Chapter 6 Major Pentatonic Scales

All right, now let’s get back to learning some more bass-specific things. In this chapter, we’re going to learn one of the most useful scales in Western music: major pentatonic. So, what is a scale, anyway? It’s basically a collection of notes that we use to create melodies—and sometimes even chords. While most scales contain seven different notes, a pentatonic scale contains only five (hence the name: penta = five, tonic = tones). A major pentatonic scale is just like a major scale, except the fourth and seventh notes have been removed. By looking back at the table of major scales at the bottom of page 28, you should be able to figure out any of the 12 major pentatonic scales by simply deleting the fourth and seventh tones from each.

G Major Pentatonic Scale

Let’s begin with the G major pentatonic scale, whose tonic (the note from which the scale gets its name, sometimes called the “root”) is on fret 3 of string 4. This scale can be played in open position as follows (the extra A note on fret 2, string 1 is included because it’s accessible within this scale form):

G Major Pentatonic Scale in Open Position

Play through the notes of this scale slowly at first, making sure that you’re not allowing the open strings to ring out through subsequent notes. Once you have the fingering down, try these next examples:

Example 24

Example 25

Alternating Fingers and the Rake Technique

Once we start playing eighth notes, you’re most likely going to want to start alternating your first and second plucking fingers. When plucking, you should apply the same technique to your middle finger as you do to your index finger. The following example will help you get a feel for alternating your fingers in eighth notes. Try it with both of the suggested right-hand (R H.) plucking fingerings (being able to lead with either finger when playing consecutive eighth notes is important). Start slowly at first and make sure that you’re not rushing or dragging the beat.

Example 26

There’s a technique that we use when descending from a higher-pitched string to a lower one—especially when playing eighth notes or really fast quarter notes—that makes it easier on your plucking hand and creates a smoother sound. It’s called a rake, and here’s how it works: whenever you pluck a note on one string and then immediately pluck a note on the lower adjacent string (the next thickest string—remember, we’re talking about musical pitches, not physical geography), you use the same plucking finger to pluck both notes.

Let’s look at a few examples to demonstrate this. First, we’ll isolate the motion in repetition. Using the R.H. fingerings shown, play the following example slowly at first, gradually work it up to a faster speed. The “rakes” are shown in the RH fingerings as horizontal connecting lines. Practice this example over and over until the rakes feel completely natural.

Example 27

This next example is simply the G major pentatonic scale but, because we’re playing in eighth notes, the rake technique is employed. Again, pay strict attention to and use both of the R.H. fingerings.

Example 28

As you can no doubt see by now, descending requires much less energy in the plucking hand than ascending. This next example will really test you. Not only will you be making use of the rake technique, but you’ll also be required to stop open strings from ringing with your fret hand.

On beat 3 of measure 1, you’ll need to stop the open G string.
On beat 1 of measure 2, you’ll need to stop the open D string.
On beat 3 of measure 2, you’ll need to stop the open A string.

Take this example very slow at first, making sure that you’re getting it right in both hands before trying to speed it up. You need to be able to perform these maneuvers cleanly before progressing through the rest of the book.

Example 29

C Major Pentatonic Scale

Let’s learn another major pentatonic scale before moving on. This one is in C. Since we’re going to end up on fret 5 of string 1, it’s best to just play this whole thing in second position. This means that you’ll use your first finger for notes on fret 2, your second finger for notes on fret 3, and your fourth finger for notes on fret 5.

C Major Pentatonic Scale in Open/Second Position

Let’s put the scale to use in a riff.

Example 30

Song 6: G Blues Boogie

It’s time to get down with a blues boogie. This song is based on the 12-bar blues form, which is one of the most common (if not the most common) song forms in all of popular music. It’s a 12-measure structure that makes use of the I, IV, and V chords of a key. We’ll be using both the G major pentatonic and the C major pentatonic scales in this one, but, in measure 4, we sneak in an F note (fret 3, string 2) to make the G chord sound a bit bluesier.

There’s also one new note in measure 11: Eb (fret 1, string 2). Play this note with the first finger of your fretting hand.

ED Note on String 2

Be sure to stop the open D string from ringing on beat 3 of measure 9!

Example 31

G Blues Boogie

Song 7: C Major Pentatonic Motown

This is a Motown-style song that makes use of a repetitive C major pentatonic line. This is the fleetest-fingered example in the book so far, so take it slowly at first. It’s much better to practice slowly and play it perfectly than to try to play it too fast and engrain bad habits in the process. We have a new notational device in this song: the staccato marking. This is the dot that appears over the notes at the beginning of measures 5 and 6, and under the notes in measures 9 and 10. A staccato marking tells you to play that note in a short, clipped manner. To make sure that you get a nice, clean staccato note, you should pluck the note and then immediately release fret-hand pressure while also planting your plucking finger on the string to deaden it. Try this out a few times before playing through the song.

Example 32

C Major Pentatonic Motown