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.

Gmaj7, and Bmin7flat 9 in a Phrygian Pattern

Blue highlighted squares are places to focus on.

Fingerboard section patterns in standard tuning.
	7th fret		9th fret
Thinnest String	3	4		5
	7	1		2
	5		6
	2		3	4
	6		7	1
Thickest String	3	4		5
Tip:
Using the 3 as the root note of a solo, one can explore the Phrygian sound.
Root note: G
	7th fret		9th fret
Thinnest String	3	4		5
	7	1		2
	5		6
	2		3	4
	6		7	1
Thickest String	3	4		5
Hints:
1. Alternating between 3 and 4 can create a sustain or release pattern in G Ionian.
2. Rock rarely uses a major 7 chord, but including the 7 is very common for jazz.
However, the 7 can be used better as an approach note to the root.
3. Playing the 3rd and the 7th together makes for great usage of a minor 7 chord if you have a bass player.
4. Usually ascend from 1 to 3 or 4, but not 7 to 3 or 4. 7 to 4 is a flat 5 usually doesn't sound good.
5. One good lick is chromatic approach note 7 to 1 and then 3 4 1.
6. Use 1 and 3 as a major dyad.
Bmin7 pattern (in bold)
	7th fret	8th fret
Thinnest String	1	flat 9
	5	6
	3
	7
	4
Thickest String	1	2
Tips:
1. Use the flat 9 for a Phrygian sound. Few people do, but I think its cool.
2. This pattern is great for sweep picking.
3. Also, use Bmin (1, 5, 3) or Bmin7 (1, 5, 3, 7) as chords to add to a solo.
4. Just use the index finger to make the minor or the min7 chord shape.
Gmaj pattern (in bold)
	7th fret	8th fret
Thinnest String	3	4
	7	1
	5
	2
	6
Thickest String	3	4
Tips:
1. To play the Gmaj triad use index finger for 5, ring finger for 1, and middle finger for 3.
2. Ascend or descend.
3. Resolve the sus4 to 3.