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Eustacia Harrington
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43 Scale (from L. scala, ladder): A progression of notes in a specific order.. 5cales are very important to know, especially when it comes t o playing a solo. This section is an easy reference for constructing, locating and playing al1 the essential scales on your guitar. By the end of this section, you'll be using scales t o improvise over the "Jam 5ession" on the CD. Eeeential ingrediente... We've given you three ways t o build (or "spell") each scale: This pattern tells you how many steps to rnove frorn one scale tone to the next, using abbreviations for whole step (W), half step (H) and 1 1/2 steps (W+H). 5imply start on any note and move up accordingly. Here's an example starting on the root note C: step pattern = W-W-H-W-W-W-H result = A-0-c#-D-E-F#-G#-A Take the numbers in the formula (which correspond t o a particular rnajor scale tone) and alter them as indicated by the flats andlor sharps. Try this one... A rnajor scale = A-0-c#-D-E-F#-G#-A formula = 1-2-b3-4-5-bG-b7-8 result = A-0-C-D-E-F-G-A IMPORTANT: These formulas are always based on the rnajor scale (includíng any sharps or flats) not just the letter names of the notes. That is, 3 for the key of E major is actuaily G# (not G). 50, if the formula cal15 for b3, play G (one half-step lower than G#) not ~ b. Although we don't have room t o show al1 the scales on al1 twelve root notes (actually seventeen if you count the enharrnonics!), the note names shown are relative t o the root note used. Of course, a scale built on a different root note will have a different list of note narnes.

44 Let's get organized... Several fretboard locations are given for each scale in this book. Use the one that feels the most cornfortable for you. (Or, heck, rnernorize al1 of them!) The fingerings in this systern generally apply the one-finger-ver-fret rule, staying within a specific four-fret position. In sorne cases, you may have t o reach out of position one fret above or below this basic position. (Try not to hurt yourself!) Two moveable patterns are given for each scale-one with its root on the sixth string, the other with its root on the fikh string. (For more on rnoveable patterns, Rip to page 46.) These require a bit more of a stretch but generally span a full 2 1/2 octaves. Two rnoveable fingerings are given for each scale. Again, one with a sixth string root and one with a fifth string root. Depending on the scale, these are found as either sliding scales, or four-notes-per-string patterns. The fingerings in this systern spread up t o 16 frets (Ouch!), but they're handy in trying to connect distant areas of the fretboard or to smoothly transfer frorn one position to another. Like the caged and three-notes-ver-string systems, two rnoveable patterns also accornpany each scale in the horizontal system. Get in 5ync! Practicing scales requires both hands to work together in perfect synchronization. 5trike each note clearly and precisely, making sure you pick and finger the note at exactly the sarne time. Rernernber to always use alternate picking (successive downstroke and upstroke attacks) to avoid excessive hand strain. PRACTICE TIP: Make sure you play each scale forward and then backward. And, a5 m always, start out 510~ and gradually build up speed a5 you buitd up confidente.

45 MOVEABLE PATTERNS Al1 of the scale patterns given in this book are rnoveable-that is, they can be easily shifted up or down the fingerboard t o accornodate any key'or root note. To do this, take note of the darkened root notes: = root note of scale You can use any of these root notes as a point of reference for rnoving patterns. However, the roots located on the fikh and sixth strings are usually the easiest place5 t o start. E B G D A E E B G D A E =, root on sixth string root on fifth string To play the scale pattern in any particular key, match one of the root notes to its respective note on the fingerboard. (For example, the key of C has a root note of C.) The rest of the pattern follows accordingly-it's as simple as shifting the shape. Check out the example below: Moveable Major %ale Pattern Beginning Fret (fret the root is on) Resulting 5cale fret 1 F rnajor scale E B G D A E fret 3 fret 6 fret 10 G rnajor scale Bb rnajor scale D rnajor scale fret 12 E rnajor scale

46 Picture this... Use the Guitar Fingerboard Chart below t o help you quickly locate al1 the notes within the first twelve frets. As described on the previous page, this chart will be especially useful as you begin using the moveable scale patterns in the pages ahead. STRINGS That's about all...good luck!

47 The most common scale used in rnusic is the major scale, so learn it well! lt consists of eight consecutive notes ascending or descending. 5tep pattern: W-W-H-W-W-W-H C rnajor scale C D E F G A B C Formula: n O Notes: C-D-E-F-G-A-6-C 3 e O O I A O IMPORTANT: 5cale patterns played on the guitar cover al1 of the notes within a certain m fretboard area. In other words, the notes in the scale are repeated in different octaves for a more complete and practica1 fingering.

48 This scale is used in nearly al1 styles of Western rnusic. It's sometimes referred to as the "pure minor," "relative minor," or "Aeolian rnode." 5tep pattern: W-H-W-W-H-W-W Formula: 1-2-b3-4-5-b6-b7-1 Notes: C-D-~b-F-G-~b-~b-c J + O b o Y w C natural minor scale C D E ~ G F A L B ~ C I - -. O W

49 This scale provides another alternative minor scale type and is very common in classical music. 5tep pattern: W-H-W-W-H-W+H-H Fo r m u la: Notes: C-D-~b-F-G-Ab-B-c C harmonic minor scale c D E ~ F G A ~ c B 'a m I c c 3 1 r\ D O -F4) - O o v- J W

50 This scale can also be used over rninor chords and is cornrnonly referred to as the "jazz rninor" scale. 5tep pattern: W-H-W-W-W-W-H Fo r m u la : 1-2-b y - Notes: C-D-Eb-F-G-A-0-C J C melodic minor scale c D E ~ F G A B c o 1 C) c3 - cm

51 Thi~ i5 undeniably the rnost prevalent scale used by rock and blues players. A5 it5 narne suggests ("penta" means five), this scale contains only five different tones. 5tep pattern: W+H-W-W-W+H-W C minor pentatonic scale C ~b F G ~b C Formula: 1-b3-4-5-b7 n -- - N Notes: C-~b-F-G-0b-c 8 J 1 - O -p. O

52 This i5 another 5-tone ("pentatonic") scale cornrnon in many styles of rnusic. It has a "bright" sound that especially lends itself well t o county music. 5tep pattern: W-W-W+H-W-W+H Fo rrn u la : C rnajor pentatonic scale E G A C Notes: C-D-E-G-A-C

53 The blues scale is cornrnon in jazz. rock. and (you guessed it!) blues music. I t contains an added blues note (b5) frorn the rninor pentatonic scale but has only six tones. 5tep pattern: W+H-W-H-H-W+H-W C blues scale C ~b F ~b G ~b C Formula: I-b3-4-b5-5-b7-1 u, I c 3 Notes: C-~b-F-Gb-G-0b-c d e V O Y - e W Y V

54 rhi5 5cale i5 popular in jazz and heavy metal music (turn it up!). NOTE: lt'5 not a typo, there really are eight different tones in this scale. Step pattern: W-H-W-H-W-H-W-H C diminished scale C D ~b F ~b AL A B C Fo rrn u la: u 1 I O 19n - 1 c b u o b= Notes: C-D-E~-F-G~-A~-A-B-c S ++

55 Modes are like scales-each uses a specific pattern of whole steps and half steps. The difference is that a rnode is not relatad to the key of its root note. That is, a Dorian rnode built on C is not in the key of C. The seven rnodes in cornmon practice today are derived frorn the seven notes of the rnajor scale: W W H W W W H A A A A A A A C lonian = C D E F G A B C (same as C major) W H W W W H W A A A A A A A D Dorian = D E F G A B C D H W W W H W W A A A A A A A E Phrygian = E F G A B C D E W W W H W W H A A A A A A A F Lydian = F G A B C D E F W W H W W H W A A A A A A A GMixolydian = G A 6 C D E F G W H W W H W W A A A A A A A A Aeolian = A 6 C D E F G A (sarne as A natural minor) H W W H W W W A A A A A A A 6 Locrian = 6 C D E F G A B As you can see, each rnode is actually a variation of the rnajor scale. They differ only in the arrangernent of the intervals. The next page gives you two usable patterns for each of the seven rnodes.

56 lonian Dorian Phrygian Lydian Mixolydian Aeolian Locria n

58 Time to charge admission... Now it's time to use the chords and scales from this book and rnake sorne actual music! This section provides twenty chord progressions found in various rnusic styles. Play along with the CD. You can either follow the chord symbols and strum along, or use the suggested scales to practice improvising. Either way, grab your axe, and let's jarn! hat suggested scales: G rnajor, G rnajor pentatonic, E rninor pentatonic G D c D play 8 times G suggested scales: E rninor, E rninor pentatonic Em D c piay 8 times Em suggested scales: D rninor, D rninor pentatonic, D blues Dm A5 C5 Dm play B times li://// 1 //// :ll 0 11 suggested scales: A rninor pentatonic, A blues A5 D5 E5 D5 p~ay B times A5

59 suggested scales: E blues, E minor pentatonic E B A E B play 3 times E suggested scales: C major, C major pentatonic C Am F G C play 8 times II://// 1 //// :ll O 11 suggested scales: E blues, E minor pentatonic E9 A9 piay B times E9 suggested scales: G major, G major pentatonic G c Am D play 8 times G suggested scales: F major, F major pentatonic Fmaj7 ~bmaj7 Gm7 C7 piay 8 times Fmaj7 suggested scales: C blues, C minor pentatonic C B b F C piay 8 times C Don't stop there! Turn the page... 61

60 suggested scales: C rnajor pentatonic, C rnajor C F G c G play 4 times C suggested scales: E Dorian, E rninor penatonic Em D A ola" 8 times Em suggested scales: (first three rneasures): A rninor, A rninor pentatonic suggested scales: (fourth rneasure): A harrnonic rninor Am G F E play 8 times Am suggested scales: C Phrygian, C rninor pentatonic Cm7 Db piay in times Cm7 suggested scales: G blues, G rninor, G rninor pentatonic, G harrnonic rninor Gm7 ~m7b5 ~7b9 Gm7 plav 8 times

61 suggested scales: 0b Lydian, A minor pentatonic ~bmaj7b5 Am Gm Am ~brnajib5 play 0 times suggested scales: C lonian, C rnajor Dm7 G7 Cmaj7 play B times suggested scales: F# Aeolian, F# rninor pentatonic E play B times suggested scales: D rnajor, D rnajor pentatonic D Bm Em A play 0 times D suggested scales: E Mixolydian, E major pent;atonic E D A play B times E Bravo! You're ready for the biq leaques...

FENDER PLAYERS CLUB SCALES SCALES ESSENTIAL INGREDIENTS... 1

FENDER PLAYERS CLUB SCALES SCALES ESSENTIAL INGREDIENTS... 1 SCALES SCALE (from L. scala, ladder): A progression of notes in a specific order. Scales are very important to know, especially when it comes to playing a solo. This section is an easy reference for constructing,