( A brief comparative study)

The minor pentatonic scale is widely used in its 2-note-per-string pattern, as it's easy to learn and remember and it can sound "inside" in many situations.

This study will analyse its use on various chord types.

To make things easier, all examples will be shown in the form we all know and love, starting on the sixth string:  

Its notes are Root - 3rd - 4th - 5th - 7th degrees of a natural minor scale, from which we obtain it omitting the 2nd and 6th, and thus the semitone intervals. 

Here's  these scales (natural minor / pentatonic minor):

We can reorder the scale in a chord structure, thereby getting a m7 (1 - m3 - 5 - m7) plus an 11, i.e. m7 add11 (extension less 9th). Keeping the same fingering, we can think of it as an arpeggio with a different note order to be played on the corresponding chord, adding color:

The same thing can be done on other chord types.

Let's take a dominant one (formula: R - 3 - 5 - m7): in the pentatonic we have a min 3rd (wrong) and a 4th, (dissonant). 

Using the latter as passing tone, the trick here is to substitute the m3 for a maj3.

The sound is now "inside" and the notes give us a 7 add11 arpeggio (keep in mind that the term is misused, as the notes are the same but the playing order is determined by the fingering).

Instead of changing the pattern, let's use the m3 as passing note towards the M3:

This is bluesier and must be always ascending, to avoid marking the m3.

Now the story should be clear: on a maj7 chord (R - 3 - 5 - 7)...

Watch for the dissonant 11th.

On a half-dim chord  (ø: R - m3 - dim5 - m7):

Now an exotic note for users of melodic minor and harmonic minor scales: on the root 7th chord (min/maj7: 1 - m3 - 5 - 7) you can do the same.

Everything must be transposed to the other 4 patterns, which will lead to a better fingerboard knowledge and different melodic ideas, because of the different fingering.