5 notes · the two notes it leaves out
The major scale with the 4th and 7th removed -- which are exactly the two notes that can clash with the chords under it. What is left has no semitones at all, so nothing in it can sound wrong, and it is the first scale most players learn to solo with.
Heard in: Country, pop, gospel and rock leads; the black keys of a piano.
The whole scale, with each note’s degree underneath it.
Stacking thirds through this scale does not give chords: the gaps in it are not thirds. It is a scale to play over chords rather than one to build them from, so what matters here is which chords it fits, below.
The chords on Eb whose every note this scale contains, biggest first. The largest of them is the one that pins the scale down: over Eb69 there is nothing in Eb major pentatonic that can sound wrong.
Same notes, different home. Which one you are in is decided by the chord underneath, not by the notes.
Every scale on every root is on the scale index, and every chord on the chord index. Where the shapes and the theory come from is on the about page.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.