I often hear minor pentatonic being used in a major key progression, but it works best when you mix it with a more natural, major scale.įor example, I might close a major soloing phrase with a little minor pentatonic run, to catch the listener off guard, to add variation and interest etc. The answer is simple - whenever it sounds good to you. When else can we use minor pentatonic over major chords? This flat 7th helps to "soften" the harshness of this major/minor 3rd clash.Įven so, the minor 3rd will often be quickly resolved to the major 3rd for a stronger feeling of resolution, but when held it's not actually an unpleasant dissonance, as many blues lovers will tell you! Of course, the tonic chord in a major key blues progression is nearly always a dominant 7th chord (e.g. It's this discord/dissonance between the minor 3rd of minor pentatonic and the major 3rd of the root/tonic chord that supports the indescribably soulful "bluesy sound". However, blues and jazz have been ignoring this "rule" for over a century. Now, if you've studied music for any length of time, you'll probably have been conditioned never to mix your major and minor 3rds. I'm not here to tell you what to play, just to guide you )īlues is the most common example of minor pentatonic being used over a major key progression (the 1 4 5 progression - that's E A B in E major). Ultimately, let your ears be the judge of what you can and can't do. Yes, you can play minor pentatonic over major chords and chord progressions. Can I use minor pentatonic to solo over major chords and progressions? And if yes what is the relationship between the key and the scale that I should use?
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