I’ve known about the difference between major pentatonics and minor pentatonic for a long time, but I had no idea how to properly use each guitar scale until the last couple of years. 

That’s why I want to teach you about the difference between major and minor pentatonic as you are probably just as confused as I was. 

Although it’s simple to see how one is used over a certain type of chord, and the other is used over another type of chord….

That’s way too simple of an observation to make. 

In this article, I will tell you straight up with no fluff what the difference actually is, and how you too can avoid the mistakes I’ve been making with these scales for so long….

First, The Difference Between Major And Minor Pentatonic Is…….

Minor pentatonics have all the chord tones of a minor chord, like E minor pentatonic having E-G-B of Em…..

While major pentatonics have the chord tones of a major chord, like E major pentatonic having E-G#-B of E. 

That’s it! 

Article’s done! 

Lol no that’s not quite all there is to it. 

You still have to be able to choose target notes when going between chords, figure out what key you’re in, be able to see the chord tones overlap the scale patterns you use, and much more. 

But yes, at the end of the day….

You are just going to use a scale to express the chord tones you need. 

[images of e minor pentatonic and em chord tones]

But there’s a major problem you’re probably having use one of these scales….

 

Second, How To Use Major Pentatonics

The major pentatonic scale can be annoyingly chipper when you’re used to using minor pentatonic. 
Lots of rock songs and metal songs will rarely need a scale like this one too, as the minor pentatonic is much more conducive. 

But let’s look at some music and figure this one out. 

Here’s a video of a guitar tab of Duane Allman’s solo in Blue Sky, which is one of my favorite solos ever: 
https://youtu.be/eaIlM58na9U?si=3WwnzUY5tzSm2tY7&t=71

Watch the solo and look for these scale/arpeggio patterns:

And look at the chord tones too: 

[A major = x-12-11-9-10-9]

[E major = 12-11-9-9-9-12]

Is that not proof enough that great guitarists know their scales and chord tones, and thus…

THEY KNOW GUITAR MUSIC THEORY?!?!?!

So it’s quite simple. 

Duane is using the E major pentatonic and A major pentatonic scales to call up the chord tones of each chord, and he can clearly see the chord tones, AND he’s prepared to hit a chord tone when the chord changes. 

Third, How To Use Minor Pentatonics With Major Pentatonics

Now look at how the master BB King uses both scales together: 
https://youtu.be/HVegQamIDT4?si=YWDPSNbBZTsjPUwv

Lots of notes of D minor pentatonic over D7, BUT he uses that 11th fret on the G string….

And what note is that? 

THE MAJOR 3RD OF D MAJOR! 

Chord tones my friend. Chord tones. 

 

They are all within the D minor pentatonic scale when you add that F# note (the major 3rd of D). 

Notice how it’s just a different sound than the F major pentatonic box scale at the 13th fret? Over that G7? 

This is an example of what I was talking about in my article about pentatonic scales being the swiss army knife of scales….

They can be used in lots of ways besides just D minor with D major or D minor, or G major pentatonic with G major, in this case. 

The notes of F major pentatonic are F – G – A – C – D, while the notes of G7 are G – B – D – F. 

And look at the chord tones of G7: 

[X-10-12-10-12-10] and [X-X-15-12-12-13]

But BB is using his famous “BB King Box” pattern of 14 on G then 13-15-13-15. 

 

How To Combine Them Together In A Solo 

Now why did I take the time to explain all of this? 

Because so many other guitar sites give you a dry clinical description of these scales, and MAYBE they’ll show you some actual music. 

This stuff just doesn’t come alive as well without what I just showed you. 

But there’s lots of things you probably can’t see quite yet…..

The various scale possibilities……

The chord tones…..

How all the chord tones fit together in a musical key…..

How G7, D7, and A7 don’t belong together in any musical key…..

It takes time to learn all of this, but the more work you do on learning and studying solos like these, and breaking down the note choices and chord/scale patterns behind them…..

The easier it will get. 

Now here’s someone that I bet you’ll never guess used lots of major pentatonic scales….

Debussy’s Use Of Major Pentatonics

Take a look at the great notes in this video, but warning…it’s sheet music and no guitar tabs are in sight: 
https://youtu.be/yTwvtwlSh5U?si=zvQkhRsTn5x77aU_

You can create amazing harmonies with just the G major pentatonic (e minor pentatonic) scale.

Two chord voicings I took away from this was X-X-X-7-8-10, and X-X-12-12-15-15. 

Compare them to the G major pentatonic scale below: 

These are not traditional chords like the CAGED shapes you probably know, and that’s okay.  

Harmony doesn’t always need to be functional strictly in a “diatonic” sense. That is, you don’t have to stay strictly in key, or make chords with only 3rds in them….

I know a lot of this is probably brand new, and you may not have a strong background in harmony and guitar music theory. (or at least I’m assuming that)

So let’s end this section with one more voicing that’s often used in Jazz, and also a big favorite of many jazz guitarists like youtuber Jens Larsen:

B major pentatonic chord = X-6-6-6-7-7

My Major And Minor Pentatonic Trick

So hopefully you’ve seen a lot of ways that you can break away from the traditional patterns and chord shapes that you see all the time in other articles and lessons online. 

The guitar isn’t the piano, and thus can’t combine so many notes as easily….

But it’s a great tool for making music at least as somewhat complex as a piece like Debussy’s. 

Now here’s another trick to end this article with…..

If you know how major guitar scales work this will be great!

 

Take the chords of the BB King solo from earlier: G, D, and A. 

Forget the dominant 7th notes for a second…..

All of the notes of the respective major pentatonic scales are in their home key of D major: 

D major scale = D – E – F# – G – A – B – C# 

D major pentatonic = D – E – F# – A – B 

G major pentatonic (IV of D) = G – A – B – D – E 

A major pentatonic (V of D) = A – B – C# – E – F#

 

I can recall all of this somewhat easily because I know the patterns in my head by memory, and I know the key of D major by memory. 

And because I know that D major, G major, and A major all belong in the same key……

I know which scales to choose. 

But compare the notes of each scale to the mother scale, D major…..

ALL THE NOTES OF EACH SCALE COME FROM D MAJOR! 

So this means that you don’t have to stay in D major pentatonic the whole time. 

When G comes, switch to G major pentatonic, or when A comes, switch to A major. 

And try using scales that contain most of the same notes, like F major pentatonic (D minor pentatonic). 

Remember that one from just a few minutes ago in the BB king section? 

If any of this was confusing, I apologize.

It’s hard to make theory accessible without assuming you have enough basic knowledge of it. 

If you’d like to brush up on it, or fill in the gaps I may have exposed….

Then please go and check out my Play It Loud Method, which has a whole course/module on Music Theory called……Music Theory Demystified! 

Yes. Great title. I know……

But super duper awesomest guitar music theory book isn’t simple enough or catchy. 

 

Thanks for reading!