Most guitarists overthink improvising. They assume you need years of theory or some kind of natural gift before you can play a solo. The truth? If you can learn one scale pattern, you can start jamming today.
In the video above, I walk you through the A pentatonic minor scale at the 5th fret — the single most useful pattern for improvising on guitar. Here’s how it lays out across the fretboard:
- 6th string: frets 5 and 8
- 5th string: frets 5 and 7
- 4th string: frets 5 and 7
- 3rd string: frets 5 and 7
- 2nd string: frets 5 and 8
- 1st string: frets 5 and 8
Once you have that pattern under your fingers, the real fun begins — playing it over a pentatonic scale jam track.
How to Practice With a Jam Track
Start simple. Put on a blues jam track and just run straight through the scale — up and down, nice and steady. Your only job at first is anchoring your notes to the beat of the music. This actually replaces practicing with a metronome, because the jam track forces you to play in time naturally. You’ll develop better rhythm this way than you ever would clicking along to a metronome in your bedroom.
Once that feels comfortable, start mixing things up. Go up three notes, back down two. Skip around. Change direction at different points in the pattern. You’re training your ear and your fingers to move freely within the scale instead of just running it like an exercise.
When you’re feeling confident, here’s where it gets fun: add some crunch or distortion to your tone and start soloing. The beauty of the pentatonic minor is that every note in the pattern sounds good over a blues progression. You literally cannot hit a wrong note as long as you stay within the scale. That kind of freedom is what makes this the go-to pattern for blues, rock, and classic rock soloing.
Try spending five minutes a day with a jam track. Even a short session like that builds muscle memory fast, and before long you’ll start hearing phrases in your head before your fingers play them. That’s when improvising really clicks.
Why the Pentatonic Scale Works So Well
The pentatonic scale strips away the two notes from the natural minor scale that tend to create tension. What’s left are five notes that always sound strong and resolved. That’s why even beginners can sound surprisingly good improvising with it right away.
This is also why so many classic guitar solos are built almost entirely on pentatonic patterns. From blues to hard rock, this scale does the heavy lifting.
If you haven’t learned the pattern yet, start with my lesson on learning the pentatonic scale to get the basics down first. If you’re just getting started, my beginner scale pattern lesson breaks it down even further. And if you want to understand how this pattern fits into the bigger picture, check out my full guide to guitar scales.
Give It a Try
Find a blues jam track on YouTube, pull up this scale pattern, and start playing along. Don’t worry about sounding perfect — just stay in the pattern and play to the beat. You’ll be surprised how quickly it starts to feel like real music. That’s the whole point. And once you’ve got this first position down, there are four more pentatonic positions waiting for you up the neck.
Once you’re comfortable running the scale, work on building speed with some guitar speed exercises — they’ll help you play faster lines without sacrificing clean technique.
If A Major is the 1 chord, you cannot play the flatted 3rd note (C)of the Minor pentatonic scale.
Hi Mike, took me a while to think about this one.
You’re right, from a technical standpoint. The flatted 3rd doesn’t go with the A.
That said, if you compare the A Major chord (as barred at the 5th fret) to the Am Pentatonic scale, there is only one note that doesn’t work – the C# you mentioned. The C# is on the G string, and takes a backseat to all the A’s and E’s that are happening in there.
So technically, it shouldn’t work, though if you play it and listen to it, it does work. Funny thing about the ear. The ear hears a strong A and E sound, and says “ok, C works fine with those” and it just works…
I was playing Pride and Joy the other day and realized that this is what happens in this song too… Chords are in E, yet you solo in E Pentatonic.
Just one of those things you can’t be a stickler on…
Thanks, I like it! To warm up I use the”Vontage”
commercial run
Thanks for the lessons on the Pentatonic Scales, and the short lesson on tieing it together. Where I get lost is what some call “boxes”.
If I am on track, there are five boxes for each key. Each box starts
at a different position on the neck. Also, each box has different patterns.
It would be great if you could cover this in a straight forward way and then do the same thing you just did, tie the chording to the solos using different boxes.
I think I get it, but some clarity is needed so I can practice the right stuff and not develop bad habits.
Hi Pop, that’s an excellent question. Boxes are a good way of looking at the fretboard – but yeah, they can be confusing if not explained properly. I’ll add that to the list.
Cheers
Jonathan..These guys are right.. I’ve been playing for years and now getting more serious. The Am pentatonic is the greatest but where do we go from here? please take it slow and show us other boxes and when to play them… can”t wait
hi what is a box i have never heard of it.it would be great if you could cover this thank for the lessons.
Hey Joe – very simply boxes refer to a scale pattern at a certain place on the fretboard. The box might cover 4 frets, and the pattern within that box would show you the scale at that place on the fretboard.
You can play a scale at numerous places on the fretboard, but the patterns are slightly different in each place, hence the ‘boxes’.
That’s a great lesson idea though – I’ve definitely added it to the list of upcoming ones. Cheers.
thanks
I think the reason the flatted 3rd works is probably because it would be like a passing/climbing/descending note.
Jonathan, you rock. Thanks for the great tip!
Thanks for the tip. It does get sort of too repetetive unless you want to play for speed. But if it’s your own style you are trying to evolve,then this would be a way to start instead of copying everyone elses licks.
Well, repeating scales isn’t only for speed, it’s also for accuracy, and even slow players need accuracy…
Hi Jonathan. I like the picture of your dog what is it(breed)
Haha, he’s 100% mutt! I’m not actually sure… I think some kind of mixture of Golden Lab, Bull Mastiff, Rottweiler, and possibly German Shepherd…
Here’s another question. I noticed in the video, when you played the A and D chords, you stayed in the Am box, but when you went to the E chord you moved to the Bm box? And why is it a minor scale, when your playing over a major chord? And can I play the penotonic scale in Am and the A major scale with it?
And I’ve been thinking about the 1 4 5 when playing. It helps a lot keeping track of where I am note wise. Thanks… Money well spent!!
Hi Howard, good catch 😉
Yeah, I changed positions at that point, though not into the Bm box – that was actually a touch of A minor diatonic, or C major diatonic.
The theory gets a bit more complex at that point; but it sounds good.
Another way of looking at it is for that one bar, I was playing out of an E major pattern (5th string, 7th fret) which of course works with the E chord I was playing. Again, probably more complicated theory than I intended for this particular lesson 😉 Stay tuned… we’ll get into some of that stuff a bit later on.
Great lesson. I miss the bricks though.
Hey Jerry – this was my one experiment with a black background… I didn’t like it as much either, so I think in the next lesson you’ll see the bricks will be back.. 🙂
Hi Johnathon: the pentatonic scale does work for much of the soloing but give me some advice on resolving to something other that the diatonic when in the 4 and 5 chord…
Hi Teeder, the best and safest thing I can recommend is if you’re in the 4 or the 5 chord and soloing around… resolve on relevant root note, ie the 4 or the 5 note.
Resolving on the root note of the chord the band is playing on will work everytime. If you want to get more creative, go for a close relation of the root note, perhaps a fifth or a third.
Hi Jonathan.
I really enjoy the lessons you put things in simple terms that I can understand. looking forward to the next lessons.
Thanks Frank.
the BEST starting point for soloing is this pentatonic scale it will serve you well! This is used in almost all blues songs..check it out and play along with BB king, johnny johnson and lots others. Know it like your MOM and gain confidence in your soloing very quickly.. Tell us more!
Hi! I got the Pentatonic Scale alright, but the next one, “Improvising with….” My screen was blank until the comments.
Is this because I am using a Mac?
Hi Gordon, no, the site works fine on a Mac (I use one too) – I would recommend refreshing the page. Cheers.
have not played my guitar for 3 years then all of a sudden I came across this link – am now playing every day and these lessons are sooooo cool thanks Im actually sounding better with my playing
Hey Gordy – that’s the kind of thing I love hearing – keep on playing! 🙂
hi jonathon….have beenm playing along with you and am making pretty good progress for a novice. looking at the comments i am confused. when you say flatted 3rd or 5th are you talking about the 3rd and fifth notes of the chord?…what am i missing here?
Hi Randy, the numbers all relate to the scale positions – you can learn more at http://www.onefourfive.com. A chord is typically comprised of the I, III and V notes (for a major chord) of the scale that is associated with that chord. For instance, an A major chord is A, C# and E. The C# is the III (3rd) in this case, and if you flat it, you’re going to get an A minor chord.
Not sure that really explains it super well… but hope it helps?
Jon:
Am I getting this correct…do the pentonatonic on the root (A) then the same scale, that is the D pentonic for the D and then E (pentontic) for the -4-5?, Robert
Hi Robert, You CAN do that if you want to… however you don’t have to. Far simpler to simply remain in the A pentatonic minor through all the changes. Give it a shot, you’ll find it works nice.
Kia ora Jonathan,
Very informative the 6mth dead line I gave myself to learn how to play lead guitar blues or otherwise is gonna be achieveable thanks to you.
Also to learn scales
Cheers Mike R
DO YOU HAVE A CORD CHART FOR THOSE 3 ????
I think I just learned something about playing scales.Thanks and keep on rocking
Jonathan, I really like the short ,to the point lessons. They are easy to understand and even at 62 I can understand them. IT GIVEs ME JUST ENough to practice and feel I have accomplished something become the next lessons arrives. Keep up the good work.
If I’m soloing over a E A and B, can I use the major pentatonic if I’m playing over each cord? I know the major works over the E chord, but will A major Pent. work over the A chord and B major pent. work over the B chord?
Hi Jerry, yes, you can change to new patterns with each chord change if you wish. It’s more work, and not always strictly required, but it can add quite a lot in some songs. Go for it!
Looking forward to I IV V, just ordered it Wednesday. thanks for this. Are you playing bar chords for the A, D and ?
Yes – the A is 577655, the D is x57775 and the E is x79997.
Thanks Jonathan I enjoy the lessons and will apply them. Hope to be able to get the Jam Tracks with Birthday money, since I don’t play in a band and only practice with records
Just what the doctor ordered!
Thanks Jonathan I believe this answers my current ‘Big Question’ on playing scales / chords together . . .
And yes I believe that where the C# is not suppose to belong in the scale it has the good sound of being added as a chromatic passing note which apparently, according to the ear, works and sounds great. And at the same time is shedding more light on that subject / lesson on chromatic passing notes as well.
Kudos!
Randy