Active Melody

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MicroLesson: 074 – Blend the major and minor pentatonic scales in 1 position

Description

This MicroLesson is a follow-up to ML073 – we will be building on the concepts in that lesson and will introduce the major pentatonic scale. This lesson includes examples of how to blend the major and minor pentatonics.

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Comments

    • Andrew P says

      Brian would you do this exact same micro lesson but using the Barred – “A” shape chord form on strings 2-3-4 ? And how to fit a Minor & Major Pentatonic scale segment to that chord shape. That would help us tremendously, as the “G” being the one chord (with the E-shape) in this microlesson could be followed by the C & D (4 & 5 chord) using the “A” Shape.

      • Laurel C says

        Brian’s approach on improvising has tremendous mileage. A good idea for E shape and A shape chords as another alternative. Hope this series continues with other goodies to add from these base models of the last two weeks. If it does. it will be a first as there is nothing out there that gives you this know how. All go from step one to here’s what you can do, with the result leaving you without a clue what happens in between. Having the visual building blocks and breakdowns step by step just untangles everything to improvise coherently. Striking gold with the topic ‘Improvising”. Brian.

  4. Mark H says

    Thanks for building out last week’s excellent MicroLesson. My leads tend to be a bit rough when modulating between the minor and major pentatonics, and also when blending them. This ML will definitely help me to smooth things out.

    Sure, you’ve covered all this before, but simplifying it and taking a slightly different approach to presenting the material adds a helpful new perspective. Thanks!

  5. Bruce G says

    Thank you Brian! ML73/74 are right what I need right now, and I really appreciate the help in leading me forward on my improvisation journey!

    Lead on! (pun intended)

    Also–a quick idea for you… You often reference licks to various artists in your lessons. Your lessons have introduced me to listening to a lot of music I’ve not listened to before… I am also finding as I learn more music theory from your lessons, I am listening to music differently…trying to hear the chord progressions and the scale patterns.

    Occasionally I also listen to another popular internet personality who does a regular series “what makes this song great”. Usually his explanations go over my head, but I often learn something, or just get motivated by the passion.

    Anyway–perhaps as “optional” content…it would be great to hear you walk through a song from one of your heroes and talk about how they used a particular concept(s) that you teach in your lessons. Just another way to connect us all to the great things you teach us—and maybe help us develop both our ear and music appreciation for the greats. Besides, I see you have a few albums to choose from!

    Thanks again! These are great lessons!

  6. Paul N says

    I can’t prove it, but I swear you read my mind. This is like the 3rd or 4th time you did this. Providing a lesson that answers my question at almost the exact time! While trying to jam with a soundtrack earlier this week, I was hitting those notes of the major scale, saying to myself “Why do they sound good, they’re not in the minor pentatonic scale”? And then the next day, you tell me why. Blending the 2 scales. Awesome! Thanks Brian!

  7. Frank S says

    Wow a lot in these micro lessons. I really like them since they are bite sized and packed with info. How about a whole series of micro lessons building one on the other.
    Only bummer is I was bidding for a Vega Odell and overslept so missed the final bids on it. Will continue to pursue one.

  14. Kevin C says

    I’ve signed up for quite a few online guitar courses over the years, but generally lost interest after a short while, However, with you I continue to come back both for your full song lessons and really valuable mini lessons like this. Best $’s I ‘ve ever spent around guitar lesson. Thanks Brian

  15. James A says

    Another great MicroLesson Brian. Enjoying them very much. Please continue the major/minor blend up the neck in the other four “patterns” to show how it all links together and makes use of the entire fretboard.

  17. Thurman M says

    This was a great help for me in understanding the previous charts of the scales. Thank you. I can now go back and review them with more understanding of what I am doing. Each lesson is a big leap forward, even for an old guitar player. Thank you!

  18. Wil W says

    Thanks Brian,

    this new microlesson ML074 gives the answers I have asked in ML073. If you can play over a Major home-chord, the minor and the major pentatonic, then the problem is solved how to land on the IV-chord. If the major pentatonic doesn’t have a 4 (the root note of the IV-chord) you can use the minor pentatonic, which contains this 4. Seems that a lot of players start with the pentatonic scales and a lot of things are obvious to them. But I started with the (C) Major scale and I have to leave out some notes to get the pentatonic scale (for the major pentatonic I have to leave out the 4 and the 7, and for the minor pentatonic I have to leave out the 2 and the b6). I’m glad I’m a premium member.

  21. Roy B says

    This is a powerful lesson linking chords and the major and minor pentatonic scale patterns adjacent the chords. All of this in a “Micro-lesson”… it might be a Micro-lesson but it provides macro-revelations in short order… for me it brings together all the scale and chord practice that I’ve put in over the years… well done!

    This lesson works off the E-shape chords… I’m assuming there is a similar relationship with A-shape chords probably using pentatonic patterns 3 and 4 for minor scales and 4 and 5 for major scales… I havn’t worked this out yet, just speculating.

    I’m hoping that Brian chimes in on this speculation and perhaps does a Micro-lesson on the pentatonic patterns related to A-shape chords… gotta be some insights on using the E and A shape chords and closely related pentatonic scale patterns.

  23. Bruce G says

    Hey Brian—how about a continuation of this string with a discussion on target chord tones? I know you have at least one other lesson on this…but this would step this series up yet another level!

    Thanks for all of these!

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