Mixing the Major and Minor Pentatonic Scale is a great way to start expanding how you solo. Most of the time this idea comes because you learn the pentatonic scales first and overlaying them on top of each other seems like an easy way to start expanding your available notes. This mostly works over Blues/Rock/Country styles.

Why does it work?

This mainly comes from the flexible tonality derived from these styles. That means it’s not exactly major and not exactly minor which is why it works! Our ears are also accustomed to this flexibility where we don’t mind a minor 3rd over a major chord.

If we look at what we’re doing, we’re actually playing the Mixolydian Scale.

Let’s look at the Minor Pentatonic Scale. Formula: 1 – b3 – 4 – 5 – b7

Example: A Minor Pentatonic: A – C – D – E – G

Let’s look at the Major Pentatonic Scale. Formula: 1 – 2 – 3 – 5 – 6

Example: A Major Pentatonic: A – B – C# – E – F#

If we combine them we get: 1 – 2 – b3 – 3 – 4 – 5 – 6 – b7

Example: A – B – C – C# – D – E – F# – G

What’s the Mixolydian? 1 – 2 – 3 – 4 – 5 – 6 – b7

Example: A Mixolydian: A – B – C# – D – E – F# – G

Why wouldn’t I say Dorian (1 – 2 – b3 – 4 – 5 – 6 – b7)? Because playing a major 3rd over a minor chord sounds unbelievably bad, so if we’re “combining” the major and minor pentatonic scale that major 3rd is really telling me we’re in Mixolydian. The Minor 3rd sounds good because it essentially acts a chromatic note.

…maybe this is where the “Mix” from “Mixolydian” comes from! 😉

Dig it!







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