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Scale Sequence Patterns
I'm working on my Alt picking and Scales, I'm starting to get into Scale Sequencing. Anybody have or can recommend any resources for different sequences? Like Diatonic 3rds, Ascending 4th's and so on.
Right or wrong - I'm a box guy. Here are some suggestions:
Major Scale Box Pattern
E|---7---|--R(8)-|-------|---2---| 1st string
E|-------|---R---|-------|---2---| 6th string
Notice it's a full two octaves, for the third go up
the 1st string.
Place the R and play the box's pattern. C @ 6th string 8th fret and the pattern will place the notes of the C scale under your fingers. Want the C natural minor scale? Flat the 3, 6 & 7. Think Dorian will fit better, flat the 3 and 7. What? That may be a paradigm shift.
Major Triad = R-3-5
Minor Triad = R-b3-5
Diminished Chord = R-b3-b5
Maj7 = R-3-5-7
Minor 7 = R-b3-5-b7
Dominant 7 = R-3-5-b7
˝ diminished = R-b3-b5-b7
Major Scale = R-2-3-4-5-6-7
Major Pentatonic = R-2-3-5-6 leave out the 4 & 7
Natural Minor Scale = R-2-b3-4-5-b6-b7 Major scale with a flat 3, 6 & 7
Minor Pentatonic = R-b3-4-5-b7 Natural minor scale with out the 2 & 6
Blues = R-b3-4-b5-5-b7 Minor pentatonic with the blue note (b5) added
Harmonic Minor Scale = R-2-b3-4-5-b6-7 Natural minor scale with a natural 7
Melodic Minor Scale = R-2-b3-4-5-6-7 Major scale with a b3.
Ionian same as the Major Scale. R-2-3-4-5-6-7
Lydian use the major scale and sharp the 4 - yes, it’s that simple. R-2-3-#4-5-6-7
Mixolydian use the major scale and flat the 7. R-2-3-4-5-6-b7
Aeolian same as the Natural Minor scale. R-2-b3-4-5-b6-b7
Dorian use the Natural Minor scale and sharp the b6 back to a natural 6.
Phrygian use the Natural Minor scale and flat the 2.
Locrian use the Natural Minor scale and flat the 2 and the 5.
Modes -- http://scottsbasslessons.com/welcome-to-the-shed you may have to click the blank screen a couple of times for the video to load. Glove - skin condition, don't let it throw you.
For more patterns try this site http://www.all-guitar-chords.com/gui...t&t=0&choice=1
Scale - Hungarian Gypsy 1,2,b3,#4,5,b6,7 Or if you prefer harmonic minor with a #4.
Scale - Bebop Major 1,2,3,4,5,#5,6,7 or think of it being the major scale with an extra augmented 5. That's the point I'm making. Relate your new scale to the major or natural minor scale, most of the time it's just one note difference. Remember the one note difference, no need in memorizing a zillion patterns.
Scale - Moorish Phrygian
Scale - Auxiliary Diminished
Last edited by Malcolm; 05-30-2012 at 02:49 PM.
The short answer is that the best source I know for using scale sequences to create solo lines, are the two books by Frank Gamble - “Frank Gamble Technique Book 1” and “Frank Gamble Technique Book 2”. Here’s a link to book-1, so you know which books I mean.
I know that people often only want recommendations to free stuff from the net. But frankly that’s not a serious way of practicing imho, and you are very unlikely to achieve anything from that except a huge waste of your practice time.
Instead, bite the bullet, and pay for a proper instruction book (or DVD) which explains the topic in detail with extensive practice material (ie TAB, or notation).
The books by Frank Gambale are actually a complete course in how to solo using scales and arpeggios, particular in rock-fusion style. But out of all my 200 or so books and DVD’s, those are the only books that actually describe practical musical examples of how to use scale sequences to create solo lines/licks.
Crossroads, just noticed your our Moderator. We are in good hands.
Ha, ha (smiles) ... well I don't really do anything except delete occasional spam. And myself and Matt (MetalJustice) have been doing that for some years now.
Originally Posted by Malcolm
But I appreciate your support (in fact, even more, I appreciate all your info & replies on so many threads, even inc. welcome messages for newbie’s where the rest of us are often slow to welcome them as we should ... so big thanks for all your great input here.
For scale sequences, take a scale and create a static pattern which moves throughout—i.e. play 3 notes ascending, then descend 1 note—follow this pattern until you reach the top of the scale. Another pattern is playing 4 ascending notes, then descending 2.
If you're playing a descending scale, then the patterns would obviously be in reverse.
Best of Luck!
Not sure if this is exactly what you mean, but when I think of scale sequencing I think of, like the previous poster has said, scale patterns like:
1234, 2345, 3456, 4567, ect.
1232, 3434, 5456, 5676, ect.
1423, 2534, 3645, 4756, ect.
1243, 2354, 3465, 4576, ect.
There are lots of other possibilities like that.
Guitar Speed Exercises
Guitar Chords for Beginners
The other obvious sources of practice material like this, is just to look for players who’s music often makes use of scale sequences.
If you are also trying to develop fast alternative picking lines, which is what I think you are aiming at(?), then from memory I think Paul Gilbert often makes use of extended scale sequences. So if you like Paul’s playing, then any of his DVD’s are really good as practice.
Another good practice source that comes to mind is Don Mock’s book Symmetrical Scales Revealed (link below). That also gives TAB for a number of exercises which are really scale sequences using diminished scales and whole-tone scales. So there you have the extra interest of getting into what might be more unusual scales for rock players.
Finally just having mentioned Don Mock - I’ve said here several times before that he has an excellent DVD called “The Blues from Rock to Jazz”. If you want your playing to get more jazzy, then that’s a very good DVD for learning and practicing, though definitely not for beginners as Mock’s playing is almost impossibly hard to copy.
But I just mention that Don Mock DVD here because a lot of what does on that DVD (which comes with a really good printable PDF file which is almost like a book in itself) has scale sequences and/or similar ideas in the playing.
In fact the whole of his playing and phrasing on that DVD gives a similar sound to hearing scale sequences just by the way he plays, which is a very strict alternate picking style, but with unusual accenting and timing across almost every note. So that what results is a fast jazzy style of phrasing which sounds highly articulated in a staccato sort of sense, and which is both unexpected/unusual to the ear and I have to admit extremely difficult to copy (but really great practice nevertheless).
Does anyone have any idea about the boot camp solo series....any idea about guitar scales regarding this?
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