Pentatonic Guitar Scales
C Major and A minor
Pentatonic guitar scales are possibly the most popular and most used melodic maps on our planet. One way we learn them is using frames (grids, maps, charts). This map of these scales is often the first complete scale system a student learns. It is a 'hollowed out' Major/minor scale system [it is 'missing' the 4 & 7 to the Major, and those same tones are the 2 & 6 to the minor].
The pentatonic scale is any scale with 5 tones, but in Western music, it specifically refers to the Major and minor types. Each of these have a specific formula, or set of tonal relationships that create the sound of Major and minor pentatonic.
The Major pentatonic scale formula is R 2 3 5 6. This scale is popular in tunes like 'My Girl' performed by the Temptations.
The minor pentatonic scale formula is R b3 4 5 b7. The same 5 tones, just calling a different tone the root.
Since there are 5 tones in pentatonic guitar scales, each tone can be a root of a scale (modal perspective on pentatonics). If we did this for the other 3 tones in this scale system, we get:
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).
Yet, in the West, using (or naming) these guitar scales by all these 3 isn't very common. In the West, we use the Major and minor tones as starting points, and use those names.
The Frame System for Pentatonic Guitar Scales
Take special note of the octave shapes. They say quite a bit - You can see the chord forms outlined with octaves. In a way, both chords and scales wrap around or fill in octaves. Memorize your octave shapes and your understanding of standard tuning is deepened.
What is the R?
R stands for Root. A Root is the base tone for something (chord, scale, arpeggio) to be built. It is the tone that names the chord, scale, or arpeggio. In this case, it is the root of a system of pentatonic guitar scales (Major/minor).
I Love Guitar uses the following for frame studies (grids).
Why the Flat (b) 3 and 7?
When we use a flat like this, it means we are comparing or parelleling to what is normal to the root. What is normal means what is derived from the major scale for the root.
For A minor, the C is a flatted 3, because in the key of A Major (the A Major scale), the 3 is C#. Likewise, since the 7 in A Major is G#, G is the flatted 7 (b7) to A.
For a further discussion of this, take a look at Derivative vs. Parallel.
What do you mean by 'tail becomes head of next'?
When learning a guitar scales system like this, it is important to view it from multiple perspectives.
One way is for the student to stitch the patterns together. Choose 2 frames. Use 2 strings (adjacent string couplet) for the 2 frames (ie. the 1 & 2 string). This totals 6 tones. Improvise on these 6 tones. Explore double-stops in every combination. Then go to next string couplet (ie. 2 & 3). Move through all 5 couplets for 2 frames. Then do same with 2 other frames. By doing this, you are memorizing the shapes & learning how to move between them (sliding is a great way to transition to next). The middle two tones are both a head and a tail [head - head/tail - tail].
Another way to think about this is that each adjacent frame shares a border. Since there are 2 tones per string, we can think of all of the lower of the 2 (across all strings), as a block - the head. And, the higher tones (across all strings), as the tail. The tail of one pattern, when moving up, becomes the head of the next.
It is also interesting to view this border concept this way: If you learned the pentatonic guitar scales - frames 1, 3, and 5, you'd automatically know 2 and 4.
Learn the patterns, but keep in mind, when you solo or improvise, or really use these, you need to know tonal names and relationships. Using the pattern is the first step towards learning to be melodic.
In real time, patterns can fail you. There are higher levels of knowing and understanding. Learn the maps to forget the maps.
And let's end with an important and pertinent cliche: "The map is not the territory." Alford Korzybski. Alford would want you to get to know these pentatonic guitar scales in terms of how they sound, how they function, & what they actually are...melodic material.
