How To Play The Pentatonic Scale On Guitar • Five Patterns, Solos, Melodies, Video Guitar Lessons
The Five Box Patterns
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Learning Blues Guitar
I have been teaching guitar professionally since 1992, when Don’t Fret Guitar Instruction was established. Over the years, I have taught countless students (beginners to advanced) how to play or improve their chops. Past students include four members of PROTEST THE HERO.
With this book, my goal is to relate the scales with chords and rhythms as opposed to just learning solos or licks and having no idea how to apply them. Good rhythm playing and knowledge is crucial to good soloing and vice versa. This comes through understanding the relationship between chords and scales. This book provides that important foundation.
The book is unique in the fact that each chapter is based around a different key signature and an open (contains unfretted notes), pattern of the pentatonic scale. There are five chapters covering the key signatures of E, A, D, G and C, and the five open ‘box patterns’ (scale patterns) of the pentatonic scale. Eventually all the box patterns are covered, from the open strings to the fifteenth fret.
There is no endless scale practice or useless licks to learn. Instead, each chapter begins with a chord progression, moves into various rhythm patterns derived from the chord progression, and then culminates with solos based on the scale and key covered. These solos tie in with the chord progression and rhythm patterns to form a complete lesson for each chapter.
The book is progressive. Upon completion, the student will have a solid foundation in blues guitar, and will understand the rhythm, lead connection.
The book is best studied from beginning to end, without slighting any material. All theory is explained in the simplest terms. There are fretboard diagrams for the scales, chord grids, and photos of hand positions as well as videos posted on YouTube to aid in the learning process.
It is best, but not necessary, to have a knowledge of barre and open chord shapes before beginning this course. All the chords have fretboard grids associated with them.
Good luck and have fun. Music is a celebration. Enjoy!
Lorne K. Hemmerling
C Major Pentatonic
1 2 3 4 5 6 7 8
1 2 3 5 6 8
C D E F G A B C
C D E G A C
C Major - Am to C Major - Am Pentatonic Scale Comparison
The Pentatonic Scale verses the Major Scale
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The Major Pentatonic scale has a sweet sound,while the Minor Pentatonic scale has a darker, bluesy sound, but the fingering patterns for both scales are exactly the same. Therefore, when you learn a Major Pentatonic scale, you are also learning a Minor Pentatonic scale. The Pentatonic scale is usually the first scale that guitar players learn for improvisation purposes. Many rock and classic rock guitarists use the Pentatonic scale exclusively.
The Box Patterns
Here are the five box patterns of the G Major - E minor Pentatonic scale. The five note G Major Pentatonic is spelled: G A B D E (octave G). The five note E minor Pentatonic scale is spelled: E G A B D (octave E). The name 'box patterns' comes from their rectangle shape. When playing these patterns, try not to shift your hand. Stretch the fingers to cover the four frets. With the proper hand position, this will become easier. Place your thumb in the middle of your fret hand at the back of the neck, and keep your thumb down.
Box Pattern 1
Scale spelling: E G A B D E G A B D E G
This is most played of all the box patterns. This pattern starts on root E and has a mean, dark minor sound, perfect for blues, rock and any other genre. For most guitarists, this is the home base scale when improvising. Watch any player, and you will see them working in this pattern more than any other. Many standard licks come from this box. The king daddy of all box patterns!
Jimi's solo is based in Em Pentatonic at the 12th fret.
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Box Pattern 2
Scale spelling: G A B D E G A B D E G A
This pattern starts on the second note of the first pattern, and is simply the same five notes repeated, in a different order. Even though these are the same notes as the first box, it has a sweet, happy sound, because of the different starting note (G). This position is the basis of country soloing. If you want to keep the fret hand fingers in one position, try this alternate fingering: 2 4 1 4 1 4 1 3 2 4 2 4.
This new edition of Document features the digitally remastered original album, plus a previously unreleased 1987 concert from R.E.M. s Work tour. The commemorative release also adds new liner notes by journalist David Daley, with the 2CD package presented in a lift-top box with four postcards.
This is the solo from The One I Love by REM. Based entirely in Em Pentatonic, it moves back and forth between box pattern 1 and 2. The chord movement lends a different sound to the scale in the first four measures, then returns to a more normal minor pentatonic sound for the last four measures. The chords being played under a melody line can alter the sound of the scale drastically. One of the magical properties of the chord-scale relationship!
The One I Love • Solo
Solo For The One I Love • REM
The Official Video
Box Pattern 3
Scale spelling: A B D E G A B D E G A B
This pattern starts on the second note of the second pattern. Many riffs come out of the first six notes, simply because they are so easy to play. You may have to shift your hand slightly to pick up the B on the third string, fourth fret.
Box Pattern 4
Scale spelling: B D E G A B D E G A B D
This pattern starts on the second note of the third pattern. If you want to keep the fret hand fingers in one position, try this alternate fingering: 1 4 1 4 1 3 1 3 2 4 1 4.
Box Pattern 5
Scale spelling: D E G A B D E G A B D E
The last pattern starts on the second note of the fourth pattern. It is very easy to visualize this scale. Once again, to keep the fret hand fingers in one position, try the alternate fingering: 2 4 2 4 1 4 1 4 2 4 2 4
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Heart Of Gold Melody
Heart Of Gold
Em Pentatonic Along The Fretboard
Once the box patterns have been mastered, try moving through the patterns along the fretboard. The fret hand fingers are written above the notes. When ascending this extended scale, the third finger is leading, that is, most of the shifts from pattern to pattern are performed with the third finger. When descending, the first finger is leading. This is a three octave scale. When playing in position, all of the scales are two octaves.
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