Blues minor pentatonic scale

The numbers refer to the position in the scale if you play the open string. Starting with the open low E, you have "I" - the root. This is followed by the 3rd degree (position) at the 3rd fret - it is flatted, because this is a minor key (b3). The next note in the scale is found at the open A string, which is shown as "4". At the 2nd fret of the A string, is the 5th degree of the scale ("5").
The next note of the E minor pentatonic scale, is the b7 - found on the open D string. The octave comes at the 2nd fret of the D string.
From there, it starts all over again.

To make a pentatonic scale from a major scale, you remove the 4th and 7th degrees (positions). To do the same from a minor key, you remove the 2nd and 6th degrees. In relative scales (e.g. c and Aminor) these are the same notes (e.g. in C, F and B).

You mean this image, right?

David's listing the notes in the scale

1 b3 4 5 b7

Here's the whole major scale of E:

E F# G# A B C# D# E
1 2 3 4 5 6 7 8

But the pentatonic minor only uses five notes. You can derive those five notes from the major scale and they are the 1, the flatted 3, the 4, the 5 and the flatted 7. (flatted means they are 1/2 step or one fret lower)

So we now need these notes for the minor scale

1 b3 4 5 b7

E G A B D

That's the minor pentatonic. David's numbers correspond to those notes. The dot just indicates where those flatted notes are on the third fret.

I hope that helps

Good stuff, Musen.

Thanks for sharing. 8)

Off topic but this is my favorite scale. Short, easy, sounds nice and plays over just about anything.

major and minor pent scales are a must.

Thanx guys i got it now just to clarify the B before b3 and b7 means its the blues note yes ? And also in these blues lessons by david he shows two patterns of the 12 bar blues are there more and he has just used the two most common ?

Thanx anyway im off to try and make up so blues fills

No, it means the note is flatted -- half a step or a fret lower. It's not really a "b", it's the flat sign.

To take you one step farther, you can move that whole pattern up the neck to change keys.
Example: move up one fret and play in the key of F, 1st fret then 4th fret low E string, 1st fret then 3rd fret A string ect..
Move that pattern up to the 5th fret and play it in the key of A.
Say the names of each note as you play them and work your way up the neck. You will learn alot from this.

Thanx guys i got it now just to clarify the B before b3 and b7 means its the blues note yes ? And also in these blues lessons by david he shows two patterns of the 12 bar blues are there more and he has just used the two most common ?

Thanx anyway im off to try and make up so blues fills

The "Blues" notes are the ones that aren't in the minor pentatonic they are good to slide or bend on. For the life of me I can't remember which ones they are. In the pattern above there are only two. I'll see if I can find a pattern.

Edit :I think it's the flatted fifth which would be 2nd string first fret and 4th string fourth fret. Here it is under C Blues on Greybeards pages the blue notes have Bs on them Greybeards Scales

Yes, they're the ones, with the B in a blue circle. However, they're not the only blue notes, just the most widely accepted in literature.

Thanx for your help guys :lol:

Yes, they're the ones, with the B in a blue circle. However, they're not the only blue notes, just the most widely accepted in literature.

Yeah, blue notes gets debated in jazz groups all the time. The best conclusion I've seen to one of these discussions was "Blue notes are the ones that sound bluesy." Apparently, not everyone thinks the same notes sound bluesy. However, the flatted fifth usually gets the nod from everybody.

To get this "blusey" add the flatted 5th as passing notes.

That would be the the 1st fret on the A and the 3rd fret on the G (Bb)

To get this "blusey" add the flatted 5th as passing notes.

That would be the the 1st fret on the A and the 3rd fret on the G (Bb)

They don't have to be used just as passing tones -- try a bit of rhythmic lingering on the flatted fifth. But resolve to a root or fifth eventually.