| @ 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 Pecchio4 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 PecehioI'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 PecchioUsing 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 PecchioLearning 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 7cH Minor Gt Minor Af Minor Box Alt Box Shift D Minor G Minor Restaurado por 8 lide PecchioMinor 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 PecchioMajor 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 PecchioMajor 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 = “WVBb 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 PecchioTwo 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 18G Minor G Minor E Major Restaurado por 14 dildo PecchioRestaurado por ‘Aldo Pecehio 18Technical 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 16QD __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 17you 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 PecchioExercise 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 19C 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 PecchioExercise 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 24D —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 PecchioD —_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 49Trak 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 PecchioTr 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 Pecchiood 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 83Dominant 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 PecchioTole 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 85hord 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 PecchioFa pet (de 3) mg pent. (rode 4) Fm pet. (mode 3) Restaurado por Aldo Pecchio $7Another 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 Pecchiood oe (N=) cr Bb ms. pent. mee dd ® Teck Se -_ (I-TID o ‘Bb ma pent (ode 5) Restaurado por ‘Aldo Pecchio 8Due 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 PecchioRestaurado por ‘Aldo Pecchio 61Now 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 PecchioIn 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 63Pentatonic 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)