| @
e) CD INCLUDED :
Wy te\ ah ts) Xo) allege a
See ys el 6 =e
mite anise Exercises and Proper Usage yi
‘of the Essential Five-Note Scales
» by Ed Friedland
a HALeLEONARD®Contents
Page
4
Introduction
Using the CD
Learning the Pentatonic Scale
Minor Pentatonic
Major Pentatonic
Two-Octave Pentatonic Scales
Technical Exercises
Pentatonic Modes
‘Common Out-of-Scale Chords
Other Chord Movements
Soloing with Pentatonic Scales
In Closing
Audio Track
2-31
32-37
41-44
Pestaurado por
‘Aldo Pecchio4
Introduction
By definition, a pentatonic scale is simply a group of five consecutive notes within the
range of an octave. With this loose framework, there can be many variations of five-note
patterns that fit this description, Throughout this book, we will focus on the two most
common variations: the major pentatonic (1-2-3-5-6-8) and minor pentatonic (153-4—
5-47-8). These pentatonic scales are undoubtedly the most commonly used musical
elements in the world. Cultures as far-flung as Africa, Europe, Asia, the South Pacific,
and the North and South Americas use these five-note patterns as the basis of their
musical traditions, and their influence on contemporary music is just as far-reaching. AS
the primary building blocks of the rock and roll musical vocabulary, the pentatonic scale
can be traced directly to West Africa, Ireland, and Scotland. When African captives were
brought to the Western world, they carried with them a deep musical tradition whose
thythmic basis morphed over time into shuffle and swing feels. Melodically, the minor
pentatonic scale (1-43-4-5-47-8) was at the core of their music—eventually evolving into
the blues scale (143-4-44-547-8), the melodic foundation of the blues. The journey from
the blues to rock and roll has been well-documented.
But the pentatonicscale’s influence on popular music can also be traced back to the music of
Ireland and Scotland. As Celtic people settled in the New World, they brought their
songs, reels, jigs, and sea shantys—many of which were based on the pentatonic scale.
This music became the seed of the Appalachian folk tradition, which over the years
evolved into Old Timey, Bluegrass, and Country. Between the late 1940s and 1950s, these
styles crossbred with the emerging “boogie” genre to create rockabilly as well as rock
and roll. When you look at this crosscurrent of influence, the differences between artists
like Muddy Waters and Hank Williams seem less significant.
The pentatonic scale (in its major form) is simply a major scale without scale degrees 4
and 7.
Major Seale
‘The interval created between the 4th and 7th scale degrees is known as the tritone, and it
is the principle source of dissonance in Western music. By removing these two degrees,
we have a scale that is void of any potential dissonance. German composer Carl Orff’
(best known as the composer of Carmina Burana) devised a system of music education
for children based on the use of pentatonic scales for this very reason. Since there are no
“bad” notes, children can improvise freely on pentatonic-based instruments to develop
their creativity.
It has been said that in medieval times, the use of the tritone in musical composition
‘was banned due to its disharmonious quality. It is documented that the tritone was once
teferred to as Diablo en Musica, or the “Devil in Music,” and considering most music of the
time was composed for use in church, itis not hard to see why the pentatonic scale might
have been favored.
Restaurado por
‘Aldo PecehioI'd like to share a poster
Poster created by
legendary proportions from YY an old friend, Sam Da |
and teacher in his own right he esac Mle an ceaptondy leet ployer
Irous marketing stati, cael hs enc stat trough his brilliatt and
asa teacher. This one has long ton elude a series of posters advertising his serv
imperative of avoiding ng been one of 1g his services
Pe oi ing the tritone, favoring the pentatonic scale a ‘d calls for its continued
nd calls or its continu:
use as the primary fodder of puitar
° guitar playing. Th
be seen on his website at wowo sander ee ae ee ee
Reprinted by permission:
ns IN...
Guitar Morality
“Twixt the fourth and seventh degree,
a scurrilous hell for all to see.”
—an obscure Gregorian Aphorism
erritories of the mellifluous major scale, festering and
lurks stealthily. May I introduce you to that beaked,
! Steeped in stechful Stygian vapors,
the Umbric Pustule... THE
With the seemingly safe tonal t
bleating with perfidious intent, it
horned, clawed, and feathered carbuncular debauch
the Embodiment of Armageddon, the Plutonic Sarcophage,
EVIL TRITONE!!!
Hark! What tenebroud, saturn:
otherwise luminferously pastoral
hell in the very heart of heaven? In fact,
the lovely major scale, the ubiquitous quee! 5 \
sulfureous interval that the wise Gregorians named Diablo en Musica. The very do-re-
‘me-fa-so-la-ti-do we teach our rosy-cheeked innocents in kindergarten is actually the
obsequious handmaiden, indeed, bedfellow of the Prince of Darkness.
i etched squalor of the duplicitous major scale. Banish
ad w rom the Path of Pure Pentatonicity! Be steadfast in
and unsullied intervals!
alin dissonance obtrudes it chthonic way into the
‘realm of the major scale? Indeed, it is not a veritable
‘we have been duped. The horrible reality is that
sn-mother of all Western music contains the
Sol say unto you: Revel n«
the hated tritone forever! Stray not
Your resolve; use only scales with righteous
Pestaurado por
Aldo PecchioUsing the Audio
The accompanying audio contains tracks to help you learn the material presented in this
book. Track 1 is a tuning track and tracks 2 through 31 are technical exercises. Tracks 32
and 33 are demonstrations of the pentatonic modes in action, but tracks 34 and 35 have
the bass panned to the left so you can play along without the bass track once you learn.
the lines. Tracks 36 and 37 have no recorded bass part; you will create your own part
using the concepts you've learned. Tracks 38 and 39 are once again play-along tracks,
with the bass on the left channel, and track 40 has no bass recorded. Track 41 has the
bass on the left only, while tracks 42 through 44 have no bass. The rest of the tracks (45
through 56) have the bass on the left only.
To get the most benefit from the play-along tracks, learn the line and play with the bass
track to make sure you're correct. Then listen to only the right channel to play along
without the bass track. If your playback machine does not have a balance (right/left)
control, you can unplug the left speaker or simply use only the right side of a pair of
headphones.
® Tuning track
Tok
Restaurado por
‘ldo PecchioLearning the Pentatonic Scale
While there are many different types of pentatonic scale, let's examine the two most
‘commonly used versions—the minor and major pentatonic.
Minor Pentatonic
Without a doubt, the minor pentatonic is the most widely used scale in popular music.
Itis the basis of blues, rock, funk, R&B, and much of jazz. Its scale formula is: 1-3-4
5-7-8. Here is the minor pentatonic scale in all keys with multiple fingerings—first in
it’s most obvious “box” formation, then using any open strings that might be available,
and finally in a position that requires a position shift. If no open strings are available, an
alternate closed or box position will be shown. There are many other fingering possibil-
ities and, to be thorough, you should take the time to figure them out.
Practice all the fingerings in each key ascending and descending at least five times per
scale.
‘AMinor
EMinor
Box (also Open) Open shit.
B Minor
FA Minor
Pestaurado por
Aldo Pecchio 7cH Minor
Gt Minor
Af Minor
Box Alt Box Shift
D Minor
G Minor
Restaurado por
8 lide PecchioMinor
Box Open Shift
FMinor
Bor Alt Closed Shift
Bb Minor
Box. Al. Box. Shift
‘Eb Minor
Box eo AL Box Shite
‘Ab Minor
Box Alt. Closed shite
Restaurado por
Aldo PecchioMajor Pentatonic
The major pentatonic scale is widely used in
finds it's way into country, and folk music too. The scale formula is 2-0"
recognioable as the openang lick from the Temptations’ hit song “My Gin) ‘major
and minor pentatonic scales are related to each other the same way the major scale
connects to it's relative minor~-go down a minor 3rd (or up a major 6th) from the root
of the major key and you have the root of the relative minor. The C major pentatonic
scale's relative minor is A minor pentatonic, G major pentatonic’s relative minor is E
‘minor pentatonic, and so on. We will explore this relationship and how to work with it
later in the book.
“The major pentatonic also has a universal closed position fingering that works in all
keys starting with the 2nd finger. Each scale will be shown in its universal fingering, an
open fingering (when available), and a fingering that shifts out of one position. When
blues, rock, funk, R&B, and jazz, but also
‘scale formula is: 1-2-3-5-6-8, and is
an open-string position is not available, an alternate closed or universal fingering will be
given.
Practice all fingerings in each key ascending and descending a minimum of five times
per scale.
C Major
Universal a os
G Major
Universal oe ou
D Major
A Major
Universal =
Pestaurado por
10 ldo PecchioMajor
Universal Open Shift
2
ie
B Major
Universal Alt Universal Shift
Universal ‘Alt Universal Shite
cH Major
‘Universal ‘Alt. Universal shift
Major
‘Universal (also Open) ‘Att Universal skis.
In
Bb Major
Universal (also Open) ‘Alt Universal Shift
Restaurado por
ldo Pecchio = “WVBb Major
Universal
Open = shit
Ab Major
Universal
D> Major
oo Alt, Closed
Co Alt. Universal ace
Cb Major
Lees ‘Alt. Universal an
Pestaurado por
12 Aldo PecchioTwo Octave Pentatonic Scales
Learning any scale in a two-octave configuration is important, but considering so much
rock “riffage” is constructed from the pentatonic scale, chances are you're going to need
this information sooner than later. When you expand the range of any scale, multiple
fingerings and positions arise. Rather than presenting you with every key in multiple
two-octave fingerings, I will write out a few of the more common keys in two versions:
‘one that shifts through the neck and one that stays in position as much as possible. I
strongly suggest you take the time to search out more fingerings in all keys. The time
you spend doing this will reward you with a solid understanding of the material and
‘where it lies on your fingerboard.
‘AMinor
EMinor
Restaurado por
‘Aldo Pecchio 18G Minor
G Minor
E Major
Restaurado por
14 dildo PecchioRestaurado por
‘Aldo Pecehio 18Technical Exercises
Because there are only five notes in between each octave, the pentatonic scale moves
faster than the eight-note major and minor scales. This offers some unique opportunities
for technical development, particularly when it comes to string crossing. Here are a
series of exercises that break the pentatonic scale into different patterns. Some of them
may sound familiar, as they have been used many times as soloing patterns, song motifs,
and root motion for progressions.
Exercise 1
‘This exercise breaks the pentatonic scale into a four-note pattern. Start on the root and go
up four notes, go back down to the next scale degree, then up four notes, etc. On the way
down, the pattern is reversed. This exercise will work your right hand string crossing
and left hand “finger roll” technique particularly on the way down. It will be written out
in several keys, but practice it in every key.
A minor — This is a standard, closed-position fingering that works in any key.
e
Tack
E minor ~ This fingering requires you to carefully manage the open strings. Make
they are muted when you play the next note. * oe
Pestaurado por
Aldo Pecehio
16QD __F minor - This key uses the same fingering as A minor but, due to it’s location, will
cause more stretching in the left hand. Avoid tension by pivoting with the thumb when
reaching for the 4th fret.
Tk
C minor ~ This key makes it easy to use an extension fingering of 1-3-4 to play the top
Q three notes of the pattern (E-F-G), *
0d ‘C major - This closed-position fingering stays in one position until the very last note and
naa works in all keys.
Restaurado por
‘Aldo Pecchio 17you have to reach back for the
E major - This fingering stays position consistent until
Tk high Gt with the first finger.
F major ~ This is an alternative closed-position fingering that will work in all keys. Like
@ the previous example, we have to reach back for the high A with the first finger and
switch to the 2nd finger for the F.
d ‘A major - This fingering starts out in the open-A position and shifts up the neck for the
iy __ lastascending group of four notes.
Pestaurado por
18 ldo PecchioExercise 2
This is an alternating pattern, up two notes, down one, etc. If applied to the major scale,
it would be called a “thirds” pattern, but due to the scale’s construction, it is mostly a
“fourths” pattern with one third between the 3rd and 5th of the scale. It gives you sev-
eral opportunities to work on the “finger roll” technique of the fretting hand as well as
some interesting string crossing with the plucking hand.
@d A minor - This is a universal fingering for this pattern you will see repeated in the
following keys. Go beyond mere muscle memory and say the note names out loud while
you practice this.
Geel ew a 4
@ F minor ~ In this key, the fingering requires more of a span in the fretting hand. Use
tain pivot motion with the thumb to stay open but loose—tension is your worst enemy.
When relaxed this exercise will not be tiring, but if you tense up, it can become painful.
Mil i4yrra4 tis41444 11441134 1461441
t
@ E minor ~ In open position, make sure there are no open strings ringing after you've
Te Played them. You can use the right or left hand for muting.
0d C minor - This fingering starts on the 3rd fret of the A string and makes you shift your
way up the fingerboard to complete. Remember there are multiple possibilities—don’t
Teck just read the tab, use your brain!
1431144 AL441444 1144
Pestaurado por
Aldo Pecchio 19C major ~ The major version of Exercise 2 takes you through a wide melodic range and
Tmet1¢ Several positions. This fingering is universal for all closed positions.
1143133 11431144 01
@ E major — Starting from open E, this example uses a different fingering than the previous
Teekts ONE
m0 411i 4si1 44210144 Wa2r2144T)
0d F major ~ With low F as the first note, this fingering takes advantage of the available
open strings.
Track 16
fel 0440044 0042044 11420044 00440144
od A major - This key uses the universal closetd-position fingering, but can also be played
from the open A string. Take the time to figure out that fingering as well.
Tk 17
£
m2 1441144 11431033 114311446 T1441244
Pestaurado por
20° ido PecchioExercise 3
This exercise is written in 12/8 time, though it is typically felt as groups of eighth-note
triplets in 4/4 time. The pattern resembles the way Stevie Wonder uses the pentatonic
scale in “Master Blaster”.
0d A minor ~ This is a universal closed-position fingering.
d F minor ~ Once again, this key requires you to keep the fretting hand relaxed and open.
‘Use a pivot motion to make the reach between the Ist and 4th frets—don’t force the
Tak i9 stretch.
Pestaurado por
Aldo Pecchio 24D —eminor~ Using open strings allows the fretling hand to relax, but be conscious of the
pen strings when you move to the next note.
Taka) Need to mute
<)) Cminor - This example returns to the universal fingering,
Tack 21
oO ‘Cmajor— Here is a universal fingering for this exercise in C major pentatonic—remember
my __ 0 100k for other fingerings.
Trak
Restaurado por
22 aldo PecchioD —_Emujor- This postion starts on the open Z and moves across the fingerboard. Look for
other fingerings that move up the neck as well.
od F major ~ This position offers the open A, D and G strings, but lear it without open
Track 24 strings too.
0d A major — Here is the universal fingering again, but also leam this example starting with
tis {he open Astring for more practic.
Restaurado por
Aldo Pecchio 2%Exercise 4
‘This final exercise goes up and down four notes along the pentatonic scale. The individual
measures of this exercise will help you understand the upcoming section on pentatonic
modes,
‘A minor ~ This universal fingering lies mostly in one position, except for the small shift
teas UP tothe high z. —
131 31383103 3138313 131331
QD _—_E minor - The open strings make this example easier to play, but of course be careful to
qin _ Mute them as you continue through the pattern.
02011020 20100102 010
Restaurado por
24 ldo Pecchio@ F minor - This is the universal fingering again, but in a position that requires your fret
Win _ hand tobe open and relaxed.
Bete a) 0 ess es
<)) C major - Shown in universal fingering.
‘Track 29
Restaurado por
‘Aldo Pecchio 25@ E major—In open position.
Trek 30
@ F major - There are many open strings to use, but also find closed-position fingerings
Teast 1
ees 0: 32520 3) 11 2513) 080-3) 019) 2017310118 32085\10) . The obvious choice is the C minor
pentatonic scale (C-Eb-G-B}-C) as it contains all the chord tones with just one extra note,
the 4th (F).
As we have previously seen, the other modes from the scale also sound great against the
original chord. Each modal fragment creates it’s own distinct flavor and moves your solo
into different parts of the neck. Since the C minor pentatonic scale is technically the Sth
oO mode of E? major pentatonic, the modes will be analyzed in E> major.
—— Caine
(TNT)
m7
(Cin, pen (mee 3)
Restaurado por
48° dlido Pecchio‘Tock th igre
(N-ITT9)
Eb ms peat. made 1)
Tock igre
(N=)
cmt
Eb ms. pent. (mode 3)
ldo Pecchio 49Trak te
roan
(JTH=IIT2)
‘The Bbmajor/G minor pentatonic scale works great over a Cm7 chord too. To keep things
simple, we'll start with Bb major and analyze the modes accordingly. A formula you can
derive from this example is play a major pentatonic scale from the 7th of a m7 chord or a
minor pentatonic from the 5th of a m7 chord.
Tek Aa
m7
‘Bb ma pet (mee 1)
Restaurado por
50 Aldo PecchioTr ib
m7
Bb a pen (mode 2)
Tra te
@
Toc 64
(IN=L7T9)
Cm7
‘Bb mh pent (mode
Restaurado por
‘Aldo Pecchio 81®
Te
(TT=SITD)
Cm?
1b maj pen (mode)
ot
The F major and D minor pentatonic scales also sound great against a Cm7 chord.
The notes within the scale (F-G-A-C-D-F) include the root and 5th of Cm7, while
‘emphasizing the 9th (G), 11th (F) and 13th (A) tensions of the chord. The A note gives
this particular usage a Dorian flavor, as that mode relates to iim? from the major diatonic
chord structures. The Dorian scale is the only major mode that contains a b3rd and 6th
(or 13th if placed up an octave). You will hear the compelling nature of A natural in the
following examples. The formula for this example is play either a major pentatonic scale
a 4th up or a minor pentatonic up a 2nd from the root of any m7 chord.
Tack a
(TH-I7T)
Tock 5b _
(STN=ITTI)
Restaurado por
52 Aldo Pecchiood
Tac le rig
m-TH)
nt
Fm pen (mote 3)
@
Track 508
wm-THT)
m7 =.
ma pert (mode 4)
Sp
: peep ites ses ft —
= i = = =
Restaurado por
Aldo Pecchio 83Dominant 7th Chords
Pentatonic scales also work i chords as well. A C7 chord is spelled
‘great over dominant 7th chords: spel
C-E-G-B} and fits nicely with the C major/A minor pentatonic scales (C-D-E-G-A-C),
This group of notes contains the major triad (C-E-G) and emphasizes the 6th, or 13th
(A), over the C7, which creates a very open, pleasing sound.
‘Track Sta,
(In-FIT)
‘Cai pent. (mode 1)
Track 5tb
Parts
(SHIT),
Pestaurado por
54 Aldo PecchioTole psarr
(TN=IITD)
Ci pent (mode 3)
od
Tats sare
(IN=I7T9)
cr
‘Crm pen (mode
Q
Weise
(T-T3)
a
ms pent (mode 5)
Restaurado por
Aldo Pecchio 85hord is the F major/D minor pentatonic
ly considered an “avoid note”
“elatively robust dominant 7th chord.
quality that rubs against the 3rd of
‘but understand that
this on a maj7). The formula is to play a major
e root of a dominant 7th chord.
Another interesting scale possibility for a C7 <
scale. Although F (scale degree 4 or tension 11) is typical
for chords with major triads, it will work on the
Resting on the F will create an unsettled, “suspended”
the chord. It isa texture that jazz musicians have used for decades,
it does cause some friction (and don't try
entatonic up a 4th or minor pentatonic up a 2nd from th
®
Tok
(mn-F)
a
sj, pent (move 2)
Restaurado por
56 ido PecchioFa pet (de 3)
mg pent. (rode 4)
Fm pet. (mode 3)
Restaurado por
Aldo Pecchio $7Another pair of pentatonic scales that work on C7 is BY major/G minor Cad
BE). The scale starts on the 67th of the C7 chord and includes the root an as well,
The 9th and 11th are also included, and as we saw in the previous example, i wh can
work if handled properly. The formula is to play a major pentatonic from the 7th of a
int 7th chord or a minor pentatonic from the Sth.
1b ms. pen. (mode 1)
®
Tk Sah >
(m-T3T3) b fe Sena
a £
ol et ese te tebe tte te ect
——— =
bp. (note 2
eo Se ee
a =
Restaurado por
58 dldo Pecchiood
oe
(N=)
cr
Bb ms. pent. mee dd
®
Teck Se -_
(I-TID
o
‘Bb ma pent (ode 5)
Restaurado por
‘Aldo Pecchio 8Due to the similarity between the blues scale (1-!3-4-44-5-17-8) and the minor pentatonic
(143-4-5-47-8), using a C minor pentatonic over a C7 chord gives you a distinctly
blues-like sound. Even though the C7 (C-E-G-B») contains a major 3rd (E) and the minor
pentatonic has a b3rd (E+), it works just fine; In fact, it’s probably the most commonly
uused pentatonic scale over a dominant 7th chord. The modes will be analyzed in E> major
pentatonic.
Tack Sta
ean
(77-JIT9)
cris
‘Eb maj. pent. (mode 5)
d
Teste
(I7-SIT9)
rts
Bb. pent. (mode 1)
!
v
fs
fF
i
Restaurado por
60 Aldo PecchioRestaurado por
‘Aldo Pecchio 61Now that we've examined how the pentatonic scale can be used over various chords, it’s
time to try it out over some chord progressions. The first two examples are written to
show you some specific usages, but you should also examine what other scales (and their
modes) work over each chord and create your own solos.
Tmek85
Gini)
ma F cmt w
Eb pene)
Bbmaj7 Ebmai? Dm? io
(rin. pene)
(Fe pom) (Damn ent) (Gin pent)
This next progression is in the key of D major, and the written line illustrates how you
‘can use the same scale over different chords from the same key. Measures 1 and 2 use D
major pentatonic over four different chords, while measures 3 and 4 switch to A major
pentatonic for the same four chords. Measures 5 through 8 all use G major pentatonic.
After you've learned the written solo, look for other scales and modes that work with the
progression and create your own ideas.
@
Track 56
Dmaj7 Bm? Em7 AT Daj? Bm?
Restaurado por
62 Aldo PecchioIn Closing
This book has illustrated many ways that pentatonic scales can be used. I would venture
to say that there are many other ideas out there too, and hopefully what you've leaned
here will spark your interest in finding out more. The pentatonic scale is a truly universal
phenomenon, and I suggest listening to music from many different cultures to hear how
pentatonic scales and modes are used around the world.
Restaurado por
‘ldo Pecchio 63Pentatonic
Scales for Bass
a
rok sosncostocosPkg US. $19.99
| mn win
HL.00696224 HALeLEONARD' 3h
BSF a ee ii ec!
Cel ACE IEE RED
elie FN ES 3)