Shred Dojo
Pentatonic

Pentatonic Triads

G root · 5 shapes — triads within and across shapes.

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The minor pentatonic triad is built from the root (R), minor 3rd (b3), and perfect 5th (5). All three appear in every shape. Dashed outlines show triad tones from adjacent shapes — worth knowing for connecting positions.

R
Root
b3
Minor 3rd
5
Perfect 5th
·
Scale tone
R
Triad from adjacent shape
b3
Crosses shape boundary
Shape 1 · starts on R
frets 3–68 triad tones6 cross boundary
0
1
2
3
4
5
6
7
8
e
R
b3
B
5
b7
R
G
R
b3
4
5
D
5
b7
R
b3
A
b3
4
5
E
R
b3
Root on low E and high e. The b3 appears on both E strings and the G string — multiple places to enter a lick.
See how this shape connects to adjacent ones
Shape 2 · starts on b3
frets 5–87 triad tones8 cross boundary
3
4
5
6
7
8
9
10
11
e
R
b3
4
5
B
5
b7
R
b3
G
b3
4
5
D
R
b3
A
5
b7
R
E
R
b3
4
5
Root on D and B strings. The b3 and 5 sit close on the upper strings — ideal for bends up to the 5th.
See how this shape connects to adjacent ones
Shape 3 · starts on 4
frets 7–117 triad tones7 cross boundary
5
6
7
8
9
10
11
12
13
e
b3
4
5
B
R
b3
G
5
b7
R
D
R
b3
4
5
A
5
b7
R
b3
E
b3
4
5
Root on A and B strings. The b3 bridges shapes 2 and 3 here, connecting the two positions.
See how this shape connects to adjacent ones
Shape 4 · starts on 5
frets 10–137 triad tones7 cross boundary
7
8
9
10
11
12
13
14
15
e
5
b7
R
B
R
b3
4
5
G
5
b7
R
b3
D
b3
4
5
A
R
b3
E
5
b7
R
Root on A and G strings. The 5th appears on three strings — easy to find the stable tone in this box.
See how this shape connects to adjacent ones
Shape 5 · starts on b7
frets 12–157 triad tones8 cross boundary
10
11
12
13
14
15
16
17
18
e
5
b7
R
b3
B
b3
4
5
G
R
b3
D
5
b7
R
A
R
b3
4
5
E
5
b7
R
b3
Root back on E and e. The b3 on G is the classic box 5 bend target.
See how this shape connects to adjacent ones