Hey friends, this is Prokopis from EMP, and today I will do my best to answer a question
that pops up quite a lot.
I get comments, or emails from people that get confused by this, even though it's not
complex.
And the reason for the confusion is that traditional books, or guitar magazines, in an effort to
simplify things, have presented the relationship between major and minor pentatonic scales
inaccurately.
Very often, for example, someone will show you this shape and say that this is the minor
pentatonic.
Or they will show you this shape and say that this is the major pentatonic.
Both these statements are true, but if you leave it at that, they can also be very misleading.
You see, both those shapes can actually be used as both minor AND major pentatonics.
That's because the major and minor pentatonic scales have the exact same structure.
You can say that they are one and the same, in terms of intervals and fingering shapes.
If this sounds strange to you, then follow me for a few seconds and you will see what
I mean.
The only thing that changes between the two is what we consider to be the main note, sometimes
called the tonic, or the root.
So for example, in the first shape, the red notes marked with a small m, are the root
notes for the minor version of the scale.
Here's an example for A minor pentatonic.
When I place this fingering shape strating on the 5th fret, the red notes are A's,
and therefore the root for A minor pentatonic.
BUT the thing that makes them sound like the root notes, is the background music.
So for all this to make sense, and not be just theory, I need to play this over an Am
chord background.
Can you hear how the A's sound like home base?
Now, what if the background chord changed to a C major?
Do you think that the A's sound like the root note now?
No, in fact, if you are not careful they can even sound weird.
But listen to this:
What I just did was to land on the C's.
And the C's DID sound like they are the root note, because now this scale has become
the C Major pentatonic scale, because of the background harmony.
So we have seen that we have a pair of scales, the A minor pentatonic, and the C major pentatonic,
that share the exact same notes.
They are essentially the same scale, yet they sound different, because of how they interact
with the background harmony.
You can say that they are two modes of the same scale.
Over an A minor chord, or a song that revolves around the A minor chord, it sounds like A
minor.
Over C major, it sounds like C major.
And this is true for all keys, and all shapes.
Pentatonics come in pairs.
In classical theory we call them relative scales.
For every minor pentatonic, there is a relative major pentatonic, and vice versa.
So how do we apply this in a practical and musical way?
As usual, my advice is to forget about box shapes, and start thinking in terms of the
string fragment system, or SFS.
That's because SFS immediately gives you control over both versions of the scale, in
all fretboard areas.
By the way, if you haven't watched any of my SFS lessons, I have a link below for you
to get the free SFS Fretboard Secrets mini course to get you started.
It's very cool, and I get very positive feedback from my viewers, because in it you
learn to move freely around the guitar fretboard, and break free from box shape memorization.
So click below to get it completely free.
You're going to experience some real fretboard freedom with this.
But for those of you that already have an idea about how this works, let me give you
the easiest way to get started with this.
I'll do an example with just 3 string fragments, because we don't have time to do everything
in just one video.
Let's say for example that you want to play the E minor pentatonic everywhere on the fretboard.
First of all you need to know the location of the E's.
You do know your E's right?
If you don't, then get the free Fretboard Memorization Toolbox.
I have a link for that below as well.
It's completely free, so NO COST means NO EXCUSE.
Learn your notes.
So we get our 3 string fragments, and place them everywhere, using the 1st note on SF1.
That's the root for minor.
But what if you want to play E Major?
Well, locate your E's again, but this time use the top note of SF1.
Most people play that with the pinky.
And... voila!
You have E Major Pentatonic everywhere!
I don't wanna turn this into a full blown SFS lesson, but you get the point!
What we learned today allows us to easily switch between major and minor pentatonics,
and by employing SFS you can move easily around the fretboard and be creative with both of
them.
If you liked this lesson, I'd really appreciate it if you hit like and share.
Also please leave a comment to let me know what you think, and don't forget to download
your freebies using the links below!
Thanks for watching, and remember…
Enjoy your practice and be effective!
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