Troy_Stetina_-_The_Ultimate_Scale_Book .pdf
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TroyStetinais an internationallyrecognizedguitarist and educator,with over twentyinstructional methods to his credit. He is also a contributingwriter for GuitarOnemagazine and operates his recording studio,"ArtistUnderground," in Milwaukee, Wisconsin. FormerlyDirectorof Rock Guitar at the Wisconsin Conservatoryof Music,Troy has created universitylevelprogramsand contiuesto teach masterclasses and performance workshopsaroundthe country.
The Uttimote gcote Book bg Trog9tetino
CONTENTS
http://www. stetina.com WhatareScales? How to LearnScales ReadingFretboardDiagrams A WordAboutFingerings Basics Construction
productsby TroyStetina: Otherinstructional
FU"t"t LeadGuitarPrimer MetalLead GuitarVolumes1 & 2 SpeedMechanicsfor Lead Guitar Metal RhythmGuitar Volumes1 & 2 ThrashGuitarMethod HeavyMetal Guitar Tricks Secretsto WritingKiller Metalsongs Speedand ThrashDrum Method BeginningRock Lead Guitarpocket guide BeginningRock Lead Guitar video BeginningRock Rhythm Guitarpocket guide BeginningRock Rhythm Guitar video '90sAcoustic Rock New Rock Funk Rock Hard Rock Left-HandedGuitar-The CompleteMethod Bestof Black Sabbath-Signature Licks Barre Chords-The UltimateReferenceGuide TotalRock Guitar
.....4 . . .5 ....6 . . .7 ...8
Part I MinorPentatonic Blues MajorPentatonic MinorBlues MajorBlues
....10 .....15 ....18 ....22 ....24
Part ll N a t u r aM l inor Major CreatingModes Dorian Phrygian Lydian Mixolydian Locrian
...26 .....30 .....34 ....36 . . .38 .....40 .....42 ....44
i: Part lll HarmonicMinor Phrygian-Dominant.. JazzMelodicMinor Modesof Jazz Minor
.....46 .....50 . . .52 . .54
Part lV Chromatic.. WholeTone Diminished OtherExoticand EthnicScales
....56 .....57 .....58 . .59
Appendix ScaleConstructionTable... NoteNameson the Neck
,...62 . .63
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Scalesare simplycollectionsof notesused in music. We call a set of notes a scale when we extractthe notesfrom their musicalsettingand arrangethem in orderfrom a startingpoint.When left in their musical context,thesesame notesare calleda key.So scales and keys are essentiallythe same thing. The differenceis simplyan issueof application-youcan "residue"of music. thinkof scalesas the theoretical Why are they important? Having an . F understandingof scales will greatly enhanceyour E overall musical development.lt will help you to improvisesolosas well as to develop F spontaneously pitch (andthe associated relative discrimination F better "by you will H skillof learningmusic ear").Furthermore, moods, and find scales evoke different that different E music. to certain styles of scales are common certain F $, Eventually,you will learn to recognizethe scales sounds. E- purelyby theirdistinctive In nutshell, understanding scales, their a $ is the and their tonal construction interrelationships, R F' essenceof learningthe fretboard. Fi
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Two Sides to the Story Scales have two ditferent and important aspects: tonalityand modality. Tonalityrefersto the pitchof the startingnote, or "root" note. For example,A major and G major Different tonalities two differenttonalities. demonstrate "different keys." mayalso be calledsimply Modalityrefersto the relativestructureof the pitchesbasedon a given root note.For example,A major and A Phrygian describe two different modalitiesboth beginningon the same pitch of A. Modalitiesmay be referredto as beingdifferent"types of keys." So any scaleor key requirestwo thingsto be specified-a startingpitch (tonality),and a type of Whena playersaysa certainsongis scale(modality). in the "key of A," this could in fact mean A major,A A minor,etc. In practice,the modality-or Mixolydian, typeof key-is oftenunderstoodbaseduponthe style. Further Down the Road Many styles of music may blend or borrow between modalities. The blues,for example,commonlyutilizes a minor pentatonic(or blues) scale playedover a major-typebackground.lmention this simply to the factthatscalesare not inviolate"rules" emphasize that must be obeyed. They are simply useful of notesthat may be blendedor modified collections as needed.But of course,we must first learn the beforewe startcombiningthem! scalesseparately
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This bookcan functionas a reference,whereyou look up a particularscaleand learnits fretboardpatternas "scalemethod." needed,but it is also structuredas a That is, if you start at the beginningand learneach scale in the order presented,you will find that they buildin a logicaland systematicsequence. Learningthese scalesis a processthat will take sometime and practice.Don'tpressureyourself to learnthemtoo quickly,as thiswillonlycauseyouto confuseonewiththe next.Instead,spendenoughtime with one pattern until you can play through it And playslowly!Thisisn't withoutmistakes. repeatedly a race.After you are comfortablewith a given scale, continueto reviewit from time to time, even as you moveon to memorizethe nextscalepattern. Now a word about how to practicescales. Obviouslyone can simplyplay up and down untilthe pattern "sinks in." However,repeatinga scale ad nauseum is generally not a particularlyeffective strategybecausethe amountof repetitionrequiredis oftenmorethan any sane personcan take!Therefore, Hereare a it is bestto applya varietyof approaches. few ideasto keepthingsa bit moreinteresting: dt Start with the lowestnote and add one noteXT'h 'time,cyc|ingeVerhigherandhigherunti|youar ,
playingup and downthe full scalepattern.
l ' . Sequencethe scaleascendingand descending : in groupsof two,three,and four,etc. : , r Playingto a metronome,improvisewithinthe l scalewhilemaintaining constanteighthor ' sixteenthnotes.Youmay draw upon sequences, :, ; makecontours,or skip notes,but don't leavethe ' scale! Some of the Possible sequences are demonstratedon the first few scales.Of course,you shouldcontinueto applythem to each of the scales presented. Finally,it is importantto realizethat for scales you mustseethem to ultimatelybe learnedeffectively, you willreallyknow Then, at workin reallifesituations. them! All theoreticalknowledge,includingscales,is that So it is recommended uselesswithoutapplication. you learn enough book, this progress you through as of music,songs,and/orsolosto see someapplication you find it you, may thesepatterns.lf this is difficultfor beneficialto seek out privatelessonswith a teacher who can helpyou recognizerealmusicalapplications for eachscale.
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The scalesin this bookare presentedusingfretboard diagramsthat work like a pictureof the guitarneck. These diagrams reflect the neck from the playels view.That is, they show the same string and fret placementthat you see when you look down at your guitarneck (highE stringon top, low E stringon the bottom).
these are the frets..
r i i-* dot inlays...
low E string
The dots,or inlays,on the neckof your guitarappear on frets3, 5, 7,9, and doubledotsappearat fret 12 (oneoctaveabovethe open strings).Then abovethe twelfthfret, the same patternrepeats.In diagrams, thesedotsare replacedwiththe actualfret numbers.
Smallerportionsof the fretboarddiagramare often usedto focusattentionon a certainarea.Forexample, the diagrambelowdepictsjust the area of the neck betweenthe fifthand ninthfrets.
Dots are used on the fretboard"grid"to indicatethe fingeringlocationsnotes.Root notesare indicatedby circleddots.
Fingeringsare never "written in stone,"but it is generallya goodideato selectone and stickwithit for a givenscalepattern. Positional Fingering Positionalfingeringis a good starting point. This means that each finger gets one fret and plays all notes in that fret. The positionnumber is the fret numberof the first,or indexfinger. Forexample,the scaleshownat the bottomof previous page (A minor pentatonic)is in fifth the position.The C major scale shown at the bottomof the followingpage is in seventhposition. One special case is open position which is synonymouswith first position. #;: pssilion is not alwaysthe lowestfret used in a pattern,but ratherthe lowestfret of the majority of notesin the pattern.So if all notesare in eighthpositionexceptone note on one string whichlies on the seventhfret,the patternis in eighthposition,not seventhposition.Simply stretchyour indexfingerbackone fret when required.
"Blues"Fingering An alternate f ingering approach common to pentatonic-based a lot of styleswhichincorporate string bending(such as blues and rock) favors This fingers1 and 3, or the indexand ringfingers. oftenrequiresan extrastretchhere or there,and to the positional can be viewedas a modification approach. Shifting-TypeFingering willrequiresliding,or shifting, Somescalepatterns noteson the so thattwo different the handposition, played with the same finger. same string are willindicatehowthiscanbe best Specificdirections for eachpatternon an individual basis. achieved Additionally, other scalesmay Involvethe position" wherethe patternbegins useof a "floating in one position,then on a particularstring,the positionshifts into a differentposition.This happens,for example,in diatonicthree-note-perstringpatterns.
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Historicallyspeaking, the major scale is the fundamentalscale in Westernmusic.lt is a diatonic (seven-tone) scaleformedby a specificsequenceof whole (two fret) and half (one fret) steps.lt is easiest to rememberthe sequenceif you view it as two "whole-whole-half" patterns,separatedby a whole step.
W
F F
h
W
H
r.
w
W
H
W
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s
I
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ffi,-
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FN When this is appliedto a stringon the fretboard,the $ majorscaleemerges.Below,the startingnote(or root) $; [r, is C, so this is a C major scale, playedall on one iis string.
All otherscalesmay be viewedas beingalterations of the major scale.For example,the minor pentatonic scale(a commonfive-toneminorscale)omitsthe 2nd and 6th steps,and flatsthe 3rd step (a minor3rd)and the 7th step (a minor7th). major(diatonic)tones: 1 2 3 4 5 6 7 pentatonic minor tones: 1 b3 4 5 b7
Below,the minorpentatonicpatternis shownstarting on the note C. Noticethe three-fretintervalsbetween the rootJ3rd and sth-,7th.These give the pentatonic scale a distinctlymore aggressivecharacteras comparedto the diatonicscale
C minor pentatonic
F
F
lru
C major
ilrF 7
9
W
1
2
ur
3
1
5
il
N S
o t
Ct e
W
H
s e E p
sb s
7 :F :
9
t2
G l
b
3
4
5
15
B b c b 7 8
I
The stepsof a majorscaleare numbered1-2-34-56-7 . (Theoctaveroot may be shownas either8 or 1.) Half steps appear betweentones 3-4 and 7-8. All otherstepsare wholesteps. C major
When playedacross the neck,this commonsingleoctave minor pentatonicshape emerges.Play it in eighthposition(noteson the 8th fret are playedwith your indexfinger).
C mlnor pentatonlc A
3 Notes: Steps:
C 1
5
7 D 2
9 E 3
1 F 4
2 G 5
1 A 6
5 B 7
C 8
Whenthe majorscaleis "collapsed" and playedacross the neck ratherthan on a singlestring,the common single-octave majorshape belowemerges.Play it in position. (Noteson the 7th fretare playedwith seventh your indexfinger.)The root note-C, steps1 and 8is shownwithcircleddots. C major
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. Othertonalitiesare formedby shiftingthe whole patternto beginon other root notes,but the relativespacingand the numbersfor any major scalealwaysremainthe same,and reflecteach tone'sintervallic relationship to the root.
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Here is how they all fit together.Playup box 1, down 2, up 3, down4, and up 5. Then reverseit and come back down. Do this until the whole sequenceis The staff-tabbelowwill get you started. memorized. The minorpentatonicscaleis a five-toneminorscale commonin blues, rock, pop, funk and other styles. We'llstartwiththe commontonalityof E. Hereare the notes,tones,and intervallic structure.
ffiffi-iffi;iffiii%
t: :
Box5
Box3
Box I
Boxes 1-5
F E!.: sl H.
lii
li top of box 2 forms the bottom of box 3, etc.
\v
A
l2
N-Flr-
FJ:
I
Tones:
t'
I
Intervals:
I
b3
I W+H
e 4
t\"'"/ W
Box 4
Box2
s
W
b
t
W+H
I W
Box3
Box2
Box 1
';
E minor pentatonic, boxes 1 - 5 The patternsare often called boxesbecauseof their two-note-per-string shapes.Noticethat box 1 includes all the openstrings.
Box 1 (primary)
Abovebox 5, the patternscontinuestartingagainwith box 1. The shapes are exactly the same, with everythingshiftedup twelvefrets. Box3
Box1
Box 2
v
YI
Above
v
A
Fret 12 t7
15
Box 3
Box 4
2l Box 4
Box 2
A
(secondary)
Box 5
19
v
A
lf you put these two sectionstogether,you havethe entireneck!Althoughat firstglancethis may looklike a bit of a mess,if you have alreadymemorizedthe you'llfindnothingnewhere. shapesand sequence, ffifo find specificboxesmorequickly,use the E I minorchordsin boxes1 and 4, shownin the ' bottomdiagram,as "anchorpoints." E minor pentatonic,full neck
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L.': E:
F
Fingering:Box 1 is in openposition,box 2 is in second position,box 3 is in fifthposition(stretchback a fret on the G string),box 4 is in seyenthposition,and box 5 is in ninth position.An alternate approach is to use fingers1 and 3 for eachpattern(exceptopen).Or you maycombinethem,playingthe lower(wider)fretswith positionalfingering,and the higher (narrower)frets withfingers1 and 3.
v
3
5 Box?
7
9 Box 4
l5
12 Box 1
10
19
17 Box 3
E minor "anchor"chords
l5
&. F.
Box4
Box 2
Box 5
Box 3
Box 1
t7
l9
ir
2l
:1.t.
ffiTt'ire:.
E minor pentatonlc,diagonalshapes The minor pentatonicscale may also be playedin diagonalshapes whichcut acrossseveralboxes.The mostcommondiagonalshapesof E minorpentatonic are centeredon boxes1 and 4. Here is E minor pentatonicbox 1, or the primarybox, shown first with its low extension(into box 5), then with its high extension(into box 2), and finally,the full diagonalshape.
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Other tonalities Now we'll considerother tonalities.This simply requiresthatthe entireseriesof boxesis shiftedup or down the neck.Whileshiftingjust one or two frets is shiftingthreeor morefrets can easilyaccomplished, become confusing.Therefore,it is a good idea to ' memorizeat leastthe commonkeysshownhere.First play the anchor chords shown under the series of then play up and down boxesto get your "bearings," the boxesoverthe entireneck in that key.
Box 1, wlth low ext.
G minor pentatonic Box 5
t7
l5
Box 1, with high ext.
l9
Box 1
Box 4
Box 2
2l
- l v
3
5
7
Primary Diagonal
l7
l9
19
2l
Box 2
2l
v
t5
t7
15 Box 5
Box 3
Box 1 l5
12
9
l5
17
l7
A minor pentatonic
Hereis E minorpentatonicbox 4, or secondarybox, firstwith its low extension(intobox 3 and lower),then with its highextension(intobox 5), and finally,the full diagonalshape.
A
A
3
5
7
9
1
2
1
5
l
l
9
2
l
Box 1
A
F Box 4, with highext.
7
Box 4
Box2
Box 5
Box 4, wlth low ext.
Box 2
Box 5
Box 3
Box I
Box 4
l5
t7
l9
2l
19
2l
A
C minor pentatonic
*. 6,
Box 2
Box 5
Box 3
bt''
,.." . !. ,;:,,i,$:. Box 4
st:
Secondary Diagonal
A
3
5 Box 4
Fingering:These diagonal shapes involve shifting positions. As a rule,try playingall notesavailablein a given positionbeforeyou shift positions.So playing 'lowest the firstexampleabove(Box 1) from the note, youwouldbeginin tenthpositionand usethe fingering 1-3-1-3,then shift into twelfthpositionand play the next note with your third finger. Reversethis for descending.
12
7
9 Box 1
15
t2
l7
Box3
Boxs
l)
t7
l9
2l
At this point,you have learnedthe minorpentatonic "in scalein E, G, A, and C. Forthe remaining between" keys-F, F#,Gil,Bb,B, Cf, D, and Dil-simply take the nearestkeyand slideup or downa fretor two,to place the rootof the patternon the correctpitch.(Seepage 63 for notenameson the neck,if necessary.) 13
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Sequenclngpractlce Severaldifferentsequencepatternsare appliedto a few minor pentatonicscalesto help get you started with this practice concept. Apply each of these sequencesto each of the minor pentatonicscale patternslearnedso far in all the variouskeys. E minor pentatonic,box 1, sequencedin threes,ascending
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The bluesscaleis a six-toneminorscalecommonin styles.lt is almost blues,rock,andothercontemporary pentatonic, exceptfor one added identicalto the minor tone-a flattedSth. Here are the notes,tones,and intervallic structureshownbasedon E.
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1 I lntervals:
b W
3 4 b S l\-,'\-,/\.-t + H W H H
S W
b 7 1 t\r/ + H W
E blues, boxes 1 - 5 lf you have already learned the minor pentatonic scale,the bluesscale is a pieceof cake.The minor pentatonic is shownin soliddotswiththe addedbsthin grey.
A minor pentatonic,box 1, sequencedin fours, descending
v
Box 2
v
Box 3 A minor pentatonic,box 2, sequencedin fours, ascending
Box 4
/^\
(secondary)
Box 5
A
C minor pentatonic,box 4, in "backward"threes,ascending
Fingering:Box 1 uses open position.Box 2 shifts betweenthird and secondposition,then back to third positionfor strings 1 and 2. Box 3 is in fifth position (stretchbacka fret on the G string).Box4 is in seventh position(up to eighthpositionfor string2). Box 5 is in tenthposition(stretchback a fret on strings3 and 4). you may simply use fingers 1 and 3 Alternatively, when an extrafingeris requireddue to having except threenoteson a string. 14
15
Below are all five interconnectedboxes for E blues. Playthrougheach pattern,shiftingup and down the neck.Thenpracticeusingthe sequencepatternsfrom page14.Remember to visualize the E minor"anchor" chordswithinboxes1 and 4. Box 3
Box 1 t
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Other tonalities patternsfor G blues, Beloware the full interconnected A blues,and C blues.Onceagain,noticethe "anchor" chords.Also look for the diagonalformssproutingin both directionsfrom boxes1 and 4.
Box 5
l
Boxes 1-5
\v
G blues Box 5
7
9
1
Box 2
Box 4
Box 1
2
Box 4 J
7
)
t
9
1
2
1
5
t
7
1
9
2
1
l
Box3
Box 1
Box5
Box2
Once again,the patternrepeatsabovefret 12. All the notesare one octavehigherthan the corresponding box foundloweron the fretboard
Box 1
l5
t7
15
t1
BoxS
Above Fret12
v
A blues
A
Box 4
Box 1
Box 3
a 15
t7
19
Box 2
2r
v
Box 4 3
5
7
9
Box 5
12
%x2
Box4
E blues,diagonals The diagonalforms of the E blues scale are shown below, centered on box 1 (primary)and box 4 (secondary).
19
2l
Box1
l5
t7
l9
C blues Box 3
Prlmary Diagonal
Box 5
v
l5
Box4
t7
l9
v
2l 3
5 Box 4
Secondary Diagonal
Box2
- l v
'
t
9 Box 1
t2
15
t7
Box 3
19
2l
Box 5
A
Fingering:For the primarydiagonal,use ascending fingering(groupedin octaves)1-3-1-1'-2-3-1, 3-1-1-2-1-2-3. For the Reversethis for descending. 3-1, 3-1 secondary diagonal, follow the same idea. The fingeringis (0)-1-1-2-3-1, ascending 3-1-1-2-3-1,3-11-2-3,1-3.
l5
t7
t9
2l
At this point,you havelearnedthe bluesscalein E, G, A, and C. For the remaining"in between"keys-E Fil, Gf, Bb,B, Cil,D, and Dil-simply take the nearestkey and slide up or down a fret or two,to placethe rootof the patternon the correctpitch.(Seepage63 for note nameson the neck,if necessary.)
d
h 1 6 17
F
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Here are the five interconnectedboxes for G major pentatonic. Playup and downeachbox,and shiftfrom one to the nextup and downthe neck Box 5
Box 3
The majorpentatonicscaleis a five-tonemajorscale commonin rock, country,pop, blues-rockand other styles.Here are the notes,tones,and contemporury intervallic structureshownbasedon G.
A
Boxes 1-5
v A A A
l5
i* ffi,?frFE
Box I
Box 4
Bor 2
G
; Tones:
2
I
lntervals:
Of course, Nextis the full neckfor G majorpentatonic. belowbox 2 there is a box 1 shapein open position. Althoughthe low E stringis in the scale,favorthe G rootat the thirdfret (startand end the boxthere).That way,yourear will hearG as the root,and hence,hear the scale as beinga G majorpentatonicratherthan hearingthe low E as the root.The boxesalsocontinue in the sameseriesabovethe fifteenthfret.
: W
vt W
3
5 6 1 .....1 W+H W W+H
G major pentatonic,boxes 1 - 5 box shapesof the majorpentatonicscaleare the $ The F sameas thoseof the minorpentatonicscale,except that they lay againstthe root and "anchor"chords Here,box 2 (not 1) is associatedwith the differently. barrechordrootedon the sixthstring.Lookfor these majorbarrechordshapesinsideboxes2 and 5.
G major pentatonic,full neck Box 4
Box 2
Box 5
Box 3
Box I
l---------l A
v
Anchor chords
3
7
5
9
12 Box 1
Box 4
Box 2
15
l'l
19
2l
Box 3
G major "anchor" chords
Box 2 (primary)
A
l5
l7
2l
A
A v
Box3
G major pentatonic,diagonals The mostcommondiagonalshapesusedfor G major pentatonicare shown below.The primarydiagonal startson the sixthstringroot,G-at the sameposition as the G barrechordat the thirdfret.The secondary diagonalcontainsthe fifthstringroot,G-at the same positionas the G barrechordat the tenthfret.
A
A
v
Box 4 A
Box 5
A v
Primary diagonal
isecondary)
A
A
Box 1 A
t2
l5
Secondary diagonal
Fingeringnote: Use the same fingeringsas for the minorpentatonic boxeson page 10. 18
19
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Other tonalities Beloware the full neckpatternsfor E, A, and C major pentatonic.Play the "anchor"chords, then all the patternsIn each key,shiftingfrom box to box, up and downthe neck.Don'tforgetsequencingpractice,too! Also,findand playthe diagonalshapes(shownon the previouspage in G) by shiftingthem to the proper positionsfor each key.
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Relativemajor/minortricks Majorand minorscalescomein pairs.Foreverymajor minorscalethat uses scale,thereis a corresponding the exactsamenotes,but startson a differentroot.We say thesescalesare related.Everymajorscalehas a relativeminor,and every minor scale has a relative major.Forexample,C majorand A minorare related. C major
CDEFGABCDEFGABC E major pentatonic Box 3 (ext.to low E root)
Box 5
A minor
Box 2
Box 4
In addition,C majorpentatonic andA minorpentatonic are also relatives.
A
v A A
3
5
7
9
Box 4
1
2
l
Box 1
5
t
7
19
Box 3
C majorpentatonic
21
CDEGACDEGAC
Box 5
nk#inor,p"natonic
l5
t7
l9
2l
19
2l
A major pentatonic Box 1
Box 3
Box 5
Box 2
r_-__---.1 A
5
'
l
9
Box 2
t
2
15
Box 4
t]
Box I
Box 3
t'7
l9
C major pentatonic Box 4
Box 1
Box 3
Box 5
Box 2
A
v
A
3
5 Box 5
7
9 Box2
12
15 Box 4
17
19
2l
'!r
Anotherpairof relativesis G majorand E minor.So as you wouldexpect(andyou mayhavealreadynoticed), the G major pentatonicboxeson the previouspage are identicalto thoseshownon page 10 for E minor pentatonic. Again,onlythe roots(andanchorchords) are different. One commonway guitaristsuse this relative major/minorprincipleis to transformminorscalesor licks into their major counterpartswithouthavingto learnany newpatterns. Yousee,if you knowthe minor pentatonicscale, you can use the relativeminor patterns to play the major pentatonicscale. For example,to play C majorpentatonic, find the relative minor-A minor pentatonic.Now play A minor pentatonic overprogressions in C majorandyourlicks will givethe soundof C majorpentatonic. In reality,your licks really are in C major pentatonic.(They only appear to use A minor pentatonicbecauseyou are familiarwith seeingthe patternsfroma minorperspective.) The bestsituation is to learnthe major pentatonicshapesanchoredto theircorrectroots-in otherwords,seeingthem truly Nevertheless, as majorpentatonics. this bit of relative major/minormaneuveringcan be useful and is somethingyou shouldbe awareof. Hereis the rule:
Box 1
*i o
15
To use minorpatternsin a majorkey,applythe &' three-fretrule: Drop three fretsand use the r
atlue.ff .o",pattern. . 19t
To playG major,for example,dropthreefretsto E and M ,#1 pairs: use E minor.Hereare a few relativemajor/minor Fl'
For the remainingkeys, simply slide the nearest patternup or down the neck.(See page 63 for note nameson the neck.)
.1,
#qlr S*,
20
A minor E minor Ff minor B minor
C major G major A major D major
i ^
two;the minoris the lowerof the two.The threefret rule worksin reverse,too. Raiseany minor threefretsand you'llhavethe relativemajor. 21
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The minor blues is an eight-tonescale createdby combiningthe tones of a straightblues scale with thoseof naturalminor (see page 26). Here are the notes,tones,and intervallicstructureof the resulting hybridscalebeginningon A. Notes: A
H':. T'
B
C
D
Eb E
F
G
'w
w.
Box 1
Box3
A
7
9
1
2
Box 2
| \--l
2 \"/
bS 4 \--l
b5 \r/
\,/
5
b6 ht
\-/
\-/
\,/
I
1:...
Box 5
Boxes 1-5
;-'i
G.i!
1,.:T.IlEr'):,Tr'11F:1'"i:F:i:nr"rril:rr!:,ri::
Hereare the five interconnecteffi. Play up and down each pattern,shiftingfrom one to the next until you can play it from memory.To help keepthingsstraight,use the minorpentatonic shapes thatyou alreadyknowas a "skeletal" framework,upon whichthe extranotesof the minorbluescan be seen to "hang."
5
=Tones:
ltiri,:lryS,
15
l7
Box 4
; i
I n t e r v a l s : W H W H H H W W
( A minor blues, "boxes" 1 - 5 The patternsof the minorbluesscale are not strictly "boxes"(theyare more than two notes per string)but we will referto them this way becausethis scalecan be viewedas a minorpentatonic(or blues)withadded colortones.Below,the A minorpentatonicboxesare shownin soliddots,with the addedtonesof A minor blues(2nd,bsth,b6th)shownin greydots.
Now,try the futl neck.Becauseof how the patternslay together,one note appears doubled in bracketed boxes4 and 1. Following the directionsin parentheses will yieldthe sameshapesas on the previouspage. A minor blues Box4 (omitB, str.3)
Box 1 (omitEb, str.2)
Box 3
Box 5
Box 2
A
J
l2
)
Box 5
l5
l9
Box4 (no B, str.3) Box 1 (no Eb,str.2)
Box 2
Box 1 (primary) l5
l'7
l5
Other tonalities Below,the minorbluesscaleis alsoshownin E and C. To playthe scalein tonalitiesnot shownhere,simply shift the entire sequenceof boxes up or down the (Seepage63 for notenameson the neck.) fretboard.
Box 2 t5
t9
l7
I7
v
Box 3
E minor blues Box 1 (omitB, str.3) 15
BoxS
Box5
t7 A
A
Box 4
J
t2
)
l5
r7
19
2l
(secondary) Box4 (omitFil, str.3) Box 1 (omitBb, str.2)
Box 2 l5
l2
A
Box 5
Box 3
t7
l5
t7
U
t2
l5
C minor blues
17 Box 3
a fret Box 1 is in fifthposition(stretch'back Fingering: on string 3 then slide up immediatelyto play the remainingnotes in fifth position).Box 2, in seventh position,utilizesa similarprocedure(slidethe fourth fingerup a fret on strings1 and 6).Whereboxes3, 4, and 5 callfor fournoteson a string,playthe firstthree fingering, thenslideyourfourthfingerup as positional to catchthe lastnote.Reversethis for descending. 22
Box 5
' Box4 (omitD, str.3)
Box 4 (omitD, str. 3)
Box 2
l
9
1
2
Box 1 (omitGb, str.2)
15
17
Box3
l5
l9
2l
Box 5
t7
l9
2l
23
114X
'iltr'ilf|
F
',k@,@
The majorbluesscaleis a nine-tonescalecreatedby combiningthe straightblues scale with the major mode(seepage 42).Hereare tonesof the Mixolydian the notes, tones, and intervallicstructureof this hybridscaleshownbasedon A. interesting ., ,,.i f f i b t r *A ' t s c c f D E b E F $ G A i |
!F '3F:,W'w"
.
.
F
patternson the neck. Hereare the five interconnected Playup and down each pattern,shiftingfrom one to the next until you can play it from memory.To help keepthingsstraight,use the minorpentatonic shapes thatyou alreadyknowas a "skeletal" framework,upon whichthe extranotesof the majorblues"hang." Box 1
Box 3
Box5 : t ^
Boxes 1-5
v
7
9
t
t
r2
Box 2
T o n e s : t 2 b 3 3 4 h \--l 5 5 6b 7 I \-rl \-/ \J \,/ \,/ \,/ v v H W I n t e r vWa Hl sH : H H H W
A major blues,'-boxes"1 - 5 Onceagain,the patternsof the minorbluesscaleare not strictly"boxes"(theyare more than two notesper string),but we will referto themthis way becausethis scalecan be viewedas a minorpentatonic(or blues) scale with added color tones. Below,the A minor pentatonicboxes are shown in solid dots, with the addedtones of A major blues (2nd, 3rd, bsth,6th) shownin greydots.
t7
l Box 4
Nexttry the full neck.Usethe A majoranchorchords in boxes1 and 4, below,to helplocatepositionsmore easily.Relatingthe scaleto its anchorchordswillalso helpyou transposeit into other keysmore readily. A major blues Box4 (omitB, str.3)
Box 1 (omitEb, str.2)
Box 3
|-------------.1 o
-l
-a-
: t
-|:
: t -
3
5
7
Box 5
lz
9 Box 2
l5
Box4 (omitB, str.3)
tl Box 1 (omitEb,str.2)
Box 1 (primary) l5 15
h
r' F
't7
l9
21
17
H
v
Box 2
g
l5
t7
F.
F. F
Other tonalities Below,the majorbluesscaleis alsoshownin E and C. To playthe scalein tonalitiesnot shownhere,simply shift the entire sequenceof boxes up or down the fretboard.(Seepage63 for notenameson the neck.)
v/
E mafor blues
Box 3 Box 1 (omitB, str. 3) l5
Box 3
Box 5
Box2
Box4
--------------
t n
v
. L l r
:t:
l2
Box 4 (secondary)
15
Box 1 (omitBb, str. 2) 15
t7
19
2l
l9
2L
19
2l
Box 3
l7
15
Box 5
C malor blues t5
t t
Fingering:Box 1 utilizesthe fifth and fourthpositions (wherefive notes occur,slide with the first or fourth finger).Box 2 is in seventhposition (slide with the fourthfingerfor the extranote).Boxes3, 4, and 5 are similar-slidewithyourfourthfingerto catchthe extra (fifth)fret.
BoxS
Boxs
3
5 Box4
7
9
Box 1 (omitGb, str.2)
12
15 Box 3
Box 5
t5
24
l7
l9
25
w
ilrG
ib:t#.S:"xlt+
'!.1"+*
"omit Hereis the entireneckfor E naturalminor.The B, string3" referenceon lowerpattern1 tellsyou that one note which is unavoidablyincluded in the bracketedareashouldbe skipped.The higherpattern 1 beginsat the eleventhfret, and so, does not need this indication. to the major The naturalminorscaleis the counterpart Thisdark, scale-often consideredits polar"opposite." scaleis at homein metal,rock,pop,and sad-sounding folk styles.lt is a seven-tone(diatonic)scale with a minor3rd,minor6th,and minor7th.The notes,tones, and intervallic structureare shownbelow,basedon E.
sgdtsfsf,p#sss*', .*+sFE{+4i46$$s{\Sd4sdft+4$$flpExw*ffiex$at$*xffiw#s$@s*sw\
o Pausethe scalefromtimeto time anclplaytne Em anchorchords.Thisway,yourear will be sure to hear E as the root. E naturalminor Patt.4
Patt.2
Patt.5
Patt.3
Patt.1(omitB, str.3)
F* A
o =
;
5
t
r
G
1
7
5
r
9
1
U
2r
19
17
l5
2
l Patt.3
Patt. 1
Patt. 4
Patt.2
I n t e r vWa Hl sW : W H W W
E natural minor, patterns 1 - 5 The naturalminorscale has five ditferent"positional" patternson the neck.Thesecontainand correspond to the minor pentatonicboxes (page 10). This makes learningthe natural minor scale somewhateasier becauseyou are just addingon to patternspreviously learned.Below,the pentatonicboxes are shown in solid dots with added tones 2 and b6 shown in grey dots.Takentogether,theyformthe full diatonicnatural minorscale.
l5
2l
19
Other tonalitles Beloware full neckpatternsfor A minorand C minor' "anchot''chords.Playthe along with the appropriate chordsand patternsfor each tonality. '
A naturalmlnor Patt.2
Patl. 5
Patt. 3
Patt. 1
Patt.4
t--____----r
Patt. 1 A
3
5
7
l5
9
19
2l
Patt. 1
Patt.4
Patt.2
Patt.5
r7
Patt.2
17
Patt.3
C naturalminor Patt.4
Patt.2
Patt.5
Patt.3
r-____---l
A
3
Patt.4
5 Patt.4
7
9 Patt l
15
12
17
19
2l
Patt.5
Patt.3
A
I)
Patt.5
a
A
A
t7
ll
t2
Fingering:Pattern1 is in open (first)position.Pattern 2 is in second position. Pattern 3 is in fifth position (fourthfor strings3 and 4). Pattern4 is in seventh position.Pattern5 is in ninthposition(tenthfor strings 1 and 2). 26
For otherkeys,simplyslidethe nearestpatternup or at the downthe neck,placingthe circledrootlocations the on names page note for (See 63 fret. appropriate neck,if necessary.) 27
-W. ffir*'o'=,'+wPffi'W.
s
.E
W'
I E naturatminor,threenotesper string
W
iEr:!' ii{w'ry
6.n#io naIiries,ti iffffi'ffiffftri;t'
scale For faster scale runs, three-note-per-string patternsare useful.There are sevendifferentthreepatterns-one beginningon eachtone note-per-string of the scale.(Pattern1 is shownat the octaveposition, below, as well.) These are excellentpatterns for practice,and are veryeffectivefor building sequencing up yourspeedand pickingtechnique.
patternsfor A and Beloware the three-note-per-string pattern 1 beginson the C naturalminor.In eachcase, root on the sixth string, and the sequenceof the patternsremainsthe same. A naturalminor v
'
For example,when ,; beginningwith a downstroke. patterns, playingany of these string6 will followedby'up-downalwaysbe'down-up-down' up'onstring5.F|epeatthisapproachonstrings 4 and 3, then againon strings2 and 1.
l5
l5
t7
l5
t7
l5
t7
l5
t7
l5
t7
l5
t7
Patt.3
E naturalminor A
Patt.4
,att. I t5
t7 Patt.5
tatt. 2 l5
A
t7
tatt.3 Patt.7 15
,att. 4
t'l
A
C naturalminor 15
l7 v
ratt.5
A
l5
l5
tatt. 6
t7
A
l5
15
t7
l5
t7
l5
t7
l5
t7
t7
Y
tatt.7 A
l5
t7
tatt. 1 octave)
A
l5
Whenthe notesspanfivefretson a string, Fingering: use fingering 1-24 (or 1-3-4). Also, allow your positionto change fluidlyas neededthrougheach pattern.Forexample,pattern3 beginsin thirdposition (strings5 and 6), changesto fourthposition(strings3 and 4), and changesagainto fifth position(strings1 and 2). 28
t7
Patt.7 5
7
9
1
2
For other keys,simplyslide the patternsup or down the neck.(Seepage63 for notenameson the neck.) 29
F
ry|ffqfl.trrfPs
! 1 >- d.. iTslqislp
gs'*Fi!:t4@;Fn'!4
F
#
"'w
'r1
'i'
to Westernmusicand The majorscaleis fundamental appearsin a varietyof stylesincludingpop,iazz,folk, and to a lesserextent,rock. lt is brightand happysounding.Here are the notes,tones,and intervallic structureof this seven-tone(diatonic)scale,basedon G. N o t e s : G A B C D E F i l G ' l
G e u = ' r 2 3 4 5 6 7 r \-./ \-/ \,,/ \-/ \// \*/ \,/lnteruals: W W H W W W H
The astuteguitaristwill recognizethat these patterns arethe sameas E minor(page26).Onlythe rootsand ,4 anchor chords are different-but this is a critical whichchangeshowthe ear hearsthe scale. difference It is thereforewise to practiceG majoras its "attached"to its own set of patterns,to see it properly majoranchors.Sinceyou are familiarwiththe shapes already,learningthem as G majorshouldgo quickly! chords.This way,yourear will be sureto hearG as the root.Also,try shiftingbetweenplaying just the solidpentatonicdots and the full diatonic patterns.This makesfor a greatexercise!
Tones:
$ * $ I" '
€
G major Patt.3
Paft. 1
Patt.4
Patt.2
Patt.5 (omitB, str. 3)
r!\
G major, patterns 1 - 5 "positional" patterns The majorscalehas five distinct major contains all the the scale on the neck.Since pentatonic tones of major pentatonic(page 18), the This makes boxesappearwithinthesemajorpatterns. learningthe major scale somewhateasier because yo, are simplyaddingto patternspreviouslylearned. Aelow,the majorpentatonicboxesare shownin solid dots with added tones 4 and 7 shown in grey dots. Takentogether,theyformthe diatonicmajorscale.
F
F
H.
F, K att.1
3
7
5
9
t
2
l
s
7
l
9
2
1
Patt.2
Patt.s
Patt.3
Patt. l
l
15
17
Other tonalities Beloware full neck patternsfor E and C major,along "anchor"chords.Playthe chords with the appropriate and patternsfor eachtonalitY.
ox2)
E maior
F:.
Ft ;'
Patt.2 (ext.to low E root)
Patt.1
Patt.4
Paft.3
: v
= t
att. 2
t :
ox 3) 5
7
9
t
17
19
Patt.2
Patt.5
Patt.3
15
2
2l
Patt. 4
v
rtt. 3 ox 4) l7
9
19
2l
C major rt t. 4
Patt.1
Patt.4
Patt.2
Patt.s
Patt.3
ox 5)
1
att. 5
5 Patt. 4
7
9
15
t2
Patt. 1
L7
2l
l9
Patt. 5
Patt. 3
ox 1)
12
Fingering:Pattern1 is in secondposition.Pattern2 is in fifthposition(fourthon strings3 and 4). Pattern3 is in seventhposition.Pattern4 is in ninthposition(tenth t on strings 1 and 2). Pattern5 is in twelfthposition {+: (eleventh on string3). s F
30
t2
l5
t7
l9
2l
For other keys,simplyslidethe nearestpatternup or down the neck.(See page 63 for note nameson the neck,if necessary.) 31
Ey"'F*n.r".:ts'FrqsF@tRldrF"NFt{r
'tl*F.|q!G@ry
G major,three notes per string :l scale For faster scale runs, three-note-per-string patternsare useful.There are seven differentthreepatterns-onebeginningon eachtone note-per-string of the scale.Onceagain,theseare the samepatterns you learnedas E naturalminor (page 28).Here, however, we will anchorthemto G rootsand G major chords.
Other tonalities,three notes per string patternsfor E and Beloware the three-note-per-string C major.Number1 beginson the rooton string6 and the sequenceof the patternsalways remainsthe same. E malor v
#r Consistentalternatepickingis recommended,.EEp,= Forexample,when , beginningwith a downstroke. playingany of thesepatterns,string6 will 'a|waysbe.down.up.down,fol|owedby.up-downup'on string5. Repeatthis approachon strings i 4 and 3, then againon strings2 and 1.
3
5
7
s
I
'
t
9
1
1
2
5
1
1
7
5
1
7
1
1
1
7
9
1
2
l
1
9
-*
a
1
2
1
2
1
5
1
7
1
5
t
1
7
5
1
7
+
5
7
9
t
2
1
5
1
7
5
7
9
1
2
1
5
1
5
7
9
1
2
1
5
t
7
5
t
7
7
9
9
5
9
t
1
a-
7
5
p"tt.s
rtt.1 2
2
v
l.:
t
1
Patt.2
Patt.4
9
9
I
G major
7
q
wT*"f,]!@M-F!qtt*r
7
9
1
2
7
G
1
C maior
9
v
Patt.1
rtt. 4 7
9
1
2
1
5
1
7
1
5
7
9
t
2
1
5
t
5
7
9
t
2
1
5
1
9
v
'
t
9
t
2
1
5
1
7
1
9
il
7
*', b,
9
1
2
1
s
r
7
1
9
a
v
5
7
9
1
2
1
5
t
7
5
7
9
1
2
1
5
t
7
5
7
9
1
2
1
5
1
7
5
7
9
1
,"n.o
I
att. 6
7
Patt.5
Patt.6
7
9
1
2
1
5
1
7
1
2
1
5
t
7
9
Patt.7
Fingering:Same as natural minor three-note-perstringpatterns(seepage28).
Forothe, n"ui,,,ro,u,rio",^" j"u",,nr"ro ", ;*; the neck.(Seepage63 for notenameson the neck.)
g F 32
33
"1tH
W
Eachmodemay be viewedas a scalein its own right. Beloware the modesderivedfromthe G majorparent shapes. scale,shownin full,two-octave +#*6+6s#4#i#*&ffi #€fr*tr*ffi+.sw"s' #ffisfl@.+;s
"parent" Modesare createdwhen the root note of a scale is displaced.For example,let's take C major. Playedfrom C to C, this is simplythe C majorscale itself.In modalterms,this is the firsfmodeof C major. Nextusethe samenotes,butthis time playthemfrom D to D-making the secondnoteof the scale(D)to be the root-and you havethe second mode of C major. Play from E to E and you have the third mode of C major,and so on. There are sevendifferentnotesin the scale, so there are a total of seven different modes. 7th mode 6th mode 5th mode
...:'.
.,. :A
. Lookfor a G majorbarrechordwithinthe G lonianpattern,an A minorchordwithinthe A Dorianpattern,a B minorchordwithinthe B Phrygianpattern,a C majorchordwithinthe C Lydianpattern,a D majorchordwithinthe D pattern,an E minorchordwithinthe Mixolydian E Aeolianpatter,and an Fildiminishedchord withinthe F$Locrianpattern.
G lonian (major) l5
17
t5
t7
l5
t7
l5
L7
l5
t7
C D EF G A B C D E F G A B lst mode 2nd mode 3rd mode
Modal names The seven differentmodes of the major scale are namedwith the followingGreek names.Noticehow each modeof C majoris completelycontainedwithin the sameoverallC majorpattern1.
B Phryglan
C Lydlan
€Yffiffiffi majorscaleltself.The Aeolianmodeis the modalnamefor the naturalminorscale.
r
D Mlxolydian
t I
Iii r
H*
1
C lonlan (maior)
!: .-
E Aeolian (nat. minor)
! I ' I
F
r[:
2
F:
It:
D Dorian
',i:.. F
Fil Locrian
$.,
34
3
E Phryglan
4
F Lydian
5
G Mixolydian
6
A Aeolian(nat. minor)
7
B Locrian
All modes derivedfrom any parentscale (a modal family)are said to be relatefthis meansthat they sharethe same notes.lt is importantto realizethat it is the placementof the roots which cause each pattern to be a particularmode. Delete the root informationabove and all of the patternscan be G major.Theyalsocould allbe A Dorian,B Phrygian,C Lydian,D Mixolydian, E Aeolian,or FilLocrian. On the followingpages,the modes(otherthan lonian and Aeolian)are each coveredas scalesin theirown right,overthe entirefretboard.
35
W'Mil
rc
The Dorianmodeis a naturalminorscalewitha raised (major)sixthstep,makingit a distinctlyminortype of scale with a momentof brightness.lt is commonin rockand pop styles.The notes,tones,and intervallic structureare shownbelow,basedon E. B
C
f
The astuteguitaristmay noticethat E Dorianusesthe patternsof D major/B minor (but with roots on E). it is bestto learneachmodeas a scale Nevertheless, "superimposed" with its parallel, right, in its own pentatonic and anchorchords.This will also allowfor quick and easy parallel modality changes-for example,changingbetweenE naturalminor and E Dorian "on the fly" during a guitar solo-using a relativepatternwill not. E Dorian Patl.4
Patt.2
Patt.5
Patt.3
Patt.l (omitB, str.3)
D
17
E Dorian, Patterns 1 - 5 "positional" The Dorian mode has f ive different to patternson the neck.Thesecontainand correspond the minor pentatonicboxes (page 10). Below,the pentatonicboxesare shownin soliddots with added tones2 and6 shownin greydots.Takentogether,they formthe full diatonicDorianmode.
2r
Patt.3
Patt'1
Patt.4
Patt.2
19
OtherTonalities Hereis the A Dorianmodealongwiththe associated Am anchorchords.Shiftit intootherkeysas well. A Dorian Patt.2
Patt.S
Patt.3
Patt. 1
Patt.4 (omitB, str. 3)
v
I
I
Patt. 1
x. --v-
3
7
5
t2
9
2l
Patt. 1
Patt.4
Patt.2
Patt.5
19
17
l5
v
Patt.2
t1
l5
l9
2l
Three notes Per string Youshouldalreadyknowthe diatonicthree-note-perstringpatternsand sequence(pages28 and 32),so all you reallyneed here is the correctstartingpoint. "pattern2" becomes The shapeshownon page32 as pattern1 for Dorian.shift it to starton the sixthstring root.ln this case,to playG Dorian,we'llstartwiththis patternon G at the thirdfret and continuefromthere.
\v
Patt.3
Patt.4
G Dorian v
A
Patt.5
Fingering:Pattern1 is in open (first)position.Pattern z iJ in secondposition.Pattern3 is in fourthposition (fifth for strings 1 and 2). Pattern 4 is in seventh position(stretchbacka fret on string3). Pattern5 is in ninthposition(tenthfor strings1 and 2). i*," R!..
l5
t7
l5
t t
15
17
v
3
5
7
9
1
2
continuewith page 32 patterns5, 6, 7, and 1 as 4, 5, 6, and 7 (downtwo frets)...
37
try'r)-'\rq':qiqry"t'sirrr{'Farff ?TETF.I
:'-:l#Ff
%ii'.
;@j
E*':ry.'_i€tr
il"*:91*Y:i7!FWS
The Phrygianmode is a naturalminor scale with a flatted(minor)second step, which adds a distinctly Spanishflavor.lt is commonin metaland alternative rock.The notes,tones, and intervallicstructureare shownbelow,basedon E.
F h
The astuteguitaristmay noticethat E Phrygianuses the patternsof C major/Aminor(butwith rootson E). it is bestto learneachmodeas a scale Nevertheless, in its own right, with its parallel,"superimposed" pentatonicand anchorchords.This will also allowfor quick and easy parallel modality changes-for example,changingbetweenE naturalminor and E Phrygian"on the fly" during a guitar solo-using a relativepatternwill not. E Phrygian
m
Patt.s
Patt.3
Patt. 1
Pan.4
Patt.2
- t Y
R
$: s.
Tones:
ffi F,
* l:
H
r sl }t lf l;
\--l
\r/
Intervals:
Fj ii t: :q :?:
- = u E r r I-.'z" bz b3 4 H
W
\.-,/
W
W
3
$ s b 6 b I 1 \*/
\r'l
H
r2
9
15
t7
Patt.1
Patt.4
Patt.2
\//
W
7
5
l9
2r
Patt.3
W
E Phrygian,patterns 1 - 5 The five positionalpatternsof the Phrygianmodeare shownbelow.The pentatonicboxescontainedwithin the patternsare shownin soliddotswith addedtones b2andb6shownin greydots.Takentogether,theyform the fulldiatonicPhrygianmode.
t5
t7
l9
OtherTonalities Here is the A Phrygianmode alongwith Am anchor chords.Shiftthis intootherkeysas well. A Phrygian Patt.3
Patt.1
Patt.4
Patt.2
Patt.5
n{:
ts i!!
Patt. 1 3
5
7
15
l2
9
Patt.4
Patt.2
Patt.s
t7
19
2l
Patt.1
Patt.2 l5
t7
l9
Three notes per string Youshouldalreadyknowthe diatonicthree-note-perstringpatternsand sequence(pages28 and 32), so all you reallyneed here is the correctstartingpoint. "pattern3" becomes The shapeshownon page32 as pattern1 for Phrygian.Shiftit to the sixthstringroot. In this case,to play G Phrygian,we'll start with this patternon G at the thirdfret and continuefromthere.
Patt.3
A\
Paft.4
G Phrygian
A
a
v
Patt. 5
Patt.2
i:
Fingering:Pattern1 is in open (first)position.Pattern 2 is in second position (third for strings 1 and 2). Pattern 3 is in fifth posifion (stretch back a fret on string3). Pattern4 is in seventhposition.Pattern5 is in tenthposition(ninthfor strings3 and 4).
&, KJ
3
5
7
9
1
2
1
5
1
7
withpage32 patterns6, 7, 1, and continue 2 as 4,5, 6, and7 (downfourfrets)...
Itr #-'
38
39
tEr+ ".1-&",.
F
B C *
D
G Lydian Patt.5 (omitB, str.3)
T+4#tMee
E
F
#
-..1 ,:-rF?f'tf:
The astuteguitaristmay noticethat G Lydianusesthe patternsof D major/Bminor (as well as those of E Dorian shown on page 36), simply with displaced roots.However,it is best to learn each mode as a "superimposed" scale in its own right, with its pentatonicand properanchorchords.This will also "on allowfor quickand easyparallelmodalitychanges the fly" duringa guitarsolo-using a relativepattern willnot.
The Lydian mode is a major scale with a raised (augmented)fourth step, which gives it an odd, mysteriousquality.The notes,tones, and intervallic structureare shownbelow,basedon G. I
; ;
Patt. I
Patt.4
Patt.3
G A
o
Tones:
i
3
2
I
3 \*/
\--l
lntervals:
k
W
f
W
i
*
6
7
\.-/..-*"/
\/
W
s
H
W
1
7
15
t2
9
19
L7
2l
Patt.2
Patt.5
Pan.3
Patt.1
\r/
W
5
H
t:
* G Lydian, patterns 1 - 5 i,
t2
H The Lydian mode has f ive different "positional" E to patternson the neck.Thesecontainand correspond ; the major pentatonicboxes (page 18). Below,the pentatonicboxesare shown in solid dots with added tones il4 and 7 shown in grey dots. Takentogether, theyformthe full diatonicLydianmode.
l5
t'l
2l
l9
F
n
..t
i.i I OtherTonalities .*r its anchor with associated Lydian mode Hereis the C chords.Shiftintootherkeysas well. C Lydian Patt.3 (omitB, str. 3)
*g;
Patt.1
Patt.4
Patt.2
Patt.5
A
v
v A
A
A
att.I
A
ox 2)
3
5
7
Patt. 1
Patt.4
F,,
9
12
15
17
19
2l
Patt.s
Patt.3
t#
k
A
att.2
A
rox3)
l5
$ fi'
ff".
Three notes per strlng Youshouldalreadyknowthe diatonicthree-note-perstringpatternsand sequence(pages28 and 32), so all you reallyneed here is the correctstartingpoint. "pattern4" becomes The shapeshownon page32 as pattern1 for Lydian.Shiftit to the sixthstringroot.In this case,to play E Lydian,we'llstartwiththis pattern on openE and continuefromthere.
h,{. t:i FiE{
A
an.3
v
rox 4) tc f,, 11
att.4 rox5)
A
r
E Lydlan
A
att.5 rox1) A
v
Patt.2
Fingering:Pattern1 is in secondposition.Pattern2 is in fourthposition(fifthfor strings1 and 2). Pattern3 is in seventhposition(stretchback a fret for string 3). Pattern 4 is in ninth position. Pattern 5 is in twelfth position(eleventhfor strings3 and 4).
A
l5
A
t2
l5
17
continuewith page 32 patterns7, 1, 2, and 3 as 4, 5, 6, and 7 (downeightfrets,or up four)...
41
F
'.*-{FqFFrr:rr3qry
"K"'
5ffilFjX'
trss:iwi'gr:4?r'-qF'1FryF{M*:
tWffi
ffi'
&
The astuteguitaristmay noticethat G Mixolydianuses r'$ the patternsof C major/Aminor,simplywithdisplaced #, roots.However,it is best to learn each mode as a scale in its own right, with its "superimposed" pentatonicand properanchorchords.This will also ,,,W allowfor quickand easyparallelmodalitychanges"on the fly" duringa guitarsolo-using a relativepattern willnot.
The Mixolydianmode is a major scalewith a flatted (minor)seventhstep.This is commonin rockand pop styles,where it is often used as a major-sounding modein placeof the majorscale.lt containsthe tones of the dominantseventhchord.The notes,tones,and intervallic structureare shownbelow,basedon G.
, Patt.5
G Mixolydlan Patt.2
Patt.4
Patt.1
Patt.3
Notes: 3
5
7
9
Patt.1
Tones:
u { l l 2
3
4
\.,/ \,,' W H W \*/
lntervals:
W
s
6
\#/
W
b
7
-r..*,,-
12
15
Patt.3
Patt.5
2l
I
\s/
H
W
G Mixolydian,patterns 1 - 5 "positional" The Mixolydianmode has five different to patternson the neck.Thesecontainand correspond the major pentatonicboxes (page 18). Below,the pentatonic boxesare shownin soliddots with added tones 4 and b7 shown in grey dots. Takentogether, theyformthe full diatonicMixolydianmode.
s.
l7
C Mixolydian Patt.3
Patt.5
Patt.2
Patt.1 (inc.)
Patt.4
xl
v
v
3
A
l9
OtherTonalities Here is the C Mixolydianmode with its associated anchorchords.Shiftintootherkeysas well.
5
7
Patt.4
F
19
Patt.2
l5
ltt. 1 tx2)
t7
9
t2
15
Patt. 1
r7
Patt.3
t9
2l
Pan.s
A
v
ltt.2 ox3)
rtt.3 ox 4)
rtt.4 ox 5)
t7
Three notes per string . Youshouldalreadyknowthe diatonicthree-note-perstringpatternsand sequence(pages28 and 32), so all you reallyneed here is the correctstartingpoint. The shapeshownon page32 as "pattern5" becomes pattern1 for Mixolydian. Shiftit to the sixthstringroot. In this case, to play E Mixolydian,start with this patternon open E and continuefromthere. E Mixolydian
att.5 ox 1)
Fingering:Pattern 1 is in second position (third for strings1 and 2). Pattern2 is in fifth position(stretch back a fret for string 3). Pattern 3 is in seventh position.Pattern4 is in tenthposition(ninthfor strings 3 and 4). Pattern5 is tn twelfthposition.
l5
l7
l5
t7
v
3
5
7
9
1
2
continuewith page 32 patterns1, 2,3, and 4 as 4,5, 6, and 7 (up two frets)...
42
tffi
43
trv'w_w'
F
The astuteguitaristmaynoticethat E Locrianusesthe patternsof F major/D minor (but with roots on E). Nevertheless, it is bestto learneachmodeas a scale in its own right,with the "superimposed" pentatonic and anchorchords.
h
F F
The Locrianmode is like the Phrygianmode with a flatted(diminished)fifth step. lt is common in the heaviestformsof modernmetal.lt containsthe tones of the diminished(and minor sevenflat five) chord. The notes,tones,and intervallicstructureare shown below.basedon E. . i$r nr,1,:1! e ,4
aJ7,:ri;+*l:.yr9 9,
r The anchorchordsshownare m7b5types.
F
E Locrlan Patt.1
Patt.3
Patt.s
'pan.4(lnc.)
Patt.2
ffi. v
A B b C D E ' : J , 3
5
7
Patt.2
F
E Locrian,patterns 1 - 5 The five positionalpatternsof the Locrianmode are shownbelow.The pentatonicboxesmustbe alteredto b5"scaleto conformto the Locrian forma "pentatonic mode'sdiminishedfifths.This is shown in solid dots with addedtones b2 andb6shown in grey dots.Taken theyformthe full diatonicLocrianmode. together,
12
15
Patt.4
i *Pattern
9
)
Patt.1
2
1
r7
19
2l
Pan.3
5
2
1
is incomplete;include Bf either on string 2, trel23, or string 1, f ret 18.
' : Other tonalities Here is the A Locrianmode along with Am anchor chords.Shiftthis intootherkeysas well. A Locrlan Patt.4
Patt. 1
Patt.3
Patt.s
A
O v
Patt. 1
3
5
7
Patt.5
Patt.2
9
12
15
t7
19
v
Patt.2
Patt.4
l5
sr/
F
t7
2l
Three notes per string . Youshouldalreadyknowthe diatonicthree-note-perstringpatternsand sequence(pages28 and 32), so all you reallyneed here is the correctstartingpoint. The shapeshownon page32 as "pattern7" becomes pattern1 for Locrian.Shiftit to the sixthstringroot.In this case,to playG Locrian,startwiththis patternon G at the thirdfret and continuefromthere.
Patt.3 v
A v
Patt.4
2l
Patt.1
v
G Locrian v v
Patt.5
A v
l5
t7
l5
l7
15
l7
v
Fingering:Pattern1 is in open (first)position.Pattern 2 is in third position (secondfor strings 3 and 4). Pattern3 is in fifth position.Pattern4 is in seventh position(eighthfor strings 1 and 2). Pattern5 i s i n tenthposition(stretchback a fret for string3).
Patt.3 3
5
7
9
1
2
continuewith page 32 patterns3, 4, 5, and 6 as 4, 5, 6, and 7 (up one fret)...
44
45
.
'-
ffi
qF Hereis the entireneckfor E harmonicminor.Because of how the patterns connect together,the B note appears doubled in lower pattern 1. Follow the directionsin parenthesisto avoid playingthis note twice.The higherpattern1 beginsat the eleventhfret, and so avoidsthis situation.
m The harmonicminor scale is a naturalminorwith a
raised (majoQseventhstep.This creates an exoticsoundingthree-fretintervalflankedby half steps.lt $ may also be used createa strong minor resolution, :. style.The notes, $ and is commonin the neo-classical F r tones,and intervallic are shownbelowon E. structure ri li !".:
,1,' :,i
I*",
*ffft#3u*'uwo rs
J . Pausethe scalefromtimeto time and playthe & j xt Em anchorchordsto hear E as the root. E harmonicminor Patt.3 (omit Dil, str. 3)
Patt.1 (omitB, str. 3)
o
F
c 0 f E
3
- e u a
5 l { }
T o n e s : 1 2 b 3 4 s \*/
lnteruals:
\-/
\,r'
W
H
W
b
5
7
15
12
9
19
l7
2l
Patt.3 (omitD$,str.3)
Patt.1
Patt.4
Patt.2
6
Patt.4
Patt.2
Patt.5
7
\.'-l \,'/t t\-H W + H H W t7
E harmonic minor, Patterns1 - 5 The harmonic minor scale can be played in five "positional" patternson the neck.The easiest different way to learnthem is to take naturalminorand raise each7th step one fret (so it is founda half step below each root).Of course,this approachassumesyou already know the natural minor. lf not, review the patternson page 26. The major Tths are shown in grey.
Other tonalities Beloware full neck patternsfor A and C harmonic minor,alongwiththe anchorchords.Playthe patterns for each tonality.Then shift into otherkeys. A harmonicminor Patt.3 (omitG{, str.3)
Patt.4 (omitB, str.3)
Patt.2
Patt.5
Patt. 1 A
3
5
1
9
t
2
1
5
1
7
1
9
2
1
Patt.1
Patt.4
Patt.2
Patt.5
Patt.2
t9
Patt.3
C harmonlcminor Patt.4
Patt.2
Patt.5
Patt.3 (omitB, str. 3)
r--------l -A
A
Patt.4
3
5 Patt.4
7
9 Patt.1
t2
15
17
Patt.3 (no B, str.3)
19 Patt.5
A
t2
Patt.5
l5
l7
t2
.: *:lf.
N,!
f"' Ei.
Fingering:Pattern1 is in open (first)position.Pattern 2 is in second position(stretchfourth finger up on string 5). Pattern 3 is in fifth and fourth positions. Pattern 4 starts in sixth position and shifts up to seventh position on string 5. Pattern 5 is in ninth position(tenthfor strings1 and 2). 46
For otherkeys,simplyslidethe nearestpatternup or downthe neck.(See page 63 for note nameson the neck,if necessary.)
47
2l
F
-
Other tonalities,three notes per strlng " patternsfor A and Beloware the three-note-per-string pattern 1 beginson case, In each minor. C harmonic the root on the sixthstring,and the sequenceof the patternsremainsthe sameas on the previouspage.
E harmonic minor, three notes per string scale For faster scale runs, three-note-per-string patternsare useful.There are seven differentthreepatterns-one beginningon eachtone note-per-string of the scale. (Pattern1 is also shown at the octave position,below.) =qry!@,.,F
'%Fa{#t4'ffi
"r$r44t#swy$*d
A harmonicminor
"w$tr@rsfsirs@iffE"
v
. Consistentalternatepickingis recommended' For example,when beginningwith a downstroke. playingany of thesepatterns,string6 will followedby'up-downalwaysbe'down-up-down' approachon strings this Repeat 5. up' on string - 4 and 3, then againon strings2 and 1.
l5
11
t5
t7
t5
t7
l5
17
Patt.3
E harmonlcminor
Patt. 1 r5
t7
15
t'l
Patt.2
l5
Patt. 3 l7
l5
Patt.7 l5
t7
l5
t'l
l5
t'l
l5
17
l5
l7
A
Patt.4
C harmonlcmlnor
t5
l7
A
Patt.5 t7
l5
A
Patt.6 t5
t7
+
o
Patt.7
t5
Patt. 1
t'l
---
+
-G
O
Patt.5 t5
Fingering:Allow your position to change fluidly througheachpattern.Forexample,pattern2 beginsin secondposition,changesto fourthposition(string2), and stretchesbacka fret on string1. when spanning five fretswith wholesteps (as in pattern3, string6), use fingering1-24. When spanningfive fretswith a minorthirdand halfstep(as in pattern3, string5), use fingering1-3-4. s.' K.
Patt.4
t7
Patt.6
Patt. 7 5
7
9
1
2
For other keys,simplyslidethe patternsup or down the neck.(Seepage63 for notenameson the neck.) 49
48
Tr','ilHMi@
ry
F
The astuteguitaristwill recognizethat these patterns are the same as A harmonicminor,but with different roots and anchor chords. This is because the Phrygian-dominant scale happensto be a mode of (the harmonicminor fifthmode,to be precise).
h Hi
3r:,
scaleis a Phrygianmodewith The Phrygian-dominant a raised(major)3rd.This is also calledthe spanish Phrygian,major Phrygian,or Spanish Flamenco scale.The notes,tones,and intervallicstructureare shownbelowbasedon E.
r Listenfor the interesting mix of the brightmajor h q grey) (in the 3rds against otherminorintervals. Ei ' The anchordchordsare E major. d E Phryglan-domlnant Patt.1(omitB, str. 3)
%eu,
Patt.3
Patt.5
Patt.2
Patt.4 (omitF, str.2)
7
9
c*
&'
Y I :
$.i $: li.
s
':'. 3
i"
s Patt.2
Intervars: YffiYVYYY
7
9
t
2
t
Patt.4
5
t
t
Patt. 1
2
l
Patt.3
E E Phrygian-dominant, Patterns1 - 5 "positional" scale has f ive The Phrygian-dominant patternson the neck.The easiestwayto learnthem is to takethe Phrygianmodeand raiseall the minor3rds one f ret. Of course, this approach assumes you alreadyknowthe Phrygianmodewell.lf not, go back and reviewpage38 first.The major3rdsare shownin grey,below.
l5
t7
Other tonalities Belowthe Phrygian-dominant scaleis shownin A with the appropriateanchor chords.Shift the patternsto playin othertonalitiesas well. A Phryglan-dominant Patt.3
Patt.4 Y
Patt. 1 J
)
Patt.5
l5
t7
l5
I7
Patt.2
Patt.2
Three notes per string Phrygian-dominant uses the same patternsand sequenceas harmonicminor (page 48), but with different roots. The shape shown on page 48 as "pattern5" becomespatternt here.Shiftit to beginon the sixthstringroot.In this case,to playG Phrygiandominant,we'llstarton G at the thirdfret.
Patt.3
Patt.4
G Phrygian-dominant
Patt.5
l5 A
Patt.2
Fingering:Pattern1 is in open (first)position.Pattern 2 is in second position (third on strings 1 and 2)' Pattern 3 is in fifth position (stretch back a fret and up on strings1, 3, and 6). Pattern4 is in seventh :::- slide position. Pattern5 is in tenthposition(ninthon strings H 3 and 4, slidebackup to tenthon string2). r-.
50
t5
t7
continue withpage48 patterns1, 2, 3, and 4 as 4,5, 6, and7 (upeightfrets)... 51
.f.?rY{:sFl%"
F
W!Hi'"qr:r*
Here is the full neckfor E jazz minor.Omit the B note pattern1.The higher of string3 in the lowerbracketed pattern1 avoidsthissituation by including fret 11. Eiazz melodic minor Patt.1 (omitB, str.3)
Thejazz melodicminorscale is a naturalminorwith raised(major)6th and 7th steps.This makes it the minorscale-in fact,the top halfof brightest-sounding the scale is identicalto the major scale.The notes, structureare shownbelowbased tones,and intervallic on E.
F+
B
C f D *
Patt.3
Patt.5
Patt.2
Patt.4
v
3
5
7
Patt.2
9
t2
Patt.4
15
t7
Patt.1
19
21
Patt.3
E t7
: Other tonalities Here is the A jazz minor scale along with the Am anchorchords.Shiftintootherkeys,as well. .
Tones: lntervals:
W
H
W
W
W
W
H
Eiazz melodic minor, Patterns1 - 5 The jazz melodic minor scale (sometimescalled simply"jazzmino/')has five positionalpatternson the neck.The easiest way to learn them is to take the majorscaleand drop all the 3rds one fret.Of course, this approachassumesyou alreadyknow the major that you review scalewell. lf not, it is recommended page30 first.The minor3rds are shownin grey.
Aiazz melodic minor Patt.4 (omitB, str. 3)
Patt.3 (omitGil, str. 2)
Patt. 1
Patt.5
v
A
J
)
Patt.5
7
9
t
2
l
Patt.2 (omitF$, str. 3)
5
l
7
l
Patt.4
9
2
r
Patt. 1
l5
t1
2l
l9
Patt. 1
Three notes per string Below,the jazz minor scale is shown in three-noteper-stringpatternsin G. Shiftintootherkeys,as well.
F v
Giazz melodic minor
Patt.2
t5
t7
l5
t7
v
Patt.3
v
A
Patt.4
l7
19
A
Patt.4
t) A
Patt.5 l2
Fingering:Pattern1 is in open (first)position.Pattern 2 is in secondposition(use 1-24 on string5). Pattern 3 is in fourthposition(slide up into fifth on strings 1 and 2). Pattern4 is in seventhposition(stretchbacka fret on strings3 and 5). Pattern5 is in ninthposition (fingering1-24 on string4). 52
7
9
1
2
1
5
1
l5
I7
t5
t7
7
1
53
t9
9
Hry : Lydian bZ Lydianb7is the fourth mode of the iazz minorscale. This is a Lydianmode with a flat (minor)7th. This structureis also knownas the overtonescale.Below, the b7sare shownin grey.
!:{
ri i;
fi The jazz melodicminor scale may be displacedto create a series of modes.These are used almost exclusivelyin advancediazz styles,and are relatively complex.That said, most guitaristswill never have for the curious need to masterthese.Nevertheless, here. them jazz-minded will outline we and the of the alterations as Thesemodesare viewed major-scalemodes,so the originalmodalnamesare employedalong with descriptivetonal labels which identifythe particularvariation.Make sure you know all the major-scalemodes very well beforetackling these! Each mode below is shown in its pattern1, with its rooton the sixthstring. Jazzmelodic minor This is the parentscale (and first mode).lt doesn't have a specialmodal name-we just call it the iazz melodicminorscale.This examplestartswith A iazz melodic minor, which you already learned on the previouspage, but here it is again (pattern1). The notesare A-B-C-D-E-Fil-Gil, so the followingmodes will eachbeginon one of thesenotes.
t7
l9
A
t7
l9
2l
Mixolydian013 Mixolydianb13is the fifthmodeof the jazz minorscale. This is a Mixolydianmodewitha flat (mino| 6th.(The b6this knownas a b13thbecauseextendedjazz chords use this notegenerallyin a higheroctave.This name, then, has been retainedeven though the note in questiondoes in fact appear in every octaveof the scale.)This structureis also known as the Hindu scale.Below,the b6s/b13s are shownin grey. E Mixolydianb13
t7
Aiazz melodic minor
t5
D Lydianb7
21
Locrian12 Locrianil2 is the sixth mode of the jazz mtnorscale. This is a Locrian mode with a raised 2nd. Since Locrian,however,starts out with a flat (minor)2nd, raisingit simplybringsit back up to a "normal"major 2nd. Below,the 2nds are shownin grey. Ff Locrlan f2
Dorian b2 Dorianb2is the secondmode of the iazz minorscale. thisis simplya Dorianmodewith As the nameimplies, Below,the b2sare shownin tone. (minor) 2nd a flatted gre'' B Dorianb2
l5
t7
l9
2l
Lydian augmented Lydianaugmentedis the third mode of the iazz minor scale. This is a Lydian mode with a raised (augmented)5th. Below,the ilSsare shownin grey. C Lydian augmented v
l5
fu,
54
t7
l9
zl
l5
Super Locrian (altered) The super Locrianmode is the seventhmodeof the jazz minorscale.lt is also knownas the "alteredscale." It consistsof a Locrianmode with a flat 4th. In this case,everytone otherthan the root is flatted!Below, the 4ths are shownin grey. Gfi super Locrian(or altered) O t7
l9
2l
Remember: As withthe previousmodes(page34),all the modesheresharethe samenotes.Deletethe root information and all the patternstit A jazz minoras well as B Dorianb2,C Lydianaugmented,etc.To play in otherkeys,shiftthe patternsup or downthe neckas appropriate. 55
F
,
t
5r'g
ffi
The chromaticscalesimplyuses everyhalf step.so it has twelve tones per octave.lt is rarely used in its ,t Rather,small portionsof the scale may be fr entirety. : usedwithinanothertonalityto "smoothout"a lineand add somepassingchromaticinterest. F F if
q
w
The whole tone scale is anotheratonal scale with tones.Thistime,eachnoteis a wholestep equidistant apart,and thereare six tonesper octave.lt givesan odd sort of "lost"quality.Below,the notes,tones,and structureare shownbasedon E. intervallic
qtr** ffiffiFqffi.
c* A*
E
S
*T*** Notes:;"'; Ff;*ffifTT-
G Tones:
; # d F f E r
2
lntervals:
Chromaticscale,positional (all tonalities) there is no structure Sinceall tones are equidistant, "latch on" to and regardas the root. that the ear can we say it is an atonalscale.Any note can be madeto be the root,so thereis reallyonlyone chromaticscale. (or, to say it anotherway,every chromaticscale is a mode of every other chromaticscale.)The same "positional" pattern,then, may be playedat any fret' The onlydifferenceis whenopenstringsare involved. Below,it is shownstartingon the low E.
Here it is playedfrom A to A, in fifth/fourthposition. Slideeitheryourfirstor fourthfingerto playfive notes per string.
3
\-/
\*r'
W
*
4
\*,/
W
$
s
\-/
W
\*r'
W
f
6
l
\*/
W
W
Wholetone scale,positional Again,any notecan be madeto be the rootsinceall Therefore,there are only two tones are equidistant. wholetonescales-one startingon anygiven different noteand a anotherone startinga halfstep higher(or lower).Belowis the positionalpatternbeginningon G at the thirdfret.Noticehow the patterncan be moved up two frets at a time and it is still the same scale, usingexactlythe samepattern.
l5
t7
l5
t7
l)
t7
l9
Whole tone scale, three notes per string stringwhole-tonepatternis shown The three-note-per below.lt may also be shiftedup two frets at a time withoutchangingthe patternor tonality.Use fingering 1-24 on eachstring. Chromatlcscale,uP o single string Below,the chromaticscale is playedfrom A to A, up and down on a singlestring'Use the fingering0-1z-g4,then shiftup to fifthpositionand use 1-2-34, thenshiftup againto ninthpositionfor another1-2-34. Reversethe sequenceto comebackdown' l5
17
ru
57 56
'w
w_ffi
il:
The diminishedscale comes in two varieties:the Bothare atonal,with every whole-halfand half-whole. secondnotespellingout a diminished7th arpeggio. Whole-half whole The whole-halfscaleis a sequenceof repeating and half steps. The notes, tones, and intervallic structureare shownbelowon E. E F # G A s b c c f D f E
ffiffii:
Whatwouldan ultimatescalebookbe withouta bit of the unusualand bizarre?The adventurousguitarist may expand each of the followingover the entire fretboard, as wellas shiftthem intoothertonalities. Enigmatic The structureof the enigmaticscale is shownbelow on C. lt beginslike Phrygian-dominant, borrowsthe middleportionof the whole-tonescale,and topsit off with halfstepsaroundthe root.
ffi8ffi'wryrys'
Tones: lntervals:
Beloware positionaland diagonalshapesfor the G scale.Similarto the ideain the diminished whole-half of wholetonescale,eachcan be shiftedin increments pattern tonality. or three frets without alteringthe Therefore,these effectivelycoverthe entireneck.
1'-*/ b2 3 7 t ;Tones: *4 fS f6 \// \*/ \..- \,rt t\*/ i;:lntervals: H W+H W W W H H I
i,,i
Below,the enigmaticscale'spositionaland diagonal patternsare basedon A. Practicein otherkeys,too. v
d
l9
15
t7
A
l5
L7
Half-whole The half-wholescale simply reversesthe patternof halfand wholesteps.The notes,tones,and intervallic structureare shownbelowon E. (Everysecondnote stillspellsthe E diminished7th arpeggioas above). Notes: E
B
G AbBb
F
E
D
Cf
t7
l9
Doubleharmonic The doubleharmonicscalefeaturesthe bottomhalfof Phrygian-dominant and the top half of harmonic minor.Look in the structurefor two W+H intervals flankedon eitherside by half steps.This structureis also knownas the "gypsy"and "Byzantine" scale. S i N o r " r ' C D b E F G A b B C $
; g > u t t { ? - r -
Tones: .lntervals:
I \.r,r/ bZ b3 b4 \v/
W
H
\-rl
W
6
5
hS
\-/
1Z
\-/
H
b7
W
I
\-/
\r"
H
W
T
Beloware positionaland diagonalshapesfor the G half-wholediminishedscale. Again, each can be shiftedin incrementsof three frets at a time without altering the pattern or tonality.Therefore,these effectivelycoverthe entireneck.
H
l5
17
l5
l1
o
n
e
s : \ b 2 3 4 5 b 6 7 1 ,,,,. t t\-/\_,/\,,/l l\,/ I n t e r v a l s : H W + H H W H W + H H
Below, the double harmonic scale is shown in positionaland diagonalshapesbasedon A. Practice in otherkeys,too.
l5
l7
l5
l7
l9
'
K. 58
s9
F
t' r ':!"":"4:
'
Hungarianminor Thisis a harmonicminorwith a raised4th. Noticethe W+H intervalsflankedby halfstepsin two places.
i&m, Japanese This pentatonicscalehas no 3rd, but a b6 and b2 give it an overallminorcolor. Notes:
N o t e Cs 0: E b F $ G A b B C
{}
T
Db
e s : l b -i-WYY# rntervars:
r 2 b 3 f , 4 s b 6 1 r \*,, \,,/t t--.,| t \-/\,'lntervals: W H W + H H H W + H H
Tones:
o
C
n
2
4
s
b
6
t . R
Below,the Hungarianminor scale is shown in positional and diagonalshapesbasedon A.
Beloware positionaland diagonalshapesfor the A Japanesescale.
A
l5
t'7
l5
t7
l5
l7
l9
15
t7
19
t9
-|: t2 t2
::r
,i;
Persian The Persian scale begins like Phrygian-dominant, "Locrian-harmonic minor." thengoes intoa sort of
il
'Notes:
C
; Tones:
t'---bl--rt-.t-/t-.,,,btJ[--l-.*-"
.lntervals:
H
:
F
E
Db
T
W W+H ff
H
W+H H
C
B
Ab
Gb
Egyptian Hereis anotherpentatonic scalewith no third.lt tends to lackresolution, and soundsodd as a key center.(lt also happens to be the third mode of minor pentatonic.)
' Here is the Persianscale in positionaland diagonal shapesbasedon A.
o
n
e
s
:
t
2
4
S
b
7
l
lntervars: YL6!Y#Y ,ii
.
...ii +S
Below,the Egyptianscale is shownin positionaland diagonalshapesbasedon A.
v
v
l5
t't
t5
l'l
v
t2
19
l7
l5
Arabian The Arabianscaleblendsmajoron the lowerhalfwith Locrianon the upperhalf.(Thisstructuremay also be calledthe "majorLocrianscaleJ') :Notes:
C
F
E
D
Gb
' i ; T o n e l s 2: 3 4 b S b 6 b 7 I
\--l
rlntervals: w
\--"
w
H
H
l \*/
\*/
\-/
\"'
\r"
w
w
w
Hirajoshi Another pentatonicscale, this one alters a major pentatonicstructurewith minor 3rd and minor 6th intervals. N
o
T
o
t
e
n
,lntervals:
'
Below, the Arabian scale's positional and diagonal shapes are shown based on A.
l9
s
e
:
s W
C
D
: t \-.H
E
z
b
G
b
3 \//
W+W
H
Ab
s b 6 | |
t
W+W
The Hirajoshiscale in A is shown below in its positional and diagonalshapes.
l5
t7
l9
15
t7
19
."L". iS.l
Fr.'
15
60
t7
61
The tablebelowshowsthe scaletonesand structure for everyscalecoveredin this book.Alternativenames Tonalnumbersreflectthe are shownin parentheses. note'spositionin relationto the tones of the major "\ru"standsfor an intervalof a "whole scale.The letter "h" Step"(twofrets)and the letter Standsfor an interval of a "halfstep"(onefret). Scalename
Ilones
Structure
1234567 w,w,h,w,w,w,h 1 2 t 34 5 6 1 7 w , h , w , w , h , w , w naturalminor w,w,w+h,w,w+h 12356 pentatonic major "r, . t7 ft]f1 t3 w+h,w,w,w+h,.w minorpentatonic;#s-ffiW 4 5 w+h,w,h, h,w+h,w 1b34b55b7 blues ".1'zbg f5 h,h,h,h,h,w,h,w 4 5 6'ry'w, 3 majorblue$ 1 2bg4bS566b7 w,h,w,h, h, h,w,w minor blues w,w,h,w,w,w,h (majo$ 1294 5 6 7 mode lonian 1 2 , 3 4 5 6 b 7 w ,h ,w ,w ,w ,h ,w Dorianmode 1 b2bg4 5 b6ff**ffi;6,u w w h,w,w mode Phrygian w,w,w,h,w,w,h 123il45 6 7 'j''4#'Y: mode Lydian b7 w,w,h,w,w h,w 4 56 miff'e..*'123 Mixofydian (nat. minor) 1 28 4 5b1b7 w,h,w,w,h,w,w mode Aeolian 7 ,w , wh, ,w , ww , t h 2 h 3 4 L 5 6 bh mode Locrian 1 2r34 5b67 w,h,w,w,h,w+h,h minor harmonic (Mohammedan) E Phrygian-dominant Spanish'flamenco) (rnajor Phrygian, w,h,w,w,w,w,h 1 2r34 5 67 minor Jazzmelodic 4 5 6bT h,w,w,w,w,h,w 1b2b3 Dorianh2 w,w,w,w,h,w,h 123il4 ils6 7 augmented Lydian ;;*lr r,T2 g 5 6 b?::r1':e9ii,w' b7 w,w,h,w,h,w fl4 si'*w, Lydian (overton btg(Hinou) 1 23 4 5b6b7 w,w,h,w,h,w,w '*' Mixolydian ***t' h,*, *, * 1 2bg4h5tofl*'w, hn'w, $2 Locrian h,w,h,w,w,w,w (altered) 1b2b3b4b5b6b7 Locrian super j b Z Z b 3 A 4 b b S T h , r1 2 6 bL 76 chromatic w , w ,w,w,w,w 123il4il5f0 wholetone maJ0r
nardi whole
'1
The verticallines belowrepresentthe guitarstrings, and the horizontallinesrepresentthe frets.The low E stringis on the left;the high E stringon the right.The fretsbetweenthe labelednotesare namedwith either a sharpof the note rightbelowit (in termsof pitch),or a flat of the note rightaboveit. To play a particularscale in a differentkey thanis shownin this book,simplyfindthe appropriate rootyou wishto use on the diagrambelow.Thenshift that scale's set of patterns up or down the neck placingthe rootsymbolin the scalepatternon the new root note position.Play the same shape in the new position.
!r,l
2lg4b5b66P*' t h,w,h,w;n,w,huF'=
5 6vl h,w,h,w,h,w,h,w 1b2b3bd,b5 halfwholediminished rx'!e #$:: g[4 h, w+h,w,w,w,h, h 112 fs f6 7 enigmatic h,w+h,h,w,h,w+h,h 1b234 5b67 harmonic double
(gypsy, Byzantine) minor ffi@''1 2 b3M St6 7 Hungarian 1b234r5b67 Persian
, h,$+h, h, h, w+h,h h,w+h,h, h,w,w+h,h
nranian'(ffiffi*'1 Japanese Egyptian Hirajoshi
h,w+w,w,h,w+w w,w+h,w,w+h,w w,h,w+w,h,w+w
w,h,h,w,w,w 2 3 4 b5h6[7']eeu''u''*,
1b24 5b6 1 2 4 lb7 1 2 t35 bO
H,-
62
63
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