Major pentatonic and the blues scale

The major pentatonic uses the same notes as a minor pentatonic three semitones lower, so you already know the shape. Add one extra note, the ♭5, and you have the blues scale. This lesson ties the shapes together.

By the end of this lesson you will be able to:

• State the major pentatonic formula (1 2 3 5 6) and its relationship to the minor.
• Play A minor pentatonic box 1 and C major pentatonic in the same place.
• Add the ♭5 to make the blues scale and use it as a passing note.

The major pentatonic has five notes: 1 2 3 5 6. It is the major scale without the 4th and 7th. For C: C D E G A.

Look at A minor pentatonic: A C D E G. It is the same five notes as C major pentatonic. They are relative scales, just like A minor and C major. So you already know the major pentatonic shapes: they are the minor pentatonic shapes with a different root.

To make a major pentatonic sound major, use the major root: play the shape and aim for C. To make it sound minor, aim for A.

The blues scale adds one note to the minor pentatonic: the ♭5, the "blue note". For A that gives A C D E♭ E G. The E♭ (the same fret as D♯) adds tension. It is used as a passing note: slide or hammer through it, but do not sit on it.

Hearing the blue note.

1. On the 5th string, play fret 5 (D), then fret 6 (E♭, the ♭5), then fret 7 (E). The middle note creates tension that resolves when you reach E.
2. Play it as a slide: fret 5 to fret 7, passing through 6 quickly.
3. On the 3rd string, the same idea runs from fret 7 (D) through fret 8 (E♭) to fret 9 (E).

Major or minor? Strum an Am chord and play box 1 over it, ending on A. Then strum a C chord and play the same notes over it, ending on C. Same notes, different mood.

Do these in order. Each one is small. Tick the ones you have practised.

• 1.Same shape, two homes

  4 min · 60 → 80 BPM

  1. Play A minor pentatonic box 1 (frets 5 to 8) and end on A.
  2. Play the same notes and end on C (6th string fret 8 or 4th string fret 10).
  3. Listen: the notes sound major when C feels like home.

  You have it when

  • You can hear the difference between minor and major by changing the resolution note.
  I practised this one

• 2.Add the blue note

  4 min · 60 → 80 BPM

  1. On the 5th string, play frets 5, 6, 7 (D, E♭, E). Fret 6 is the ♭5 of A: the blue note.
  2. Slide or hammer from 5 to 7, passing through 6 quickly.
  3. On the 3rd string the blue note is fret 8 (E♭), between 7 (D) and 9 (E). Try the same move there.

  You have it when

  • The blue note sounds like tension that resolves, not like a wrong note.
  I practised this one

• 3.Major against minor

  4 min

  1. Strum an Am chord, then play A minor pentatonic over it for a minute.
  2. Strum a C chord and play C major pentatonic (the same notes) over it for a minute.
  3. Describe in your journal how the two sound.

  You have it when

  • You can hear that the same notes behave differently over different chords.
  I practised this one

Start at 60 BPM. The blue note is a passing tone: slide or hammer through it, never rest on it. Target 80 BPM.

• Sustaining the blue note. It is a passing note. Move through it and land on the next note.
• Treating major and minor pentatonic as separate shapes to learn. They are the same shapes. Only the root changes.
• Playing the major pentatonic over minor chords. Choose the root that matches the chord: minor over minor, major over major.

Blues players constantly mix the minor pentatonic with the blue note. Over the 12-bar blues in A, the A blues scale works over every chord.

Try it in: 12-bar blues in A.

Short version (10 minutes)

Play box 1 and add the blue note as a passing tone for four minutes.

Standard version (about 30 minutes)

Do all three exercises, then improvise over the 12-bar blues in A for two choruses using the blues scale.

• Major pentatonic: 1 2 3 5 6.
• A minor pentatonic and C major pentatonic are the same notes.
• Blues scale: minor pentatonic with the ♭5 added.
• The blue note is a passing note.

You are ready to move on when you can honestly say:

• I can explain how major and minor pentatonic share shapes.
• I can play the blues scale and use the ♭5 as a passing note.
• I can hear the difference between major and minor use of the same notes.