Rayzcane
10th July 2006, 9.27 am
Hello Guitar Tappers,
Here are all 5 positions for the Gm Pentatonic Scale. For this example the six-string guitar is tuned to "fourths". From the fattest to the thinnest string: E - A - D - G - C - F
If you will compare this diagram to a similar diagram in standard tuning (E - A - D - G - B - E), you will quickly discover one of the major advantages in playing these patterns in 4ths Tuning.
In standard tuning you have to memorize 5 totally different patterns. If you are willing to give the attached diagram some scrutiny, you will see that there is ONLY ONE PATTERN which is repeated over and over all over the fretboard! This is BIG, folks.
Yes, we still have 5 "positions", but only one "pattern" to learn. This diagram contains 5 fretboards, with one position in each fretboard. Notice that the top group of notes is exactly the same as the pattern to the left of the one you are looking at. This is true for ALL OF THE PATTERNS. Notice that the bottom group of notes is the same as the top group of notes in the fretboard to the right.
All of the patterns are 100% moveable. This means that once you learn one pattern, you can move the entire scale up or down the neck allowing you to play in all 12 keys....... For example, if we move this entire diagram 3 frets closer to the nut, this scale is in the Key of Em. If we moved this entire diagram 2 frets closer to the bridge, the scale is in the Key of Am.
The Minor Pentatonic Scale is the I - b3 - 4 - 5 - b7. If we add the b5 tone, we get what is referred to as the "Blues Scale". In the Key of G, these tones are: G - Bb - C - D - F. To make it a Blues Scale, we would add in Db.
The Root note in every pattern is shaded in red. If you start out on any red root note, you can plainly see that the pattern simply repeats itself over and over. Compare the first fretboard on the far left to the fretboard in the fourth position. The patterns are the same. The first pattern begins with the root on the 6th string. The fourth pattern begins with the root on the 5th string.
Notice that the fretboard to the far right in the diagram has the same position duplicated 12 frets apart. The fingering for each pattern duplicates itself exactly 12 frets higher. For instance the pattern at the far left can also be played with the red root note at the 15th fret, etc.
Please let me know if anyone finds any errors in any of the diagrams so I can correct them immediately. For those who use the C-Dots as markers, you can quickly locate the red roots by moving the entire pattern to the left in the diagram (for the Key of Gm. If you move the entire pattern(s) so that the red root is on the C-Dot, you will be playing the Cm Pentatonic Scale.
There will always be some who are quick to point out the many disavantages in playing in 4ths tuning. Yes, there are a few like giving up picking and strumming and fingerpicking barre chords across all 6 strings, but we also gain many other advantages.
Ray Langley
Here are all 5 positions for the Gm Pentatonic Scale. For this example the six-string guitar is tuned to "fourths". From the fattest to the thinnest string: E - A - D - G - C - F
If you will compare this diagram to a similar diagram in standard tuning (E - A - D - G - B - E), you will quickly discover one of the major advantages in playing these patterns in 4ths Tuning.
In standard tuning you have to memorize 5 totally different patterns. If you are willing to give the attached diagram some scrutiny, you will see that there is ONLY ONE PATTERN which is repeated over and over all over the fretboard! This is BIG, folks.
Yes, we still have 5 "positions", but only one "pattern" to learn. This diagram contains 5 fretboards, with one position in each fretboard. Notice that the top group of notes is exactly the same as the pattern to the left of the one you are looking at. This is true for ALL OF THE PATTERNS. Notice that the bottom group of notes is the same as the top group of notes in the fretboard to the right.
All of the patterns are 100% moveable. This means that once you learn one pattern, you can move the entire scale up or down the neck allowing you to play in all 12 keys....... For example, if we move this entire diagram 3 frets closer to the nut, this scale is in the Key of Em. If we moved this entire diagram 2 frets closer to the bridge, the scale is in the Key of Am.
The Minor Pentatonic Scale is the I - b3 - 4 - 5 - b7. If we add the b5 tone, we get what is referred to as the "Blues Scale". In the Key of G, these tones are: G - Bb - C - D - F. To make it a Blues Scale, we would add in Db.
The Root note in every pattern is shaded in red. If you start out on any red root note, you can plainly see that the pattern simply repeats itself over and over. Compare the first fretboard on the far left to the fretboard in the fourth position. The patterns are the same. The first pattern begins with the root on the 6th string. The fourth pattern begins with the root on the 5th string.
Notice that the fretboard to the far right in the diagram has the same position duplicated 12 frets apart. The fingering for each pattern duplicates itself exactly 12 frets higher. For instance the pattern at the far left can also be played with the red root note at the 15th fret, etc.
Please let me know if anyone finds any errors in any of the diagrams so I can correct them immediately. For those who use the C-Dots as markers, you can quickly locate the red roots by moving the entire pattern to the left in the diagram (for the Key of Gm. If you move the entire pattern(s) so that the red root is on the C-Dot, you will be playing the Cm Pentatonic Scale.
There will always be some who are quick to point out the many disavantages in playing in 4ths tuning. Yes, there are a few like giving up picking and strumming and fingerpicking barre chords across all 6 strings, but we also gain many other advantages.
Ray Langley