Introduction to Pentatonics (Part 1)

As you might know, the pentatonic scale is one of the most popular scales in musical history. It’s utilised worldwide eastern and western composers alike. The scale shows up in pretty much all areas of music in one form or another, but it’s much more prevalent in some genres than others.

One such genre is Blues. Pentatonics are it’s absolute bread and butter. The overwhelming majority of Blues chord progressions, scales and melodies all fit within the pentatonic format.

Since Blues tends to follow this format, it’s the ideal are to start with when exploring the Major and Minor Pentatonic scales. In this post, we’ll explore basic use of both scale types over an E Minor, then an E Major backing track.

The Minor Pentatonic

Typically played, as the name suggests, over a Minor Blues chord progression. Start on the 12th Fret of the E string (E) and play the scale, ascending and descending. Get comfortable with it before moving onto the next section.

The Major Pentatonic

This one is typically played over a Major Blues chord progression. Start on the 12th Fret of the E string (E) and play the scale, ascending and descending. Get comfortable with it before moving onto the next section.

Connecting the Pentatonics (Relative Minors and Majors)

Here’s where things get interesting. Each of the Minor and Major keys have a corresponding Minor and Major key. This is known as the relative Minor/ Major. In practice, this means that the notes of the G Major Pentatonic will work over an E Minor chord progression (and vice versa). This relationship between Minor and Major keys is known as the Enharmonic Equivalent. But don't worry about this for now, concentrate on getting the shapes down and take a look at my theory related posts when you've gotten comfortable with them.

Take a look at the diagram and see how the Minor and Major Pentatonics connect up into one fluid shape. Practice ascending up to the last note of the Minor scale, and then descending to the first note of the Major scale. You can mix it up by starting with the Major shape and ending with the Minor one. It’s up to you, whatever helps you familiarise yourself with connecting up the two.

I’ve coloured the start and end notes of the Minor and Major Pentatonics red, to help you find your way.

Utilising Chromatics Within Pentatonics

The chromatic scale is an interconnected, atonal scale without a tonal centre. This makes it extremely dissonant sounding when played over a melodic backing track. When the chromatic scale is played over a backing track, only some of the notes will be in key. Those outside the tonal centre will clash with it, resulting in the aforementioned dissonant feel.

*Remember: When using chromatics in your playing, try not to linger on any of the non-diatonic notes. Unless you’re intentionally trying to go for an ‘outside’ sound, playing consistently out of key will tend to just result in a horribly dissonant mess. Try to implement them quickly, skilfully and sparingly.

*The Pentatonic diagram below is outlining the E Aeolian Mode. If you don't know what that means, check out my post Introduction To Modes. It's the same as the E minor scale. Don't focus on that right now anyway, we're in Pentatonic land...

However, when used quickly, and in passing, utilising chromatic notes in conjunction with the diatonic (in key) notes of a scale can make your playing a lot more interesting.

Check out the diagram above. It might seem like just a mass of colours at first glance, but concentrate for a second: I’ve coloured the start and end notes of the Minor and Major Pentatonics red, like before. The chromatic notes are coloured blue, and the black notes are the remaining diatonic notes of the pentatonic (and remaining diatonic minor scale notes if you want to get technical).

The Flat 13 (b13)

Nicknamed ‘The Blue Note’ this use this note in particular to spice up your playing. While it’s not technically in the appropriate key, the flat 13 can be used to introduce some nuance and character to your soloing. Try incorporating it into your playing over the E Minor backing track.

When playing over an E Minor/ G Major progression, the flat 13 would be located on the 15th fret of the G string (A#).

Exercise

The links below will let you access a air of backing tracks. One is for an E Minor Blues, one for a E Major Blues. Play through each one at least once, and try out each of the concepts we’ve covered.

E Minor Blues Backing Track- https://www.youtube.com/watch?v=C897aN1ew2k

E Major Blues Backing Track- https://www.youtube.com/watch?v=HKfEtmi2qBw

Conclusion

Now that we’ve covered all of the basics, try to use all of these sections together and and create licks, solos and improvisational ideas of your own. Don’t just stick to Minor keys. Try out backing tracks in Major keys as well, and get a feel for how the Pentatonic shapes are laid out across them.

Great Job!

*Remember: If you’re playing over a standard Minor or Major chord progression and find yourself lost on the fretboard, find the Minor or Major Pentatonic of the backing track’s key, and then find it’s relative Major/ Minor shape. A Minor Pentatonic shape is always just a few frets away from a Major shape, and vice versa.