Pentatonic Training Goal
In the last session, we looked at all of the modes in C Major. We saw that the 6th mode of a Major key center is called the relative minor [aka Aeolian, Natural minor, Pure minor]. This means that it shares the key signature [the 'logo' as well as the tone set] with the relative Major. Example: C Major's relative minor is A minor. A minor's relative Major is C. The relative minor is always the 6th tone/chord of the Major scale. We can count up to 6 from 1, or count back to 6 from 8 [1 = 8; 8-7-6 = C-B-A]. So, let's begin there...with the natural minor. This can be a confusing topic for folks ["3 forms of the minor"], and there are different ways [derivative/parallel] to produce these scale/chord types; we'll keep it as simple as possible. We don't necessarily have to track every piece of data; we are after the sounds, the possibilities. We'll begin with the 3 forms of the minor, plus Dorian.
Here's the E♭ Major scale in P1. It's the 41 scale form moved up one fret. E flat is the "opposite" of E Major. E Major has 4 sharps (F♯, C♯, G♯, D♯). In E flat, the F, C, G, & D are naturals. In E flat, all of the flats (B♭, E♭, A♭) are naturals in the key of E Major. Opposites! Play the scale, alpha-order, as shown in the tab. This scale form can be played in this manner, in every position, and thus every key. Run the list. Get creative. Play in a new key. Train. Jam. Repeat.
In the previous session, we moved the scale. Next, we process it. Below the tone names under the tab are the formulas for the scales. And, since the form is the same in all positions, the tone components have the same location for every key. No matter which position that we move the scale form, the roots and flat-3's and 4, etc. are in the same relative location.