9 Ways the Pentatonic Scale Supercharges Your Your Improv

James Melton
July 11, 2024

GOOD FOR

The pentatonic scale is everywhere!

From rock music, blues, and jazz to world music, pentatonic scales are a nearly universal music phenomenon in human cultures across the world. Whether studying jazz solos, the music of the Middle Ages, folk music, or Andean music, you’ll be sure to come across this five-note scale in your journey.

And, if you were like me, you learned the pentatonic scales and quickly moved on to “bigger and better” scales, leaving pentatonic scales in the dust.

But the pentatonic scale and its pentatonic modes have so many applications! Many musicians won’t take advantage of the full utility of major and minor pentatonic scales.

Instead of seeing pentatonic scales as a mundane feature of pop and rock music, we’re going to explore all the ways you can use the pentatonic scale to supercharge your jazz improv creativity!

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Table of Contents

Introducing Pentatonic Scales

Pentatonic scales are some of the oldest and most widespread scales in the world. They are found in the musical traditions of cultures worldwide and developed independently across human societies.

Because they are so common, pentatonic instruments from cultures across the world, like the lyre, the glockenspiel, and various other string instruments and wind instruments, are tuned specifically to pentatonic scales.

In Western music, pentatonic scales break an octave up into five notes and have no half steps (in some cultures, pentatonic scales have microtonal intervals).

This makes them more ambiguous and open-sounding than seven-note scales. In other words, one pentatonic scale has several uses, whereas one seven-note scale really only works in one situation.

Because pentatonic scales contain no half-steps, they are more versatile than their seven-note counterparts. Essentially, one pentatonic scale has way more applications than larger scales like the major or minor scales, and that’s what we’ll explore in this article!

Major Scale vs. Major Pentatonic Scale

Let’s compare the C major scale to the major pentatonic scale:

C Major Scale: C-D-E-F-G-A-B-C

Major Scale Formula:

1, 2, 3, 4, 5, 6, 7, 1
W-W-H-W-W-W-H
C-D-E-F-G-A-B-C

To transform the C major scale into the major pentatonic scale, we’ll need to remove the 4th and 7th scale degrees. In the key of C, we must remove the F and the B from the scale.

Seven note major scale vs. five-note pentatonic scale

Major Pentatonic Scale Formula:

1, 2, 3, 5, 6, 1
C-D-E-G-A

Major Pentatonic Scale Formula:

1, 2, 3, 5, 6, 1
W-W-m3-W-m3
C-D-E-G-A-C

Natural Minor Scale Vs. Minor Pentatonic Scale

The relationship between the A minor scale and the A minor pentatonic scale is just like the relationship between C major and C major pentatonic. If we remove F and B from an A natural minor scale, we’ll get the A minor pentatonic scale.

A Minor Scale: A-B-C-D-E-F-G-A

Minor Scale Formula:

1-2-♭3-4-5-♭6-♭7-1
W-H-W-W-H-W-W
A-B-C-D-E-F-G-A

Pentatonic Scale: A Minor Pentatonic Scale

Minor Pentatonic Scale Formula:

1-♭3-4-5-♭7-1
m3-W-W-m3-W
A-C-D-E-G-A

The C Major Pentatonic Scale and A Minor Pentatonic Scale Are The Same Sequence Of Notes

Are you familiar with relative major and minor? The notes in C major are the same sequence as the notes in A minor. This relationship holds true for major and minor pentatonic scales, too.

Two Scales. Same Notes!

Minor Pentatonic Scale: A-[C-D-E-G-A]-C-D-E-G-A
Major Pentatonic Scale: C-D-E-G-[A-C-D-E-G]-A-C

It’s the same sequence; only one starts on C, and the other starts on A. Otherwise, these scales are made from the same notes. From now on, we’ll mostly refer to the minor pentatonic scale because the C major pentatonic scale and the A minor pentatonic scale are sequentially the same.

The Major Pentatonic Scale has the same sequence of notes as the minor version.

For more on major scales, minor scales, and modes, check out our ultimate guide to modes.

Pentatonic Scale Modes

Just like major and minor scales have modes, the pentatonic scale has modes, too!

Because the pentatonic scale is a sequence of notes that repeat, you can start from any note in that sequence. The resulting mode has a different order of steps than its compatriot modes despite sharing the same sequence (it’s the same idea with full seven-note scales).

Pentatonic Scale Modes Sequentially Visualized:

C-D-E-G-A-C-D-E-G-A-C-D-G-A
C-D-E-G-A-C-D-E-G-A-C-D-G-A
E C-D-E-G-A-C-D-E-G-A-C-D-G-A
C-D-E-G-A-C-D-E-G-A-C-D-G-A
C-D-E-G-A-C-D-E-G-A-C-D-G-A
C-D-E-G-A-C-D-E-G-A-C-D-G-A

Here are the five pentatonic modes based on the five tones of the pentatonic scale. We’ll also show the different diatonic chords these modes can function over.

Each pentatonic mode has three different diatonic uses, even if the chord quality is the same! A-7 can be the ii chord in the key of G or the ci chord in the key of C, after all!

1st Mode: C Major Pentatonic

C major pentatonic scale with three uses

C-D-E-G-A-C
W-W-m3-W-m3

Can be played over:

Cmaj7 (I chord and IV chord)
C7 (V chord)

2nd Mode: D “Suspended” Pentatonic

D suspended pentatonic and three uses for it

D-E-G-A-C-D
W-m3-W-m3-W

Can be played over:

D-7 (ii chord and vi chord)
D7 (V chord)

3rd Mode: E Blues Minor Pentatonic

E Blues Minor pentatonic and three uses for it

E-G-A-C-D-E
m3-W-m3-W-W

Can be played over:

E-7 (vi chord and iii chord)
E-7b5 (viiø chord)

4th Mode: G Blues Major Pentatonic

C Blues Major Pentatonic with three uses

G-A-C-D-E-G
W-m3-W-W-m3

Can be played over:

Gmaj7 (I chord)
G-7 (ii chord)
G7 (V chord)

5th Mode: A Minor Pentatonic

A minor pentatonic and three uses fot it.

A-C-D-E-G-A
m3-W-W-m3-W

Can be played over:

A-7 (ii chord, iii chord, and vi chord)

9 Common Applications for the Pentatonic Scale

The following uses for the minor and major pentatonic scales are more in line with what you’d expect for pentatonic scales. After we cover these more obvious uses, we’ll dive into less common uses.

We’ll use the A minor pentatonic scale for our examples, but remember it is equivalent to the C major pentatonic scale.

1. Root Minor Chords

This one makes a lot of sense.

It’s a minor scale with five notes, so playing this scale over a minor chord makes sense.

When I say root minor chords, I mean that the chord’s root is the same as the scale’s root note. So you can play an A minor pentatonic over an Amin7 (or Am) chord.

Take a look and then listen:

Pentatonic Scale over an A-7 Chord

Chord Tones:

G – 7th
E – 5th
D – 11th
C – 3rd
A – Rt.

For more on other types of minor scales, check out our article on the three main types of minor scales.

2. Root Dominant 7th Chords

The same pentatonic scale can be played over an A7 chord.

This is most commonly applied in a blues situation and is quite close to the actual minor blues scale (you are only missing the b5). This skips the major 3rd of A7 (C#), but you don’t need the major third when playing over a dominant quality chord.

Pentatonic Scale over an A7 Chord

BEFORE YOU CONTINUE...

If you struggle to play amazing jazz solos and want to learn the secret strategies the pros are using to improvise, our free guide will get you on the right track.

Pentatonic Scales and Diatonic Harmony

We can also consider using pentatonic scales in the context of a key center. For example, an A minor chord (corresponding to our A minor pentatonic scale) is relative to C major. For more on relative major and minor, check out our article on parallel and relative minor keys.

Now we are in the key of C major. What chords are relative to C major? They are:

I: Cmaj7
ii: Dmin7
iii: Emin7
IV: Fmaj7
V: G7
vi: Amin7 (relative minor)
vii: Bmin7(b5)

For pretty much all of these, you can play an A minor pentatonic (which, remember, is the same as the C major pentatonic scale). Let’s go over chord qualities the A minor pentatonic scale works over.

3. The relative major chord

Remember, the A minor pentatonic scale is the same as a C major pentatonic scale, only starting on an A note. (The note you start on in a musical situation doesn’t usually matter.)

Pentatonic Scale Over a Cmaj7 Chord

Chord Tones:

G – 5th
E – 3rd
D – 9th
C – Rt.
A – 6th

4. The major IV chord of the relative major.

If we think in the key of C major, the IV chord is F major 7. The 6th note of the F major scale is played in the A minor pentatonic, so if you wanted to be more specific, you could play an Fmaj13 chord.

Pentatonic Scale over an Fmaj7 Chord

Chord Tones

G – 9th
E – 7th
D – 6th/13th
C – 5th
A – 3rd

5. The minor ii chord of the relative major.

In this case, we would play an A minor pentatonic scale over D minor 7. More accurately, you could play a Dmin9 or a Dmin11 since both extensions are hit in the A minor pentatonic. Of course, you could also play a D minor pentatonic over a Dmin7 chord.

Pentatonic Scale over D-7

Chord Tones:

G – 11th
E – 9th
D – Rt.
C – 7th
A – 5th

6. The V sus4 chord of the relative major.

In this case, a G7sus. You could play a regular V dominant chord, but since the relative minor pentatonic emphasizes the sus4, it would be appropriate to think of it this way. It would be more accurate to play a Gsus13 chord since the 6th is also played.

Pentatonic Scale over a Gsus13 chord

Chord Tones:

G – Rt
E – 6th/13th
D – 5th
C – 4th/11th (sus note)
A – 9th

Alternative Pentatonic Scales Over Diatonic Chords

You could play this pentatonic scale over any of the chords in the key center of C major, but there are better options for some diatonic chords.

For example, playing the minor pentatonic from A over an E-7 chord (the iii chord) technically works. But you could just as easily play an E minor pentatonic (or G major pentatonic) over this chord.

E minor pentatonic scale or G major pentatonic scale over E-7

E minor (or G Major) Pentatonic Scale Formula:

E-G-A-B-D-E

But the one that deserves a little bit more attention is the vii half-diminished chord (Bmin7b5).

7. The ii minor pentatonic over the vii chord.

This chord is often thought of as the ii chord in the relative minor (A minor), but this pentatonic doesn’t highlight the most important note in that chord:

the flat 5 (F)

The minor scale that would highlight that b5 is the D minor pentatonic scale. Therefore, this is a better option to play over this chord.

D Pentatonic Scale over a -7b5 chord

Chord Tones:

C – 9th
A – 7th
G – 6th/13th
F – b5th
D – 3rd

“Uncommon” Applications of the Pentatonic Scale

8. Pentatonic scale a half step down from a Major 7(b5) chord.

Have you ever seen this chord in a playing situation and had no idea how to improvise? This is a great option for grouping notes to play over this chord.

In this particular case, we are playing an A minor pentatonic over a Bbmaj7(b5) chord. Why? The scale starts on the 7th of Bb major, and the pentatonic highlights the most important note in this chord: the flat 5 (E).

Pentatonic Scale over Bbmaj7b5

Chord Tones:

G – 13th
E – b5th/#11th
D – 3rd
C – 9th
A – 7th

9. Applying minor pentatonics to a ii-V-I.

This is a cool application to the most important chord progression in jazz. Check out this video for starters:

Pretty cool, huh? Jazz guitarist Vic Juris has a pretty inventive way to help us apply this scale with some chordal movement. Take a look at this concept in notation:

Chromatic Ascending Pentatonic Scales Over ii-V-I Chord Progressions

We’ve already gone over how the pentatonic scale works over a Dmin7. We’ve also already covered the concept of playing a minor pentatonic scale a half step down from a maj7(b5) chord.

The new member of the group here is the A# pentatonic over the G7alt chord. You can think of this as just playing the pentatonic scale, a minor third up from the root of a given dominant chord. You hit all possible alterations in a dominant seventh chord (#9, b9, #11, #5).

It may sound slightly “out,” but it has a really nice sound when you resolve to the Cmaj7(#11).

Finally, check out this video on how to use pentatonic scales:

Important Scale Disclaimer!

Now that we’ve discussed pentatonic scales, I have an important scale disclaimer for you. Scales are simply sequences of pitches. Functionally, studying scales helps us conceptualize music and learn our instruments better.

However, they are not musical in and of themselves.

They help us group notes together functionally and understand music theory, but the scales are just pitch sequences. It’s up to the musician to take those collections of pitches and make music out of them.

You must keep this in mind when practicing! Practicing scales is not playing music, but practicing scales helps you play music!

For more on jazz scales, check out these sixteen essential jazz scales. If you are a guitar player, check out our guitar-specific scale guide.

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TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU ACKNOWLEDGE AND AGREE THAT THE MESSAGING PROGRAM IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS WITHOUT WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED.

Limitation of Liability

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU AGREE THAT IN NO EVENT SHALL EITHER OF Learn Jazz Standards OR ANY PARTY ACTING ON BEHALF OF Learn Jazz Standards BE LIABLE FOR: (A) ANY CLAIMS, PROCEEDINGS, LIABILITIES, OBLIGATIONS, DAMAGES, LOSSES OR COSTS IN AN AGGREGATE AMOUNT EXCEEDING THE GREATER OF THE AMOUNT YOU PAID TO Learn Jazz Standards HEREUNDER OR $100.00; OR (B) ANY DIRECT, INDIRECT, CONSEQUENTIAL, SPECIAL, INCIDENTAL, PUNITIVE OR ANY OTHER DAMAGES. YOU AGREE EVEN IF Learn Jazz Standards HAS BEEN TOLD OF POSSIBLE DAMAGE OR LOSS ARISING OR RESULTING FROM OR IN ANY WAY RELATING TO YOUR USE OF THE Learn Jazz Standards MESSAGING PROGRAM. Learn Jazz Standards AND ITS REPRESENTATIVES ARE NOT LIABLE FOR THE ACTS OR OMISSIONS OF THIRD PARTIES, INCLUDING BUT NOT LIMITED TO DELAYS OR NON-DELIVERY IN THE TRANSMISSION OF MESSAGES.

Indemnity

To the maximum extent allowed by applicable law, you agree to indemnify, defend and hold harmless Learn Jazz Standards, its directors, officers, employees, servants, agents, representatives, independent contractors and affiliates from and against any and all claims, damages, liabilities, actions, causes of action, costs, expenses, including reasonable attorneys’ fees, judgments or penalties of any kind or nature arising from or in relation to the these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers.

Dispute Resolution

General. Any dispute or claim arising out of or in any way related to these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers whether based in contract, tort, statute, fraud, misrepresentation, or any other legal theory, and regardless of when a dispute or claim arises will be resolved by binding arbitration. YOU UNDERSTAND AND AGREE THAT, BY AGREEING TO THESE MESSAGING TERMS, YOU AND Learn Jazz Standards ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION AND THAT THESE MESSAGING TERMS SHALL BE SUBJECT TO AND GOVERNED BY ARBITRATION.
Exceptions. Notwithstanding subsection (a) above, nothing in these Messaging Terms will be deemed to waive, preclude, or otherwise limit the right of you or Learn Jazz Standards to: (i) bring an individual action in small claims court; (ii) pursue an enforcement action through the applicable federal, state, or local agency if that action is available; (iii) seek injunctive relief in aid of arbitration from a court of competent jurisdiction; or (iv) file suit in a court of law to address an intellectual property infringement claim.
Arbitrator. Any arbitration between you and Learn Jazz Standards will be governed by the JAMS, under the Optional Expedited Arbitration Procedures then in effect for JAMS, except as provided herein. JAMS may be contacted at www.jamsadr.com. The arbitrator has exclusive authority to resolve any dispute relating to the interpretation, applicability, or enforceability of this binding arbitration agreement.
No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding. You agree that, by agreeing to these Messaging Terms, you and Learn Jazz Standards are each waiving the right to a trial by jury or to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.
No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.
Modifications to this Arbitration Provision. Notwithstanding anything to the contrary in these Messaging Terms, if Learn Jazz Standards makes any future change to this arbitration provision, you may reject the change by sending us written notice within 30 days of the change to Learn Jazz Standards’s contact information provided in the “Contact Us” section below, in which case this arbitration provision, as in effect immediately prior to the changes you rejected, will continue to govern any disputes between you and Learn Jazz Standards.
Enforceability. If any provision of these Messaging Terms is found to be unenforceable, the applicable provision shall be deemed stricken and the remainder of these Messaging Terms shall remain in full force and effect.

Changes to the Messaging Terms

We reserve the right to change these Messaging Terms or cancel the messaging program at any time. By using and accepting messages from Learn Jazz Standards after we make changes to the Messaging Terms, you are accepting the Messaging Terms with those changes. Please check these Messaging Terms regularly.

Entire Agreement/Severability

These Messaging Terms, together with any amendments and any additional agreements you may enter into with us in connection herewith, will constitute the entire agreement between you and Learn Jazz Standards concerning the Messaging Program.

Contact

Please contact us with any inquiries or concerns at [email protected]