: Different modes of pentatonic scale Just as there are seven modes of the diatonic scale, I would expect five modes of the pentatonic scale. Have these been classified? Here they are, in the form of {semitone interval gaps}

Different modes of the pentatonic scale

A Minor Pentatonic (aeolian)

C Major Pentatonic (ionian)

D Sus2 Pentatonic (dorian)

E Minor Pentatonic (phrygian)

G Sus2 Pentatonic (mixolydian)

In relation to the diatonic scale, the modes of the minor pentatonic scale in order would be -

Aeolian Pentatonic (missing 2 and 6)

Ionian Pentatonic (missing 4 and 7)

Dorian Pentatonic (missing 3 and 6)

Phrygian Pentatonic (missing 2 and 5)

Mixolydian Pentatonic (missing 3 and 7)

The modes of the major pentatonic scale in order would be -

Ionian Pentatonic (missing 4 and 7)

Dorian Pentatonic (missing 3 and 6)

Phrygian Pentatonic (missing 2 and 5)

Mixolydian Pentatonic (missing 3 and 7)

Aeolian Pentatonic (missing 2 and 6)

Hope this helps, I'm a bass player and usually refer to them as positions ie,

A Minor Pentatonic (aeolian) position 1

C Major Pentatonic (ionian) position 3

D Minor Pentatonic (dorian) position 4

E Minor Pentatonic (phrygian) position 5

G Major Pentatonic (mixolydian) position 2

The pentatoinc scale is missing the root notes from the lydian and locrian modes

---

While some pentatonic scales may not be common in western music, pentatonic scales are used in many cultures around the world so each mode mode of the pentatonic scale does have a name; for example, the yo scale, from Japan, is equivalent to the 5th mode you mentioned (CD FG Bb) when ascending and equivalent to the 3rd mode you mentioned (CD FGA) when descending.

Yo Scale:
Ascending:
C D F G Bb C
Descending and Basic:
C A G F D C

en.wikipedia.org/wiki/Yo_scale
Due to it's communally written nature Wikipedia is a good place to start looking for these modes, and it has names for each of the modes you mentioned, as well as information on a number of pentatonic pentatonic traditions from around the world.

{ 2 2 3 2 3 } ( C D E G A ) Major Pentatonic
{ 3 2 2 3 2 } ( C ?E F G ?B ) Minor Pentatonic
{ 2 3 2 2 3 } ( C D F G A ) Blues Major, Ritsusen, Yo (Also standard tuning (Zheng Diao) of a Guqin)
{ 3 2 3 2 2 } ( C ?E F ?A?B ) Blues Minor, Man Gong
{ 2 3 2 3 2 } ( C D F G ?B ) Egyptian, Suspended

en.wikipedia.org/wiki/Pentatonic_scale#Five_black-key_pentatonic_scales_of_the_piano

---

Dom's answer correctly explains what the modes of the pentatonic scale are and how they are (not) used. Since this might give the impression that the pentatonic scale is almost exclusively useful if used as either major or minor pentatonic scale, I would like to add one important application of the pentatonic scale where it is used over a chord whose tonic is not even part of the scale. This use of the pentatonic scale is pretty common in jazz. Since very often the root of the associated chord is not part of the scale, it usually does not make sense to talk about these scales as modes.

Here a few examples:

G major pentatonic over Cmaj7: creates a Cmaj13 sound
D major pentatonic over Cmaj7: creates a Cmaj13(#11) (lydian) sound
E minor pentatonic over Am7: creates an Am11 sound
B minor pentatonic over Am7: creates an Am13 (dorian) sound
Bb minor pentatonic over G7: creates a G7alt (altered, superlocrian) sound

What is happening in all of these examples is that some of the basic (triad) chord tones in the standard pentatonic scale are replaced by higher chord tensions, which add more color than the root or the fifth of the chord. Note that the only example above where the scale contains the root of the associated chord is 'E minor pentatonic over Am7'. This corresponds to what could be called 'dorian pentatonic' (see Dom's answer). For all other examples the root of the chord is not part of the scale, so talking about modes doesn't make much sense here. Yet, they are basic major or minor pentatonic scales, just used in an unconventional way.

Of course all of them are subsets of a complete 7-note chord scale (in above order):

C major (ionian) without root and fourth
C lydian without root and fifth
A dorian without third and sixth
A dorian without third and seventh
G altered without root and third

---

Theoretically, yes there are five modes that can be derived from the major pentatonic scale and they would be named the same way the other modes contained in the major scale.

Let's look at the relative modes instead of parallel as it is slightly easier to see the patter. The C major pentatonic scale consists of the following notes:

C, D, E, G, A

Like any scale, we can start on any note and have a different mode. The name would be consistent with how modes are typically named and shown as follows:

D Dorian pentatonic - D, E, G, A, C
E Phrygian pentatonic - E, G, A, C, D
G Mixolydian pentatonic - G, A, C, D, E
A minor pentatonic - A, C, D, E , G

Something important must be noted though as of the scales above, only the major and minor contain the notes of the tonic chord. Thus the other 3 modes of the pentatonic scale really aren't too useful. Especially when you consider the petantionic scales are more for watered-down improvisations and melodies thus trying to build modes of them practically doesn't make much sense.

---

Major & minor pentatonic are widely accepted, but the other "modes" listed only share the root of the modes on which they are built, but are missing the color tones that characterize that particular mode.

D Dorian pentatonic D, E, G, A, C

1, 2, 4, 5, b7 (ex. b3 & 6)

E Phrygian pentatonic - E, G, A, C, D

1, b3, 4, b6, b7 (ex. b2)

G Mixolydian pentatonic - G, A, C, D, E

1, 2, 4, 5, 6 (ex. 3 & b7)

"Dorian pentatonic" is missing the minor 3rd as well the Major 6th, which define the triad and differentiate Dorian from Aeolian/natural minor. I have seen this pattern called Egyptian, but that doesn't relay any info on it's use. A better designation would be Suspended, or rather 9sus4.
"Phrygian pentatonic" contains the minor chord & color tones, but again this mode is missing it's a key color tone in b2; this defines Phrygian. I have seen this pattern called Blues Minor and other exotic appellations such as Man Gong, which are misleading and ineffective respectively. In keeping with a chord name that conveys useful musical info, perhaps min11#5. It's not a chord you're likely to see on a lead sheet, but function aside we can extrapolate what notes are contained within the scale.
"Mixolydian pentatonic" is perhaps the least aptly named as there is nothing to define the triad or the quality of the seventh. It could be any major mode or Dorian even. In keeping with the chord name reference without regard to function, I think of this as a 6/9sus4.
In summary, I submit that we should use the following naming conventions for the pentatonic modes:

A minor pentatonic
C Major pentatonic
D 9sus4 pentatonic
E min11#5 pentatonic
G 6/9sus4 pentatonic

---