative options.

Here’s an example of a shape that combines the Root 5 Major Pentatonic with the Root 6 Minor
Pentatonic:

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The left half is the C Major Pentatonic shape and the right half is the A Minor Pentatonic shape.
Note that the root notes would be either A or C, depending on whether you’re playing in a song
in the key of C Major or A Minor.

Alternatively, you could move between parallel Major and Minor pentatonic shapes, which is
great for blues, for example.

Let’s say you’re doing a solo over a blues in A. You would play the A Minor Pentatonic Scale at
times, then move to A Major pentatonic at other times to mix it up.

It takes practice to make it work, as you may hit some clashing notes depending on the chord
you’re playing over, but this can really open up your creative options, as you’d now have the
notes from A Minor Pentatonic:

A-C-D-E-G

plus the notes from A Major Pentatonic

A - B - C# - E - F#

in your arsenal.

In practice, I tend to only use Major Pentatonic for the occasional bit of extra colour rather than
considering it a go to scale for every solo, but used in the right way it can really bring an extra
dimension to your solos and melodies that really take it to the next level.

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