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The 5 Major Pentatonic Scale Shapes – Positions

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The major pentatonic scale is mostly used in country, folk country rock, blues and jazz.

It creates a more happy and uplifting sound.

The shapes of the major pentatonic scale are exactly the same as those of the minor pentatonic scale, except the root note is located else where.

Looking at it from the major scale, if you leave out the 4th and the 7th note of the major scale you’ll also end up with the major pentatonic.

The 5 shapes shown below are all the same scale (G major pentatonic scale) just played in different positions, so you can learn the scale all over the neck. That’s the whole purpose, eventually you want to have the freedom to be able to improvise around the entire fretboard.

SHAPE NAMES
Each shape has it’s own shape-name C, A, G, E and D, derived from the C-A-G-E-D system. Note: The name of the shapes have nothing to do with the key of the scale. The names refer to the chord shape (made up of the red and green dots) that is surrounded by the scale shape.

If you want to know more about the CAGED system check out: What is The CAGED System? (The Keys to The Fretboard)

ROOT NOTES
In the scale diagrams below the red dots indicate the root notes and the green dots indicate the remainder chord tones.

The root note of each shape determines the name of the scale. In the examples below all the scale shapes are in the key of G, so all the root notes are G notes.Continue Reading

The 5 Major Scale CAGED Shapes – Positions

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If you know how to play the major scale in one position and you’re ready to learn to play it all over the fretboard then this lesson is the next step.

If you haven’t played the major scale before you might wanna check out this post first: How to Play The Major Scale Guitar Guide for Beginners and Intermediate.

The major scale is the mother of all scales and your reference point for all other scales. That’s why it’s so important to master all of these five scale shapes.

The five C-A-G-E-D scale shapes (C shape, A shape, G shape, E shape and D shape) surround the entire fretboard. The “shapes” are sometimes also referred to as “positions”. In this post we use the G major scale as an example. So all five scale shapes (see below) are G major scale.

You can apply these scale shapes to all 12 keys by simply moving the shapes up or down the fretboard. For example: If you move the five shapes up a whole step (2 frets) then all the shapes are in the key of A, so you have five A major scale shapes.

The five scale shapes are derived from the CAGED system. If you’re not sure what the CAGED system is all about check out: What is The CAGED System? (The Keys to The Fretboard)

Each scale shape is related to a chord shape and surrounds that chord shape so you can easily identify the name of each scale shape. In each diagram below you can see the scale shape and the chord shape (made up of the red and green dots) that is surrounded by the scale shape.

PLAYING THE SCALE SHAPES / POSITIONS

If you look at the diagrams, play each scale shape starting from the lowest root note (the red note) then play all the way up (ascending) to the last note on the high E-string, then play all the way down (descending) to the first note on the low E-string and then play up again to the first root note you’ll hit upon. The tablature shows you how to play each scale shape ascending and descending.

Tips

– Practice the scale shapes with a pick using alternate picking technique (down, up, down, up, etc.)
– Practice slowly first and make sure each note sounds clean and clear.
– Try to visualize the chord shape in each scale shape.
– Make sure you can play each scale shape thoroughly before moving on to the next.
– Be patient and persistent, it takes some time to get them all under your belt.
– Repetition and regular practice is the key to success!

Have fun!

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How to Improve Your Lead Guitar Phrasing

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For guitar players who starting out learning to improvise, it can be quite a challenge.

Playing a bunch of notes within the pentatonic scale (or any scale in that matter) is one thing, but being able to really tell a story with those notes is a complete different thing.

Because that’s what phrasing is all about: “How you tell a story”.

If you’re telling a story you want to draw the audience’s attention. We’ve all come across those boring teachers in the classroom who can’t keep your attention for more than 30 seconds. They talk in the same low monotone voice on and on and on and on. It’s almost like they don’t even breath. They probably don’t. :)

The fact that they can’t keep your attention has nothing to do with the subject, but it has to do with how they present the subject, how they bring you the story. And they forget the most important thing. They have to bring the story to life!

To bring a story to life you want to hear and feel the passion. You can hear that in the way people speak. When people get excited about stuff they tend to raise their voice. If they want to tell you a secret or gossip they start to whisper. If something is really important we will emphasize particular words. When someone tells you a creepy story they’ll start to talk slower, fuel their voice by fire and when the story gets really exciting they’ll suddenly pause to get you to the edge of your seat and then relentlessly take you to the climax.

There are dozen ways to draw the listener’s ears and fortunately for a lot of people that goes without saying. Most people will talk passionately about their new bought car, their cool job or an attractive person of the opposite sex. The same applies to music. You want to hear the same excitement in your soloing. To do so you have to learn great phrasing.

Phrasing is not about what you play but how you play it!

Let’s see what you can do to improve your phrasing and make your playing come alive:
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5 Pentatonic Sweep Picking Patterns in the key of A

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Sweep picking is a picking technique that was invented and developed by jazz guitarists Chuck Wayne and Tal Farlow.

Later the technique was further developed by fusion guitarist Frank Gambale.

The quality of sweep picking is that it produces a fast and fluid sound (once you get the hang of it). This is because you only need few strokes as apposed to alternate picking.

While it is generally used for arpeggios, it can also be applied to scales, 3 notes per string licks and… well just anything really.

In this topic we’ll be covering 5 pentatonic patterns in the key of A. If you already know how to play the 5 pentatonic shapes using alternate picking and you want to try sweep picking for a change to make it sound more fluid, give it a more Gambale feel to it or just to see where it will take you, this one’s for you.

You don’t have to choose one picking technique for your style of playing. A lot of guitar players combine both. They use alternate picking mainly and apply sweep picking occasionally for particular licks or arpeggios.

Sweeping
For the alternate picking approach you go “down, up, down, up, down, up” with the picking hand. In the scale patterns below you also use alternate picking except when changing strings you’ll be picking in the direction of where you’re heading. Use a downstroke if you’re changing to a higher (pitch) string and use an upstroke if you’re changing to a lower (pitch) string.

You can see the down and upstroke symbols in the scale patterns right between the standard and tablature notation. The downstroke symbol looks like a hurdle for track and field, the upstroke symbol looks like a “V”.

I have to admit the pentatonic patterns are quite a stretch. Major scales are much easier to play, but for the rock and blues players out there we don’t want to miss out on the pentatonic.

It takes a bit of practice to get used to the sweep picking feeling but hang in there. After a while it feels so natural and easy. It’s the path of least resistance.

Have fun!
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