Guitar Scale Fingerings

“Is there a correct guitar scale fingering for the pentatonic patterns?”

Pentatonic Scale Fingerings
There are a few different ways you can finger pentatonic scale patterns. There is no perfect fingering and you’ll surely end up utilizing more than one depending on what you’re trying to play. As a general rule don’t use your index and middle fingers alone. This approach isn’t efficient and will make you look and sound like a hack.

Many guitarists learn the patterns best by using all four fingers. The notes of each pattern are spread across four frets. The exception to this rule is pattern three which is spread across five frets. Using four fingers allows you to use one finger per fret and makes it easier to visualize the patterns. You may prefer to use only your index and ring fingers. This approach helps many guitarists generate more power and control without getting adjacent fingers tangled up.

"Proper" Fingerings
Often you’ll hear opinions about how guitarists should and should not finger certain things. Some allege that there is a “proper” fingering for everything. You might find yourself falling into this line of thinking too. For example, you would think that it's more "correct" to use the pinky, or at least it's a bad habit to avoid it. But many players, including Stevie Ray Vaughan, Eddie Van Halen, and Eric Johnson do most of their scale/solo work with three fingers. I tend to favor three fingers too (although I use my pinky in my instructional guitar videos because I think it makes it easier for the viewer to see where I'm fretting). So obviously the theory of “proper scale fingerings” doesn’t hold up in practice.

With all this said, you have to find the fingerings that work for you. If you play and sound good, then you’re doing it right!

Play Until Yer Fingers Bleed!
Mr. Desi Serna
Website: http://Guitar-Music-Theory.com
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Why Does the Pentatonic Follow the Root Chord But Major Scales Do Not?

As explained in Fretboard Theory, in order to apply major scales properly you must examine a whole chord progression and determine which key all the chords fit into together. Then you can play that major scale over the whole chord progression. But when applying the pentatonic scale, you only need to identify the root chord (tonal center) in the progression and then play a pentatonic key that corresponds to it. Why do you play the pentatonic based off only the root of a song and not the whole key or parent major scale? Why is the pentatonic so special that this works?

The pentatonic scale can follow the root chord because it includes scale degrees common to all possible major scale modes. For example, let's say you have a progression revolving around a C major chord. Well, depending on the other chords involved the C could be the first (Ionian), fourth (Lydian) or fifth (Mixolydian). Each of these modes are slightly different and produce different chords, but they all include the notes in the C major pentatonic.

C D E F G A B - C Ionian (C is chord I in the key of C)

C D E F# G A B - C Lydian (C is chord IV in the key of G)

C D E F G A Bb - C Mixolydian (C is chord V in the key of F)

C D E G A - C major pentatonic

The same thing happens in minor keys. If you're playing a chord progression that revolves around an A minor then the three possible major scale modes are Dorian, Phrygian and Aeolian.

A B C D E F# G - A Dorian (Am is chord ii in the key of G)

A Bb C D E F G - A Phrygian (Am is chord iii in the key of F)

A B C D E F G - A Aeolian (Am is chord vi in the key of C)

A C D E G - A minor pentatonic

You can see that the pentatonic scale is missing the intervals that complete the whole major scale. These same missing scale degrees are what make the modes different. Without them there is no conflict regardless of mode. In fact, if a chord progression changes keys (parent major scale/mode) but still revolves around the same chord, then you can still play the same pentatonic scale over it without needing to consider the key changes.

For example, "Moondance" by Van Morrison has a section based on A Dorian and another section based on A Aeolian. If you want to play full major scale patterns then you'll need to switch keys. But since both sections revolve around the same Am chord you can continue to play A minor pentatonic scale patterns.

Pentatonic scale patterns are easier to apply and require less thought or music theory knowledge for the reasons explained above. This shouldn't be considered a bad thing because often times the sound of the pentatonic scale is a better choice. But a smart guitar player will also understand how to use and apply major scale patterns and modes. Sometimes it's the more complicated approach that sounds best. Use your own judgment.

Play Until Yer Fingers Bleed!
Mr. Desi Serna
Website: http://Guitar-Music-Theory.com
YouTube: http://youtube.com/GuitarMusicTheoryTab
Twitter: http://twitter.com/MrGuitarTheory
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Podcast: Search Desi Serna at iTunes

Pentatonic Scale Patterns With Blues Notes

You've done a great book, but when I was working through the blues section I noticed something which might be improved upon. You show the blues notes in the first pentatonic shape in the Em, Fm, Gm and Am positions (on page 16). I thought that in future editions you might be willing to show the blues notes in all of the pentatonic shapes, i.e. the diagrams on page 9 but with the blues notes added to them.

This brings up a good point. In Fretboard Theory I purposely didn't illustrate all of the possible blues scale pentatonic patterns for a reason. It's possible to focus too much on technical things and miss the practical applications.

As stated in the book, the blues scale is really just a musical idea that stems from adding chromatic passing tones to bridge the gaps between the scale intervals. So if you really want to cover all your bases, I guess you should memorize the pentatonic patterns with every possible gap filled. In case you haven't already drawn this conclusion, that would be every note on the whole fretboard! This is not going to help you.

Instead, focus on memorizing the core five pentatonic scale patterns. Then learn how to play melodies, riffs, lead solos and bass lines that are based in the scale. Finally, consider the addition of extra notes and study songs that incorporate the technique. You'll learn how the patterns change as you go. And most importantly, you'll understand the practical application of the blues scale which is worth far more than more patterns!

Play Until Yer Fingers Bleed!
Mr. Desi Serna (Google me!)
http://www.Guitar-Music-Theory.com
Pentatonic/CAGED/Progressions/Modes

Best Notes for Guitar Bends with the Pentatonic Scale

You mention focusing around the root of the pentatonic scale when soloing (in the minor vs major section), and it sounds great. My question is in regards to bends, which is the skill I am focusing on now (along with hammer ons and pull offs). Are there any rules of thumb as to which are the best notes in the scale pattern to bend, most typically? the root? the third from the root? It would be cool to have a few particular notes in each pattern to focus on as it pertains to learning bends and small riffs containing them on the guitar.

The most common bends are to the root and fifth. When you bend the second note on string two in pentatonic pattern one, you're bending to the minor root of the scale. When you bend the second note on string three in pentatonic pattern one, you're bending to the fifth of the minor scale.

These same bends are used by guitar players with the major pentatonic scale too. The first example becomes a bend to a sixth interval. The second example becomes a bend to the major third.

The best way to learn about what scale notes you can bend on the guitar is to learn lots of riffs and lead guitar solos from popular songs. That's why I reference so many in my book, Fretboard Theory (and my guitar theory DVD programs as well). Look them up and learn them! The free guitar tab I give away to all website visitors will help you get started.

Pentatonic Scale Guitar Licks and Tricks

The area where im suffering the most is when it comes to licks and tricks using the pentatonic scales, they are in key, but kind of boring. Do you know of any good video's that just focus on licks, technique, and cool sounding guitar tricks?

In order to learn how to riff and jam with pentatonic scale patterns, you need to learn lots of pentatonic scale songs. Pentatonic melodies, riffs, lead guitar solos, and even bass lines from popular songs will demonstrate exactly how to apply the patterns in a musical context including technique and tricks. That's why I include so many song references in my guitar theory book and DVDs. After you have built up a solid repertoire of examples, then you can work the licks and phrases into your own playing.