However, when I quickly Googled ‘major pentatonic box patterns’ I found a few contradictory results. In the following example there’s first a minor pentatonic phrase, then the E♭, B♭ and F are flattened a half step each which gives us a similar lick but now with a major feel to it.Īs long as we stick with minor, people seem to agree to call that ‘Box 1’. And, you may suspect a pattern by now, the same goes for the last note of these scales – A being a half step below Bb. The same goes for the third note of these scales, the E of the major pentatonic is a half-step below the F of the minor pentatonic. As you can see above the second note of the C major pentatonic (D) is a half-step below the second note of the C minor pentatonic (E♭). Since we know that the root and 5th (C and G respectively) are present in both scales, let’s check out the relationship between the other three notes. If we look at it like this, you might find something that you can use to easier navigate between major and minor as well as different positions and keys: Figure out which one it is in the case of your particular lick!īoth of these scales feature the root and the 5th, but the rest of the tonal material differs between the two scales. Well, except for one that probably won’t work. Now I encourage you to come up with a three or four-note phrase played on two adjacent strings and then find it with the same fingering in all the major pentatonic shapes. Working on this, you’ll start seeing repeating patterns that’ll make it easier to memorize AND use these scale shapes in a musical setting. We can’t find that fingering in the G shape however, since the tuning interval between the B and G string is a major 3rd rather than a perfect 4th as between the all the other string pairs. For example, the fingering of the root, 2nd, 3rd and 5th is the same on the A and D strings in the A shape as it is on the low E and A strings in the E shape as well as on the D and G strings in the D shape AND on the B and high E strings in the C shape. I want you to start seeing the similarities between these scale shapes by separating adjacent string pairs in each shape. We will get more in-depth with intervals in the next part of this lesson series. The triangles mean major 2nd, major 3rd and major 6th while the p5 refers to a perfect 5th (all intervals are taken from the major scale). I’ve also marked all the intervals so you can see where all the major 2nds are for example. In these diagrams the notes from our core chord shapes are solid (the root notes are red) and the notes we add for the full major pentatonic shapes are hollow. Now let’s add the second and sixth degree from the major scale to each major triad. If you’ve worked on the material from first part of this lesson series, you should have the triad shapes down already. Now grab your guitar because it’s time to play. I’ll get back to the pros and cons of this later. This means, there are no half steps in a major pentatonic scale. The same thing happens when we leave out the B note and instead end up with a step and a half between A and C. This means, in the key of C, that instead of a whole step between E and F and a whole step between F and G we now have a step and a half between E and G. This should sound quite familiar as most of the harmony and melody in western music derives from this scale.īut now, let’s go back to the major pentatonic, this scale leaves out the fourth and the seventh degree of the full major scale. Try to play this sequence of notes from all of the open strings on your guitar. New chords, scales, licks, and melodies can all be related to one of the five shapes, and this allows you to integrate this information into your playing quickly and efficiently.So that means we have half steps from the 3rd to 4th note of the scale and the 7th note back to the root note we started on, only now the root note is one octave higher. In fact, I think of the CAGED system as five buckets where I can stash fretboard information. But it doesn't stop there: The CAGED system is just as useful for scales and licks. Pay attention to the common note(s) between two adjacent shapes-this will help minimize errors in shifting and connecting shapes.Ĭongratulations, you've mastered the fundamentals of the CAGED system and covered a lot of territory! The CAGED system provides a logical way of visualizing the neck using basic chord shapes you've most likely known for quite some time. For example, start with a Bb chord using the "A" shape barred at the 1st fret, then play the CAGED sequence in the key of Bb. Once you're comfortable with this, play the sequence in all keys. 9, using the "C" and "A" shapes, only this time complete the series by working through the remaining three shapes-"G," "E," and "D"). Play through the CAGED sequence starting on each of the CAGED chords in open position (like we did in Fig.
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