1st position Eminor Pentatonic Scale Meets Minor Modes

First, the most common Eminor Pentatonic Scale:
	12th fret			15th fret
Thinnest string	E			G
	B			D
	G		A
	D		E
	A		B
Thickest string	E			G
This scale can be the backbone of the Dorian, Phygian, and Aeolian scales.
Dorian is probably the most important to jazz, especially given the commonality of ii V chord progression.
Here is its overlay of the Dorian pattern (Emin in red, Dorian in red and black):
	12th fret			15th fret
Thinnest string	E		F#	G
	B		C#	D
	G		A
	D		E		F#
	A		B		C#
Thickest string	E		F#	G
This scale can be hard to finger due to the 2 whole step stretch on the A string and the D string,
so I don't recommend it if there is any pain.
Here is its overlay of the Phrygian pattern (Emin in blue, Phrygian in blue and black):
	12th fret			15th
Thinnest string	E	F		G
	B	C		D
	G		A
	D		E
	A		B	C
Thickest string	E	F		G
Here is its overlay of the Aeolian pattern (Emin in purple, Aeolian in purple and black):
	12th fret			15th fret
Thinnest string	E		F#	G
	B	C		D
	G		A
	D		E		F#
	A		B	C
Thickest string	E		F#	G
So, now you might wonder which mode to use in a song when soloing, and that is the mode described
by the chords, melody, and/or harmony.
By using the term minor, I mean scales that have a minor 3rd interval, but are not diminished.
A diminished scale has a minor 3rd interval and a minor 5th interval.

Noodling Versus Soloing

I like to solo with improvisation on guitar, but I hate noodling. I have never heard of anyone who prefers noodling, except someone might use it to sleep by. By saying noodling I mean soloing without soul or to a more logical mind soloing with patterns, but just pushing notes without prior knowledge of the outcome.

It is very important to know that some musicians could be capable of soloing, but never will be out of fear of noodling, and that is unfortunate. If that is the case, for guitarists I recommend practicing without an amplifier because your mistakes won’t sound so loud.

Every musician who attempts to take a musical solo started as a noodler and may continue to noodle while practicing because noodling represents a transitional period where one must make mistakes first in order to be able to sound right. This is a process all jazz musicians go through, and jazz still often has too many noodlers in my opinion. To really sing on an instrument is a lifetime undertaking and it also means listening to music until you can know what the changes are and you can hear a line through them that is your voice, and only your voice.

Also, noodling can happen if one dives too deep into theory, such that the overall sonic landscape is lost in favor of complexity. However, I think a lot of potential soloers never try improvisation because they are afraid that the sound will not be good.

Noodle on boys and girls because through practice noodling eventually you will be able to sing a solo on your instrument. One does not first learn to run with the best before they crawl.

Patterns within Patterns: E Aeolian Position 3 Transition to E Aeolian Position 6

Aeolian is a minor scale that starts the 6th note from the first note of 7 note major Ionian.
Position 3 of the major scale is often used for the 3rd note a root note of the Phrygian scale.
Both Aeolian and Phrygian modes are minor because their 3rd note is a minor 3rd interval.
However, in this case position 3 will not be used for the Phrygian mode, but the Aeolian mode.
The key is Eminor, making the not E central to the Aeolian mode.
This is position 3 B Phrygian:
	7th fret		9th fret
thinnest string	1	flat 2		flat 3
	5	flat 6		flat 7
	flat 3		4
	flat 7		1	flat 2
	4		5	flat 6
thickest string	1	flat 2		flat 3
All the notes that are flat signify that the notes of this B Phrygian scale sound minor.
Minor notes sound sad.
This is the same old pattern I use to start most every lesson. This pattern should be familiar.
	7th fret		9th fret
thinnest string	B	C		D
	F#	G		A
	D		E
	A		B	C
	E		F#	G
thickest string	B	C		D
This is position 3 E Aeolian:
	7th fret		9th fret			12 fret
thinnest string	5	flat 6		flat 7		1		2	flat 3
	2	flat 3		4		5	flat 6
	flat 7		1		2	flat 3
	4		5	flat 6
	1		2	flat 3
thickest string
According to the root notes of E Aeolian (in blue):
	7th fret		9th fret			12 fret			15 fret
thinnest string	5	flat 6		flat 7		1		2	flat 3
	2	flat 3		4		5	flat 6
	flat 7		1		2	flat 3
	4		5	flat 6
	1		2	flat 3
thickest string
Notice the 7 note Aeolian pattern:
	7th fret		9th fret			12 fret			15 fret
thinnest string				flat 7		1		2	flat 3
				4		5	flat 6
	flat 7		1		2	flat 3
	4		5	flat 6
	1		2	flat 3
thickest string
The way I finger this Aeolian pattern is:
	7th fret		9th fret			12 fret			15 fret
thinnest string				index		middle		pinky	pinky
string 5				index		ring	pinky
string 4	index		ring		middle	ring
string 3	index		ring	pinky
string 2	index		ring	pinky
thickest string
The movement described on string 4 is a slide from the 9th fret to the 10th fret.
It thus follows that now the transition to occurred and E Aeolian position 6 is read ily available:
	12 fret			15 fret
thinnest string	E		F#	G
	B	C		D
	G		A
	D		E
	A		B	C
thickest string	E		F#	G