Active Melody

Learn to play blues guitar.

The Ultimate Guide to the Pentatonic Scales – EP436

Description

In this week’s guitar lesson (more like a course), you’ll learn everything there is to know about the pentatonic scales, where they come from, how they sound, when and how to use them. This lesson has 4 stand-alone composition practice songs, as well as 4 practice songs that you can play with jam tracks. Also includes the PDF files of the pentatonic patterns (the standard version and my 3 pattern version).

Part 1 - Free Guitar Lesson

Part 2 - For Premium Members

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Solo Practice - Minor Pentatonic Scale

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Solo Practice - Major Pentatonic Scale

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Solo Practice - Minor Pentatonic Bends

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Solo Practice - Major Pentatonic Bends

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Video Tablature Breakdown

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Comments

    • Roman H says

      Hello everyone. I’m new here. I’m 50 years old. I played guitar chords. But all my life I wanted more. Now the children have grown up. There is time. I want to learn to play the blues. Over the past year, I have tried many different applications. And they gave me the illusion that I have improved my skills a little. But when the subscription to the application expires, then all my knowledge ends … nothing remains in my head … I decided to change my approach. And I started looking for real lessons. This site is the best I have come across. Thank you. I would really like you to have a methodology. From simple to complex. I need a roadmap on how to move towards my goal. I am now learning scales and pentatonics. I do simple exercises. I see improvements. Advise me how to move forward. So as not to mark time and not waste time. Thank you everyone, good luck to everyone. English is not my language. Google translate helps.

  13. Daniel H says

    Brian, you can read the mind of a student guitarist. I literally had just hit a point where I realized that I have to get serious about connecting pentatonic scales to chord shapes to improve my jamming with other guitarists. After a frustrating attempt this week at improvising with a fellow guitarist I was thinking “I wish Brian would really drill into a practical application of pentatonic scales to chord shapes…I need to learn how to anchor these patterns.” Wow, and did you deliver! Thank you for this week’s lesson…or should I say course!

    • Robert G says

      So now you can play as good as EC , DG, or even Brian! Too much information for this beginner to learn in just one 25 minute lesson. I think I’ll need years of practice to understand ALL of this lesson! Your lucky to now know everything in this lesson!

  15. Debra Amesqua says

    Holy Cow…. The amazing thing about this amazing lesson is that I understood it ALL. I began playing the guitar, and found Brian about a year ago. I’m singing the patterns as I practice, to better train and connect my ear, hands, and heart. Thank you Brian, you rock my musical world…

    • James W W says

      I, too just signed up for a year. I am vaguely familiar with these concepts but I am bad about getting ahead of the class which causes me to miss important and perhaps key elements. Will I change? Probably not, though I WILL try to. I am excited to begin from the beginning and know I will get my money’s worth (I already have). Having said all this I am probably the worst player in the world when trying to read tab.

  20. Raymond P says

    Thanks Brian for all the time and energy you spent on creating this detailed lesson with all the PDFs, practice melodies sheets and Jam tracks. Simply amazing how dedicated you are in sharing all your knowledge with all of us. I can’t thank you enough.
    Ray P

  21. Justin B says

    I needed this one terribly. I have been practicing scales a little more aimlessly than I wanted and this gives me a more precise understanding of applying them. Also some cool little “aha” moments and gold nuggets in this lesson.

  22. Barry L says

    Hi Brian,

    I love all your lessons of course :), but this lesson is probably the best one I believe you have made, so much content. thanks for doing this lesson. Even after all the years I’ve played, this topic is the one I’ve needed to understand and remember and struggle with in position shifts. Well done man.

  23. old man says

    Brian GREAT lesson man !!! I can tell you put a lot of thought in each lesson Thanks!! You have taught me so much! One question ,Do you take time off for your self during the week

    I hope so.

    Dan

  24. Malcolm M says

    This is one great informative lesson. I concur with one of the other comments. I played around with the pentatonic scales for years and didn’t really study them too much but since I joined AM I have really started to dig into them thanks so much Brian you’re the best

  27. Mark M says

    Great lesson. We drop 2 notes from the full scale to get the pentatonic scale. Why do the dropped 2 notes sound bad? Those notes are in the seven note scale and are in some of the chords of the key. There has to be some music theory as to why two specific notes are dropped. I’m wracking my brain to understand why.

    • James W W says

      Check out the whole/ whole/half/ whole/whole/whole/half nature of scale progression for some insight here. Makes it easier to understand if you study this relationship in C major because there are no flats or sharps in that key. F is the fourth B is the seventh. Please know that I am a novice as well so take what I say with a grain of salt. Some things must be accepted on faith, at least until a better understanding comes along. I certainly don’t fully understand why penta-tonics work but they sure do.

  29. richard p says

    I have been waiting for over two years for SOMEONE to link the five penta shapes to the five CAGED chords. I knew they were connected but I couldn’t find the dictionary…. and didn’t trust my own math (or ear). I can’t stand the terminology of “shape 1,2,3,4,5″… totally useless. Brian, thanks so much for this… it ties so much together.

  30. Frank C says

    Hello Brian,

    Do you offer a printed version of your explanation about what the pentatonic scales are and dropping this and that?

    To me it is the very best description I have ever heard.

    Thank You,

    Frank

  34. Bruce G says

    What can I say? EPIC lesson! Thank you Brian. I’m one of those that has heard *most* of this multiple times, but your expertise and talent to put all this together really helps!

    I have been working on getting all of this straight for the past several months…(!) I’m curious as to why you link the MINOR pentatonic to a MAJOR CAGED chord…rather than the minor chord which lines up with the minor pentatonic notes? This is a confusion point as I try to sort out how I would quickly move to the correct pattern while I’m jamming? (I easily get lost).

    I’ve been trying to organize/memorize/picture this mentally by anchoring on the root notes in the pent scale pattern and then going major/minor from there (rather than the two fret shift up or down between major and minor. I’m still struggling to get this nailed smoothly, and am looking forward to your practice routines (as well as just focusing on 3 patterns first, not all 5).

    Your suggestions/recommendations always appreciated! I have huge respect for both your playing ability and your teaching!

    • Graham M says

      Hi Bruce, I’m working on this also. I’m trying to write out the major triads and their counterparts on the pentatonic scale. For example, the E Major Shape seems to match up with the Patern 2, etc. I get lost also once I start and have a hard time moving up and down the neck. Anchoring the scales to the chord shapes is DEFINITELY the next step for me. Esp using the 1/octave so I know where the root is.

      Thanks

      • Graham M says

        Oh wow- I also realized that while there are 3 major and minor triads on each scale, they also have their relative major and minor triads. I can play an A minor triad on the bottom 3 strings of fret 5 and then also play its relative major- C Major (the E shape) on the 8th fret, or the A shape on the 5th with the high e on the 3rd and that works also? I’ve heard Brian say in other lessons that you can play the minor triads as the 6th and 9th of the major, but I haven’t ever tried the opposite. Sounds like it works also, but I’m not sure why! Lol

  37. Charles S says

    I’ve also found, in addition to becoming more confident in my guitar playing, that I’m much more confident in discussing
    music theory with friends & family. I used to just sit out the conversation.
    Thanks again…..

  39. Scott J says

    Hi Brian, in part one where you are discussing the minor pentatonic shapes as they relate to CAGED shapes you had my head spinning for a while because you referred to the shapes as the E shape, the D shape, and the A shape. This really threw me off since we were studying the minor pentatonic at this point. Wouldn’t it have been more accurate to say the E minor, D minor and A minor CAGED shapes? I know it is a small point, but you showed in the video your fingers forming the MAJOR chord shapes, but those shapes don’t give the notes in the minor pentatonic patterns because of the major third. Maybe you were just trying to make it a simpler concept, but boy it confused me for a moment. Now I know you were just generalizing I think. So glad you made this course though. I am looking forward to more insights.

  42. Mike R says

    Excellent follow up to last weeks lesson and just the sound I was looking for. The way you explain how to blend both major and minor is very simple and amazing at the same time. You continue to surprise me each week with something I really can use and love to play. I think I have over 200 hundred favorites now.

  43. David F says

    Well there’s my ah-ha moment!! I heard you say it over and over Brian, but it never really gelled till I saw the “Pentatonic Scale 5 patterns.pdf”. I memorized the shapes, but didn’t know they equated to specific chord shapes. I can be a little slow sometimes 🙂 Great lesson!!!

  44. John B says

    I think that after several years of playing the pentatonic scale, this is my favorite lesson of over two years with AM . The bends I never put to use like this lesson shows. If any of this makes sense. Thanks Brian.

  47. mritalian says

    Thank you Brian, This was the glue to put the puzzle together for me that is. I will only repeat to folks out there who want to learn to play the guitar your site is AAA rated. Wonderful value and a great guitar player that knows how to teach. Continued success, now go take a break.

  49. San Luis Rey says

    Great lesson Brian! Just read the previous comment by Mike R having 200 favorites. I started separating favorite categories a few months ago and this one went right into my Favorite Theory folder. I have a Top 10 folder for lessons that I love to play and keep current with. I may do a favorite Stand Alone folder for the ones with no backing track next. You have this set up great and I love that I can rotate songs in and out from the regular favorite list.

    • David LC says

      I do something similar. I can’t learn everything, especially since I don’t play electric guitar but I still go through every lesson just incase there’s a nugget in there. I play a small and dreadnaught acoustic so I tend to favor the acoustic lessons. Fortunately Brian has something for everyone.

  51. Mario D says

    Again and again, many THANKS !I discovered your website about one year ago, I learn a lot with you, my home language isn’t yours but you have this particular way of teaching that is very easy to understand.
    I am proud to be a Premium Member.
    Thanks from Cowansville, Québec (pronounce K-Beck), Canada.

  52. Laurel C says

    Wow, the ‘deep dive’ into the pentatonics delivered a treasure chest of goodies. This lesson will keep giving and be one great theory resource. The stadium lights came on when explaining why two notes are taken away from the major or minor scale to make the 5 note pentatonic scales. Those notes would then become problematic when improvising in the Key of a song. So that is why the pentatonic scales work so well in any key. Plenty to practice on, great material including the bending jams to help along the electric guitar journey. Bumper packed lesson!

  55. David B says

    Great timing , Brian ! You have hit the perfect spot on my learning curve. My problem is trying to keep up with your new lessons whilst working through your back catalogue and the theory lessons. I totally value my subscription. Cheers from Downunder.

  56. Michael A says

    Brian,

    You say [near the 5:20 minute time] that if a song is in a major key you can use both the minor and major pentatonic scales and if the song is in a minor key you can only use the minor pentatonic scale. No doubt in my mind that you are correct; however, it appears to contradict the rule [in blues form] that over the 1 chord you can use either minor or major pentatonic scales and over the 4 and 5 chords you use only the minor pentatonic scale of the tonal center [1 chord]. You can use the major pentatonic scale over the 4 & 5 chords if you are following the chord changes. Please explain why playing the minor & major pentatonic scales for songs in a major key works when the convention seems to contradict your definition.

    Mike

  57. Steven T says

    I was blind, now I can see! Wow so many light bulbs are lighting up. I was ready for this lesson Brian. Your ability to keep the theory practical and applicable by beginners is second to none. Many thanks.

    Steven

  58. Philip P says

    What an amazingly eye opening lesson. Without a doubt the most clear, concise (yet extremely thorough) explanation on pentatonics I’ve ever seen. Joining Active Melody has been the best investment I’ve made in my guitar playing journey. The progress and “lightbulb moments” I’ve had as a result is amazing. Please don’t ever stop teaching.

  59. Dieter says

    Hi Brian, this is the best, most helpful, most descriptive thing I’ve found so far on the subject of minor/major pentatonic. Great work, chapeau for the huge effort you put in. Thank you very much, this really helps me.

  61. Michael M says

    Can you clarify the term “minor key” versus “major key” early in video. You say key of ‘A’. I know there really is no minor ‘key’; there is only modes/settings for key ‘A’. How to use words that don’t confuse myself here. Ugh!

  65. Jim Dog says

    Brian,
    Your approach to the pentatonic is eye opening. By just using pieces of the patterns and interconnecting them avoids a lot of confusion and unnecessary notes. It frees up the fretboard for me. The bends actually bring in to play parts of patterns 3 and 5 without consciously considering them.
    This course is AWESOME.
    Thank you, Thank you, Thank you!

  67. James A says

    Hey Brian, great lesson package. I’m going to get a lot of practice time with this. Although I had learned the five pattern major and minor pentatonic scales many years ago, I like the way you show a continuity between partial patterns to open up the fretboard .

  68. Herschel H says

    I have played since 1963 In that period of time we relied on Mel Bay and slowing down LP’s to learn. This lesson is without question one of the best I have seen. I actually learned some new techniques. Thanks for all your hard work.

  69. Geof C says

    One thing that I’m learning between your lessons and trying to learn licks by Jerry Garcia is that he just saw those chord shapes light up all over the fret board and he knew how to improvise within those shapes. I couldn’t fathom how he could hold so many possibilities in his head, but this lesson shows the underside of the weave in a way I can finally wrap my mind around. I mean, now all I need is another lifetime to master this… and as Loudon Wainwright III “I wanna double lifettime, but I ain’t gonna get it.” Anyway, looking forward to doing the rest of the journey with this knowledge in tow. Terrific explanation!

  72. Glen G says

    Bravo, Brian!! You teach with such tremendous clarity. This is such a fantastic lesson. I love to learn the tunes, but this one really resonates and can be applied in so many musical ways. Thank you….

  73. Graham M says

    This is the BEST. Thank you so much, Brian, for all of the work that you put into these lessons for us. One question I have is why the minor pentitonic don’t match up to minor triads, and if there are major versions of the MY 3 that match up to the Major Triads? Thanks for everything!

  76. wim v says

    Very nice Brian – finally I am going to understand this.
    I notice also the fret layout and playing points under the playing examples in sound slice for the first time….
    I am already subscribed more than a year to your lessons – but somehow I missed it.
    Well done. Thx Wim.

  77. Paul N says

    So Brian, do you ever look at search results from your site? Or maybe your psychic? Because for the last 2 weeks or so I’ve been searching for “Major Pentatonic Scale” on your site. Lessons came up where you used them in the material, but I could not find one that explained it in depth, like the Minor was explained thoroughly in your Blues course. This is it, and so much more!
    Thanks! I really appreciate this lesson!

  78. Alan H. says

    Thanks Brian, more bulbs added to the christmas tree. ;0) So I was not too far off with my blindly ‘Plonking Mixed Scales’. Your in depth but simple words of wisdom on mixing the Major and Minor Scales has cleared up so much. Although I am an ‘old (68) new’ Premium Member I have learned so much already. I blame you and your teaching skill to make things sink in. 😉

    Thanks again.

  80. David S says

    One of the best yet.No one as good as you to teach. Will work with this one till I get it down.Don’t plan on going to another till I get it.Triplets sound good. Keep up the good work!!! Dave

  81. Robert K says

    Thanks Brian,
    Great stuff. This stuff is so basic. PLEASE don’t forget this stuff when your lessons move out from pentatonic adding notes from the chords and/or the major scale and point out when you add them to the pentatonics. So many of us learned guitar based on these boxes – even when we’ve learned it from you. It’s often confusing when you add stuff and letting us know how those added notes fit in would in with the patterns/boxes our learning has been based on.
    Also, a lesson on adding the Mixo notes to these boxes would be really helpful
    Historically…
    Your overlapped patterns/boxes are basically parts of what Bill Edwards, (one of the originators of CAGED), calls Lead Patterns. He pointed/points (he’s still around – on YouTube sometimes), out that the boxes go horizantally across the fretboard while his lead patterns go up & down the fretboard vertically. Edwards also talks about those same bending opportunities in the boxes. The more things change, the more they stay the same.

    Also, I find that Box 2’s bass area is helpful when you want to hammer or pull off to a minor 3rd, (the 3 frets), but I have big strong fingers, sometimes an asset, often a liability…

  83. Rich F says

    Fantastic lesson, Brian! Light bulbs exploding for me tonight, as I sip my late night beer!

    For a long time, I was guessing that, if the backing key was A major, you could play either A minor pentatonic or A major pentatonic over it, but if the backing key was A Minor, yiu had to stick to A Minor pentatonic… but never had this confirmed anywhere. In a magic moment in this brilliant lesson, you confirmed it for me! This lesson is absolute gold-dust (I love this lesson, and last week’s BB King lesson),

    Many thanks!

  86. Chris K says

    Hi Brian,
    Thank you, thank you, thank you.
    Lesson 346 is spot on.
    For me the best lesson you have done during the years I have been learning from you.
    All the best and many thanks.
    Chris K. UK.

  89. Bruce G says

    Brian, you’re bringing along fast and I’m getting things I didn’t understand before. Your chart connects the major chord shapes with the minor pentatonic scale. A chart for the major pentatonic with major chords would help as well. Thanks

  90. Terry H says

    Brian, thanks for all the effort you put into this lesson–Amazing! O.K., so you have taken away my excuses for not having a thorough understanding of the pentatonic scales and how they relate. Hey, I’m headed to the shed to make it happen.

  93. Bjen says

    Brian, one of your best lessons yet. I struggle a lot with which strings to bend and which strings sound best with some vibrato. Right now the only string I add vibrato to is the Key note.
    Thanks.

  96. Marcel v says

    Thank you Brian.
    In less than a week you have a creative idea about a lesson, you record it, transcribe it, polish it, and give it to us. Incredible, You do this for years and have given us many fine lessons with lots of valuable material.

  98. Greg B says

    Hi Brian,

    I find these foundational lessons very useful. I don’t know if it would help others but I find that printing the five position pdf and then going back and marking in the interval tones has really helped me conceptualize the CAGED system and chord shapes. For example, I just write a 1, a 3, a 4, a 5 and a 7b next to the dots and repeat in the different positions. I guess that combines the three concepts and helps me in beginning to play the changes, which is still challenging.

    All the best,

    Greg

  99. Marie Jarreau says

    I was looking for something to chill-out with while taking a break from a very complex week. Of course, I go to one of Brian’s lessons, right? This lesson on the Pentatonic Scales is exactly what I needed!!! So much information shared so simply that I actually feel that I truly understand it! I’m thrilled, shocked and grateful! I’ve heard others talk about the Pentatonic Scales for years but that always just went right over my head. I expected I would never be able to understand what they were trying to convey because no one ever had as good an explaination and ‘delivery’ as Brian does here. Like all of the lessons I’ve viewed on Active Melody, this one is so rewarding primarily due to Brian’s expertise and generosity!

    Please offer my heartfelt gratitude to your wife and family for allowing you to spend so much time preparing these lessons for the rest of us. I KNOW it is not a simple task!
    Marie

  104. Rich G says

    For me, not knowing where all the caged shapes would fall or the notes across the fretboard, this is really confusing. Learning the 5 pentatonic shapes was easy as it is the same shape, with the steps and roots always located in the same position within the one repeating pattern of (3 ) 3’s together and (2)4’s together 5 unique strings. I’m having problem understanding the advantage to knowing the shape based on CAGED. It bothering me what I’m missing here.

  109. Vincent K says

    This is not just a great lesson for theory. With this lesson I noticed that I neglect to use alternative picking. Now I am trying to solve this, but that’s not as easy as I thought it would be. Two for one 😉

  111. Bill F says

    This is probably the most comprehensive, yet simple study of pentatonics I’ve seen, as you’ve also incorporated easy access to practice materials (tab and backing tracks). Appreciate the effort you put into this. I see there are a ton of comments for you to go through, but if you have the time, 2 questions: is it worth practicing bending with my pinkie as I don’t have the longest fingers and what model tweed amp is sitting in your back corner?

  112. David C says

    He Brian, another Great lesson here, I have a question so if you can play minor pentatonic over major chords but not major over minor
    I am guessing that if you are in a major key and a minor chord comes along you would have to be sure to play only minor pentatonic during this chord? Thanks again for all the hard work you put in!!

  114. Paul N says

    Brian, am I missing something, or are the last 3 bars of the Solo Practice of the Major Pentatonic Scale – On Screen Tablature Practice session wrong, compared to what you are playing? I usually slow it down to 80% for initial practice, and thought it was just a bug where the cursor was not catching up to the notes, but even at 100% the notes you’re playing don’t seem to match the tab.
    I skimmed the comments and did not see anyone else remark on this, so it could be me though.
    Thanks

  115. Paul N says

    I see “MY” issue. It’s just the width of the 3 bars is smaller, it’s the same notes as the 1st 3 bars. So the cursor does not hit the notes as they are played, as in the first 3 bars.
    Sorry about that. I’m a “visual learner” like you!

  118. David F says

    You should add this as a course. I think its great and got a ton out of it. That EP-130 is also pretty cool after doing this one. My suggestion is that now that we know where these scales are; what do we do in them? Improv sounds good because of the scales, but knowing some short licks and phrases (standards) would make that improv sound way more polished. Where do you find licks? How do you apply them (within the context of these scales)? Most important what do you do to keep from forgetting them 🙂 ?

  119. Derek W says

    Awe Brian, thanks for a great lesson. This pulls it all together for me, finally I’m beginning to understand the language of the guitar.
    Your doing great as always. Take care Brian. You have certainly brightened up a dull day here in Dundee, Scotland. Yours truly Derek

  124. robert g says

    Brian,
    This is the most complete lesson ever on the penta system. Has truly and finally unlocked the fret board for me. Thank You, Thank You, Thank You.
    Love the tie to the CAGE. Feels like I have been let out of the cage. You are amazing teacher. Great verbal communication skill as well as creative musical skills. Best lesson ever and you have composed many great ones.

  125. blues46 says

    Brian, thanks for all the great lessons. I have been with Active Melody for over 8 years. I love the way you explain the what’s and why. I like to understand things rather than just copy.

  126. Chris J says

    Thank you for your time and effort you must have made to put this course together, really has made a positive impact on myself and looking through the other posts I’m not the only one.

  127. Wolcott66 says

    I’ve been a Premium member for many years now; and I would remain one even if you never made another video lesson because I will never get thru a fraction of the 400-plus you already have made! There is hours of practice here if I want to get even a bit proficient at this thing. Thanks. You talk at a level we intermediate players can understand without talking down to us or talking over our heads. thanks!!

  130. Philip B says

    Brian, I have learned a lot about pentatonics over the years and used them extensively, but is this just a really valuable lesson to make it possible to use the pentatonics to their fullest capability- especially combining them and utilizing the bends so skillfully. Also, one of the nuances I love that you use is what I call a “shy” note. Like in the 4th measure of the “Mixing” solo where you could have ended the phrase on the A note that precedes it, but you end the phrase with a just barely audible 1/8th note on an F# and it’s really only a kind of maybe like a hint of a note to entertain those of us who love those nuances (and would never think to implement them) that make your very advanced playing so enjoyable. Thanks for this great lesson and so many others (Slow Country Rhythm Ideas comes to mind also recently).

  132. Philip O says

    Can’t say anything that others haven’t alraedy said except thank you for such a great lesson. This is the best expanation of applying the scales that I have ever seen in my many years of learning the guitar.

  134. Mark L says

    This has been helpful. Been struggling with mixing major/minor blues and this lesson has me mixing them up for the first time. I think I’m even ready to move out of A and on to C and other keys! LOL…

  141. Robin d says

    Thanks Brian,
    Recap is what that was. I was working on some blending over the last day or 2 and then hopped online today. There you were; like you were reading my mind posting a recap. Do you do any “recaps’ of these scales with a country twang to them?
    I’m headind over to EP 435 & EP 130 now
    Giddy Up!
    Robin

  144. RONNIE R says

    I AM CONFUSED WHEN I LOOK AT THE 5 PATTERN PDF AND SEE FOR INSTANCE PATTERN 3 (C SHAPE) I DO NOT SEE A C SHAPE OR ON THE A SHAPE.

    WOULD YOU PLEASE EXPLAIN WHAT YOU MEAN HERE. I HAVE BEEN OVER THE VIDEOS ABOVE SO MANY TIMES AND CAN THEN GET CONFUSE WHEN YOU SAY THE A SHAPE ETC.
    I KNOW THE CAGE SYSTEM SO /\???
    THANKS ,
    RONNIE

  149. Steve (Ruffcutt) R says

    So glad I found this lesson! It helped me understand so much. I already know the notes and scales, just never figured out how to connect it all. This lesson fast tracked me to my goal.

    Question, if the key was G same thing? Lose 2 of the notes and there is the minor major scale? How do I know which 2 to drop?

  152. Scott S says

    The most coherent explanation of Caged & corresponding scale patterns I’ve ever encountered. Brian, thank you for explaining stuff in a way that’s actually understandable and instantly useful.

  154. Frits B says

    Brian, because of this lesson it dawned on me, that the melodies I tried to master before, where a note-by-note process and therefore a cumbersome process. I experienced it so, because I had no idea where the possible notes of a melody could be; the notes were only connected by the melody. Now, I first realise, you’ve tought me where the possible notes are (e.g. major or minor pentatonic scale) and now the music sheet only has to tell me which of the notes, of which I already know where they are, I have to play.
    That’s a whole different experience! A better one 🙂
    I’m so gratefull for people, like yourself, who take the time and effort to make music and it’s theory accessible to us. Thank you so much!

  157. Geoff says

    Hi Brian, I just wanted to say that this is one of your many great lessons. I know the blues ‘pattern I’ pretty well and I pretty well guess the rest of the fretboard when I improvise it. This lesson has been a real ‘lightbulb’ lesson for me because it shows so clearly how to tie the different patter together all over the keyboard – thank you so much for this one 🙂

  164. Gary M says

    Brian: Thanks for another great lesson! I have a question about blending major and minor pentatonic scales. When it’s a more bluesy song, it seems to work. But if it’s less bluesy, when I go to minor pentatonic, it sounds terrible! Is it just my ear, or are some songs just not suited for a minor pentatonic approach?

  166. Harold V says

    After playing last night in a jam session, I came home a little discouraged. Although I could play the chords up and down the neck using the CAGED system, I difficulty being able to improvise in the same regions. Before I went to bed, I kept thinking that I need a lesson that is going to help me find the connecting “boxes.” While looking for something on You tube, I ran across EP436 which I have watched before but not sure if it ever clicked. Well today I think that I am beginning to see the fret board picture. I am going to work with this lesson until I can build the visual and memory to play up and down the neck.

    Thanks again for all you do

  167. Marcellinus V says

    Hi Brian,

    Thank you so much for this lesson. This is the one I’ve been waiting for all my life.

    I have a little question : the one you call “mixing the pentatonic” is all A major pentatonic, mixing three positions, right ?

  172. Stephen B says

    Hi there. So mixing minor and major pentatonic scales (like Amin and Amaj) means one can move right into their relative keys and associated chords. Could potentially move to or weave to other keys almost at will. Is that right? Thanks

  174. Billy Ray says

    Brian,
    Excellent course. You’re an excellent teacher, cool, calm, collected and of course knowledgeable !
    One question on the pentatonic scales. Using the “blue note” ?
    I’ve learned the scales using the blue note and it does add a nice bluesy flare .
    Thanks for all you do. Keep up the great work.
    Billy

  175. John B says

    Brian, In Lesson EP436 you have a link to a chart of the 5 positions of the Minor Pentatonic Scale, but you don’t have a similar link to the 5 Position Major Pentatonic Scales. Can you please post such a link to the website or tell me where I can find it? Thanks!

  177. chris m says

    The chart with the 5 patterns of the minor Pentatonic scale is *very* confusing with respect to where you put the bold red dots – they should correspond always to the root note, but they do not in your chart! I get that perhaps you were trying to outline where e.g. pattern 1 comes from the ‘E’ Caged chord shape, but if so your dot notation is inconsistent.

  178. JoLa says

    This lesson is what made me FINALLY practicing scales and actually enjoying it!
    Really well done, Brian – one of your best instructions, love the (melodic) pentatonic practice runs.

    Unfortunately I am not able to follow the Major Pentatonic pattern because the last 3 measures do not match what you’re playing, wonder if that could be fixed?

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