Acordes y Escalas Para Guitarra

Scale (from L. scala, ladder): A progression of notes in a specific order.

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5cales are very important t o know, especially when i t comes t o playing a solo. This section is an easy reference for constructing, locating and playing al1 t h e essential scales on your guitar. By t h e end of t h i s section, you'll be using scales t o improvise over t h e "Jam 5ession" on t h e CD.

Eeeential ingrediente..

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We've given you three ways t o build (or "spell") each scale:

This p a t t e r n t e l l s you how many s t e p s t o rnove frorn one scale t o n e t o t h e next, using abbreviations f o r whole s t e p (W), half s t e p (H) and 1 1/2 steps (W+H). 5imply s t a r t on any note and move up accordingly. Here's an example s t a r t i n g on t h e r o o t note C: step pattern

=

W-W-H-W-W-W-H

result

=

A-0-c#-D-E-F#-G#-A

Take t h e numbers in t h e formula (which correspond t o a particular rnajor scale tone) and alter them a s indicated by t h e f l a t s andlor sharps. Try t h i s one.. . A rnajor scale =

A-0-c#-D-E-F#-G#-A

formula

=

1-2-b3-4-5-bG-b7-8

result

=

A-0-C-D-E-F-G-A

IMPORTANT: These formulas are always based on t h e rnajor scale (includíng any sharps o r flats) n o t j u s t t h e l e t t e r names of t h e notes. T h a t is, 3 f o r t h e key o f E major i s actuaily G# ( n o t G). 50, if t h e formula cal15 f o r b3, play G (one half-step lower t h a n G # )n o t ~ b .

Although we don't have room t o show al1 t h e scales on al1 twelve r o o t n o t e s (actually seventeen i f you count t h e enharrnonics!), t h e note names shown are relative t o t h e r o o t note used. Of course, a scale built on a different r o o t note will have a different l i s t of note narnes.

Let's get organized..

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Several fretboard locations are given f o r each scale in t h i s book. Use t h e one t h a t feels t h e m o s t cornfortable f o r you. (Or, heck, rnernorize al1 o f them!)

The fingerings in t h i s systern generally apply t h e one-finger-ver-fret rule, staying within a specific f o u r - f r e t position. In sorne cases, you may have t o reach o u t o f position one f r e t above o r below t h i s basic position. (Try n o t t o h u r t yourself!) Two moveable p a t t e r n s are given f o r each scale-one with i t s r o o t on t h e sixth string, t h e o t h e r with i t s r o o t on t h e f i k h string. (For more on rnoveable patterns, Rip t o page 46.)

These require a b i t more o f a s t r e t c h b u t generally span a full 2 1/2 octaves. Two rnoveable fingerings are given f o r each scale. Again, one with a sixth s t r i n g r o o t and one with a f i f t h string root.

Depending on t h e scale, t h e s e are found a s either sliding scales, or four-notes-per-string p a t t e r n s . The fingerings in t h i s systern spread up t o 16 f r e t s (Ouch!), b u t they're handy in t r y i n g t o connect d i s t a n t areas o f t h e fretboard o r t o smoothly t r a n s f e r frorn one position t o another. Like t h e caged a n d t h r e e - n o t e s - v e r - s t r i n g s y s t e m s , t w o rnoveable p a t t e r n s a l s o accornpany each scale in t h e horizontal system.

Get in 5ync! Practicing scales requires b o t h hands t o work t o g e t h e r in perfect synchronization. 5 t r i k e each n o t e clearly a n d precisely, making sure you pick and finger t h e n o t e a t exactly t h e sarne t i m e . Rernernber t o a l w a y s u s e a l t e r n a t e picking (successive d o w n s t r o k e a n d upstroke a t t a c k s ) t o avoid excessive hand strain.

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PRACTICE TIP: Make sure you play each scale forward a n d t h e n backward. And, a 5 always, s t a r t o u t 5 1 0 ~ and gradually build up speed a 5 you buitd up confidente.

MOVEABLE PATTERNS A l 1 o f t h e scale p a t t e r n s given in t h i s book a r e rnoveable-that is, t h e y c a n be easily s h i f t e d up o r down t h e fingerboard t o accornodate any key'or r o o t note. To d o this, t a k e n o t e o f t h e darkened r o o t notes: = r o o t note of scale

You can use any o f t h e s e r o o t n o t e s a s a p o i n t o f reference f o r rnoving p a t t e r n s . However, t h e r o o t s located on t h e f i k h and sixth s t r i n g s are usually t h e easiest place5 t o s t a r t .

E B

G D A E

=,root on sixth string

E B G D A E

root on fifth string

To p l a y t h e s c a l e p a t t e r n in a n y p a r t i c u l a r key, m a t c h one o f t h e r o o t n o t e s t o i t s respective n o t e on t h e fingerboard. (For example, t h e key o f C h a s a r o o t n o t e o f C.) The a s simple a s shifting t h e shape. r e s t o f t h e p a t t e r n follows accordingly-it's Check o u t t h e example below:

Moveable Major %ale Pattern

E B

G D A E

Beginning F r e t (fret t h e root is on)

Resulting 5cale

fret 1

F rnajor scale

fret 3

G rnajor scale

fret 6

Bb rnajor scale

f r e t 10

D rnajor scale

f r e t 12

E rnajor scale

Picture this..

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Use t h e Guitar Fingerboard Chart below t o help you quickly l o c a t e al1 t h e n o t e s within t h e f i r s t twelve f r e t s . A s described on t h e previous page, t h i s c h a r t will be especially useful a s you begin using t h e moveable scale p a t t e r n s in t h e pages ahead. STRINGS

That's a b o u t all.. .good luck!

T h e m o s t common scale used in rnusic is t h e major scale, so learn it well! l t consists of eight consecutive notes ascending or descending.

C rnajor scale

5 t e p pattern: W-W-H-W-W-W-H Formula: 1-2-3-4-5-6-7-1 Notes: C-D-E-F-G-A-6-C

m

C

n

4 3

D

E

O

-

.--

e

F

G

A

B

C

A

O

---- --

O

O

I

IMPORTANT: 5cale p a t t e r n s played on t h e guitar cover al1 of t h e notes within a certain fretboard area. In other words, t h e notes in t h e scale are repeated in different octaves f o r a more complete and practica1 fingering.

T h i s scale i s used in nearly al1 s t y l e s o f Western rnusic. It's sometimes referred t o a s t h e "pure minor," "relative minor," o r "Aeolian rnode."

C natural minor scale

5 t e p p a t t e r n : W-H-W-W-H-W-W Formula: 1-2-b3-4-5-b6-b7-1 Notes: C-D-~b-F-G-~b-~b-c

C

D

+

O

E

~

G F

A

L

B

~

C

Y

w J

I

- -.

b o

O

W

T h i s scale provides another alternative minor scale t y p e and i s very common in classical music.

C harmonic minor scale

5 t e p p a t t e r n : W-H-W-W-H-W+H-H

Fo rm ula: 1-24 5-4-546-7-8 Notes: C-D-~b-F-G-Ab-B-c

c

D

E

o

-

'a m

-F4) J

1

v -

~

F r\

O

G I D O

A

~c

c

c3

B

W

T h i s scale can also be used over rninor chords and i s cornrnonly referred t o a s t h e "jazz rninor" scale.

C melodic minor scale

5 t e p p a t t e r n : W-H-W-W-W-W-H Form u la : 1-2-b

3-4-5-6-7-8

c

D

E 1

Notes: C-D-Eb-F-G-A-0-C

~

F

c3

-

y

J

o

GA C)

B

c cm

T h i ~ i5 undeniably t h e rnost prevalent scale used by rock and blues players. A 5 i t 5 narne suggests ("penta" means five), t h i s scale contains only five different tones.

C minor pentatonic scale

5 t e p p a t t e r n : W+H-W-W-W+H-W

~b

C

Formula: 1-b3-4-5-b7

n

Notes: C-~b-F-G-0b-c

J

1

8

F O

~b

G

-

-

C

N p .

O

T h i s i5 a n o t h e r 5 - t o n e ("pentatonic") scale cornrnon in many s t y l e s o f rnusic. I t h a s a "bright" sound t h a t especially lends itself well t o county music.

5 t e p p a t t e r n : W-W-W+H-W-W+H Forrn u la : 1-2-3-5-6-1 Notes: C-D-E-G-A-C

C rnajor pentatonic scale E

G

A

C

T h e blues scale i s cornrnon in jazz. rock. and (you guessed i t ! ) blues music. I t contains an added blues n o t e (b5) frorn t h e rninor pentatonic scale b u t has only six tones.

C blues scale

5 t e p p a t t e r n : W+H-W-H-H-W+H-W Formula: I-b3-4-b5-5-b7-1 Notes: C-~b-F-Gb-G-0b-c

C

~b

d

~b

F

,

u

e

V

O

Y

~b

G

- e

Y

C c3

I V

W

r h i 5 5cale i5 popular in jazz and heavy metal music ( t u r n i t up!). NOTE: lt'5 n o t a typo, there really are eight different t o n e s in t h i s scale.

S t e p pattern: W-H-W-H-W-H-W-H Forrnula: 1-24 3-4454 6-6-7-8 Notes: C-D-E~-F-G~-A~-A-B-c

C diminished scale C

~b

D

u

19n

S

1 1

o + +

b=

AL

~b

F

I

c

A

bu

B

-

C O

M o d e s are like scales-each uses a specific p a t t e r n o f whole s t e p s and half steps. The difference i s t h a t a rnode i s n o t relatad t o t h e key o f i t s r o o t note. T h a t is, a Dorian rnode built on C i s n o t in t h e key o f C. The seven rnodes in cornmon practice t o d a y are derived frorn t h e seven n o t e s o f t h e rnajor scale:

C lonian

=

W

W

H

W

W

W

H

A

A

A

A

A

A

A

C

D

E

F

G

A

B

C

(same a s C major)

D Dorian

=

W

H

W

W

W

H

W

A

A

A

A

A

A

A

D

E Phrygian

E

=

F Lydian

F

G

A

B

C

D

H

W

W

W

H

W

W

A

A

A

A

A

A

A

E

=

F

G

A

B

C

D

E

W

W

W

H

W

W

H

A

A

A

A

A

A

A

F

GMixolydian =

G

A

G

B

C

E

F

W

W

H

W

W

H

W

A

A

A

A

A

A

A

A

6

W

A Aeolian

D

C

H

D

W

E

W

F

H

G

W

W

A A A A A A A

=

A

6 C

E

D

F

G

A

(sarne as A natural minor)

6 Locrian

=

6

H

W

W

H

W

W

W

A

A

A

A

A

A

A

C

D

E

F

G

A

B

A s you can see, each rnode i s actually a variation o f t h e rnajor scale. They differ only in t h e arrangernent o f t h e intervals. The next page gives you t w o usable p a t t e r n s f o r each of t h e seven rnodes.

lonian

Dorian

Phrygian

Lydian

Mixolydian

Aeolian

Locrian

Time t o charge admission..

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N o w it's t i m e t o use t h e chords and scales from t h i s book and rnake sorne actual music! This section provides t w e n t y chord progressions found in various rnusic styles. Play along with t h e CD. You can either follow t h e chord symbols and s t r u m along, o r use t h e suggested scales t o practice improvising. Either way, grab your axe, and let's jarn!

hat

suggested scales: G rnajor, G rnajor pentatonic, E rninor pentatonic G

c

D

D

play 8 times

G

suggested scales: E rninor, E rninor pentatonic Em

c

D

piay

suggested scales: D rninor, D rninor pentatonic, D blues Dm

A5

li://// 1

C5

Dm

play B times

/ / / /

:ll

0

suggested scales: A rninor pentatonic, A blues A5

D5

E5

D5 p~ayB times

A5

1

8 times

Em

suggested scales: E blues, E minor pentatonic

E

B

A

suggested scales: C major, C major pentatonic C Am F G

II://// 1

B

E

play 3 times

E

C

play 8 times

:ll

/ / / /

O

1

suggested scales: E blues, E minor pentatonic

E9

A9

piay

E9

B times

suggested scales: G major, G major pentatonic

G

c

Am

D play 8 times

G

suggested scales: F major, F major pentatonic

Fmaj7

~bmaj7

Gm7

C7

piay 8 times

Fmaj7

F

C

piay 8 times

C

suggested scales: C blues, C minor pentatonic

C

Bb

Don't s t o p there! Turn t h e page.. .

61

suggested scales: C rnajor pentatonic, C rnajor

C

F

c

G

G

play 4 times

C

suggested scales: E Dorian, E rninor penatonic

Em

D

A

ola" 8 times

Em

suggested scales: ( f i r s t three rneasures): A rninor, A rninor pentatonic suggested scales: (fourth rneasure): A harrnonic rninor Am G F E

suggested scales: C Phrygian, C rninor pentatonic

Cm7

Db

piay in times

Cm7

suggested scales: G blues, G rninor, G rninor pentatonic, G harrnonic rninor

Gm7

~m7b5

~7b9 plav 8 times

Gm7

play 8 times

Am

suggested scales: 0b Lydian, A minor pentatonic

~bmaj7b5

Am

Gm

Am

~brnajib5 play 0 times

suggested scales: C lonian, C rnajor

Dm7

suggested scales:

G7

Cmaj7

play B times

F# Aeolian, F# rninor pentatonic E

play B times

suggested scales: D rnajor, D rnajor pentatonic

D

Bm

Em

A

suggested scales: E Mixolydian, E major pent;atonic E

D

A

play B times

E

Bravo! You're ready f o r t h e biq leaques.. .

play 0 t i m e s

D