I do not put a lot of effort in playing all over the fretboard, in fact, spend most of my time in and around The spot dictated by the tonic root. But, that is another story.
Originally Posted by allonym
Patterns based upon the Major Scale box and a few words on parallel modes.
Scales --- The major scale box is home base.
Major Scale Box Pattern
E|---7---|--R(8)-|-------|---2---| 1st string
E|-------|---R---|-------|---2---| 6th string
One pattern - move the R root to where needed, then play the pattern.
Notice you have two octaves, if you need some of the 3rd octave just
go up the 1st string.
• Major Scale = R-2-3-4-5-6-7 Home base
• 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 the 3, 6 & 7 flatted.
• Minor Pentatonic = R-b3-4-5-b7 Leave 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 with a natural 7.
• Melodic Minor Scale = R-2-b3-4-5-6-7 Major scale with a b3.
Let the major scale be your home base then change a few notes and you have something different. No need to memorize a zillion patterns. Let the major scale pattern be your go to pattern - then adapt/adjust from there.
• 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 is the same as the Natural minor scale and is home base for all the minor modes.
• Dorian use the Natural Minor scale and sharp the b6 back to a natural 6. Change one note.
• Phrygian use the Natural Minor scale and flat the 2. Again change one note.
• Locrian use the Natural Minor scale and flat the 2 and the 5. OK here you have to change two notes.
Modal Harmony - the rest of the story.
• If you play your modes over a chord progression you will probably only hear the tonal center of your progression.
• However, if you play your modes over a modal vamp the vamp will sustain the modal mood long enough for the modal mood to be heard. The modal vamp droning effect will sustain the modal mood. Where with a chord progression the chords change so quickly that the modal mood does not have time to develop. Modal vamps of one to two chords let the modal mood be heard. http://www.riddleworks.com/modalharm3.html
We all know how to make modes, its using them where we get confused. IMO most of the time we can get along fine with out them. The vocalist sets the mood and most of the time with a I IV V or ii V7 I progression. But when the vocalist stops singing and the lead is passed to another instrument that instrument is going to have a problem sustaining the mood set by the vocalist if the V-I cadence carries forward. A mode does not substance it's mood well with the closure of a V-I cadence. This is where a modal vamp is called for. But, did the rest of the band revert to modal harmony for your mode?
My point - if you have a vocalist you probably do not need to use a mode for your solo lead break. Just play the tune of a verse or chorus for your solo. Now if you are composing where you have control of the melody and harmony, then modes can be used effectually. Of course that is my opinion. It and $1.67 will purchase a cup of coffee in most East Texas restaurants.