Home

Scales

>
Minor
Pentatonic

Mục Lục

The Minor Pentatonic Scale on Guitar

This lesson we’ll be looking at the minor pentatonic scale on guitar –
probably the most used scale in rock music, definitely the
most used scale in blues (although there is an extended “blues scale”
which we’ll look at another time).
This scale uses only five tones, hence the name

pent

atonic.

This lesson we’ll be looking at the minor pentatonic scale on guitar – probably the most used scale in rock music, definitely the most used scale in blues (although there is an extended “blues scale” which we’ll look at another time). This scale uses only, hence the nameatonic.

One of the major limitations I see guitarists put
on their playing is boxing themselves in. What I mean is, they
just play the pentatonic scale in one position and neglect the rest of
the fretboard – is this you? If so, I’ll show you
how to unbox your pentatonic licks so you have the freedom to roam the
fretboard for fluid, effortless soloing (get a head start with
this here).

The basic minor pentatonic scale patterns

Although I mentioned not getting boxed in
with
your scales, you have to start somewhere,
so it
may as
well be the boxed pattern that is most commonly used by guitarists. So
those are the patterns I’ll reference first.

First, let’s put minor
pentatonic into context. It’s essentially a five tone minor scale. We can
see it as a “stripped down” version of other seven-note minor scales.
So
minor pentatonic should always be an option if you’re soloing in a minor key.

Minor pentatonic first position pattern

minor pentatonic scale first position pattern

Hear G minor pentatonic

The

note is known as the

root note

of the scale, and the note which defines the key in which you play the
scale. So if
the root note was positioned on

,
the
scale would be

G minor
pentatonic

What makes the scale minor? The

minor
3rd

(also known as a flat 3rd/

Thenote is known as theof the scale, and the note which defines the key in which you play the scale. So if the root note was positioned on, the scale would beWhat makes the scale minor? The(also known as a flat 3rd/).

Now let’s look at the
suggested fingering for this boxed pattern…

We can also learn a boxed
pattern with an A string
root note:

So now we’re able to apply the minor pentatonic scale around
those familiar chord shapes that use E and A string root notes (e.g.
the

Basic soloing using minor pentatonic

As mentioned before, minor pentatonic works predominantly over minor
chords due to its minor 3rd interval. Let’s have a play around with the
boxed patterns to begin with.

The idea is not just to play it in sequence, from root to root, but
rather skip around the scale and find interesting hooks and phrases.
Move up and down the scale, vertically and horizontally.

Many guitarists use the “call and response” technique, which is where
you play a phrase that sounds unresolved (e.g. it might have the
characteristics of asking a question), then you
“respond” with a more resolving phrase (e.g. a sequence that ends on
the root note or another “safe note”).

Click to hear a simple “call and response”
example

That particular phrase started and ended on the root note, which is
seen as a strong “safe note”, which is useful for naturally

resolving

a
sequence.

Other safe target notes for your phrases are the minor 3rd and 5th of
the scale. Incidentally, these are referred to as “chord tones” because
they make up the minor triad (1 b3 5). Targetting chord tones helps to
keep your solos connected to the backing music. Remember that!

Another common technique is to stagger your way up or down the scale in
a run. This is where you move up and/or down a scale in a
repetitive
sequence.

In this first run example we’re taking 3
steps (notes) forward,
1 step back, another 3
forward, 1 back, 3 more forward etc.

Click to hear

Now try 5 steps forward, 2 back, 5 forward etc.

Click to hear

You can just mirror or invert that pattern when coming back down
the scale for a similar effect.

Finally, let’s try a more complex sequence which I’ll tab out to help
(click the tab to hear):

Minor pentatonic run tab exercise

I’ve only scratched the surface there! Try and come up with your own
runs and staggered sequences.

Now let’s try some more vertical
movements across the 6 strings as opposed to just horizontal movements.

The below sequence is:

1
– 5 – 1 – b3 – b7 – 1 – 5 – 4 – b3 – 1 – 5 – b3 – 1

Click to hear example

Remember, these are all using the

boxed
pattern

from earlier.

These “one note per string” vertical movements are the foundation for
playing arpeggios (another lesson
altogether!), and as we’re playing minor pentatonic, you can play a
basic minor arpeggio by playing the root note (1), minor 3rd (b3) and
5th (5). Those 3 notes make up the basic minor triad and can be used to
compliment the other types of phrases we heard above.

Mix it up!

We’ll look at more complex sequences in another lesson. One step at a
time!

Extended minor pentatonic scale patterns

Ironically, the easiest way to expand out of boxed scale patterns is to
create

boxes, either side, and link them through your knowledge of the
sequence of notes in
the scale. In the case of minor pentatonic, that’s:

It’s also useful to learn the intervals
between these notes so you know how to get to the next or previous note
no matter
where you are.

Let’s start by simply extending that original boxed pattern either side:

Minor pentatonic pattern spanning 9 frets

Tip:

It’s a good idea to learn the relationship between intervals in the
scale. For example, the

root

–

3rd

interval

has
a distinct sound,
as does the

5th

–

root

interval.

Minor
pentatonic scale backing tracks

When you’re ready, time to put things into practise (and practi

e).

Use the below backing tracks to experiment with minor pentatonic (and
any other minor scale that’s compatible). Some things to focus on:

String skipping and jumping around the scale
rather than just one note after the other in sequence.
Try
the occasional run and think about which notes you start and finish the
run/phrase on (e.g. ending a phrase on the minor 3rd can sound good).
When
the chord changes, try and highlight this in your solo by choosing a
note that compliments the change. When the chord changes back to the
tonic (“home” chord), think about which landing notes sound good.

Enjoy!

Download/Play
Key

E string root note

A string root note

Download here
B
Fret 7, Fret 19
Fret 2, Fret 14

Download here
D
Fret 10, Fret 20
Fret 5, Fret 17

Download here
Eb
Fret 11, Fret 23
Fret 6, Fret 18

Download here
F#
Fret 2, Fret 14
Fret 9, Fret 21

Download here
A
Fret 5, Fret 17
Open, Fret 12

Was this
helpful?

Share this with your fellow guitar enthusiasts…

Please support this site. I really appreciate it!

Stay updated
and learn more

Enter your email below for more like this and
grab your free Uncommon Chords book…

Enter Your
Email & Hit Subscribe

Share your thoughts…

Have any questions, thoughts or ideas about this lesson? Let us know using the comments form below.

So now we’re able to apply the minor pentatonic scale around those familiar chord shapes that use E and A string root notes (e.g. the E and A shape barre chords ).As mentioned before, minor pentatonic works predominantly over minor chords due to its minor 3rd interval. Let’s have a play around with the boxed patterns to begin with.The idea is not just to play it in sequence, from root to root, but rather skip around the scale and find interesting hooks and phrases. Move up and down the scale, vertically and horizontally.Many guitarists use the “call and response” technique, which is where you play a phrase that sounds unresolved (e.g. it might have the characteristics of asking a question), then you “respond” with a more resolving phrase (e.g. a sequence that ends on the root note or another “safe note”).That particular phrase started and ended on the root note, which is seen as a strong “safe note”, which is useful for naturallya sequence.Other safe target notes for your phrases are the minor 3rd and 5th of the scale. Incidentally, these are referred to as “chord tones” because they make up the minor triad (1 b3 5). Targetting chord tones helps to keep your solos connected to the backing music. Remember that!Another common technique is to stagger your way up or down the scale in a run. This is where you move up and/or down a scale in a repetitive sequence.In this first run example we’re taking 3 steps (notes) forward, 1 step back, another 3 forward, 1 back, 3 more forward etc.Now try 5 steps forward, 2 back, 5 forward etc.You can just mirror or invert that pattern when coming back down the scale for a similar effect.Finally, let’s try a more complex sequence which I’ll tab out to help (click the tab to hear):I’ve only scratched the surface there! Try and come up with your own runs and staggered sequences.Now let’s try some more vertical movements across the 6 strings as opposed to just horizontal movements.The below sequence is:Remember, these are all using thefrom earlier.These “one note per string” vertical movements are the foundation for playing arpeggios (another lesson altogether!), and as we’re playing minor pentatonic, you can play a basic minor arpeggio by playing the root note (1), minor 3rd (b3) and 5th (5). Those 3 notes make up the basic minor triad and can be used to compliment the other types of phrases we heard above.Mix it up!We’ll look at more complex sequences in another lesson. One step at a time!Ironically, the easiest way to expand out of boxed scale patterns is to createboxes, either side, and link them through your knowledge of the sequence of notes in the scale. In the case of minor pentatonic, that’s:It’s also useful to learn the intervals between these notes so you know how to get to the next or previous note no matter where you are.Let’s start by simply extending that original boxed pattern either side:It’s a good idea to learn the relationship between intervals in the scale. For example, thehas a distinct sound, as does theinterval.More on building large minor pentatonic
scale patterns here When you’re ready, time to put things into practise (and practie).Use the below backing tracks to experiment with minor pentatonic (and any other minor scale that’s compatible). Some things to focus on:Enjoy!Have any questions, thoughts or ideas about this lesson? Let us know using the comments form below.

Please enable JavaScript to view the comments powered by Disqus.

^ Back to Top

Minor Pentatonic Scale Guitar Lesson with Backing Tracks