Minor Pentatonic Scale on Guitar

This lesson we'll be looking at the minor pentatonic scale on guitar - probably the most used scale in rock music, definitely the most used scale in blues (although there is an extended "blues scale" which we'll look at another time). This scale uses only five tones, hence the name pentatonic.


One of the major limitations I see guitarists put on their playing is boxing themselves in. What I mean is, they just play the pentatonic scale in one position and neglect the rest of the fretboard - is this you? If so, I'll show you how to unbox your pentatonic licks so you have the freedom to roam the fretboard for fluid, effortless soloing (get a head start with this here).

Here's a great introductory video to minor pentatonic by Mark Brennan...

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The basic minor pentatonic scale patterns

Although I mentioned not getting boxed in with your scales, you have to start somewhere, so it may as well be the boxed pattern that is most commonly used by guitarists. So those are the patterns I'll reference first.

First, let's put minor pentatonic into context. It's essentially a five tone minor scale. We can see it as a "stripped down" version of other seven-note minor scales. So minor pentatonic should always be an option if you're soloing in a minor key.

Minor pentatonic first position pattern

Hear G minor pentatonic

The 1 note is known as the root note of the scale, and the note which defines the key in which you play the scale. So if the root note was positioned on G, the scale would be G minor pentatonic.

What makes the scale minor? The minor 3rd (also known as a flat 3rd/b3).

Now let's look at the suggested fingering for this boxed pattern...

We can also learn a boxed pattern with an A string root note:

So now we're able to apply the minor pentatonic scale around those familiar chord shapes that use E and A string root notes (e.g. the E and A shape barre chords).

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Basic soloing using minor pentatonic

As mentioned before, minor pentatonic works predominantly over minor chords due to its minor 3rd interval. Let's have a play around with the boxed patterns to begin with.

The idea is not just to play it in sequence, from root to root, but rather skip around the scale and find interesting hooks and phrases. Move up and down the scale, vertically and horizontally.

Many guitarists use the "call and response" technique, which is where you play a phrase that sounds unresolved (e.g. it might have the characteristics of asking a question), then you "respond" with a more resolving phrase (e.g. a sequence that ends on the root note or another "safe note").

Click to hear a simple "call and response" example

That particular phrase started and ended on the root note, which is seen as a strong "safe note", which is useful for naturally resolving a sequence.

Other safe target notes for your phrases are the minor 3rd and 5th of the scale. Incidentally, these are referred to as "chord tones" because they make up the minor triad (1 b3 5). Targetting chord tones helps to keep your solos connected to the backing music. Remember that!

Another common technique is to stagger your way up or down the scale in a run. This is where you move up and/or down a scale in a repetitive sequence.

In this first run example we're taking 3 steps (notes) forward, 1 step back, another 3 forward, 1 back, 3 more forward etc.

Click to hear

Now try 5 steps forward, 2 back, 5 forward etc.

Click to hear

You can just mirror or invert that pattern when coming back down the scale for a similar effect.

Finally, let's try a more complex sequence which I'll tab out to help (click the tab to hear):



I've only scratched the surface there! Try and come up with your own runs and staggered sequences.

Now let's try some more vertical movements across the 6 strings as opposed to just horizontal movements.

The below sequence is: 1 - 5 - 1 - b3 - b7 - 1 - 5 - 4 - b3 - 1 - 5 - b3 - 1

Click to hear example

Remember, these are all using the boxed pattern from earlier.

These "one note per string" vertical movements are the foundation for playing arpeggios (another lesson altogether!), and as we're playing minor pentatonic, you can play a basic minor arpeggio by playing the root note (1), minor 3rd (b3) and 5th (5). Those 3 notes make up the basic minor triad and can be used to compliment the other types of phrases we heard above. Mix it up!

We'll look at more complex sequences in another lesson. One step at a time!

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Extended minor pentatonic scale patterns

Ironically, the easiest way to expand out of boxed scale patterns is to create more boxes, either side, and link them through your knowledge of the sequence of notes in the scale. In the case of minor pentatonic, that's:

1  b3  4  5  b7

It's also useful to learn the intervals between these notes so you know how to get to the next or previous note no matter where you are.

Let's start by simply extending that original boxed pattern either side:



Tip: It's a good idea to learn the relationship between intervals in the scale. For example, the root - 3rd interval has a distinct sound, as does the 5th - root interval.

More on building large minor pentatonic scale patterns here.

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Minor pentatonic scale backing tracks

When you're ready, time to put things into practise (and practice).

Use the below backing tracks to experiment with minor pentatonic (and any other minor scale that's compatible). Some things to focus on:

• String skipping and jumping around the scale rather than just one note after the other in sequence.
• Try the occasional run and think about which notes you start and finish the run/phrase on (e.g. ending a phrase on the minor 3rd can sound good).
• When the chord changes, try and highlight this in your solo by choosing a note that compliments the change. When the chord changes back to the tonic ("home" chord), think about which landing notes sound good.

Enjoy!

Download/Play	Key	E string root note	A string root note
Download here	B	Fret 7, Fret 19	Fret 2, Fret 14
Download here	D	Fret 10, Fret 20	Fret 5, Fret 17
Download here	D	Fret 10, Fret 20	Fret 5, Fret 17
Download here	Eb	Fret 11, Fret 23	Fret 6, Fret 18
Download here	F#	Fret 2, Fret 14	Fret 9, Fret 21
Download here	A	Fret 5, Fret 17	Open, Fret 12
Download here	A	Fret 5, Fret 17	Open, Fret 12

Make Guitar Scales Sound Musical

Once you learn the roadmap (pattern) for a scale, you'll naturally start looking for different ways to navigate it musically. A lot of guitarists get into the habit of simply playing up and down a scale in a linear sequence. This soon becomes predictable and boring.

But there are simple ways to avoid this linear noodling and make scales sound musical, using various types of sequences. Before you start to embellish your scale phrases with techniques such as slides and bends, you need to work on your ability to move around the scale in interesting and musical ways.

Watch the presentation below for an overview of these "sequencing forms" and then scroll down for tabs and more examples...

Turning Scales Into Music

A scale, in its purest form, can be seen as an ordered sequence of pitches/notes - e.g. 1 2 3 4 5 6 7 or C D E F G A B.

This may be how we learn the pitch formula of a scale, but when it comes to making music from it, we can arrange that sequence of pitches in many different ways.

Of course, there's nothing wrong with using linear sequential movements, but the more variation you have at your disposal, the broader your improvisational/writing palette will be!

Skipped Note Sequences

By skipping notes in the natural scale sequence, you can instantly create more musical phrases.

To begin with, we can create exercises that get you used to playing the skipping technique on all strings. In the examples below I'm using a familiar pentatonic pattern (C major or its relative A minor - same pattern). But you can apply these exercises to any scale/pattern you know...

Ex 1.

The "Rolling" Technique

As mentioned in the video, to keep our fingering economical, we need to use a technique known as rolling in order to play two consecutive notes on the same fret - a common movement you'll have to negotiate when skipping notes.

Let's say we wanted to play two consecutive notes on the G and B string. Here's how we would "roll" between them using the index finger...

The lower string is fretted using the tip of the finger.

The higher string is fretted using the pad of the finger tip.

Let's try some more note skipping sequences (note: to play up the scale simply start the tab at the end and work backwards!)...

Ex 2.



Ex 3.



Ex 4.



We can also skip two notes in our sequences for more dynamic phrasing. This is more challenging as not only are we skipping notes, we're now skipping strings...

Ex 5.



Ex 6.



And there are probably more. But I'm sure you get the idea! By practicing these non-linear exercises, ideally using a metronome, you'll be able to "borrow" from them, in part or whole, when building your phrases. Mix them with target notes (see the first major pentatonic lesson for more on target notes) and things will start to sound a lot more musical!

"Staggered" Run Sequences

These movements don't involve any skipped notes. Instead we "stagger" the straight run by stepping back a note (or more) every three or more notes in the sequence...

Ex 7.



Ex 8.



Remember, the idea is not to necessarily do a full run of the scale every time, rather isolate parts of the sequence and mix them with other phrasing sequences and held target notes.

Pedal Sequences

A great way to make your scales sound musical. Here we pick a static note as our "pedal point" and then alternate between that note and two or more notes around it from the scale.

There are countless possible examples of this, but here are a few (pedal note in red, and for exercise purposes simply repeat at the end of the tab)...

Ex 9.



Ex 10.



Ex 11.

Combining Sequences

Once you're confident with these sequencing techniques individually, it's time to practice combining them and build up a solo.

Here's an example, again using A major pentatonic...

Once you're up to speed with your phrasing ideas, try them over some good backing tracks (I recommend Jonathan Boettcher's Blues or Rock package) so you can practice playing them in a live band context. Your improvisation skills will positively soar this way.

Major Pentatonic Patterns

Eventually, you'll want to "break out of the box" in order to free up your playing across the guitar fretboard. This lesson will help you to build a full-neck roadmap for major pentatonic in any key. This is crucial in being able to improvise freely and fluidly, no matter where you find yourself on the neck.

As memorising patterns can get pretty dull, we're going to jam our way gradually through different major pentatonic patterns until we have a complete neck-wide roadmap for the scale. Not only will this help you memorise the patterns, it'll also train your ear to develop hooks and phrases that sound good and give you physical confidence in navigating the scale.

Start with the video below and then scroll down for more backing tracks, diagrams and useful exercises..

Now try it in the key of E

As you change keys, the sequence of patterns remains the same, but obviously we move to a different root (E)..

Major Pentatonic - All Positions

If you take the intervals of the scale and lay them across the 6th string, you get five positions around which to build five box patterns. Some people call it the five modes of the scale.

The idea is, you learn each position box and then merge them into one large pattern. The video above guided you through this process for C major pentatonic...



Let's look at each position one by one. Each has a unique pattern (you could also see them as scale shapes) to help you memorise them. Remember, the 1 note is your root, so if you can memorise its place within each pattern it'll help you find your bearings in any key. Can you see how each pattern links to the next/previous? There's always some overlap...



So, whichever position you start on, you should know which position preceeds and proceeds from it.

Merging Patterns

In the video I showed you some wider, horizontal patterns that spanned a few positions. With major pentatonic, the two most convenient in terms of fingering are as follows...


The red marker shows you where that 1st box pattern is in relation to the wide pattern.



Notice this pattern starts on that familiar 6th string root.

Major Pentatonic Backing Tracks

As mentioned, here are some backing tracks to try out in different keys, including the C and E major tracks used in the guided jam videos. Here's your chance to put into practice the large roadmap you built up in the guided jams.

C major         E major

A Major

C Major

C# Major



Want more high quality, major pentatonic compatible jam tracks? Take a look at Jonathan Boettcher's 30 Rock Jam Tracks.

Pattern Exercises

These exercises will get you moving through patterns like a pro. These are just examples of exercises you can easily create yourself, even on the fly, once you're confident with playing through the individual positions. Suggested fingering in blue.

C Major

E Major

Even with just half an hour per day devoted to exploring these patterns, whether jamming over a backing track or using a metronome, you'll be surprised at how quickly your confidence grows with improvising major pentatonic.

You may not yet realise it, but by mastering these major pentatonic patterns, you'll also have minor pentatonic covered, as it uses exactly the same pattern sequence, just in a relative position (it starts on the 6 of major pentatonic). More on that later!

Basic Major Pentatonic Scale Theory

Let's first learn the building blocks of major pentatonic and where it comes from.
As the name denotes, major penta-tonic is a major scale with just five tones.
Like every scale, major pentatonic can be given a whole and half step interval formula that tells us the "distance" between each tone in the scale starting on a given root (1).
W = whole step/tone.  WH = whole + half step/tone.

So whatever root note you start on, the scale sequence remains the same from that position: W W WH W WH
Why does the scale miss out a 4 and jump straight to 5? Because major pentatonic does not include a 4th interval, due to how it's formed. You'll understand this in greater detail in time.
The root corresponds to the letter we use before the scale name. For example, if the root was C, we'd have C major pentatonic. If the root was E, we'd have E major pentatonic.
This whole/half step can be visualised across a single string on the guitar. For example, the open G string would provide the root of G, and we'd continue the scale from there up to the 12th fret G octave...

Can you see where the 4 would have been if it was included? On one of those two frets between 3 and 5. But we don't use that tone in major pentatonic.
You can of course do this on any string and even start the sequence from a fretted note. Learning scales across single strings like this is a good way of developing your "horizontal" playing skills.

Why Major?

All scales have what is known as a "root chord" (or arpeggio, whichever way you look at it). This is the chord built on the root of the scale. With major pentatonic, and all major scales for that matter, it's the presence of a major 3rd (3) and perfect 5th (5) interval on top of the root that gives the scale its major flavour and name.
These three tones - 1 3 5 - make up a major triad. It's the skeleton around which the scale is built.
This also tells us it'll work predominantly over major chords and major key progressions. So if a song was in the key of A major, you could try A major pentatonic.

Major Pentatonic Patterns

Think of patterns as the "roadmap" for the scale. Don't just memorise the fingering, also work on memorising where each note is positioned in the pattern and its relation to other notes.
In the video, I highlighted three key tones within the pattern to memorise - the root, 3rd and 5th. Why? Because these three tones correspond to the major chord around which the scale is built. Therefore, learning these tone positions will give you safe targets and resting places to keep your scale movements connected to the backing chord.

Basic "Box" Pattern

Learn this one like the back of your hand first. Start by memorising the root positions (choose any starting root you want), followed by the 3rd and 5th. Note that I've added an optional lower sounding 6th on the low E string.

The suggested fingering beneath the diagram assigns one finger per fret. However, you'll end up adjusting your fingering as you approach notes in different ways. Just go with what feels most comfortable/economical.

The G Major "Open" Box

If you're playing in G major (at the 3rd fret), you'll have access to some open strings (tip: notice how the open Gmaj chord shape exists within this pattern - can you see it?).

Extended Pattern

Here we extend either side of the box pattern, giving us additional positions to play the scale. Notice how this gives us two extra root positions, on the A and D strings. So if you used those root positions as your starting point, you'd know how to move into the box pattern from there.

Tip: Try finding these patterns an octave up, beyond the 12th fret, so you can play the scale higher in pitch.

Pattern Chord Shapes

Notice how we can pick out familiar major chord shapes from within the patterns, namely the A and E form barre chords. A major chord consists of the 1 3 and 5 of the scale. Some players find it useful to first visualise a chord shape as a familiar "starting point" and then build the related pattern around it.

Basic Targeting Exercises

In the video I outlined a process for building simple but musical phrases, using our knowledge of the key target note positions. So we have the lead up sequence and the "landing" note connected to the chord we're playing over.
You can use the following chord tracks on three respective roots as accompaniment (there's no beat so you can play at your own speed)...

❱ C major

❱ A major

❱ D major

In the below examples, I'm using C major across the extended pattern, but see if you can apply this process to other roots.
Start with a two note lead up to one of your target positions. For example, here I'm targeting the root...

I'm targeting the 3rd this time...

Finally the 5th...

Once you're confident with three note phrases, add in a 4th, 5th and more notes, gradually building up your targeting sequences.
By practicing in this way, you'll not only memorise the patterns, but you'll also develop your ability to improvise your way through the scale musically and intuitively. The target notes are your guide posts. Take your time.
Use a metronome to keep time and gradually build speed. Start as low as you feel comfortable (50 BPM is a good starting point) and increase by 10 BPM as you get more confident and can play without mistakes.
In the next part (coming soon!) we'll expand on what we've learned and introduce chord changes, which will be a lot easier now you know "the process"!
In the meantime, I hope you enjoyed the lesson and feel motivated to practice and jam this scale.

Guitar Scales Beginner Lesson

This page is for the guitar scales beginner who needs a basic introduction to the world of guitar scales. You should read through this page before you move on to learning individual scales.
Now bear in mind I'm going to explain this as simply as possible, so please don't be offended if I come across as patronising!

Free scale pattern cheat sheet Essential scale patterns that every guitarist must know...

The obvious place to begin is to ask what is a guitar scale?
A scale is, simply put, a sequence of notes. The spaces between each note (intervals) are what define the sound of that sequence.
What if we play a sequence of notes without any gaps between them? We get the chromatic scale, which, if played out on one string, would look like this...

Degree:	1	2	3	4	5	6	7	8	9	10	11	12
Note:	G	G# Ab	A	A# Bb	B	C	C# Db	D	D# Eb	E	F	F# Gb

That's the chromatic scale played on the G string, from the open G string to the 12th fret G octave. That's 12 notes, because the open G and 12th fret G are the same note and count as 1 note in the sequence. Each note represents a degree of the scale.

You could also apply the chromatic scale to any other string (e.g. open A to 12th fret A, open B to 12th fret B etc.)

If you've taken the fretboard lessons (don't worry if you haven't yet) you'll know that there are 12 notes in total on the guitar fretboard. The chromatic scale is note 1 to note 12, without any gaps (12 consecutive semitones, in other words).

Now, the chromatic scale isn't used much as a musical scale because it's not very... musical. But theoretically, this scale is the most elementary scale of them all, as it includes every note we will ever use (not just on the G string though, obviously).

When we remove certain notes from the chromatic sequence, we can create more musical sounding scales. Let's try removing notes from the chromatic scale on the G string:

Degree:

1

x

2

x

3

4

x

5

x

6

x

7

Note:

G

G# Ab

A

A# Bb

B

C

C# Db

D

D# Eb

E

F

F#

So again, from open G to 12th fret G we have a sequence of notes, but this time there are gaps (intervals) between some of the notes and therefore fewer notes before we reach the 12th fret octave (only 7 this time). Try playing this pattern of notes on the G string, or any string. Remember to start on the open string.

That diagram above is a G scale (more on individual scales later!). It's a G scale because we started on the note G. In other words, the G note is note number 1 in the scale as it lies on the scale's 1st degree, also known as the root note. The root note defines the tonal center (or key) of the scale. As time goes on, you'll learn how significant this is.

When playing a scale, you won't necessarily always start on the root note, but just knowing where the root note is in the scale is the important thing.

So that's ultimately what scales are! Of course, scales are most often played across more than one string. For example, the G scale above can be condensed to play across more than one string within the space of just 4 frets:

So again, the root notes lie on G, and it's exactly the same scale as above, just in a lower register (deeper sounding) and across 3 strings rather than 1. We can also continue that scale from the higher root note on the D string, and cover the remaining 3 strings for a higher register of the same scale.

We could also apply the scale in relation to an A or D string root note, which would change how the pattern looks (more on this in the scales lessons).

If we filled in the gaps between those notes, we'd get the chromatic scale again!

This type of scale that spans just 4 or 5 frets is known as a boxed scale pattern. Boxed patterns are a good place to start, but eventually you'll want to break out of those boxes.

Expanding out of the box allows you to use more of the fretboard, which allows you to play scales more fluidly. It frees up your fingers and your creativity.

That's why each of the scales lessons on this site begin with the boxed patterns and then expand out to cover more of the fretboard. It's the same scale, just with more fretboard coverage.

Beginner Guitar Lessons

Beginner Guitar Lessons - Get Started the Right Way

 

This is the hub of all your beginner guitar lessons. Even if you're beyond the absolute beginner stage, it's worth going through the lessons below as a check list. Learn at your own pace, set yourself realistic goals and experiment with the guitar in your own time.
These lessons will lay the foundations for your guitar learning, and hopefully give you a push start.
Wondering if you're cut out for learning guitar? See the article Is Learning Guitar Hard? for some important perspective. A lot of guitarists give up after learning a few chords. It's not as easy as it all looks, but with a little patience, persistence and a solid beginner guitar lessons resource, you'll quickly become more and more confident.
Simply follow the lessons below in the logical order they are presented.

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Learn to Play Guitar Step by Step

Parts of the Guitar  First, get to know your instrument. In this preliminary lesson you will learn the function of each part of an acoustic and electric guitar. Don't skip it, it's important!

How to Hold the Guitar  Learn how to hold the guitar correctly, avoiding problems later on. Includes how to position the body and holding the neck and pick correctly.

Fretboard Basics  Learn how the fretboard works, including where to press your fingers and fret numbering.

Tuning the Guitar  The very basics on tuning up.

Guitar Chord Basics  Learn how to finger chords on the guitar fretboard correctly. This lesson covers the physical aspects of chord fingering and how you should position your fingers. Quick and simple.

How to Read Guitar Tab  Tab, short for tablature, is musical notation for guitar (because traditional notation can be a bit of an eyeful). Learn how it works and how to read it so you can then go and learn your favourite songs easily.

Basic Guitar Chords  Learn all the essential chords and use the jam tracks to practice changing between chord fingerings confidently. By the end of this 4 part mini-course, you will have a huge chord library with which to create your own music confidently. Over-the-shoulder photos, diagrams, audio examples and of course jam tracks.

Sotti bolchi tomake ar valobashina chords

Sotti Bolchi

Artist: Joy Shahriar

Album: Shotti Bolchi


CAPO 1st FRET

Intro : C G F C

C             G         F         G
Sotti bolchi tomake ar valobashina
C           G            F
tomar jonno miche michi raat o jagina
C           G              F            G 
sotti bolchi tomai niye ar shopno dekhina
C           G           F
tomar jonno michemichi kabbo likhina
C              Am         F             G
ekhon ar tomar jonne amar kono shomoi nei
C         G          F       C
Ekhon ami valo bashi shudhu amakei
C         G          F       C
Ekhon ami valo bashi shudhu amakei
C             G         F         G
Sotti bolchi tomake ar valobashina
C           G            F
tomar jonno miche michi raat o jagina
C           G           F            Am
ekhon amar shongi akash, rater dhrubo tara
          G        F         G               C         
brishti shongi kore valo achi tomai chara
C           G           F            Am
ekhon amar shongi akash, rater dhrubo tara
G              F         G               C 
brishti shongi kore valo achi tomai chara
C          G            F           G
shomoi pele uodash mone dekhi jochona
C           G          F
tomar jonno michemichi kabbo likhina
C            G         F         G 
Sotti bolchi tomake ar valobashina
C           G           F
tomar jonno miche michi raat o jagina
C           G           F            Am
ekhon amar shongi guiter shurer dana mela
G             F         G               C
ichche shongi kore valo achi tomay chara
C           G           F            Am
ekhon amar shongi guitar shurer dana mela
G             F         G               C
ichche shongi kore valo achi tomai chara
C          G            F           G
shomoi pele udash mone dekhi jochona
C          G          F
tomai niye michemichi shopno dekhina
C             G         F         G
Sotti bolchi tomake ar valobashina
C           G            F
tomar jonno miche michi raat o jagina
C            G          F              G
sotti bolchi tomai niye ar shopno dekhina
C           G           F
tomar jonno michemichi kabbo likhina
C           Am         F           G
ekhon tomar jonno amar kono shomoy nei
C        G           F
eknon ami valo bashi shudhu amakei
C        G           F
eknon ami valo bashi shudhu amakei

keno ei nihshongotaa By Souls Guitar Chords

E-------------------B------------------
keno ei nihshongotaa keno ei mounotaa
E-------------------B---------------------A----------
keno ei nihshongotaa keno ei mounotaa amaake gheere
C#m------------B------------C#m------------B----------------B------------
keu naa jaanuk kaar kaarone keu naa jaanuk kaar shorone kon pichu taane
C#m----------G#m----------A-------------B--A--G#--
tobuo jeebon jaachche kete jeeboner niyome
C#m----------G#m----------A-------------B-------E----
tobuo jeebon jaachche kete jeeboner niyome (niyome)


verse:
E-----------G#m------F#m------------B---
shopno gulo onno karo bhul gulo amaari
E----------G#m------------F#m------------B--
kanna gulo thaak du chokhe koshteraa amaari
Emaj7---G#m---------A--------B---
bhebe nebo prem aaleyar adhaari
C#m------------B----------C#m--------------B-----------------B------------
keu naa jaanuk kon beerohe deen chole jaak aaj ki bhaabe kon pichu taane

=======================================

E ----- 022100
A ----- 002220
B ----- 224442
C#m --- 446654
G#m --- 466444
F#m --- 244222
Emaj7 - 021100

Ei brishti veja rate tumi nei bole By Artcell Guitar chords

(Am)Ei brishti veja rate (F)tumi nei bole
(G)shomoy a(C)mar kate na

chaad keno (Am)alo dei na
pakhi keno (F)gaan gae na
tara keno (G)poth dekhay na
tumi keno (E)kache asho naa

(Am)Ei brishti veja rate (F)tumi nei bole
(G)shomoy a(C)mar kate na

chaad keno (Am)alo dei na
pakhi keno (F)gaan gae na
tara keno (G)poth dekhay na
tumi keno (E)kache asho naa


(Am)shomudrer jhoro (F)hawa bole
tara (G)tomake chae, tara (E)tomake chae
www.guitarchordworld.net
(Am)pakhi mridu (F)konthe bole
tara (G)tomake chae, tara (E)tomake chae

(Am)Ei shoroteri sondhay (F)tumi nei bole
(G)shomoy a(C)mar kate na

ghash ful (Am)keno fote na,
chuee (F)chuee jae na,
megher (G)velae vashe na,
veshe tumi (E)keno asho naa.

(Am)jhore jaoa shob (F)osru bole
tara (G)tomake chae, tara (E)tomake chae
www.guitarchordworld.net
(Am)hridoye joto onu(F)vuti ache
tara (G)tomake chae, tara (E)tomake chae

(Am)Ei boshonteri shondhay (F)tumi nei bole
(G)shomoy amar (C)kate na

shei tumi (Am)keno hasho na,
hridoye (F)dola dae na,
Abe(G)she jorao na
tumi keno (E)kache asho naa.

Bondho Janala Guitar Chords By Shoronamhin

(Am)......(E)......(Am)......(F)

(Am)Arekbar jete chai (E)rim jhim shudurpur
(Am)Obak roude bheja (F)topto dupur
(Am)Arekbar tomader, (E)laal neel rong anonde
(Am)Ekla rastay ek (F)chilte roddur

(Am)Shara bela bon(F)dho janala....

(Am)......(E)......(Am)......(F)

Jodi tomader (Am)onek shobdo (F)amar janalay
(Am)Choto choto anonder sporshe (F)angule rekhe (E)jay
Jodi tomader (Am)onek shobdo (F)amar janalay
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(Am)Choto choto anonder sporshe (F)angule rekhe (E)jay
Jodi (Am)shohosro shobder (F)utshob theme (E)jay

(Am)Shara bela bon(F)dho janala....

(Am)......(E)......(Am)......(F)

Jodi tomader (Am)laal neel golpo (F)Amar shorire
(Am)Kono ekla rastay (F)obak vromo(E)ne
Jodi tomader (Am)laal neel golpo (F)Amar shorire
(Am)Kono ekla rastay (F)obak vromo(E)ne
Jodi (Am)ichcher neel rong (F)akash chuye (E)jay


(Am)Shara bela bon(F)dho janala....

(Am)Arekbar jete chai (E)rim jhim shudurpur
(Am)Obak roude bheja (F)topto dupur
(Am)Arekbar tomader, (E)laal neel rong anonde
(Am)Ekla rastay ek (F)chilte roddur

(Am)Shara bela bon(F)dho janala....