last few years i've learned Amajor pentatonic.
the theory is to abandoned B and F notes while scaling then you get Pentatonic scale. the same theory applied for others. Example for Gmajor, A and D# notes was abolished. the simplest scale for Amajor pentatonic is E5,E8,A5,A7,D5,D7,G5,G7,B5,B8,E5,E8. Any correction?
or any other pentatonic pattern?
Blues Pentatonic
The pentatonic scale is called such because it has 5 notes rather than the usual 7.
Think Pentagon - 5 sides
The great thing about the guitar is once you have learnt one Pentatonic scale you know them all.
Just shift the pattern to start on the note that you want the key to be,
In a major Pentatonic scale we miss out the 4th note and the 7th note. So in the case of Gmajor as illustrated above the notes omitted from the major scale are in fact C and F#. There is not D# in G major.
If we take the Minor Pentatonic - which is most used then we miss the 2nd and 6th note out. In the example of G Minor then you would in fact miss out the A and D# note.
It's always helpful to think in intervals to start rather than note names. Then we can apply the theory to every key.
For example, If we take the C minor Pentatonic, following the rules above, we take the C Minor scale and omit the second note and the 6th. You now have a C Minor Pentatonic without putting in much thought.
Of course it is important to know your note names but intervals are easier and universal so begin with intervals.
Think Pentagon - 5 sides
The great thing about the guitar is once you have learnt one Pentatonic scale you know them all.
Just shift the pattern to start on the note that you want the key to be,
In a major Pentatonic scale we miss out the 4th note and the 7th note. So in the case of Gmajor as illustrated above the notes omitted from the major scale are in fact C and F#. There is not D# in G major.
If we take the Minor Pentatonic - which is most used then we miss the 2nd and 6th note out. In the example of G Minor then you would in fact miss out the A and D# note.
It's always helpful to think in intervals to start rather than note names. Then we can apply the theory to every key.
For example, If we take the C minor Pentatonic, following the rules above, we take the C Minor scale and omit the second note and the 6th. You now have a C Minor Pentatonic without putting in much thought.
Of course it is important to know your note names but intervals are easier and universal so begin with intervals.
Another good post, olly. Sorry if I seem to be nitpicking your posts, and this is a pretty nitpicky point:
The sixth note of G minor is bE, not #D. They are the same note. Or to use the fancy terminology, they are enharmonic.
"If we take the Minor Pentatonic - which is most used then we miss the 2nd and 6th note out. In the example of G Minor then you would in fact miss out the A and D# note."
G minor is:
G, A, bB, C, D, bE, F, G - two flats.
The trick is always count by letters - D is always going to be the fifth of G, even if it has 1 or 2 flats or sharps.
G,A,bB, C, D, #D, F, G isn't right - you have to go by letters, no repeitions.
This may seem petty, but it does help sometimes; when you look at scales like #A major (which really should just be bB major). In notation, double sharps and flats are usually changed in modern music to the same (enharmonic) note to avoid being overly complicated: (a bbB would just be A).
Anyway, that's what the voices told me to say.
See ya
The sixth note of G minor is bE, not #D. They are the same note. Or to use the fancy terminology, they are enharmonic.
"If we take the Minor Pentatonic - which is most used then we miss the 2nd and 6th note out. In the example of G Minor then you would in fact miss out the A and D# note."
G minor is:
G, A, bB, C, D, bE, F, G - two flats.
The trick is always count by letters - D is always going to be the fifth of G, even if it has 1 or 2 flats or sharps.
G,A,bB, C, D, #D, F, G isn't right - you have to go by letters, no repeitions.
This may seem petty, but it does help sometimes; when you look at scales like #A major (which really should just be bB major). In notation, double sharps and flats are usually changed in modern music to the same (enharmonic) note to avoid being overly complicated: (a bbB would just be A).
Anyway, that's what the voices told me to say.
See ya