Ok, let me say a few words about what I am trying to achieve here. I am not an Instructor, a Music Teacher or anything like that. But as I have tried to get a better understanding of the neck on a guitar and the theory that is required, I come across things and try to explain them…mostly to myself, but really to anyone that might have come across the same issues.
Like take, for example, the major pentatonic scale patterns. Now I have seen these since I began this mission back in November of 2015, the pentatonic scale patterns. Obviously the scales on this website, the guitar neck pictures have either been flipped 180 degrees vertically to reflect what a left-handed player would need to see, or the picture was drawn that way by myself.
Anyway, so I dutifully accepted that the pentatonic scales/patterns were required to learn, even if I could find no supporting reason why these scales should be learned. Whatever web pages I visited always said something of the same type,
“All modern blues and contemporary songs use the pentatonic scales”.
But even that didn’t help me to understand how to use them. Eventually I located a diagram on dariocortese.com that, while it didn’t have any kind of definition about the scales and the chords and how they were meant to be used, I knew it would help out at some point.
So here is that point. With the same reinforcement that you may have read already, I also say to learn the penatonic scales, the shapes, and learn by repetitive practice how to do the particular shapes on any fret of the guitar neck. Practice until you are playing the scales without even knowing that you are playing. This is when you have muscle memory in your hands working in your favor.
The chords are available and the scale shapes are available. So how difficult is it to play a pentatonic scale shape over a particular chord shape?
Not as difficult as it seems. Becoming a top notch lead guitarist does take time, however.
All we are trying to do is to advance our playing ability, understanding of the chords and notes on the guitar neck, be accurate as possible and get some personal satisfaction along the way.
With these two pieces we can move a further along in opening up the guitar neck for more advanced playing of contemporary, blues and any type of music you are listening to now.
Let me introduce the last piece to couple these two items together. If you learn the individual pentatonic scale shapes and learn the individual chord shapes you will find, in time, that your playing will be much improved as will your musical language skills.
I have to think that if you are looking for scales then you are familiar with the chord shapes you see in the above graphic. The two shapes that should be the most recognizable are the Major Barre Chord shape “E” and “A”. These are mainstays in classic rock and as an alternative to playing chords at the nut of the guitar.
The “E” chord shape match’s with the Position 1 scale shape, the “D” shape with the Position 2 scale shape, etc.
Why am I saying “E” chord shape? Simple. The “shape” can be played at any note on the guitar neck but it will not always reflect what the root note of the chord is. If you play the “E” shape chord shape on the fifth fret it will produce a Major Chord with the root of “A”. But the scale pattern, Position 1, follows it.
No matter where you play this chord on the neck, no matter what fret it is played at, you will use the Pentatonic Position 1 scale pattern for embellishment or potential lead guitar licks.
If you choose the chord shape “A” as your practice target then you will use the pentatonic position 4 scale pattern for attempting lead guitar licks or to embellish the sound of the chord as it might sound while being playing in one of your song arrangements.
A word on the CAGED system.
As I find time I will offer my interpretation as to how to use this as a mechanism to not only better define the note names on the guitar neck but to learn better the chords associated with this placement and how that will really multiple your musical arrangement techniques.