Originally Posted by: SRVFan2000

This topic has been a little tricky for me to completely get so any help would be much appreciated.

Perspective of MAJOR:

If I am playing the Datonic E MAJOR (do re mi fa sol la ti)...scale starting with my index finger on fret 12, if I slide down 3 frets and play the 1st Penta shape, I believe this is the E MAJOR PENTA and/or the C#/Db MINOR PENTA scale. I realize that C#/Db (minor penta) is the relative minor of EMaj. Penta. As such, they use the exact same notes/shapes. Only the tonal centers are different (emphasize diffferent notes based on the chord(s) I am chasing.) This seems fairly straightforward.

Perspective of MINOR (were I get confused):

If I am playing E MINOR Penta to something like blues (so a minor progression), I start with my index finger on fret 12 (E) and being shape #1 one and it sounds right.

QUESTIONS:

1. Can I ever play the MAJOR Penta over this and have it sound right? For example, by sliding down 3 frets so now my pinky finger is on the (root) E?

2. Would this be still be considered the E MAJOR Pentatonic or C#/Db Minor Penta and WOULD IT WORK? Since I was already in MINOR, the notes and scale patterns don't really seem to match up. e.g., I was playing pattern 1 of E minor Penta starting at 12. To play E Major Penta, I start the same Penta pattern (shape 1) at C#/Db (pinky on 12.)

My guess is maybe I can't do that. I suppose that Eminor Penta has a relative MAJOR of G...so I should just stick to playing the EMinor/GMajor Penta? I am just confused as I have been conditioned to think in terms of sliding down (towards nut) 3 frets to jump into the Major Penta. In writing out this question, a small, dim light bulb has gone off...still not sure I'm right but...

Apologies if my questions don't make complete sense. I am getting there but not fully grasping how this all fits together.

THANKS!

Chris, I think, would give a great explanation that better details theory underneath this but; you can go between minor and major. Angus Young uses this as a common technique in his leads. Here's an overview of that technique in Ultimiate Guitar.

The trick is not so much to just jump between major and minor with abandon but utilize as a means to manage the 'mood' of the lead. It's one type of tool to build tension in a lead that can help give the solo a little drama.