FIVE NOTES, ACROSS INSTRUMENTS
Pentatonic Scale
Major pentatonic and minor pentatonic
Remove degrees 4 and 7 from a major scale to get major pentatonic. Remove degrees 2 and 6 from a natural minor scale to get minor pentatonic. In both formulas below, degree numbers are measured against the same-root major scale: ♭3 and ♭7 mean lowered degrees, not finger numbers.
Formula basis: Fender: pentatonic formulas; parent scales: Open Music Theory: major scales and natural minor.
Same notes, different root: A minor and C major
C major pentatonic is C–D–E–G–A; A minor pentatonic is A–C–D–E–G. The sets are identical, but C is degree 1 in the first and A is degree 1 in the second. Changing the reference root changes each note's degree. Basis: Open Music Theory: rotations of the pentatonic collection.
03
Pentatonic scale guitar: play one shape
Use A minor pentatonic at frets 5–8. The table is an
ascending path: start on the thickest string, play its lower fret first,
then its higher fret, and move to the next string. The tool's 5–9 view
leaves one extra fret visible; it is a viewing window, not a separate
fingering system. Follow the table below: extra marked notes, such as
string 3/fret 9, are outside this twelve-note route.
Open A minor pentatonic at frets 5–9
Our ascending route through the fifth-position shape
| Play order |
String |
Frets |
Notes |
Degrees |
| 1 → 2 |
6 · low E |
5 → 8 |
A → C |
1 → ♭3 |
| 3 → 4 |
5 · A |
5 → 7 |
D → E |
4 → 5 |
| 5 → 6 |
4 · D |
5 → 7 |
G → A |
♭7 → 1 |
| 7 → 8 |
3 · G |
5 → 7 |
C → D |
♭3 → 4 |
| 9 → 10 |
2 · B |
5 → 8 |
E → G |
5 → ♭7 |
| 11 → 12 |
1 · high E |
5 → 8 |
A → C |
1 → ♭3 |
Shape basis:
Fender: A minor pentatonic, fifth position. This original table independently calculates each coordinate from
standard tuning,
one semitone per fret
and the A–C–D–E–G note set. The sequence below is our suggested exercise,
not a copied Fender lesson.
-
Find the roots. Locate string 6/fret 5, string 4/fret 7
and string 1/fret 5. Play each A separately.
-
Play one octave first. Follow the six addresses below,
then reverse them to return to your starting A. A pair such as 6/5 means
string 6, fret 5.
6/5 → 6/8 → 5/5 → 5/7 → 4/5 → 4/7
A → C → D → E → G → A
-
Extend to all six strings. Play all twelve entries in
the table, then reverse the route. The last note is C, above the high
A—not a root-to-root ending.
-
Make the route even. Choose a comfortable slow pulse
and play one note per beat. Pause to fix an unclear note before
continuing. On the return trip, avoid repeating the top note if you want
an uninterrupted pulse.
The parent tool's Play scale button plays the scale in pitch order for reference.
It does not demonstrate this exact twelve-note fretboard route. Click
individual dots to check their pitches while following the table on your
guitar.
04
Connect positions. Then change the root.
Pentatonic shapes: connect neighboring areas
Connecting positions means keeping the same scale while finding a route
into a neighboring area. On string 1, use fret 8 (C) as
the shared point between these overlapping windows.
Frets 5–9String 1: 5 (A) → 8 (C)
→
Frets 7–11String 1: 8 (C) → 10 (D)
String 1: 5 → 8 → 10 → 8 → 5
A → C → D → C → A
Move your hand after the shared C to reach fret 10, then return. The root
remains A. These are overlapping practice areas.
Open A minor pentatonic at frets 5–9
Open A minor pentatonic at frets 7–11
Basis:
Fender: why scales have different shapes. This short connection route is our own example, calculated from the
tuning and scale formula cited above.
Change A to B; move every fretted note two frets
Keep minor pentatonic selected and change the root from
A to B. With standard tuning unchanged, moving the
fretted shape up two frets moves every note up two semitones. The root on
string 6 moves from fret 5 to fret 7.
The six string pairs become
7–10 / 7–9 / 7–9 / 7–9 / 7–10 / 7–10, in string 6-to-1
order. The degree relationships stay unchanged; the
notes become B D E F♯ A.
Open B minor pentatonic at frets 7–11
Derivation:
Fender: one semitone per fret
plus the
minor pentatonic formula. An equal shift preserves the intervals.
This movable example uses fretted notes only. An open string does not move
when your hand moves. A fixed viewport can also hide notes beyond its
edges; use Whole neck to explore the larger map.
Where these notes fall on piano
For C major pentatonic, use the white keys C, D, E, G and A, then the next C. For A minor pentatonic, use A, C, D, E and G, then the next A. Both examples skip the white keys B and F; no black keys are needed for these two roots.
Find C immediately to the left of a group of two black keys. Read the white keys upward as C–D–E–F–G–A–B, repeating in the next octave. Keyboard basis: Open Music Theory: the keyboard; note sets follow the formulas above.
Same piano keys, different degree labels| Key | C major pentatonic | A minor pentatonic |
| C | 1 | ♭3 |
|---|
| D | 2 | 4 |
|---|
| E | 3 | 5 |
|---|
| G | 5 | ♭7 |
|---|
| A | 6 | 1 |