Just a quick question in relation to pentatonic scales.
Justin explains in one of his lessons how it’s better to keep the Major pentatonic scale chord specific within the blues.
He gives an example of playing the A major pentatonic scale over a 1-4-5 progression in the key of A.
Once we hit the 4 chord, D7 there is a clash between the Note C in the D7 chord and the C# in the scale and it does sound truly awful.
However it occured to me that the same issue arises when playing the A minor pentatonic scale over an A7 chord.
Once again there is the note C, this time in the scale rather than the chord and C# in A7 chord.
The clash doesn’t appear to sound as bad but I was wondering if anyone could explain the theory behind why?
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The C# is the 3rd of the A7 chord and the C is the b3rd. This clash is what gives the blues it distinct sound. The battle between the Major and minor.
The C in the in the D7 chord is the b7 and the C# is the Major 7 this doesn’t sound good
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Thank you Rick 
It’s always been my understanding that you can play the minor pentatonic over an entire blues profession, but you should only use the major pentatonic over the I chord, then switching to the minor for the IV and V. I’m not the one to explain the theory behind that.
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You can use the minor or major pentatonic over all the chords, you just need to know which notes to avoid. So as a general rule of thumb the Major over the 1 chord and switching to minor pentatonic or the Major pentatonic of the Chord your playing.
But knowing the notes to avoid is also an option.
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