Pentatonic position #1 can either be major or minor. For example, play A minor pentatonic over an A minor chord. This isn’t always true for major chords, so only focus on the triad tones for those. For now though, just realize that you aren’t simply just playing the F# minor pentatonic scale over all of the chords within the progression. If you want to connect the chords to the key-scale, you may target chord tones within the scale patterns based on the CAGED shapes. We start with two Am7 voicings—one based on a 6th-string root and the other on a 5th-string root. The major pentatonic would be root-step-step-skip-step-skip. The figure below shows two diagonal major pentatonic patterns. Dominant chords have a major third and a minor seventh (b7). I always appreciate your comments! I’ve been calling the method “waterfall”. All the notes should sound fine. When playing, you can extend your lines by linking together adjacent scale patterns. From the basic pentatonic scale guitar fretboard pattern to improvising using minor pentatonic scales all over the guitar neck; once you’ve been through this guide you’ll be a pentatonic scale expert! The white dot indicates the note ‘F#’: When you are soloing over the F# minor chord or the A major chord, you can always add in some additional notes by simply remembering this “pattern”: If an E major or C# minor chord occurs, you would shift to this box pattern: Finally, if a D major or B minor chord occurs, you would shift to this pattern: Now you see how these “pentatonic boxes” fit perfectly into the overall scalar framework of the key. (Luckily, you can actually use the same pentatonic minor scale patterns shown on this page to play pentatonic major scales; it’s just a case of where on the fretboard they’re positioned. You just need to learn a new root note. This can be very useful. There must be something about the sound of a pentatonic scale which is innately pleasing to the human ear. In the near future, I will be adding a course that goes much deeper into this topic into the Lead Guitar Improv Member’s Vault. I just was trying the same lesson and had the same questions. (At the 8th fret the green tonic notes will be positioned over ‘C’ notes on the fretboard.). You can find out more about the pentatonic major scale here: Pentatonic Major Scale. This is a great tool! The awesome part is that they contain the same note intervals (with differing roots), so the patterns are the same. You will also find however, that things will sound kinda “jumpy” since you will be jumping around to different areas of the fretboard. You can also incorporate some blues licks. Click here or on the image above to get 25% off your lessons courtesy of Guitar Command. When most guitarists talk about the pentatonic scale they’re referring to the pentatonic minor scale. All Rights Reserved. Have learned a lot. Once you get used to this whole “one pentatonic box per chord” method, you can then realize that there are only 3 shapes that you will need to remember. The only difference is where the scale root, or “tonal center” is located within the pattern: Notice that the only difference is where the root is located (the colored dot). Depending on whether the chord is major or minor would determine whether you use your index finger or your pinky finger to locate the box. I will show you the box patterns for all the CAGED forms later. Filled-in notes are root notes. One of my goals is to unlock the guitar tricks that make it easier to play. I like the diagonal patterns because they help you move up and down the fretboard. In the patterns above, if you take E form box, the notes are simply E G A B D. I don’t get the ‘flatted’ part? If you are a fan of Jimi Hendrix, you know that he likes to play a Dominant7#9 chord. Some people avoid teaching CAGED for these boxes to avoid confusion.