Pentatonic Add-One - Phrygian

I want to look at something I call a "Pentatonic Add-One", which is simply adding a note to the pentatonic scale (in this case, minor pentatonic).

Let's face it, if all you played was one scale all of the time, it would get boring. This "Add-One" gives more color to it.

This time, I will talk about adding a b2. This gives it the Phrygian sound, for those less inclined to technical music terms. it gives a "Spanish" sound.

The Phrygian is used quite frequently in heavy metal (as well as Spanish music). So, when you add this b2, the pentatonic sounds darker and more exotic.

Here are 5 positions of this scale.

R	4	b7	b3	5	R
b2					b2
	5	R	4
b3		b2		b7	b3

	5	R	4
b3		b2		b7	b3
			5
4	b7	b3		R	4
				b2

			5
4	b7	b3		R	4
				b2
5	R	4	b7		5
	b2			b3

5	R	4	b7		5
	b2			4
		5	R
b7	b3		b2	5	b7

		5	R
b7	b3		b2	4	b7
R	4	b7	b3	5	R
b2					b2

I like this touch because you can add that b2 by hammer-ons and half-step bends. In other words, they are easy to get to.

My two cents.

Melodic Minor Pentatonic

For some unknown reason, I like the melodic minor. I think one of the reasons is how the modes sound. I will get to that.

I am talking jazz melodic minor, in C, the scale is
C-D-Eb-F-G-A-B

Which can be looked at as either a minor scale with the 6th and 7th degree raised a 1/2 step, or as a major scale with the third lowered a 1/2 step.

Now, let's look at it as a pentatonic.

Standard minor pentatonic is - C-Eb-F-G-Bb
Raise the 7th and the melodic minor pentatonic is C-Eb-F-G-B

Here is a layout that I like to use

- - 11 - 13 -
- - - 12 13 -
-10-12 -
-10 - - 13 -
-10 - - - 14
- - 11- 13 -

I like to use a mix of the minor and melodic minor pentatonics.

I use the minor over the I chord in a blues progression. And to add some flavor, over the IV, I use the melodic minor pentatonic, the B is the #4/b5 of the IV, and the B is the 3rd of the V.

The implied modes are:
Over the IV: Lydian Dominant (R-2-3-#4-5-6-b7)
Over the V: Mixolydian Flat 6 (R-2-3-4-5-b6-b7)

Just a little way of mixing up a blues progression.

My two cents

Jazzing up the Pentatonic

I am going to look at using the minor pentatonic in a "jazzier" way, over a dominant seven chord.

First, let's look at the chord - C7

Notes
C - E - G - Bb

You can play the standard minor pentatonic (C-Eb-F-G-Bb) over this, and you are adding two color tones - the #9 (Eb) and the 11th (F). This is the standard "blues" sound.

Now, if you take the minor pentatonic, and root in D you get the following scale - C-D-F-G-A which gives the following color tones, 9 (D), 11 (F), and 13 (A). This is a good "outside" sound, without adding much tension.

Now if you want tension, take it up another half step, to Eb. Your scale is now C#-Eb-F#-G#-Bb. This creates tension because it add the following "altered" tensions - b9, #9, b5, #5. This is a nice little departure in a solo, because of the tension it adds. You can use this scale in place of the altered dominant (Super Locrian) scale.

Now, for a little scale I derived. I don't know who invented it, but I like how it adds passing notes (chromaticism).
I call this the Bebop Blues Scale, and it goes something like this- C-Eb-F-F#-G-Bb-B.

I know this isn't a pentatonic, but it lays nicely on the fretboard.
Here it is depicted graphically.
- 7 8 - - 11 -
- - 8 - - 11 -
- - 8 - 10 11 -
- - 8 9 10 - -
- - 8 9 10 - -
- 7 8 - -11 -

This add the Bebop Dominant Passing Note (B (maj7)) and the blue note F# (b5).

My two cents