Pentatonic Guitar Scales - Note Names

In this guitar scales lesson, we take a look at the actual note names in standard tuning for the map of C Major/A minor Pentatonic.

It is vital to keep in your awareness that knowing patterns, frames/grids, or fingerings are not sufficient to be a great improviser, or to understand how to solo. Another piece to being a great improviser is knowing note names. This isn't mandatory, but extremely helpful.

As you build your understanding of standard tuning (or any tuning), you realize how tones interact with tones (i.e. how tones you use to solo, interact with the chords that are being sounded).

For instance, you come to realize that you can reinforce what's in a chord by emphasizing chord tones (often on beats 1 and 3), or you can add to the chord by emphasizing non-chord tones. When you add tones, you can expand the color or type or function of a chord.

As you play guitar scales, you realize, some tones are in the chords, some are extras. How you use these tones determines your level of expression. We also come to realize that the term scale really isn't as important as the tonal interaction that knowing them, leads to.

Note Names for C Major and A minor

As with the C Major/A minor Pentatonic frame lesson, take special note of the octave shapes. Memorize octave shapes.

These are the same tones in these guitar scales...C Major and A minor?

Yes, these are the same 5 tones. With C major, we are calling the C the Root of the system. If C is 1, D=2, E=3, G=5, A=6. If A is 1, C=b3, D=4, E=5, G=b7.

The flats (b) refer to what is different from A Major through comparing or paralleling. A's 'normal' 3 is C#, so A's b3 (lowered 3rd) is C.

Likewise, A's 'normal' 7 is G#, so A's b7 (lowered 7th) is G.

Could the other tones be roots?

Yes. If we did this, we would have:

From the D, the scale is called the Vietnamese Scale (R 2 4 5 b7).
From the E, the scale is called the Malkos Raga (R b3 4 b6 b7).
From the G, the scale is called the Bac Scale (R 2 4 5 6).

What is the best way to memorize note names in these guitar scales?

Through a combination of exercises - what might be called a lattice of knowing.

We would start you with memorizing frame 1. Memorize the shape and how it is played. Play it until you know it.

Then, play it 100 times, but change your focus. One of these foci will be the naming of notes.

So, you play it a couple times, just getting the feel of it. The shape of it.

Then, keep playing it, but change what you are paying attention to as you play the scale. Paying attention could mean to body, or mind, or expression.

Body

• How's my pick (or fingers) doing?
• Am I getting a clear articulation in the motor hand?
• How does fretting these tones feel?
• What is my fretting arm elbow doing? Wrist?
• What part of my fingertip am I using? Does it change with different strings?
• How much pressure does this really take? Can the weight of my arm help?
• Am I hungry? Do I want a sandwich? What type of sandwich?
• What is it like to play while wanting a sandwich?
• How are my legs? Are they asleep?

Mind

• Say the names of the tones as you play them.
• What are all the A's in the scale? All the D's?, etc.
• What are all the tones of the borders?
• *How are the same tones played in the next frame?
• Is this fun?
• Do I know what I'm doing?
• What is this thing?
• Am I comfortable? No pressure?

*For the tones being played in the frame, keep in mind this rule for adjacent strings in standard tuning:

For string sets 6/5, 5/4, 4/3, & 2/1: to find an identical tone (unison) on the lower of the set of 2 adjacent strings (i.e. 6/5 - 6 being the lower), move up 5 frets (not including reference tone).

For strings 3/2, move up 4.

If you take a close look at the guitar scales above, you will see how these rules are always true, and the same tones are simply being refretted in different positions.

The same rule applies in reverse (on 3/2, go down 4 to find the same tone on the higher string).

And finally, the rule applies in reverse for an octave: to find an octave on the lower string of 2 adjacent strings, move down 7 frets.

Up and down for the same tone (for all string sets except 3/2 - the unison on higher string is down 5 - the octave on higher string is up 7 - or opposite) for adjacent strings always equal 12.

Online Guitar Lesson Library