Hopsco tch Method

Table of Contents

01. Intro
02. Minor Pentatonic box shapes
03. Method Alternative
04. Conclusion

Intro

NOTE: This article is based on the video lesson created by Joe Cefalu, who gives a demonstration of his workout called 'Hopscotch,'
exclusively for Shred Academy [website].

I recently watched this video which talks about the "Hopskotch Method," a way of getting out of the boxes of the minor pentatonic. It really
works and is a great thing for soloing beginners, so I decided to type them out.

The minor pentatonic scale is used in a wide variety of genres of music. Rock, heavy metal, blues, etc. The most common problem however
for beginning soloists is that when they learn a certain box shape of the minor pentatonic, they get stuck within that box and their solos start
to sound the same, and it eventually gets boring. Here's a way you can learn more about the 5 shapes of the minor pentatonic, how they fit
together on the fretboard, and how you can break down the barriers between those boxes and turn them into a giant box that covers most of
the fretboard.

Minor Pentatonic Box Shapes

There are 5 minor pentatonic box shapes. The most common one being:

Fig. 1
|o|-|-|o|
|o|-|-|o|
|o|-|o|-|
|o|-|o|-|
|o|-|o|-|
|o|-|-|o|

Now the remaining boxes follow it like this:

Fig. 2
|-|o|-|o|
|-|o|-|o|
|o|-|o|-|
|o|-|-|o|
|o|-|-|o|
|-|o|-|o|

Fig. 3
|-|o|-|o|-|
|-|o|-|-|o|
|o|-|-|o|-|
|-|o|-|o|-|
|-|o|-|o|-|
|-|o|-|o|-|

Fig. 4
|o|-|-|o|
|-|o|-|o|
|o|-|o|-|
|o|-|o|-|
|o|-|-|o|
|o|-|-|o|

Fig. 5
|-|o|-|o|
|-|o|-|o|
|o|-|-|o|
|o|-|-|o|
|-|o|-|o|
|-|o|-|o|

If we were to play them following each other they would look like this, all along the fretboard:

F.1 F.2 F.3 F.4 F.5 F.1

|o|-|-|o|-|o|-|o|-|-|o|-|o|-|-|o|
|o|-|-|o|-|o|-|-|o|-|o|-|o|-|-|o|
|o|-|o|-|o|-|-|o|-|o|-|-|o|-|o|-|
|o|-|o|-|-|o|-|o|-|o|-|-|o|-|o|-|
|o|-|o|-|-|o|-|o|-|-|o|-|o|-|o|-|
|o|-|-|o|-|o|-|o|-|-|o|-|o|-|-|o|

You can see that, at the end, it starts back at figure 1, and that theyre all connected.
Now, while improvising, to be able to solo between these boxes seamlessly, you don't want to just play some licks off fig. 1, then switch to
fig. 2, etc. You have to try and take two boxes, and merge them into one giant box.

To do this, we will take the 6 strings of your guitar in pairs. E & A, A & D, D & G, G & B, B & E. 5 pairs. Now what we'll do is take the first pair,
E & A, and play the part of fig. 1 on those strings, and then play the part of figure 2 on those strings. So in the key of G minor, it would look
like this:

e|-------------------------|
B|-------------------------|
G|-------------------------|
D|-------------------------|
A|--------3--5--------5--8-|
E|--3--6--------6--8-------|

Then we'll move on to the next pair of strings, A & D:

e|-------------------------|
B|-------------------------|
G|-------------------------|
D|--------3--5--------5--8-|
A|--3--5--------5--8-------|
E|-------------------------|

And we'll keep dong that up the 6 strings, so eventually we'll get this from the first 2 figures:

E|--------------------------------------------------------------------3-6-----6-8|
B|----------------------------------------------------3-6-----6-8-3-6-----6-8----|
G|------------------------------------3-5-----5-7-3-5-----5-7--------------------|
D|--------------------3-5-----5-8-3-5-----5-8------------------------------------|
A|----3-5-----5-8-3-5-----5-8----------------------------------------------------|
E|3-6-----6-8--------------------------------------------------------------------|

And if you look at the box shape now, it looks like this:

|o|-|-|o|-|o|
|o|-|-|o|-|o|
|o|-|o|-|o|-|
|o|-|o|-|-|o|
|o|-|o|-|-|o|
|o|-|-|o|-|o|

See what we did there was merge fig. 1 and 2, and made a big box. Once you are able to see the notes on the fretboard liek this, you're
soloing will open up more than ever. If we do exactly what we did with fig. 1 and 2 to the rest of the figures, we'll come up with these:

Fig. 2&3
E|---------------------------------------------->
B|---------------------------------------------->
G|----------------------------------------5-7--->
D|----------------------5-8------8-10-5-8-----8->
A|----5-8------8-10-5-8-----8-10---------------->
E|6-8-----8-10---------------------------------->

E|>-------------------------------6-8-------8-10|
B|>-------------6-8------8-11-6-8-----8-11------|
G|>----7-10-5-7-----7-10------------------------|
D|>-10------------------------------------------|
A|>---------------------------------------------|
E|>---------------------------------------------|

|-|o|-|o|-|o|-|
|-|o|-|o|-|-|o|
|o|-|o|-|-|o|-|
|o|-|-|o|-|o|-|
|o|-|-|o|-|o|-|
|-|o|-|o|-|o|-|

Fig. 3&4
E|--------------------------------------------------------->
B|--------------------------------------------------------->
G|-------------------------------------------------7-10---->
D|---------------------------8-10-------10-12-8-10------10->
A|-----8-10-------10-13-8-10------10-13-------------------->
E|8-10------10-13------------------------------------------>

E|>---------------------------------------8-10--------10-13|
B|>---------------8-11--------11-13-8-11-------11-13-------|
G|>----10-12-7-10------10-12-------------------------------|
D|>-12-----------------------------------------------------|
A|>--------------------------------------------------------|
E|>--------------------------------------------------------|
|-|o|-|o|-|-|o|
|-|o|-|-|o|-|o|
|o|-|-|o|-|o|-|
|-|o|-|o|-|o|-|
|-|o|-|o|-|-|o|
|-|o|-|o|-|-|o|

Fig. 4&5
E|------------------------------------------------------------>
B|------------------------------------------------------------>
G|------------------------------------------------------10-12->
D|------------------------------10-12-------12-15-10-12------->
A|------10-13-------13-15-10-13-------13-15------------------->
E|10-13-------13-15------------------------------------------->

E|>------------------------------------------10-13-------13-15|
B|>------------------11-13-------13-15-11-13-------13-15------|
G|>------12-15-10-12-------12-15------------------------------|
D|>12-15------------------------------------------------------|
A|>-----------------------------------------------------------|
E|>-----------------------------------------------------------|

|o|-|-|o|-|o|
|-|o|-|o|-|o|
|o|-|o|-|-|o|
|o|-|o|-|-|o|
|o|-|-|o|-|o|
|o|-|-|o|-|o|

Fig. 5&1
E|------------------------------------------------------------>
B|------------------------------------------------------------>
G|------------------------------------------------------12-15->
D|------------------------------12-15-------15-17-12-15------->
A|------13-15-------15-17-13-15-------15-17------------------->
E|13-15-------15-18------------------------------------------->

E|>------------------------------------------13-15-------15-18|
B|>------------------13-15-------15-18-13-15-------15-18------|
G|>------15-17-12-15-------15-17------------------------------|
D|>15-17------------------------------------------------------|
A|>-----------------------------------------------------------|
E|>-----------------------------------------------------------|

|-|o|-|o|-|-|o|
|-|o|-|o|-|-|o|
|o|-|-|o|-|o|-|
|o|-|-|o|-|o|-|
|-|o|-|o|-|o|-|
|-|o|-|o|-|-|o|

Method Alternative

Another way to overcome the barriers between the boxes is to take 1 pair of strings, and go through all the box shapes on those two strings.
So lets say, E & A. You would basically play this:

E|----------------------------------------------------------------|
B|----------------------------------------------------------------|
G|----------------------------------------------------------------|
D|----------------------------------------------------------------|
A|------3-5-----5-8------8-10-------10-13-------13-15-------15-18-|
E|--3-6-----6-8-----8-10------10-13-------13-15-------15-18-------|

|o|-|o|-|-|o|-|o|-|-|o|-|o|-|o|-|
|o|-|-|o|-|o|-|o|-|-|o|-|o|-|-|o|

And that would also increase your ability to improv and you will see the whole neck in a completely different way. For the rest of the pairs of
strings, it would look like this:

A&D
E|----------------------------------------------------------------|
B|----------------------------------------------------------------|
G|----------------------------------------------------------------|
D|------3-5-----5-8------8-10-------10-12-------12-15-------15-17-|
A|--3-5-----5-8-----8-10------10-13-------13-15-------15-17-------|
E|----------------------------------------------------------------|
|o|-|o|-|-|o|-|o|-|o|-|-|o|-|o|-|
|o|-|o|-|-|o|-|o|-|-|o|-|o|-|o|-|

D&G
E|----------------------------------------------------------------|
B|----------------------------------------------------------------|
G|------3-5-----5-7------7-10-------10-12-------12-15-------15-17-|
D|--3-5-----5-8-----8-10------10-12-------12-15-------15-17-------|
A|----------------------------------------------------------------|
E|----------------------------------------------------------------|

|o|-|o|-|o|-|-|o|-|o|-|-|o|-|o|-|
|o|-|o|-|-|o|-|o|-|o|-|-|o|-|o|-|

G&B
E|----------------------------------------------------------------|
B|------3-6-----6-8------8-11-------11-13-------13-15-------15-18-|
G|--3-5-----5-7-----7-10------10-12-------12-15-------15-17-------|
D|----------------------------------------------------------------|
A|----------------------------------------------------------------|
E|----------------------------------------------------------------|

|o|-|-|o|-|o|-|-|o|-|o|-|o|-|-|o|
|o|-|o|-|o|-|-|o|-|o|-|-|o|-|o|-|

B&E
E|------3-6-----6-8------8-10-------10-13-------13-15-------15-18-||
B|--3-6-----6-8-----8-11------11-13-------13-15-------15-18-------||
G|----------------------------------------------------------------||
D|----------------------------------------------------------------||
A|----------------------------------------------------------------||
E|----------------------------------------------------------------||

|o|-|-|o|-|o|-|o|-|-|o|-|o|-|-|o|
|o|-|-|o|-|o|-|-|o|-|o|-|o|-|-|o|

Part 2

Table of Contents:
01. Intro
02. The Major & Minor Scales
03. The 7 Major Scale Modes
04. Hopscotch Modes
05. Method Alternative
06. Further Expansion
07. Conclusion

Intro

NOTE: This article is based on the video lesson created by Joe Cefalu, who gives a demonstration of his workout called 'Hopscotch,'
exclusively for Shred Academy [website].

Alright, well are you familiar with the Hopscotch Method, which was previously introduced for the minor pentatonic scale? If you haven't, go
ahead and look for it. It's not necessary, but preferable to be familiar with that lesson, because in this lesson, I'll be using the same
technique except with something bigger, wider, and much more complex. Modes! Once you've mastered this technique with modes you're
fingers will be flying around the neck and you'll sound even better than before!

Along with covering modes and using them together, I'll be explaining another technique I have figured while soloing on my own, and that is
how to incorporate the minor pentatonic scale with major scale modes, which boxes go with which modes, and how they all fit together on
the fretboard. So enough chit-chat, let's get to the lesson!

The Major And Minor Scales

The major scale as we know it, is known as this:

|R|-|o|-|o|
|-|-|o|-|o|
|-|o|o|-|o|
|-|o|R|-|o|
|o|-|o|-|o|
|R|-|o|-|o|

The root note in the major scale repeats three times, which means it goes up two octaves from the note you started on. The minor scale
looks like this:

|o|-|o|o|-|
|o|o|-|o|-|
|o|-|o|-|-|
|o|-|o|-|o|
|o|-|o|o|-|
|o|-|o|o|-|

The minor scale, as we will see later, is actually a mode of the major scale in itself.

The 7 Major Scale Modes

You've probably heard the word 'mode' tons of times before, including in this lesson. If you're wondering what everyone's talking about when
they say that, then let me clear it up for you. A mode of the major scale is kinda like a minor pentatonic box. Its a different shape of the
major scale in different positions all over the neck. Each mode in the same key includes all the same notes, just in different octaves and
positions. That's why we can utilize them in a continuous pattern, as I will show you later on.

The major scale modes, in order, are called:

- Ionian
- Dorian
- Phrygian
- Lydian
- Mixolydian
- Aeolian
- Locrian

I'll be tabbing the scales below in the key of G major.

The first mode, Ionian, is the major scale itself:

Ionian
|o|-|o|-|o|
|-|-|o|-|o|
|-|o|o|-|o|
|-|o|o|-|o|
|o|-|o|-|o|
|o|-|o|-|o|

E||------------------------------3-5-7-|
B||--------------------------5-7-------|
G||--------------------4-5-7-----------|
D||--------------4-5-7-----------------|
A||--------3-5-7-----------------------|
E||--3-5-7-----------------------------|

Dorian
|o|-|o|o|-|
|o|-|o|o|-|
|o|-|o|-|-|
|o|-|o|-|o|
|o|-|o|-|o|
|o|-|o|o|-|

|------------------------------5-7-8-|
|------------------------5-7-8-------|
|--------------------5-7-------------|
|--------------5-7-9-----------------|
|--------5-7-9-----------------------|
|--5-7-8-----------------------------|

Phrygian
(it can sound kinda spanish over the right progression)
|o|o|-|o|
|o|o|-|o|
|o|-|o|-|
|o|-|o|o|
|o|-|o|o|
|o|o|-|o|

|----------------------------------7-8-10-|
|---------------------------7-8-10--------|
|-----------------------7-9---------------|
|----------------7-9-10-------------------|
|---------7-9-10--------------------------|
|--7-8-10---------------------------------|

Lydian
|o|-|o|-|o|
|o|-|o|-|o|
|-|o|-|o|-|
|-|o|o|-|o|
|-|o|o|-|o|
|o|-|o|-|o|

|---------------------------------------8-10-12-|
|-------------------------------8-10-12---------|
|--------------------------9-11-----------------|
|------------------9-10-12----------------------|
|----------9-10-12------------------------------|
|--8-10-12--------------------------------------|

Mixolydian
(some people say that this mode sounds bluesy)
|o|-|o|-|o|
|o|-|o|o|-|
|-|o|o|-|-|
|o|-|o|-|o|
|o|-|o|-|o|
|o|-|o|-|o|

|--------------------------------------------10-12-14-|
|-----------------------------------10-12-13----------|
|-----------------------------11-12-------------------|
|--------------------10-12-14-------------------------|
|-----------10-12-14----------------------------------|
|--10-12-14-------------------------------------------|

Aeolian
(this is the minor scale! As I said earlier, the minor
scale is in fact a mode of the major scale)
|o|-|o|o|-|
|o|o|-|o|-|
|o|-|o|-|-|
|o|-|o|-|o|
|o|-|o|o|-|
|o|-|o|o|-|

|--------------------------------------------12-14-15-|
|-----------------------------------12-13-15----------|
|-----------------------------12-14-------------------|
|--------------------12-14-16-------------------------|
|-----------12-14-15----------------------------------|
|--12-14-15-------------------------------------------|

Locrian
(this mode can sound dark when used correctly)
|o|o|-|o|
|-|o|-|o|
|o|-|o|o|
|o|-|o|o|
|o|o|-|o|
|o|o|-|o|

|--------------------------------------------14-15-17-|
|--------------------------------------15-17----------|
|-----------------------------14-16-17----------------|
|--------------------14-16-17-------------------------|
|-----------14-15-17----------------------------------|
|--14-15-17-------------------------------------------|

Hopscotch Modes

Alright, now for the good stuff. When soloing, alot of people tend to get stuck using one mode, much like they do with the minor pentatonic
scale. Here, I'm gonna show you how the modes fit together on the fretboard, and help you see the modes and one gigantic scale which
covers the entire fretboard. When you stick the modes together, you'll get something which looks like this:

I D P Ly M A L I
|o|-|o|-|o|o|-|o|-|o|-|o|o|-|o|-|o|
|-|-|o|-|o|o|-|o|-|o|o|-|o|-|o|-|o|
|-|o|o|-|o|-|o|-|o|o|-|o|-|o|o|-|o|
|-|o|o|-|o|-|o|o|-|o|-|o|-|o|o|-|o|
|o|-|o|-|o|-|o|o|-|o|-|o|o|-|o|-|o|
|o|-|o|-|o|o|-|o|-|o|-|o|o|-|o|-|o|

Letters represent the beginning of each mode (the modes overlap):

I = Ionian
D = Dorian
P = Phrygian
Ly = Lydian
M = Mixolydian
A = Aeolian
L = Locrian

As you can see, all modes are connected, starting at Ionian and ending at Locrian. After Locrian, it starts right back up at Ionian.

Now what we wanna do is take the 6 strings of your guitar in pairs. E & A, A & D, D & G, G & B, B & E. 5 pairs. Now what we'll do is take the
first pair, E & A, and play the part of Ionian on those strings, and then play the part of Dorian on those strings. So in the key of G major, it
would look like this:

A|--------3-5-7-------5-7-9-|
E|--3-5-7-------5-7-8-------|

And we'll keep on doing that same thing with the rest of the pairs of strings. Eventually, when you put it all together you'll get:

|o|-|o|-|o|o|-|
|-|-|o|-|o|o|-|
|-|o|o|-|o|-|-|
|-|o|o|-|o|-|o|
|o|-|o|-|o|-|o|
|o|-|o|-|o|o|-|

|--------------------------------------------------------------->
|--------------------------------------------------------------->
|--------------------------------------------------------4-5-7-->
|--------------------------------4-5-7-------5-7-9-4-5-7-------->
|--------3-5-7-------5-7-9-3-5-7-------5-7-9-------------------->
|--3-5-7-------5-7-8-------------------------------------------->

|------------------------------------3-5-7-------5-7-8--|
|------------------5-7-----5-7-8-5-7-------5-7-8--------|
|--------5-7-4-5-7-----5-7------------------------------|
|--5-7-9------------------------------------------------|
|-------------------------------------------------------|
|-------------------------------------------------------|

Now you see, we merged the first two modes into one big mode. Once you get to see modes like this on the neck, you'll be soloing much
better and more complex.

For the other modes, it goes like this:

Dorian and Phrygian

|o|-|o|o|-|o|
|o|-|o|o|-|o|
|o|-|o|-|o|-|
|o|-|o|-|o|o|
|o|-|o|-|o|o|
|o|-|o|o|-|o|

|----------------------------------------------------------------->
|----------------------------------------------------------------->
|------------------------------------------------------------5-7-->
|----------------------------------5-7-9--------7-9-10-5-7-9------>
|--------5-7-9--------7-9-10-5-7-9-------7-9-10------------------->
|--5-7-8-------7-8-10--------------------------------------------->

|----------------------------------------5-7-8--------7-8-10--|
|-----------------5-7-8-----7-8-10-5-7-8-------7-8-10---------|
|---------7-9-5-7-------7-9-----------------------------------|
|--7-9-10-----------------------------------------------------|
|-------------------------------------------------------------|
|-------------------------------------------------------------|

Phrygian and Lydian

|o|o|-|o|-|o|
|o|o|-|o|-|o|
|o|-|o|-|o|o|
|o|-|o|o|-|o|
|o|-|o|o|-|o|
|o|o|-|o|-|o|

|-------------------------------------------------------------------------->
|-------------------------------------------------------------------------->
|---------------------------------------------------------------------7-9-->
|---------------------------------------7-9-10---------9-10-12-7-9-10------>
|---------7-9-10---------9-10-12-7-9-10--------9-10-12--------------------->
|--7-8-10--------8-10-12--------------------------------------------------->

|----------------------------------------------7-8-10---------8-10-12--|
|-------------------7-8-10------8-10-12-7-8-10--------8-10-12----------|
|----------9-11-7-9--------9-11----------------------------------------|
|--9-10-12-------------------------------------------------------------|
|----------------------------------------------------------------------|
|----------------------------------------------------------------------|

Lydian and Mixolydian

|o|-|o|-|o|-|o|
|o|-|o|-|o|o|-|
|-|o|-|o|o|-|o|
|-|o|o|-|o|-|o|
|-|o|o|-|o|-|o|
|o|-|o|-|o|-|o|

|------------------------------------------------------------>
|------------------------------------------------------------>
|------------------------------------------------------------>
|-------------------------------------------9-10-12---------->
|---------9-10-12----------10-12-14-9-10-12---------10-12-14->
|-8-10-12---------10-12-14----------------------------------->

|---------------------------------------------------------->
|--------------------------------------------8-10-12------->
|------------------9-11-----------11-12-9-11---------11-12->
|-10-12-14-9-10-12-------10-12-14-------------------------->
|---------------------------------------------------------->
|---------------------------------------------------------->

|------------------8-10-12----------10-12-14-|
|-10-12-13-8-10-12---------10-12-13----------|
|--------------------------------------------|
|--------------------------------------------|
|--------------------------------------------|
|--------------------------------------------|

Mixolydian and Aeolian

|o|-|o|-|o|o|-|
|o|-|o|o|-|o|-|
|-|o|o|-|o|-|-|
|o|-|o|-|o|-|o|
|o|-|o|-|o|o|-|
|o|-|o|-|o|o|-|

|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|----------------------------------------------10-12-14---------->
|----------10-12-14----------12-14-15-10-12-14----------12-14-15->
|-10-12-14----------12-14-15------------------------------------->

|--------------------------------------------------------------->
|------------------------------------------------10-12-13------->
|-------------------11---12----------12-14-11-12----------12-14->
|-12-14-16-10-12-14---------12-14-16---------------------------->
|--------------------------------------------------------------->
|--------------------------------------------------------------->

|-------------------10-12-14----------12-14-15-|
|-12-13-15-10-12-13----------12-13-15----------|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|

Aeolian and Locrian

|o|-|o|o|-|o|
|o|o|-|o|-|o|
|o|-|o|-|o|o|
|o|-|o|-|o|o|
|o|-|o|o|-|o|
|o|-|o|o|-|o|

|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|----------------------------------------------12-14-16---------->
|----------12-14-15----------14-15-17-12-14-15----------14-15-17->
|-12-14-15----------14-15-17------------------------------------->

|------------------------------------------------------------------>
|-------------------------------------------------12-13-15--------->
|-------------------12-14----------14-16-17-12-14----------14-16-17>
|-14-16-17-12-14-16-------14-16-17--------------------------------->
|------------------------------------------------------------------>
|------------------------------------------------------------------>
|-----------------12-14-15-------14-15-17-|
|--15-17-12-13-15----------15-17----------|
|-----------------------------------------|
|-----------------------------------------|
|-----------------------------------------|
|-----------------------------------------|

Locrian and Ionian

|o|o|-|o|-|o|
|-|o|-|o|-|o|
|o|-|o|o|-|o|
|o|-|o|o|-|o|
|o|o|-|o|-|o|
|o|o|-|o|-|o|

|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|----------------------------------------------14-16-17---------->
|----------14-15-17----------15-17-19-14-15-17----------15-17-19->
|-14-15-17----------15-17-19------------------------------------->

|------------------------------------------------------------->
|-------------------------------------------------------15-17->
|-------------------14-16-17----------16-17-19-14-16-17------->
|-16-17-19-14-16-17----------16-17-19------------------------->
|------------------------------------------------------------->
|------------------------------------------------------------->

|----------------------14-15-17-------15-17-19-|
|----------17-19-15-17----------17-19----------|
|-16-17-19-------------------------------------|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|

You have to memorize these positions well for them to be effective.

Method Alternative

You don't have to go through the whole scale to improv though. Another way to overcome the barriers between the modes is to take 1 pair
of strings, and go through all the modes on those two strings. So lets say, E & A. You would basically play this:

E&A
E|---------------------------------------------------------------->
B|---------------------------------------------------------------->
G|---------------------------------------------------------------->
D|---------------------------------------------------------------->
A|-------3-5-7-------5-7-9--------7-9-10---------9-10-12---------->
E|-3-5-7-------5-7-8-------7-8-10--------8-10-12---------10-12-14->

E|----------------------------------------------------------------|
B|----------------------------------------------------------------|
G|----------------------------------------------------------------|
D|----------------------------------------------------------------|
A|-10-12-14----------12-14-15----------14-15-17----------15-17-19-|
E|----------12-14-15----------14-15-17----------15-17-19----------|

A & D:
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|-------4-5-7-------5-7-9--------7-9-10---------9-10-12---------->
|-3-5-7-------5-7-9-------7-9-10--------9-10-12---------10-12-14->
|---------------------------------------------------------------->

|----------------------------------------------------------------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|
|-10-12-14----------12-14-16----------14-16-17----------16-17-19-|
|----------12-14-15----------14-15-17----------15-17-19----------|
|----------------------------------------------------------------|

D & G:
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|-------4-5-7-------5-7-9--------7-9-11---------9-11-12---------->
|-4-5-7-------5-7-9-------7-9-10--------9-10-12---------10-12-14->
|---------------------------------------------------------------->
|---------------------------------------------------------------->

|----------------------------------------------------------------|
|----------------------------------------------------------------|
|-11-12-14----------12-14-16----------14-16-17----------16-17-19-|
|----------12-14-16----------14-16-17----------16-17-19----------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|

G & B:
|-------------------------------------------------------->
|-------5-7-------7-8--------8-10---------10-12---------->
|-4-5-7-----5-7-9-----7-9-11------9-11-12-------11-12-14->
|-------------------------------------------------------->
|-------------------------------------------------------->
|-------------------------------------------------------->

|----------------------------------------------------|
|-12-13----------13-15----------15-17----------17-19-|
|-------12-14-16-------14-16-17-------16-17-19-------|
|----------------------------------------------------|
|----------------------------------------------------|
|----------------------------------------------------|

B & E:
|-------3-5-7-------5-7-8--------7-8-10---------8-10-12---------->
|-3-5-7-------5-7-8-------7-8-10--------8-10-12---------10-12-13->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->

|-10-12-14----------12-14-15----------14-15-17----------15-17-19-|
|----------12-13-15----------13-15-17----------15-17-19----------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|

Further Expansion

One thing I've found out while soloing is that you can use the minor pentatonic and the major scale modes at the same time. I mean you
could start soloing with the minor scale (aeolian) for instance and then start some licks from the minor pentatonic. Different pentatonic box
shapes work with different modes. I've figured out which modes work with what. Before I can reveal that to you however, lets have a minor
review at the minor pentatonic box shapes:

Fig. 1
|o|-|-|o|
|o|-|-|o|
|o|-|o|-|
|o|-|o|-|
|o|-|o|-|
|o|-|-|o|

Fig. 2
|-|o|-|o|
|-|o|-|o|
|o|-|o|-|
|o|-|-|o|
|o|-|-|o|
|-|o|-|o|

Fig. 3
|-|o|-|o|-|
|-|o|-|-|o|
|o|-|-|o|-|
|-|o|-|o|-|
|-|o|-|o|-|
|-|o|-|o|-|

Fig. 4
|o|-|-|o|
|-|o|-|o|
|o|-|o|-|
|o|-|o|-|
|o|-|-|o|
|o|-|-|o|

Fig. 5
|-|o|-|o|
|-|o|-|o|
|o|-|-|o|
|o|-|-|o|
|-|o|-|o|
|-|o|-|o|

Refreshed? Good. Now for the list:

Mode |Figure/shape it works with
---------------------------------------------------------
Ionian |3
Dorian |3 with the first half, 4 with the second half
Phrygian |4
Lydian |5
Mixolydian|5 with the first half, 1 with the second half
Aeolian |1
Locrian |2

What I mean is by what goes with what is. For instance. If you were playing this:

3 4 5 6 7 <--- These are the fret numbers.

|o|-|o|o|-|
|o|o|-|o|-|
|o|-|o|-|-|
|o|-|o|-|o|
|o|-|o|o|-|
|o|-|o|o|-|

Then at the same time, you could play this:

3456
|o|-|-|o|
|o|-|-|o|
|o|-|o|-|
|o|-|o|-|
|o|-|o|-|
|o|-|-|o|

You can combine your newly aqcuired knowledge of modes and the stuff from the lesson on minor pentatonics, and put em together to
figure out exactly how each one fits together. Most of em are straightforward, the only ones that might give you trouble are Ionian and
Mixolydian. There is no set minor box for them since they are inbetween modes. Look at the modes next to them and thats how you'll know
what to use.

Carlos Santana - Black Magic Woman

A good example of a lick which combines the minor pentatonic with the Aeolian mode is Black Magic Woman by Carlos Santana. Here's a
sample lick:

H E E E E
E|----------------------------|----------------------------|
B|-15---13---15--13p--10--13b-|--L----------L--13p--10-----|
G|----------------------------|----------------------------|
D|----------------------------|----------------------------|
A|----------------------------|----------------------------|
E|----------------------------|----------------------------|

Q. S S S SS S S S Q. E Q E E
E|----------10----------------------|----------------------|
B|-13b---------13-10----------------|----------------------|
G|-------------------12---14-12-10S-|--9------L--L----L----|
D|----------------------------------|----------------------|
A|----------------------------------|----------------------|
E|----------------------------------|----------------------|

|----3----| |-------3-------|
E E E E E E S E E E E Q Q Q
E|-----------------12h--13----12--|--13p--12p--10----------------------|
B|---------10--13-----------------|----------------13br----13br----10--|
G|-9S--10-------------------------|------------------------------------|
D|--------------------------------|------------------------------------|
A|--------------------------------|------------------------------------|
E|--------------------------------|------------------------------------|

|---3---| |---3---|
Q. S S E E E E S SQ E E E E E E
E|----------10-----------------|--------------------------10--12--13b--|
B|-13b---------13-10-----------|----------------------11---------------|
G|-----------------------12br--|--L--L-10---------12-------------------|
D|-----------------------------|---------------------------------------|
A|-----------------------------|---------------------------------------|
E|-----------------------------|---------------------------------------|

|---3---|
Q E S S H E E E H Q
E|--L---------15b-L--------|--15--13------13----------|
B|-------------------------|----------15--------------|
G|-------------------------|--------------------------|
D|-------------------------|--------------------------|
A|-------------------------|--------------------------|
E|-------------------------|--------------------------|
Duration Legend
---------------
W - whole
H - half
Q - quarter
E - 8th
S - 16th
T - 32nd
X - 64th
. - note dotted
|-n-| - n-tuplets

Tablature Legend
----------------
L - tied note
h - hammer on
p - pull off
b - bend
br - bendRelease
S - shift slide
s - legato slide
/ - slide into from below or out of upwards
\ - slide into from above or out of downwards
~ - vibrato
W - wide vibrato