Using the Major & Minor Pentatonic in a Non-Relative Manner

[gOgIver]

This is a really cool tool to pull "out of the box", so to speak. Never seen any particular lessons on this topic, or even how to explain it, just rely on ear instinct as to when to pull it off. Not even sure who started it, know B.B. King will play C Major Pentatonic and throw in C minor Pentatonic notes a lot, then there's also the Clapton and Hendrix solos that start with minor Pentatonic licks and then they throw in same key Major Pentatonic licks.

An example is the Ace "Shock Me" solo as taught in this vid by Troy Stetina, where he plays A minor pentatonic and throws in some A Major Pentatonic over the same chord progression. This can really open up and expand your pallet. Maybe some of the teachers on the forum will chime in with a proper explanation/lesson.

 

[Robert S.]

Re: Using the Major & Minor Pentatonic in a Non-Relative Manner

You can find examples of that all through blues and many classic rock albums. Where that technique gets really interesting is when you find that all the pentitonics cromatically can be laid over a given chord or key signature to get varying degrees of "outside" a harmonic structure.

Of course Cmaj pent is going to be most inside over a Cmaj chord and C#maj pent is most outside. Using the b5 pentitonic over most chords and keys usually sounds pretty cool and over Cmaj the Gb-Ab-Bb-Db-Eb pent can be really helpful in getting more outside of the progression.

As an experiment, try to get to any outside tone and run some of the pentitonic shapes off of it while soloing. After awhile you'll find some interesting things and you find ways inside the harmony to get to and away from those sounds. Working something far outside of the harmonic structure into a passage can really create interest in your listeners.

 

[Aceman]

Re: Using the Major & Minor Pentatonic in a Non-Relative Manner

I do that a lot! But then, we have already seen a reference to Shock Me!

I relly think people don't get nearly the mileage out of the pentatonic boxes that they could. My fave moves are shifting from box-to-box, and major to minor move, and back again.For example -

I'll start in Em at the 12th, shift down to the Em box in 9th position for a bit, go to E major at the end of the phrase in 9th position (Same as the 12th fret minor box), at the end of the phrase. Then a quick shift can go to the 12th fret Em box, extend it to the high A for an work A major using the 14t fret A major, then to Am with 14th fret form, and work it back down to Em to bring it home!

Just 2 forms, and always near the 212th and easily connected.

 

[tone4days]

Re: Using the Major & Minor Pentatonic in a Non-Relative Manner

yeah, its fun to mix and match these ... we cover a tune by the band "Donna the Buffalo" called 'family picture' .. apparently DtB never play it the same way twice, so we don't either ... depends on my mood whether i play the solo in major or minor pentatonic ... sometimes i start it in major pentatonic ... low note count, upbeat phrases ... get it cookin dynamically then shift into minor pentatonic to channel a little SRV ... then resolve it with a musical cue to the band to get ready to come back into the last verse with a gary richrath approved major pentatonic 'meedly medly' phrase and resolution

t4d

 

[Aceman]

Re: Using the Major & Minor Pentatonic in a Non-Relative Manner

Another really cool move is to modulate the same rhthm back and forth between major and minor. Just slide the G/E/D/B 16th note lick up a notch to Bf/G/F/D and back again real fast!

 

[gOgIver]

Re: Using the Major & Minor Pentatonic in a Non-Relative Manner

Another aspect to consider is the note you choose when making the transition to and from the Major Pentatonic and minor pentatonic. For instance, using the minor pentatonic's Flat Seventh to transition will give you one flavor while using the Fifth will give you another.

Or you could use a chromatic run for a change, like Ace showed us! It's a good idea to experiment with different tones, mix 'em up and find the ways that sound best to you.