Everything from the previous lessons works in every key. Transposing in fourths tuning means sliding to a different starting fret. No new fingerings. No shape modifications. A works identically in C, F#, Bb — everywhere.
One Shape, All Keys
The starting fret on the low E string determines the key. The root of the scale sits at that fret, and the rest of the shape falls into place around it. Select a root note and scale type below.
The fingering pattern is identical in every key. Only the position changes. Turn on the drone to hear the tonal center while you practice the shape.
Why This Is Different From Standard Tuning
In standard tuning, the minor pentatonic requires 5 distinct patterns (the CAGED shapes). Each pattern looks different because the major third interval between the G and B strings breaks the uniformity. On strings E-A-D-G, the shape follows one logic. When you cross to B-E, every fret position shifts by one. This creates 5 separate shapes that tile the neck, each requiring its own memorization.
In fourths tuning, there is 1 pattern. It works everywhere. The G-B major third does not exist - every string pair is a perfect fourth. So the shape you play at fret 5 (A minor pentatonic) is structurally identical to the shape at fret 8 (C minor pentatonic), fret 3 (G minor pentatonic), or any other position.
Practice Exercises
Exercise 1: Adjacent Keys
Play A minor pentatonic at fret 5. Slide the entire shape up 2 frets to fret 7 for B minor pentatonic. Same fingers, same distances, different key. Go back and forth until the slide feels automatic. Then try A (fret 5) to C (fret 8).
Exercise 2: Circle of Fourths
Move through the circle of fourths: A (fret 5), D (fret 10), G (fret 3), C (fret 8), F (fret 1), Bb (fret 6), Eb (fret 11), Ab (fret 4), Db (fret 9), Gb (fret 2), B (fret 7), E (fret 0). Play the full vertical box in each key. Use the drone to hear each key center.
Exercise 3: Minor and Major in the Same Key
Play A minor pentatonic, then switch to A major pentatonic at the same position. Alternate between the two. The minor gives you a bluesy sound, the major gives you a country/gospel sound. Over an A7 chord, both work.
Exercise 4: Relative Major/Minor
A major pentatonic = F# minor pentatonic (same notes, different root). Play A major pentatonic at fret 5, then slide down to fret 2 and play F# minor pentatonic. Same notes, different context. For every minor pentatonic shape you know, you already know the major pentatonic 3 frets lower.
Looking Ahead
The principle you just learned - one shape, all keys -- applies to every scale, arpeggio, and chord voicing in fourths tuning. The pentatonic is the simplest example, but the same logic extends to the major scale, melodic minor, diminished scales, and any other pattern. Learn the shape once, slide it to the key you need.