Showing posts with label scales and modes. Show all posts
Showing posts with label scales and modes. Show all posts
Jan 26, 2010
Aug 19, 2008
The Harmonic Minor Scale
For years there have been guitarists with the deadliest of sounds. The kind of guitar players who can rip off leads that will make your spine tingle. I'm not just talking about fast riffs. I'm talking about those infamous axe-monsters who can make blood squirt from your grandma's ears just by playing a few, well chosen notes.
Sorry about all of the dramatic text, but this is a scale that requires that I talk about it in a fashion of Jack Black-ism.
The Harmonic Minor scale is heavily favored by Yngwie Malmsteen and the likes of frenetic master minds like Alex Skolnick (who used every mode known to man in his days with Testament) and Jason Becker. Not to mention the ever-missed, Dimebag Darrell.
Its structure is extremely classical, but slap a little distortion on there, and you can make nuns cry.
Watch this video and then consult the information below it, to see how we are actually going to construct the harmonic minor scale.
The first thing that I should explain to you, is that it is almost identical to the Natural Minor Scale. I could link you to the article about the Natural Minor scale, where I explain its construction, but for purposes of simplicity, here it is.
Click To Enlarge
Q: What's the difference?
A: One note!
The 7th note in the Natural Minor scale is flatted.
That formula is 1,2,3b,4,5,6b,7b
The formula for the Harmonic Minor scale is 1,2,3b,4,5,6b,7.
Look at those two formulas together. They are almost identical except for the last note. So you can build the Harmonic Minor scale from the Natural Minor scale, but I also want to show you how the Harmonic Minor scale relates to the Major scale.
The Major scale is very simple in the sense that it does not contain any sharps or flats. It is simply 1,2,3,4,5,6,7.
If you flat the 3rd and 6th notes you produce the Harmonic Minor scale. Check out the image below to see the comparison.
Click To Enlarge
Now I don't want to leave you with too much to ponder over, but I wrote and recorded a song called Rasputin that is in the My Music section of this blog, and the main riff is out of C Harmonic Minor. If you are interested, check that out so that you can see how it might be used.
Read More......
Sorry about all of the dramatic text, but this is a scale that requires that I talk about it in a fashion of Jack Black-ism.
The Harmonic Minor scale is heavily favored by Yngwie Malmsteen and the likes of frenetic master minds like Alex Skolnick (who used every mode known to man in his days with Testament) and Jason Becker. Not to mention the ever-missed, Dimebag Darrell.
Its structure is extremely classical, but slap a little distortion on there, and you can make nuns cry.
Watch this video and then consult the information below it, to see how we are actually going to construct the harmonic minor scale.
The first thing that I should explain to you, is that it is almost identical to the Natural Minor Scale. I could link you to the article about the Natural Minor scale, where I explain its construction, but for purposes of simplicity, here it is.
Click To Enlarge
Q: What's the difference?
A: One note!
The 7th note in the Natural Minor scale is flatted.
That formula is 1,2,3b,4,5,6b,7b
The formula for the Harmonic Minor scale is 1,2,3b,4,5,6b,7.
Look at those two formulas together. They are almost identical except for the last note. So you can build the Harmonic Minor scale from the Natural Minor scale, but I also want to show you how the Harmonic Minor scale relates to the Major scale.
The Major scale is very simple in the sense that it does not contain any sharps or flats. It is simply 1,2,3,4,5,6,7.
If you flat the 3rd and 6th notes you produce the Harmonic Minor scale. Check out the image below to see the comparison.
Click To Enlarge
Now I don't want to leave you with too much to ponder over, but I wrote and recorded a song called Rasputin that is in the My Music section of this blog, and the main riff is out of C Harmonic Minor. If you are interested, check that out so that you can see how it might be used.
Jul 23, 2008
Mixolydian Mode
Its time for another little round of musical theory, and today we're going to take a look at the Mixolydian mode, which is the 5th mode in the order of modes. That's great, because that means that we only have two left!
After we get through all of this talk of scales and modes, we'll actually be able to sit down and fine-tune our musical theory, and put it into action.
This mode should be fairly easy to learn, because its practically identical to the major scale. The only difference is that the sixth note is flatted, which naturally causes the 7th note to turn into a whole step. That is to say, the 6th note that comes right before the 7th note is flatted, which automatically puts a whole-step space in between. It looks like the 7th note has been sharped, but it actually hasn't because the 6th note's alteration changed the modulation between both notes. Take a look below to see what I mean. Compare the last 2 notes of both formulas.
Mixolydian
W,W,H,W,W,H,W
Major
W,W,H,W,W,W,H
Click To Enlarge
Mixolydian is an ok mode. I had rather just play straight out of the major scale or Lydian, but it definitely has its own place, and its seems that a lot of guitarists find a special musical connection with a couple of modes.
I would like to suggest that you make the effort to try and find a connection with a few modes, other than the major and minor pentatonic scales.
Back in Black by AC/DC, Taxman by The Beatles, The number of the beast by Iron Maiden and Sweet Child o' Mine by Guns N' Roses, are just a few examples of where the Mixolydian mode has been used.
As I usually mention, practicing modes going over the 2 octave structure of all 6 strings, using alternate picking, is an exercise in itself. However, modes are more for the development of musical diversity and creativity, and I know that it seems so simple that you may be having trouble understanding it, but while you're in the process of learning a scale or mode, take the notes and rearrange them. There is no formula for writing music, only experimentation. See what kind of chords you can make out of the notes that you chose, and also see what riffs you can come up with. This will also help you to memorize the mode, itself. I'm out.
Read More......
After we get through all of this talk of scales and modes, we'll actually be able to sit down and fine-tune our musical theory, and put it into action.
This mode should be fairly easy to learn, because its practically identical to the major scale. The only difference is that the sixth note is flatted, which naturally causes the 7th note to turn into a whole step. That is to say, the 6th note that comes right before the 7th note is flatted, which automatically puts a whole-step space in between. It looks like the 7th note has been sharped, but it actually hasn't because the 6th note's alteration changed the modulation between both notes. Take a look below to see what I mean. Compare the last 2 notes of both formulas.
Mixolydian
W,W,H,W,W,H,W
Major
W,W,H,W,W,W,H
Click To Enlarge
Mixolydian is an ok mode. I had rather just play straight out of the major scale or Lydian, but it definitely has its own place, and its seems that a lot of guitarists find a special musical connection with a couple of modes.
I would like to suggest that you make the effort to try and find a connection with a few modes, other than the major and minor pentatonic scales.
Back in Black by AC/DC, Taxman by The Beatles, The number of the beast by Iron Maiden and Sweet Child o' Mine by Guns N' Roses, are just a few examples of where the Mixolydian mode has been used.
As I usually mention, practicing modes going over the 2 octave structure of all 6 strings, using alternate picking, is an exercise in itself. However, modes are more for the development of musical diversity and creativity, and I know that it seems so simple that you may be having trouble understanding it, but while you're in the process of learning a scale or mode, take the notes and rearrange them. There is no formula for writing music, only experimentation. See what kind of chords you can make out of the notes that you chose, and also see what riffs you can come up with. This will also help you to memorize the mode, itself. I'm out.
Jul 1, 2008
Japanese Scale No. 1
Believe it or not but there is a whole world beyond the conventional scales and modes that western musicians are generally accustomed to. By western musician I don't mean a guy toting a rhinestone jacket, singing Two cigarettes in the ashtray by Patsy Cline or Willie Nelson. I can't remember who wrote it.
There are a ton of modes that have been classified as exotic, but keep in mind that they are only exotic to western musicians, or even better, to those who don't make the effort to wrap their minds around them.
I'll show you the first one that I know of, which can bring an amazing presence to your style on the guitar. We'll take a look at a Japanese scale and there are two versions and they both have a specific name, yet the names of both scales have slipped my mind, because I'm reaching way back into my knowledge. Most great guitarists don't even know any of these scales, and to be honest with you, I don't know the construction of these scales, so I can't share with you the whole tone/half tone formula or even the numbers formula. I will keep my eyes and ears open for all of the information that this post is lacking, and update it accordingly, but I can at least show you this scale and in a later post, share with you the other variation.
I may be wrong about this, but I have always looked at both forms of these scales and their relationship with one another, as the relationship between the major and minor pentatonic scales.
A lot of people are highly impressed with Marty Friedman of MegaDeth and Cacophany fame and a lot of guitarists would
consider Friedman to be a personal favorite. In my opinion, his creative phrasing well surpasses his technique and this can be attributed to his expansive knowledge of exotic scales.
I was on youtube recently and saw one of his videos. It was an improvisation and he was finding nice ways to install the Japanese scales. In fact, if you listen to a lot of his playing, he uses the Japanese scales quite frequently. Even on the song Symphony of Destruction. To clarify my point, the Japanese scales are absolutely wicked sounding, even alone and most exotic scales have this effect on the listener.
There are two videos in this addition to GuitArticles. The first is me playing the first variation of the Japanese scale and the second is that video with Marty Friedman. That way you can hear the scale alone, as it is, and also hear it used in the context of music.
Click To Enlarge
Read More......
There are a ton of modes that have been classified as exotic, but keep in mind that they are only exotic to western musicians, or even better, to those who don't make the effort to wrap their minds around them.
I'll show you the first one that I know of, which can bring an amazing presence to your style on the guitar. We'll take a look at a Japanese scale and there are two versions and they both have a specific name, yet the names of both scales have slipped my mind, because I'm reaching way back into my knowledge. Most great guitarists don't even know any of these scales, and to be honest with you, I don't know the construction of these scales, so I can't share with you the whole tone/half tone formula or even the numbers formula. I will keep my eyes and ears open for all of the information that this post is lacking, and update it accordingly, but I can at least show you this scale and in a later post, share with you the other variation.
I may be wrong about this, but I have always looked at both forms of these scales and their relationship with one another, as the relationship between the major and minor pentatonic scales.
A lot of people are highly impressed with Marty Friedman of MegaDeth and Cacophany fame and a lot of guitarists would
consider Friedman to be a personal favorite. In my opinion, his creative phrasing well surpasses his technique and this can be attributed to his expansive knowledge of exotic scales.
I was on youtube recently and saw one of his videos. It was an improvisation and he was finding nice ways to install the Japanese scales. In fact, if you listen to a lot of his playing, he uses the Japanese scales quite frequently. Even on the song Symphony of Destruction. To clarify my point, the Japanese scales are absolutely wicked sounding, even alone and most exotic scales have this effect on the listener.
There are two videos in this addition to GuitArticles. The first is me playing the first variation of the Japanese scale and the second is that video with Marty Friedman. That way you can hear the scale alone, as it is, and also hear it used in the context of music.
Click To Enlarge
Jun 23, 2008
The Lydian Mode
I would say that Lydian is probably my favorite mode. It has a very warm presence to it, and I have found that I like its sound when it comes to using it with distortion. The Lydian mode is also an amazing mode for the simple reason that you can go from playing really upbeat and explorative passages, to very moody/melancholy and thoughtfully expressive passages.
As is typical with a lot of these modes, the Lydian mode can be used and found in a wide variety of music. If you would like to know more about it, Wikipedia always has interesting things to say, and certainly when it comes to the history of each mode.
The Formula:
W,W,W,H,W,W,H
1,2,3,#4,5,6,7
Click To Enlarge
Read More......
As is typical with a lot of these modes, the Lydian mode can be used and found in a wide variety of music. If you would like to know more about it, Wikipedia always has interesting things to say, and certainly when it comes to the history of each mode.
The Formula:
W,W,W,H,W,W,H
1,2,3,#4,5,6,7
Click To Enlarge
Jun 20, 2008
Minor Pentatonic Scale
One more thing to add to your guitar arsenal of licks. We're going to take a good look at the Minor Pentatonic scale.
The great thing about this scale, is that it is almost exactly like the Major Pentatonic Scale. In fact, its safe to look at it as the same scale. It has the exact fingering in that classic "box" formation.
The only difference is that when you are playing the Major Pentatonic, you are ahead a note, and when you play the Minor Pentatonic, you are behind a note.
I've got both the Major Pentatonic and the Minor Pentatonic out of A in the post, so you can see what I'm talking about.
Here's the trick. If you play a major pentatonic scale and you wish to then go to a minor pentatonic scale, it is simply a matter of moving the major pentatonic scale down 3 frets.
You flat it by 3 frets and even though the fingering is the same, one could think of it as an audio illusion. It seems to change the sound entirely.
The pentatonic scales are a great introduction to soloing and learning to improvise. However, don't get too comfortable with them, as they are easy to play and can become addictive. I would even say this to blues guitarists. There are still a lot of things that you can do, outside of the box.
Click To Enlarge
Read More......
The great thing about this scale, is that it is almost exactly like the Major Pentatonic Scale. In fact, its safe to look at it as the same scale. It has the exact fingering in that classic "box" formation.
The only difference is that when you are playing the Major Pentatonic, you are ahead a note, and when you play the Minor Pentatonic, you are behind a note.
I've got both the Major Pentatonic and the Minor Pentatonic out of A in the post, so you can see what I'm talking about.
Here's the trick. If you play a major pentatonic scale and you wish to then go to a minor pentatonic scale, it is simply a matter of moving the major pentatonic scale down 3 frets.
You flat it by 3 frets and even though the fingering is the same, one could think of it as an audio illusion. It seems to change the sound entirely.
The pentatonic scales are a great introduction to soloing and learning to improvise. However, don't get too comfortable with them, as they are easy to play and can become addictive. I would even say this to blues guitarists. There are still a lot of things that you can do, outside of the box.
Click To Enlarge
Jun 19, 2008
Major Pentatonic
Its time to learn the Pentatonic scales. You shouldn't be scared and there's no need to shutter. If you could pick only one mode to learn, and it was mandatory, you should pick this one. It gets the most use. Yes, it is a prostitute mode. We'll start with the Major Pentatonic scale first.
I'll show you the Minor Pentatonic, and then the Blues scale, in the following couple of days. Here's why you should learn these. If you saw my recent post, entitled E7 Blues, and if you liked that little deal, chances are you'll want to jam over it. Well, you need to learn these 3 modes first.
I promise, these are soooo easy! they are very similar, and just make sense. They definitely sound very bluesy, so you won't forget them. I mean everyone uses these. Metal, Rock, Hard Rock, Jazz, Country, Blues, Bluegrass - everyone gets a little use out of them.
Point in being, I can't make part 2 of the E7 Blues video, because I forgot that I haven't shown you guys these scales. Its not a big deal. I sleep like 4 hours a night anyways, so I'm bound to make a mistake here and there.
What you should know about the Major Pentatonic Scale:
1. Penta means 5, so it contains 5 notes.
2. Tonic = note
3. The Major Pentatonic scale is missing 2 notes. The 4th and 7th notes.
The formula is:
W,W,W+H,W,W+H
The combination of W+H simply means that it is 3 frets, or a half step + whole step.
Click To Enlarge
Read More......
I'll show you the Minor Pentatonic, and then the Blues scale, in the following couple of days. Here's why you should learn these. If you saw my recent post, entitled E7 Blues, and if you liked that little deal, chances are you'll want to jam over it. Well, you need to learn these 3 modes first.
I promise, these are soooo easy! they are very similar, and just make sense. They definitely sound very bluesy, so you won't forget them. I mean everyone uses these. Metal, Rock, Hard Rock, Jazz, Country, Blues, Bluegrass - everyone gets a little use out of them.
Point in being, I can't make part 2 of the E7 Blues video, because I forgot that I haven't shown you guys these scales. Its not a big deal. I sleep like 4 hours a night anyways, so I'm bound to make a mistake here and there.
What you should know about the Major Pentatonic Scale:
1. Penta means 5, so it contains 5 notes.
2. Tonic = note
3. The Major Pentatonic scale is missing 2 notes. The 4th and 7th notes.
The formula is:
W,W,W+H,W,W+H
The combination of W+H simply means that it is 3 frets, or a half step + whole step.
Click To Enlarge
Jun 17, 2008
Phrygian Mode
next up is the Phrygian mode, the third mode in our ever growing arsenal. We're almost halfway through! this is a great mode to learn, because it can really spawn some excellent, creative passages.
For one, Jazz musicians use this to improvise quite a bit, and the second genre of music that you hear the Phrygian mode in a lot, is heavy metal. Jefferson Airplane constructed White Rabbit around the Phrygian mode and Yngwie Malmsteen, Metallica, Megadeth and so forth, have all used this little mode of darkness. Danny Elfman (Tim Burton's composer) uses the Phrygian mode frequently. We can't forget about King Diamond, either. Anyways, you get the point. This mode has the moody dark feel for both a clean and distorted sound. So lets get to it.
First of all, the Phrygian mode is the 3rd position of the Major scale, which means that it is constructed from the 3rd note of the Major scale.
The Whole step/Half step formula is as follows:
H,W,W,W,H,W,W
1,b2,b3,4,5,b6,b7
That means that if you construct this mode from the Major scale, say G, you would flat the 2,3,6 and 7th notes of the G Major scale to create G Phrygian.
Click To Enlarge
Below is a video showing the mode so that you have a visual and audible reference. After the mode is shown and played through, a heavy metal demonstration is presented.
Read More......
For one, Jazz musicians use this to improvise quite a bit, and the second genre of music that you hear the Phrygian mode in a lot, is heavy metal. Jefferson Airplane constructed White Rabbit around the Phrygian mode and Yngwie Malmsteen, Metallica, Megadeth and so forth, have all used this little mode of darkness. Danny Elfman (Tim Burton's composer) uses the Phrygian mode frequently. We can't forget about King Diamond, either. Anyways, you get the point. This mode has the moody dark feel for both a clean and distorted sound. So lets get to it.
First of all, the Phrygian mode is the 3rd position of the Major scale, which means that it is constructed from the 3rd note of the Major scale.
The Whole step/Half step formula is as follows:
H,W,W,W,H,W,W
1,b2,b3,4,5,b6,b7
That means that if you construct this mode from the Major scale, say G, you would flat the 2,3,6 and 7th notes of the G Major scale to create G Phrygian.
Click To Enlarge
Below is a video showing the mode so that you have a visual and audible reference. After the mode is shown and played through, a heavy metal demonstration is presented.
Jun 16, 2008
Dorian Mode
Mode number 2 in the order of modes is Dorian, a very pleasant sounding little chain of notes. Dorian is a great mode because it is very versatile and can be used in many different styles of music. It can be used in any form of Latin music, rock, metal, funk, jazz, Celtic music etc.
Carlos Santana combines Dorian with blues structures to create that legendary sound that he has.
The formula is:
W,H,W,W,W,H,W,
Whole step (2 frets)
Half step (1 fret)
Whole step (2 frets)
Whole step (2 frets)
Whole step (2 frets)
Half step (1 fret)
Whole step (2 frets)
Now as usual, I have this set up so that you can compare the Dorian mode to the Major scale. You should play the Major scale and then play the Dorian mode, going back and forth to compare.
The process of learning modes is pretty straight forward and simple. It is simply a process of taking a little bit of time to memorize them, while at the same time learning how to construct them.
Its true, you could just memorize the patterns of the modes, but it is a real benefit to understand the structures as well.
After you've memorized the Dorian mode and compared it to the major scale, use the Whole tone/Half tone formula above and try constructing it from scratch.
Click To Enlarge
Read More......
Carlos Santana combines Dorian with blues structures to create that legendary sound that he has.
The formula is:
W,H,W,W,W,H,W,
Whole step (2 frets)
Half step (1 fret)
Whole step (2 frets)
Whole step (2 frets)
Whole step (2 frets)
Half step (1 fret)
Whole step (2 frets)
Now as usual, I have this set up so that you can compare the Dorian mode to the Major scale. You should play the Major scale and then play the Dorian mode, going back and forth to compare.
The process of learning modes is pretty straight forward and simple. It is simply a process of taking a little bit of time to memorize them, while at the same time learning how to construct them.
Its true, you could just memorize the patterns of the modes, but it is a real benefit to understand the structures as well.
After you've memorized the Dorian mode and compared it to the major scale, use the Whole tone/Half tone formula above and try constructing it from scratch.
Click To Enlarge
Jun 10, 2008
Ionian Mode
Hopefully you took me seriously and made an effort to memorize the order of modes, but regardless, I'm still going to move forward and post the first mode. The Ionian mode.
The formula is as follows.
The whole step/half step formula
W,W,H,W,W,W,H
Something interesting to remember about the Ionian mode is that it is exactly the same as the major scale, note for note. So when you're playing A Ionian you are playing the A major scale. Screwy, isn't it? But its important to know the Ionian mode, because it is the doorway to the next mode, Dorian, and Dorian is a step in the direction of
the next mode, Phrygian.
The difference in the Ionian mode and a major scale of the same key is the fingering and placement of the notes. Hey, if you want to complain, that's fine, but really it just makes it a piece of cake to memorize the Ionian mode.
Let's say that you know the major scale and how to play it in the key of G. If you know this, then you know every mode in the key of G. When I post the lesson on the Dorian mode I will fully explain why this is, but one thing at a time.
A good way to practice this mode is to start with the Ionian mode. Practice it like this. First play the A major scale, and then go straight to A Ionian. This is a great way to practice all of the modes and will help you to fully understand what is going on.
If you do this consistently, your ears will be able to detect the differences, so that you can identify a mode just by listening to it. This will give you an edge for when you want to jam with people and have no restrictions on your soloing.
A Ionian
Click To Enlarge
Read More......
The formula is as follows.
W,W,H,W,W,W,H
Something interesting to remember about the Ionian mode is that it is exactly the same as the major scale, note for note. So when you're playing A Ionian you are playing the A major scale. Screwy, isn't it? But its important to know the Ionian mode, because it is the doorway to the next mode, Dorian, and Dorian is a step in the direction of
the next mode, Phrygian.
The difference in the Ionian mode and a major scale of the same key is the fingering and placement of the notes. Hey, if you want to complain, that's fine, but really it just makes it a piece of cake to memorize the Ionian mode.
Let's say that you know the major scale and how to play it in the key of G. If you know this, then you know every mode in the key of G. When I post the lesson on the Dorian mode I will fully explain why this is, but one thing at a time.
A good way to practice this mode is to start with the Ionian mode. Practice it like this. First play the A major scale, and then go straight to A Ionian. This is a great way to practice all of the modes and will help you to fully understand what is going on.
If you do this consistently, your ears will be able to detect the differences, so that you can identify a mode just by listening to it. This will give you an edge for when you want to jam with people and have no restrictions on your soloing.
A Ionian
Click To Enlarge
Jun 5, 2008
The Order Of Modes
I have been stressing the importance of learning the major scale, inside and out. I took the time to tab out the major scales running a whole octave, from E to the octave of E, spanning all of the keys. It is important to understand that the root note of a key can be found in many different places on the guitar neck. An example of this would be that if the 1st fret on the low E string is F, there is also an F on the 3rd fret of the D string. So you could start the F major scale from there as well.
My goal was to give you a good foundation. Or rather, to be able to unleash the major scale from any root position on the neck. If you are just visiting this blog, check out the section that I established on the major scales.
I plan on teaching everyone all of the modes. Here's the trick though. When you are playing any major scale, you are essentially playing all of the modes. Yes, they are right before you. It is just a matter of constructing them properly from the major scale.
Before I can show you these modes, you need to memorize the major scales, but as I have said before, the pattern repeats with a few exceptions, making is a breeze to memorize, much like any other scale or mode.
Modes run in a certain order and yes, this is important. You need to memorize this order before I can teach you the first mode.
I am not attempting to be inconsistent with my teaching style. I would prefer to talk a little about theory, technique building and song structure, to make things more fun. I post pretty often and expect to share with everyone, everything that I know about guitar. This blog will be up for a while, hehe.
So memorize this order of modes. Write it down and repeat it to yourself. Shouldn't be too hard.
The order is:
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aolian
Locrian
A good way to memorize this is to take the first letter of each mode, and construct a little saying. An example would be "I Don't Particulary Like Music After Lunch". You can customize the saying to your liking if it helps you memorize the order more effectively.
Ideally, the best thing to do would be to print off any bit of theory that I post on this blog, and make a little book for yourself. It is true, you could just go out and purchase a scales and modes book, but when you are doing these things for yourself, like writing things down, your mind is working with you to memorize. If you do this for yourself, you can weave in and out of learning the theory aspect and learning the technique or song structure aspect.
I'm thinking that the next post will be something a bit more relaxing and fun, so stick around. Have a great day!
Read More......
My goal was to give you a good foundation. Or rather, to be able to unleash the major scale from any root position on the neck. If you are just visiting this blog, check out the section that I established on the major scales.
I plan on teaching everyone all of the modes. Here's the trick though. When you are playing any major scale, you are essentially playing all of the modes. Yes, they are right before you. It is just a matter of constructing them properly from the major scale.
Before I can show you these modes, you need to memorize the major scales, but as I have said before, the pattern repeats with a few exceptions, making is a breeze to memorize, much like any other scale or mode.
Modes run in a certain order and yes, this is important. You need to memorize this order before I can teach you the first mode.
I am not attempting to be inconsistent with my teaching style. I would prefer to talk a little about theory, technique building and song structure, to make things more fun. I post pretty often and expect to share with everyone, everything that I know about guitar. This blog will be up for a while, hehe.
So memorize this order of modes. Write it down and repeat it to yourself. Shouldn't be too hard.
The order is:
Dorian
Phrygian
Lydian
Mixolydian
Aolian
Locrian
A good way to memorize this is to take the first letter of each mode, and construct a little saying. An example would be "I Don't Particulary Like Music After Lunch". You can customize the saying to your liking if it helps you memorize the order more effectively.
Ideally, the best thing to do would be to print off any bit of theory that I post on this blog, and make a little book for yourself. It is true, you could just go out and purchase a scales and modes book, but when you are doing these things for yourself, like writing things down, your mind is working with you to memorize. If you do this for yourself, you can weave in and out of learning the theory aspect and learning the technique or song structure aspect.
I'm thinking that the next post will be something a bit more relaxing and fun, so stick around. Have a great day!
Jun 2, 2008
The Natural Minor Scales
Today were are going to go over the minor scale, inside and out. Just like with the major scale a few days ago, I'll show you how to play this one from one octave to another.
It is important to understand that there are actually 3 minor scales. The 1st one, natural minor, is the one that we will be covering here.
Again, like any other scale or mode, this one also has a half step/whole step formula. Its looks like this:
W,H,W,W,H,W,W
Also like the major scale that I showed you, this one is relatively easy to memorize, because minus the starting open E position, the pattern never changes.
My 1st suggestion is that you make an effort to sit down and memorize this scale. My 2nd suggestion is that you use alternate picking, preferably with a metronome and
that you pick each note evenly and as cleanly as possible.
Again, speed comes with relaxed hands. If you try and rush these things, you aren't going to get fast very quickly. You will have to retrain your hands if you do this (speaking from experience), so why make it harder on yourself?
Anyways, have fun!
E Natural Minor
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F Natural Minor
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F# Natural Minor
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G Natural Minor
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G# Natural Minor
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A Natural Minor
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A# Natural Minor
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B Natural Minor
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C Natural Minor
Click To Enlarge
C# Natural Minor
Click To Enlarge
D Natural Minor
Click To Enlarge
D# Natural Minor
Click To Enlarge
E Natural Minor (Octave)
.png)
Click To Enlarge
Read More......
It is important to understand that there are actually 3 minor scales. The 1st one, natural minor, is the one that we will be covering here.
Again, like any other scale or mode, this one also has a half step/whole step formula. Its looks like this:
W,H,W,W,H,W,W
Also like the major scale that I showed you, this one is relatively easy to memorize, because minus the starting open E position, the pattern never changes.
My 1st suggestion is that you make an effort to sit down and memorize this scale. My 2nd suggestion is that you use alternate picking, preferably with a metronome and
that you pick each note evenly and as cleanly as possible.
Again, speed comes with relaxed hands. If you try and rush these things, you aren't going to get fast very quickly. You will have to retrain your hands if you do this (speaking from experience), so why make it harder on yourself?
Anyways, have fun!
E Natural Minor
Click To Enlarge
F Natural Minor
Click To Enlarge
F# Natural Minor
Click To Enlarge
G Natural Minor
Click To Enlarge
G# Natural Minor
Click To Enlarge
A Natural Minor
Click To Enlarge
A# Natural Minor
Click To Enlarge
B Natural Minor
Click To Enlarge
C Natural Minor
Click To Enlarge
C# Natural Minor
Click To Enlarge
D Natural Minor
Click To Enlarge
D# Natural Minor
Click To Enlarge
E Natural Minor (Octave)
.png)
Click To Enlarge
May 30, 2008
The Major Scales
Here it is. All of the major scales, starting in an open E position and ending on the 12th fret, the octave of E. You should consider printing these off, and memorizing them. Its very easy, because minus the open E scale, the rest all consist of the same pattern. Just a matter of starting the pattern on a different fret to change the key.
You need to know this scale inside and out before I can show you any modes. This is the key to unlocking the modes. Just take a few minutes to sit down and play it, when you can. A few minutes here, a few minutes there.
I promise this will make it so much easier.
E Major Scale
F Major Scale
F# Major Scale
G Major Scale
G# Major Scale
A Major Scale
A# Major Scale
B Major Scale
C Major Scale
C# Major Scale
D Major Scale
D# Major Scale
E Major Scale (octave)
.png)
Note: Use alternate picking (down, up, down, up) and play through these evenly, going at your own comfortable pace. Though this is theory in action, these scales should also be treated as speed developing exercises. They can accomplish a lot from that perspective.
Read More......
You need to know this scale inside and out before I can show you any modes. This is the key to unlocking the modes. Just take a few minutes to sit down and play it, when you can. A few minutes here, a few minutes there.
I promise this will make it so much easier.
E Major Scale
F Major Scale
F# Major Scale
G Major Scale
G# Major Scale
A Major Scale
A# Major Scale
B Major Scale
C Major Scale
C# Major Scale
D Major Scale
D# Major Scale
E Major Scale (octave)
.png)
Note: Use alternate picking (down, up, down, up) and play through these evenly, going at your own comfortable pace. Though this is theory in action, these scales should also be treated as speed developing exercises. They can accomplish a lot from that perspective.
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