nEHl0tIE T0 Tllt TG

UHIffifrTE
sc[LE
800[
rF
H:ffil:""i:"
"l;f
*"neh as
-
possible into the 3O pages you
have in your hands. As well as a
complete run-down of all the most
useful and useable scale shapes in
several positions, we've included
soloing tips, a little music theory,
plus some chord sheets'and tab
exercises to try the seales with.
Dontt use these scales in isolation
though - the book is primarily
intended for reference. The only
time a scale becomes worth
Iistening to is when
you make a grer
solo out orit-.
tt
{* 4
(J
roE EEmrErr
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THE TflrALesrrr.i ux[MArE s{:Ar.tr Boor
fEEd &ee vtrl TGP, a{ol to be r.Jd $Pardotr}
O l0AI fn!re PlDltoblng Lid einrsd asd [dud ltr GtEd Drthia.
No
IBfr
of tiir lxxrt ury te reprdrrel 14 eny moful, eitler urchmiol u ehomit,
qftlixtdE
lrior*r*len onmt of tbcprhli*her
hr,he Bw&. ritr.attr m let!.n. L*ar &flr, F?ie
3*r-frrltrl im&.rrEorffi Htltawltmldr, IoddA*'t8
*Irdr SrrHm"p. Sa*cf."rlli *n Sndd. EBAIll!, ilrrdd
Ftt&E Pub&hing u4 3lt Vmrordr
goodt,
8dh BAI lBw
TcI! olgA5 aurl,N4 . f*.ol!a.5 4G!ffi
EmalL hrylirdlifrrtumo{m.o}
o Intenetr htP./rtwwJutre{.m-u*
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HOW TO USE YOUR TG
FINDING SCffi,I
ULTIMATE
SCALE BOOK
FRETBOXES EXPLAINED
Noba iB pfok circlg .re h.t dci
q,te
slc not6 lffi llrs ane rd
n& rrc ercldraly
drc.d
rialod
the n.d to elilgc hild pesitioD
1
,
,***/
psitiorftr a
scrlc fu given
ty r arobs'
rtttc@ Lft-
Vsdel litr6 repffieDts thc
3trlrgs - t&G lut ffd of tle gdtrr
fu rt thr top o{the dirg6rn.
A E A E
,,
-r/
Not6 nr bld
ckjd6 lsdlcdc
root Eot6
fr.d.,
giv6 sL
D@
o@
00
a
0@
00
a
a6
D@
a
0@
0@
a
E@
0@
00
t
0@
0@
00
ArmbEile
il e cinlc
refe6 to tle
fiBt (irds)
Args. A
rrdr tro
n|rsii6e
mdtugE
ArEb6tlre
if, . cirde
refeE to ttc
third (rtng)
fingerA
number for
reprcsctrti 6G
ht0efiagen
Iffi[86
rqr.rd fre ft<f&
sharps version
wffJ,ilTi:,*o*
not
stringso it can be moved
up or down the neck. The
diagrams above show the
sharp and flat versions of
note names on the two
bass strings - every
fretted scale in this book
has a root on the fifth or
sixth string. To find a
scale, moYe its root note
(shown in black on the
fretbox) to the position on
the neck that corre$ponds
with the key you need.
ttze al#a*e tale 6ao&
flats vengion
X}pie&I
'optn'saale
Typtcsl
rmove*hle seale
EEEEEETEE T
ffretboxes
are common\l used to
-E
."p."sent chord shapesn but can also
be used to display scales. They work on
a sirnple grid system - the strings run
vertically and the frets horizontally.
The headstock and nut of the guitar
wouldbe at the top of this diagram
Each finger on the fretboard hand (the
Ieft if you're right handed) has a
number, the index finger being
number one.
Scales are not necessarily played at
the nut end of the guitar, so to save
space there is a nurnher to the left of
each fret trox which represents the
lowest fret played in each example.
Ai'c. rberE r strirg
-
tmB ttc opei
-/
trrfr:ttcat mte
{
il*ux'puy"a
0@r
.?
00
t'l
I
"*
so
a
0@
00
o
D@
D@
a
00
D@
a
p9
D6
00
a
0@
so
00
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fSo a*;lnab'yele daa6
GETTING STARTED
WITH SCALES
[.lo.
guitarists. scale shapes are
I
r
mainly used to improvise solos - the
scale gives yon a template of which
notes are Iikely to work over a given
chord sequence or key. Major and minor
scales are also used for the purposes of
sight-reading, so you can learn which
notes are
'correctt
in a given key.
To get you started, below are six
open string versions of the guitarist's
favourite shape, the pentatonic.
A rtlqior 6l major
pestatori* pentatouie
aa
E hXlle*
5t
I I
A blues
?,.4
G'
Gbhes
Formula
(8,
[r3,4, i,5,5, [$
-
HE bfues scah uses all ofttre notes ofthe minorpentatonic
I I scale with one addednote - the flattened frfth. It's acaully
I rx) m(EE oulcutr u,* ule m,,!or p(r,(u.r.oruc, a,,o N
beneficial tun a practice point of viM, because it gers oJJ of y'our
fingerswofting.
BLUES IN ACTION
lv{ary classic bhrcs licts are made
ry
offragnents ofthe blues
scale, played with varying tfyhm and res6. The most eomrron
bhrcs key is E, md fiom this keythe mo$ cortnur mle shape is
the open version (top, left). Ycrr cm hear this exact * in a host of
chssic bhres md rock numbers - jus chwk out Fleetuuxl lr,fub
Oh Well, JinrnyPagek ritronVar Morrissr's Baby Phase Donl Co,
and almost anything by Joh Lee Hmker. It
rypears
in other keyg
adpmitiorn, in llcndrix's Pzrple Hue af,Voodoo Chile, Ld
Tsppnlids BlackDog, md Exteme's Get The Fu* Out
BLUES CHORDS
Althougfuthe scale m be used ir mary contexq ifs often eftctive
over swentt (Blso cdled dominmt sevudr) chords. The lE-bar
chord sheet below is a tlpical backing fs the E blus scale
ruI":
T;:
Am
pantlttoxle
l:l-lq ll
SEEEEGE@I z
Major & minor pentatonics
I
ED
penteionic
E *rqior
pe[t&t$nle
Formula:
(H,
[,I,4,
5,
hI)
&
(8,
I,il,5, $]
I
ENTATo:{IC, ie five.# scales
qe
ofien the first stp m
HT",ffi
ffir.-m#,HH',sr;T"fr irffi
ani mirm seve,lrth of the musical scale. The mdupentatodc uses
the root, scCIxf, thfurd, fifth aod sir& intervals - it's actually a nqior
scale with the fouth md sevnth nors missed or$"
The two choril shests shotsn betow slmld frtwi& the E minor
ad E qfurpotatonic scales rcspectively (above, left).
eI
Ilm
pertt+tolric
a
t A7
6@[reUr8Et
#roulfiftab tealobdo& *a.hlr*l.dbt&lanook
II
)
Easy major scales
E major
dopen)
$:nqior
{open}
G *rajor
(moreable)
A rnaJor
{oper}
C raaJor
{open}
t
C uaJor
(rnoreable)
D major
(open)
F ma.jor
(openl
D nnaJor
{movoa.ble}
C maJor
{po6iti6n
1}
C maJor
{poEltio]l
4}
O rrajor'
{positio*
9}
C major
fuositto:r 6)
C major
{position
B}
C rnajor
(poeition 6)
AJOR scals are the building blocks of the va$ majmity of
Westem music. A thorough *nowlodge ofth*rn will enable
-
5m.
to leam ardrmderstand chords, frpeg$os and more
advaoced scales as they arise,
The fir* six exanples given here use opfi stings. It b
particulalty importaat to observe the ccrret fingering fcpthese
scales, because correcting bad habits later m cil be a slou. d
painftl process! If ycr fud it difudt to remember the wtole shape
at once, lean the first @ve thuoughly beforc carryfug m rp the
scale. Use the sme fiqgers on the urydown as ur the way up.
The last three exmples are sligfotly more advancd but well
worth worting oab*ause they ae moveable to myposition on the
neck Ia the case ofthe Gmqlr scale (abovq left), iE rootnote is
on the sixth string whereas the C ad D rmj<ns have roots ur the
fifln $ring. Cross-reference these scales against the diagraars on
page 5, fird the key yur need (et's say B maim) - B can be fomd
on the sirfi string, Tth ftri- Nowrrcve the blsckroot rotetothe
7th n*andphythe scale s@-lherds yorB rujr scah
11.
ilt-Ic,*d-
Fonmula:
(R,
2, 3, 4, 5, 6o 7)
UVE arc six moveable majorscale shryes. Itmaybe
usefirl in erch case to memorise them in blockc fcr
inmnce one octaye at a time- Stat fom the lom,es rmt
note; wheo you knovr the pattem r4l to the next rcot note, lean the
nextoctsye. Most ofthese scdes extend d lea$two octaves.
USIISG MAJOR SCALES
The qfu scale is more difficthto use in improvisatim than
pentabdc orbfues shryrs beause sd6 ae more dependenton
rote choices being rclevaat to the current chord (this
rylies
to
mosf ofthe scales firom this point m in the book) There are three
wqn round the problem - first, ad mst diffiqilt, is to gain enough
lnowldge and experience ofharmmy that yur cm mticipate
r&ich notes will work aod whichwon't. Secordly, one popuhrtrick
when ycrr hear a dodgr note is to move shrlyard deliberatetyto
the next note ofthe scale. Nine times or{ often the new note will
mrmd OK The third solution is to play the clashing nob arytrry
and pretend yor were delibera&ly ttilisingjuxtrapositiot'r E-{f,
lc
;-_
l
^',il
I
r'z
[e,
Ic
CrnajT
dl*;TEgG&[EtrI
I;;
t*to*lhnab. e ***
fuild;mata uah.toab EEEE@EIs
Minor pentatonic
ln pctrt
ftrceittoa
1)
Asr
l!nt
{posittoa
4)
Am pent
(pasttion
g)
A$r
llelrt
Cro8ltto,t E)
rqar pent
ftroBitiotr
E)
A ual pent
(posiiioo e]
A maj p*rr[
{p$Bitlon s)
A m&J pent
ftrosltton
3)
A rllej pent
Uro8itioa 6l
A rE&j
lleltt
fuoeitia* r)
A m*.J pent
(posltior 4)
A mbj pnt
{po3itlon ?)
Formula (8,
2, 5, 5, E)
Formula:
([,
b3,
{,5, tI)
I
HIS *ale rype. *re &ened version of the easy open mmor
Hffi*ffi,Tffi*;H:[i'#]ry
melodb pattem id{s tun the backp4ges of&is boolc it's a simph
mattr to create rock rift using these shapes. This versim ($own
here with a root note of A) woks well over sry Am chorrd, but can
atso be used dl the wry thmugh a lZ-bar blues sequerc. Al&ougfo
the chord sequence sbwn below uses seventh chords, which
teckdca$y
ryeaking
feature amqlr rhid interval, you should find
that the mimr thirds fun this scale still sound perfecfly corvirrcing
in this curtexf
SHIFTING POSITION
Because the mirorpentatonic scale is so easy to gst started with, it's
tempting topky* positicn throughout a solo. Do*rt These fire
pmitions all feahffi sharcd no{eE so it should be possible to devise
ways to mv snoo&lybetween shapes, dd this h tum wil
increase yorn repertoire oflicls.
tLE
-Ly--_l ^r-
i
ERE S anothertypeofpentatonic
rale, rl,hfuh$utd be
My easyto leam if you've dme sm werk wilh the
-
minor versim ($oum ur the kft hend page), Corryaring
theseFretboxpattenrs with those on page S,theinaiA r* im-
identical- However, the sound, or tmality, ofthe nqicr pentatonic
is
draSicalty ditrerent due to the diftrmt choice ofrmt note. It has a
much sweeter, happiersourd tlnn ie minorrelative; people oftn
say it sords more
'Couttry'. Butdontbe fooled - rockfuyels
have abusdthis scale almw as muchas the minorpaa-tonic. Just
lisen to Guls n'Roses'rKnociia on Heavens Doar- the solo Is
almoet entirely based on ruju pentafonic ideas.
PENTATOI{IC TRICK$
Ifyorle already leamed sonp trcks
which are based sr the minor
pntatonic scalg morc all the notes down 3 &etq edyanll b
playirg the mjrxpentatonic Try sore clicH A minor
pentatonic rock lickq buttiiree fieS lower, overthe qir tey
chord seque,nce shown bdour.
ru!,Eruif++{ru,rrlr$ r
mf
?(!fI' ilf rt"_ilrqr::TIElfffiFrfitirl
rOr@EEEEIil
fuaileaab"t*l*lao&
#eenabyabnaob
EEBEGEEEI
TT
Harmm*,{:
A lrat. min
(cpen]
A nat. min
{pasttlon
s}
.Jl' u&t, rEitt
{posiiion
t}
A nat, rril
{posiuon
4}
16. rat. min
ft,ositio$
s)
A !rat. mlrr
&odtttom 5)
A Lartr. rnir
{6pen}
A h*rm. mln
bositton 3)
A hd,rzt. tlrI-tl
trositton
1l
A ha,larl. mirr
Gtosttt
u 4)
A herttr. mIE
{poeition
e)
A h&rn. min
ftrositton
E)
A *&1. min
(poeition 6)
Formda
(R,
!,
[5,
{,5, h6, b7}
II
IIER.E are mmy t),ps ofminor scatq hrt fu the pryposes
Hffi#?:TffiT*:***
The exampb given her isAnatural mirm, whichtakes ia not6
didty fiom its rclatiye qir scale, C m4ir. Becanse the
sequence ofnots strts fiw A imtad ofC. the toaalfu (ie the
ovemll mood) ofthe mb is ditrercd"
NATURAL I\{TNOR SCII-OS
When youteplaying in a minor key, the mhrral'minor scale is ofu
a fiirly s& choice for sobfug purposs, trd cm lead to a more
melodig soulful solo ttran pentatonic notes &lone. The chord
sequerce givar here codd be phyed in a variety ofsyles, iocr
straight-shad rc& to B6{a }rlur4 butsince the cho'rds itr this
exqle come fimm the C mqlr furi$ (A minorbeing the 6th
chorrd in that frrnly), this scale rvill wortwhateverthe chm
grmvq Aswi0r a[ the exanpleq you cp fianspose thase exryles
into nervtrys usingthe diagrms m pge 5.
A ha.rm,. miu
(po*ition 6)
Formul*
(n,
2, h3, {, $, b$,
?}
I
HE hrrmcmic mfurcr scale differs fiom the natural minorby
Hffi"11hffi#Jff,ffi;ffit
the nasral minor scale uihich las *
rfl1i11sr'
?rL' (ore urhole tone
dsrn ftmr &e root). Just by chungrng this aote, the scak ta&es on
an entirely ditrelrent character.
h practical terms, the hanmnic ninor souds moe blassical',
even sliglrtly Eastem, comparedto the natural mins. Checkout ary
Mahsn track - it wont be long before you hea lhis scale! It also
appears ir the clean electric lead guite lines ftrn The Crre's
KillinganArab.
H,{RMOI\'iIC ]IIINO SOLOS
The practice chord sequence shown below shorld be recorded at a
ffiy slow pace so yor canreallyhearbw the :r'r;1": sands apinst
the chords. Yor may find yurnelfavoiding the G# nde $Ailst
playing over Dm it lcind of graB a bit - but the scale somds
wonderfirl over the E7 cho,rd
.'EEEEEreE@EI
&d altu$totialenoob t*o attto*te.*elo ioab EEEIEIEEEI!tr
rs
Major blues
-4. t hes
{po8iti@
1}
A bluee
{postttcrr
2}
A bluos
*r0*ition
a)
A mal blues
ftresitlon
1)
A mal blues
fircttion
a)
A me,{ bluea
(pocltion E)
A rral bluee
ftrosition
5)
A EaJ tluer
Qrritior
3)
.& m*J blne*
(porlttor o)
A lrlBes
t
osttio* 4)
Formula: G, b3,
l,1S,5, LO
I
s witlr tle open bhm shapes $wn cn page 6. this versim
H[H,']ffiffi",H#.m#*:trYr
added. This is called the 4th (o flatened fiffh) md its
prcsence between the
ztth
od 5th notes of the home key seates a
series of3 chromatic notes arouod the middle ofthe scale which
give a quirlry clwacter. Depending m the combinatio of note
choice apin*the current chod it's possible to mal<e this scale
sound supris'mgty non-bluesy.
ELUES IN C(}N'TEXT
Unlike the seventh chords Spvm with lhe easierblues scale
o<ampleq the sequence Sourn here is a minor blues l2-bar - you
couldtry it as a donr,'*ruffid ca medium'swing: feel. The chords
have a disinctlyjazzy sound, whiclr can be enhaaced by replacing
the minor seve,nths with minornintlrs. Yor may also like to try this
chord sequence with the natural or melodic minor scales.
$urmula
(&
l,
bI,I,5,
S)
I NCE arBfu. this is bmedrryonthe Pentatonic scale (rnlhis
fif
*q
"ft*'p*tut-rie;
wirir ae additim ofme note.
I AeeU di" h u srigloy quirty element to the ovemll
sormd ofthe scalg but it's a sormd you will have heard thousands of
times inrock, blues, jazz andcomty solos.
Assrming that you knovvthe blues scale, one 6y way to find the
mqiorblues scale (in the same key) is to shift yow hand position
down the neckby 3 tes. Pky the sarne shape as the minorblues
scale in this new positioq and there's your rnajor equivalent When
playing over a straight l2-bar blues, try altemating between the tvro
- licts that work using minorblues oots may also worlc 3 &es
down in the m4iu Hues position. 1X" ,p6s64
this trick wuks is tlnt
the nqimblues srxdretsamode ofthenormal, minorbhrs scale.
The chord squeoce givn below shonldvru*wdl as a fr$two-
bat piece of cuntry music. Fcr accorrymiment, try fmgerpicking
the chords, ahernating the thumb and firgers in a ckw pattern, or
tytng a more synmpated BhEgtK fingestyle pattern
ffir-ti:l4|
14
I fu*lbinab**laia*
d*&*atp*abtaab EEEEEGEEEI
TS
USING MODES IN
IMPROVISATIONS
-T-h. term
'modes'
could be exchanged
I for
tmoods',
as each has its own
particular feel. Every scale t5pe has
several rnodes which are scales in
themselves, but using- notes from the
'host'
scale, In the TG scale book, we're
Iooking at modes derived from the
major scale, and each example starts on
A to make the di{ferences more
apparent, The major scale (see page 7}
is also lcrown as the fonian mode.
It Fhrygtan
Gostiion
AJ
A Phrygian
(paeitioll 4)
A Fhrygta.rr
{posll,iou 1)
Jl Phrygtail
{peiotttoa 5}
A fhrygt&tr
(po*ttion P)
& Phryglan
fro*ttion
S]
0orian mode
A Dorian
(posttion r)
A Dorlaa
fuoeitloa
{}
A Dorisn
(psrittoa *)
A Dorlan
(postfioa fi)
A Dorla[
ftro*ittor:
a)
A Dorion
(posttlm 6)
Formula: ([,
l,
btr,
{, S, 6,
t?}
I
Y starting a mqiorscate tun its
rnd
note insf,ead oftle
IiI rrxrt note, the resuhing mode is the Dorian Since these
I exaryles start me" ouroolim shapes are basedtryon
notes whic,h appear in the G rnqio scale. Brt dont fin hto the
comon bap of thinking of Dorian as the 'second mode'. AII modes
are scales in their oum right - theyjust take their intervals fum a
parerit scale. Practitioners ofthe Dorian mode include David
Gihnon, Carlos Sanram andJoe Sahiani
Fsrmula:
(n,
bL
btr, {,
A [,t, hf}
f
m Phygiil d is'nade up ofaotes fim a nqir scale,
I_I
bur sating on the host scale's third nots. The resultis a
I scale with; particulaly Moorish' or Spni$flavourb ir
6nse agein,
well take A as the starring note; because it is the tbird
note in the F rnajor scalg it 6llou/s that F mqiormtes \i&ich will
*ke rD our Phrygian mode. The chord sequence given here is
typicaty Spaldsh Sottrding, so feel fee to addthe occasional'Ole'
to your backing track br that authentic Teas bar ambiencp!
lJ:
;;
l-
;r
l;l---- f-
i-l
, .
'
* L'
hi
':-: a
-:--:* '
16
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&* alfuarotaabtdalzt
EEEE!*EEEI
rr
Lydian mode
A lrrdlon
{poeition
r}
A lddla*
(po6ttlan 4)
Mixolyd
A LVdie,E
(poeltiotr 8,
A
kdiBn
{Irositiou
5)
A lgdian
(lrosifioa a)
*
rydtr.u
{positioa
6)
A trfiEolydia.E
(potitioq l)
A Mixolydlen
(pctitatr *}
s. Mlxolydia,t
fuoeitton
E)
* ulxolydlan
{posttton
S}
& illxolydtan A Mtxolydian
(poettion 5) (positiom 6)
Frrmula:
(*,
I, tr, #{,5, En
O
I ItG A is the fouttr mte in the scale of E rnqi:r, ils these
l]I
scab notes that make qr omA Lplia
""*.pio.
essuming
I that you're already farniliawitb the A nqim scah, yor will
see thatthe Lydian mode diffes by mtyone note, ie &e fsrrth
note is sharpened- To the ear, towever, this alteration has a drastic
effect sr the character ofthe scale; the efrect is slighly'other
worldtl md ftrlnistic-soundiag
The Lydim mode has been used by corryosers offilm md TV
scores 6ryears, atd is frequnrly used byplayers srrch as Satriani
ild Vai to invotre a mystical flavqrr in solos,
LYDIAN SOI,OS
The rnode is particularly efrectirc r" hll: used over one-chord
grooves, particutarly wi& a sraight 8+ethe-br rwk bmline with
no chord undemeath. It also wolt<s if the current chord i. a
majorTb5 or major7#ll.
Another application is where pedal nms are used - in the
exampb below, the BA cho'rd features the aobs ofA, B' D#, and
F#, which ar,; the rool secm4 thir4 sharpened foru&, and sixft of
the A L$ian mode. The Gt&n7 and B chords also cortain the
sharpened fo:rth mte (D#).
lf-r--:-Iilf-:*:I$f-j-&
*" 1l lLg
Formula:
(B,
l,3,4
A
6,1,7)
I
rIE Mixobdin mode st&rts fim the fiffir measure ofa
I I mior scale. Since all ofour examples start on the note A
I we need to find the nqim scale wirose fif& mle is A, ie
the A Mxotydian mode is made rp of notc taken 6un the parert
D mr1io scale. The resulting samd is sinply that ofa nqio scale
with a Ilattened 7&.
The eombination ofqior third ed flattened seventh clEates a
nrood which is dark ad smorous withoutthe rrchm:holy edge of
&e (nrimr) Aeolian mode-goodexmpls aretle riG tom Almis
Morisefte's l// 1 Re-ally Want, or fie Beatles' / Feel Fine, or the
Stonq' The Last Time.
MIX(}LYDIAN S{}L{)S
This mode is usftI fuplaying overdominant chords (?tbq
gtits,
Ilths etc) and appears in sohs f,mr every *yle of music. The chord
sequence given exploits the dominat 7th soud of A7 by visiting a
G chord brhfly (G being ihe b7 note ofA rnajor), and also ending
on E?#9 which also co*tains a G mnral that *bh out klke a sore
thumb apin* the rest ofthe E7 chqd. A Mixol5dier akowod<s
well ia 12 barblues sequences (in A!), eryecialty in m$unction
with the blues andpentatonic scales we've alreaScovered'
ol ntetapLz
_
'sEEEEE!@EI
fAaemr*&ba* fu*le*de*ab6oa*- SEEEEEEEiil
rs
a
Aeolian mode
A Aeolion
Grosttion
1)
A Aeoltar
(posiiion a)
A Aeoli&n
tnuttton
e1
A Acolies
(pe*ttton 5)
A A*olten
(Iroci$lon B)
A *.eollan
(Fo*ittor al
A Loerlaa
tpacition
1)
L Locria,D
{po5lttott
4)
A Locti&E
tloeitiqn
&)
A Loerlnn
{positton
5}
A Lo6Tla.a
tposittou
f)
A tooriea
Cro*iiiotr
6)
Fornrula: {[,
2, b5,
4,5,
i6, b7]
H
j#Yffi.ffiff"1'#ffiJ'';ffi"
I p**ascarerurAM,a
&ce ycnVe pbyed thmrgh the Aeolian shapes above yorll find
yorrself ge{tfutg that old deia vu feeling--. youll fod yonseE gtting
ihat ol.dtteja w feeling That's because the Aeolim nP& i$ xerlly
thee same as the m$ral mins scale furm o:r page l2 kr &ct the
mly ditrere*ce is one of vienrpoint
-
if yan were thinking sndalty'
yoawouE see these notes as pt ofthe parent C rqir scale, but
startingm A. Ttrinkingscalicafiy,
lmwnrld
lookd fu motnot,
(A}, then decide t{rich noLts ftm A n4icn had been changed to
arrive at tl,i'; scalg in this casb &ere are tbree of them; ths 3rd 6th
dd 7th notes re flattrne&
AEOLTAN SOLOS
The chord sequence girur helc. if pleyed slcnly' will give a ffiy
ronuntie, alnrost rdiae\ral effeq o if pr rp the tempo it could
aknost be an oh Shadmn track!
Fonmul* tR, [1, bI,
4,1r5, i6, t?]
I
IIE hcrian rrode cmes fi,m the seven& degrw of a
Effi**I#"ffi*mrffitr#"
essentbl to think of the Is'rian ffi as a weird-sading scab in
its own right - it's tempting to think of it as a jru*apoeed malr scale
but &is von't help yor when
You'rc
The Isriaa has to be oe ofthe sFangesr modes' althorgh it
does have iB
4plicatims"
Its rnos cormmo use is ovr m7(b5)
chords, which mme r.p offen emgh
{espec*lty;niaz}
to nrake
this mode wor& leilniry. The chod sheet beiow is Locrie
througbut, but this is veryrmusml in alry sequence-
I-OCRIAN SOLOS
perssratty,
I have fqrnd this mode extrernely rsdrl uih trying to
getthe mck fisn dtrbands; se how many times,ou cmplayA
locrim over hures in A mqirrone evening md I cm gurantee
that ifycur phore rings at all after tlnt, it'll be to say your services
are no lorger rquired!
,OEEEIIEEEEE &adt*tubtabnaob
tfu*lfiewla&aok
ErEtG@tilzr
Melodic
'Jazz'
minor
A sslodie xlln
(ofenl
A melodle min
Groslttor
s)
A srelodle mln
(posttton t)
| 6gf9{16
qln
Irosfti;gll
*)
JI nelodic rnin
{posltbr
A}
A uslodis Eill
(poettion 5)
A dtmtni*1P,6
Gosl$ou
1)
A dtmintshed
(pasitloil a)
A d$uialshed
(as*nding)
A melodlc m{n
{Irortttso B}
tarmul* {*, t, btr,
{,5, 8,7}
I
His scale is often referred !o as the 5ad minor, although it
I I uas around lmg befo:e lw.M a nanre! If you have ever
I smdied classicaiguitapu will lnow *:ns xthe ascending
part of the melodic minor scale. Odginalty the descending ftrtrr of
this scale nre different &e 6th and 7th nots were flstrened
-
but
this is an aoraly that i:;; ,:i1
but disappered in more
conhnaporary $Jiles of music-
MELODIC MIII{OR SOLOS
In the Jazz worl{ this scale has mmy aprplicaficms, and it can be
used oocasionally - or thraughout - ovs
(he
chord sequence shown
Reoord the chords sbvly wi*r a srdng feel. After youle tried r
prrelymelodic minorsolo, kythe folhwirg scale switcfuing; bar I
-
A melodic minoq barl ' D dorian; bar
-l
A meMic minor; bar4 -
A# mdodic minor { l:i.r:r*si I ; : i:ar 5&6
-
D Dorian or melodic minor;
btr 7& 8
-
A doriar or rnelodic minor; bar 9 & 10 - Ab diminished;
hr l1 - A Dorian;bx 12 - F rnelodic miror Well nobody sakl
Juzwx easy, did they?
;;t
f
iii-l iii
J
rzto
I
* dimlat*hed
(daaceniirg)
fonmula
ft,
!,
tS,4, tS, b6,6, fl
I
IIE diminished scale is a crrious beast indeed! & the one
HH.*,Hr#ffirffi-'ffiffi'r"'
guiar, to the point that many people are put offtying m leam it
thoronghty inthe firstplace. On the otherhan4 it's wsth
rememberiag that there arc mlythree diminisbd scales in
existence! This is because, Iike diminished chonls, theyrepeat
thernselves in minor 3rd intsvals (3 tes at a time) try the neck. So
byleaming A dim, yan hav6 also learned C din, Eb dirU and F#
dim. An&igors though the scale is, it has fu reaching musical
cpecially in Jaz *nd Fusion soloing.
DIMINISHBD SOLOS
The chord sequence is bestplayed shwlywith a stuffe fel. Note -
don't use the diminished scale throughout, it won't rrror*l! Try A
diminished over the D# dirn- cbd A Mixol5diar for most of the
rest, and (fo a really *iE souad) F diminished over the E c&olds -
Robbea Ford uses this to grEat eltoct
Il. li'-;
IjLre
Am7 i Fg E4e Am7
4'
EETE@EEEil t**&;tw*.yabnoee #**h1&,seab6*o& EEIEIGEIIEIze
Whole"tone MUSICAL
A whole-tone
fuo*itlon
r)
A whole-toae
{posttion
a}
A wholstame
{position
2}
A wlrola-tons
(poritioa 5)
A
qrhole'tolte
firs3itlon
B)
WITH SCALES
7-Tlhere's
little point in learning r
I scrle unless you're able to apfiy
*
rnusically. The exercises on the
following pages breakthe scales up into
short fragments or
'partial'
scales.
These will help to teach your fingers
where the notes are, and hopefully
provide new ideas for use in solos.
Although each ofthe exercises is onl5r
applied to the G major or E rninor
pentatonic scales, they can
just
as
easily be used with any ofthe others in
this boolc Appfy thern to any new scale
you learn
-
rnelodic ideas will present
themselves naturally. AIso experirnent
with your own ideas; instead of flowing
groups of two, three or four notes, why
not try adding one or fwo beats' rest in
between- This will irnprove not only
yrrur scale knowledge, but will also have
a positive effect on your sense of
timing, phrasing, and dexterit5r.
The exercises
Formula:
(S,
X, tr, #4, #S, bI)
I
lUtrffi'fuck$ilted Plat5rprs'oltk musk wul4 this six-
fiil note scale is mrde entirgty oftones. AgEin, it can ld to
I sffiE interesting d difurltfingeringpatterns m the
guitar. To make eir4s a litth easier, there are mlyt*o wlrole-tme
scales since rlt"' patt,rn repats irdf wery two Aers. Hourcver, do
kep in mind that :cai;,'r like this have many
rylicatim,
but their
e&ct can be mily h if rst-il t-i-- excess.
WHOLE-TONU S()LC)S
The chord sequenoe giva below sbould be played at a
@
slow
pce d firs, to give ycrurselftime m the chmges to
diust
aad to lt
yorr ear really rmder*and ihe vay the scabs wuk ag*'ng the
chords, Try r;-"i;rg ii:ise suggp*ed scales over the sequence; bm I -
A mqioq bar 2 - A whole-tore; bar3 - A !t4iE k4+5 A
Mixotdiqbar6rT -A Eqi{E bar 8 - E whole-tone.
lo4r- i*9 l-v:-l tt'
I thchdE&dc d6rt!.tr
H U"o"a-rt"CElasle
If3 rfilctu{Grs&G.
p.alEn*H rlltelE farclf
firthgc EobaE[6r{rlt
srlc ecL tiEe,
I rtcmtbmrevEl'o
E-Af'-**oreHcklr
nEcirgtrdlE slmd@d
tlk sle, olrliy tlili r6y sloiity,
aoc.Ii,&ufnAqIEgd
rldFtrE&t!ryhdt
I eacl*.heBGrtefu
E
-*"
a-.*ratgp.rt tq
d.ratDg lE tAc tu otraha
iele, Or@ rcfEt! tlri8 rrc stqr
htgFse.h dDaly.eefhgfh
frEt lde in 6.h grq otrtu, lfs
ader ro dF&I, . good &rE otr
plEttcmdrbdlr.rc
lll &clstdElttrtu
E * p"a&r--us 6e itfOrl
mdirg illa
{se
6Gn e l}hui
st rlt g @ lic
'Llt'
of,&e sfc,
pLytDgfbtus@noe
rls
rtar.tlng e pa.tem.grfu
fun*rcEdrmdcsgle,
fr.gmadcd Fertrbnfg
I tar*rydm6rmdG,H'3
E af."a|e"of,fiBseLinthe
hoolr--Epdlffe rilr (E16).
Slrrt d ile &l' of fte sle, ud
phytu de6diDgtroa6 The
wit noh yfl plrycd s,all bG tlc
st rt poiEt fu llc .di gtup of
tu- If. Ddaldtu l& dBcadhg
&aaltwabscebnoab
r&d.c@dnlgfrrG 6 prg.26.
reld6
f,
ttre SrreaqiuxEpccd
I fry mG, $ ftc p{rnEn sarrts
@ Edeb&! dEyl[ls otrfh.
baL
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Iptryp*@.
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iolc 0t dsqfc eltcha
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5 uEf"tp"m"",TkrEwlll
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ffidiEetl'6d@ding,lD
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mbfr-regtli.pda iintu
4/aiirrc
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ffiecl}adgqeg
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rlorglIE*jcbttesre
ailrc.tlE
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I .reD*raatrma,rEvfog
rbretle s.te h 6c qDoe
.llr(ior,
I thtutwHobdrgg6d
5 pott* ir pf.l*a b @feaq
wtdr @tr dtAG *.rt dach
.!t groq, otrthlE
2{EEEEGEEEEEI t*oalh;m*bada&aak
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tlra hlilrft&to rcelo dodb ,ISEEEEEGIEEEI
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dn *l*maasealaiaab tha alhmale, tealo laah EEEEEEEEEEI,TS
3"E@EEEI tha alt*tate, salo &oah
;-{.11i