January 10, 2019 at 7:04 am #121874
one of my goals in 2019 is to memorise all pentatonic positions at most in standard keys including the overlapping sections minor/major pentatonic. Basis therefor is lesson EP 130 and it is thought as a step by step process over a longer period. Until now I learned the 5 minor-positions isolated from major and rather schematicly from low to high and back. I tried, all minor and major positions for an example in A completely to illustrate, but its simply to confusing. Brian s method concentrates mostly at the higher strings and at smaller parts and that seems obviously to be the better way. In case of major pentatonic I still want point out as follows: Pos. 1 of major is of exact same shape, but it is located 3 frets lower as the minor pos. 1 – and surprisingly it sounds major-like happier. But essential condition is, to think and play in relation to the root note, to understand it as a tonal center. For example in key of A you have to begin or end with A. The reason is, that pos. 1 of A major pentatonic is completely identic with minor pentatonic in F#. If you see F# as your focus, you get a wonderful sad minor Blues in F# with the same tones.
January 10, 2019 at 7:40 am #121875
Pentatonic scale is a good start. Only learn what you will use! I tried learning different modes etc but I don’t remember any of it because I couldn’t find a use for it. It took time but I eventually learned the whole pentatonic scale in different keys. I now try to use embellishments from the full minor scale or major pentatonic scale. I think next will be to try and tackle the CAGED system and so I can learn how to embellish chord tones into my solos/riffs.
January 10, 2019 at 12:08 pm #121882
Well, mostly all scales can be viewed as alterations of the major scale, which is diatonic (seven notes). Pentatonic (five notes) just leaves out 2 of them. The relation between major and minor pentatonic is the same as between major and minor diatonic. i.e. C major and A minor share the same notes. As Dieter pointed out, there is only a different root note (tonal center) which plays the main role. Major and minor chords always come in pairs. There is always a corresponding minor chord to a major chord, which share the same notes. (relative minor/major).
The same thing applies to the so called church modes:
C Ionian (C)share the same notes as:
A Aeolian (Am) or
same notes but different feel, depending on the tonal center.
What really helped me out to understand this important stuff is a small book from Troy Stetina, which gives an excellent overview of all those scales.
January 10, 2019 at 1:01 pm #121883
The best way to learn the pentatonic scale positions is by using them in actual licks. And one of the best collections of licks – separated into the 5 positions – is in the Blues Lead Course. Go through it, and you will have fun playing while learning at the same time.
January 10, 2019 at 4:53 pm #121898
I’m just now coming to an understanding with one aspect of the major and minor pentatonic scales when playing blues (I have a feeling I’m the last person to know this?). I’m sure Brian has covered it before but I don’t think I was ready for it, it just hit me, finally. When playing over the I7, use the I major or I minor scale. When playing over the IV7 or V7, use the I minor only. So simple.
There are other things you can do with scales over the I7, IV7 and V7 (one of them is “chord-chasing,” treating the IV7 and V7 as the parent/tonic chord, which then allows you to use a major or minor scale over all of them), but that one simple thing in the first paragraph has kind of changed my outlook.
January 10, 2019 at 9:53 pm #121921
There are only 5 positions for pentatonic scales. The trick is knowing where they lie for each key.
How about trying to learn them this way. Learn the major and minor in the same shape for one key. As you learn to play it, learn also to sing it, both ways. Get the sound ingrained into your head. Then try playing the same soun horizontally on each string. Find the sound. Then do it vertically in another position, not by memorizing a shape, but by finding the sound you already know. This will be slower to start, a little, but much much faster in the long run. You will start connecting your ear to the fretboard.
January 12, 2019 at 4:27 pm #122036
Agree with Duffy and by that I mean use the full scales and learn the difference between the two scales because it will help understanding the modes / everything need to visualize playing outside the typical pentatonic shapes which is a box compared to playing outside the box..mixing scales etc.
January 12, 2019 at 4:41 pm #122038
Learning how to .. remember a pentatonic scale is just that..5 note scale in any key do it and than do a regular major or minor scale 7 notes natural scale in any key.. so your mind understands the difference between the two pattern scales.from holding a full bar chord or any open chord..try indentify the scale inside that chord you focus on . Notes in the type of chord make the arpeggios / individual played notes of that particular chord..this will help understand basically the modes or variation between all scales played
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