Exploring Chord Targeting with Pentatonic Scales

[Daniel_uk]

Once you know your pentatonic shapes, then to target chord tones, there is one note that is not in the pentatonic scale that provides much of the character.
So, if we take the key of C for example, and playing a progression like C–G–Am–F:
• For C and Am, I play just the pentatonic notes
• For F, in addition to the pentatonic notes, I target one additional note - 4th interval
• For G, in addition to the pentatonic notes, I target one other note - 7th interval
Do others also look at things this way? It just seems to be so much easier to remember.

[Solarflares]

So what are you going to do on the next sequence, after exhausting your vocabulary?

[GearNerd]

so basically you are just using all the notes from Cmaj and you are in the key of C.

[BluesGuy]

Yes. The thing that makes the pentatonic scale so smooth and pleasant sounding is the lack of the “half step” notes, namely the 4th and 7th steps of the major scale. You’ve also correctly noticed that the fourth step of the major scale goes along with the IV chord, and the leading tone goes well with the V.

[MetalPlayer]

Quite frankly, starting out with the pentatonic scale actually limits ability to learn how to solo correctly. Students I've taught know the pentatonic scale by rote, and know nothing about how/where it comes from and thus starts the journey of learning scales from the ground up.

[StudioPro]

This is the reason some of the greatest players ever use the Pentatonic scale as a baseline. When you get good at this, it makes the Pentatonic scale infinitely more useful.
What does the standard Minor Pentatonic scale do? E Minor Penta over an E Minor chord essentially outlines the Em7 chord right? With an added 4th.