pentatonic

This is a follow-on to my last post about connecting pentatonic shapes, and part of my never ending quest to really learn how to solo. As always, the goal is to play music (sounds) not memorize shapes or terminology. Specifically, we want to be able to play the five notes of the pentatonic scale, instantly and effortlessly. It’s all too easy to get so wrapped up in theory and names and the analytical, verbal, mentally straining aspects of music that you lose sight of the goal (believe me, I have this problem in spades). [Read More]

Chords and scales are intimately connected. Consider these three (inter-connected) shapes of the Am pentatonic scale, for example:

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Hopefully our exploration into minor pentatonic scales wasn’t too exhaustive. We are going to speed up a bit as we delve into the major pentatonic scale. This isn’t because it’s any less important (far from it) but rather because all of the study methods we’ve already covered are equally applicable. It’s basically just rinse and repeat, but with a different set of five (or six) notes in a slightly different shape.

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Let’s wrap up our look at the minor pentatonic scale by looking at some of the “between” notes, especially the b5 note that lies between the p4 and p5 (known as the “blue” note).

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Let’s continue our discussion about the frying pan shape. Things become even more fun when you realize the same shape exists all over the fretboard.

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This post discusses The Frying Pan, which I consider to be the ideal first scale shape for a beginner to study when learning how to solo.

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What better topic for the first post on my new guitar site?

Almost everyone who’s ever picked up a guitar knows good ole “box 1” of the Am pentatonic scale. What could possibly be wrong with that as a starting point?

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