j!_] _r)r)i--l
fpvfurw by TOM KOLB
ISBN U-h3q-01,8??-1
ITJ HAL.LeoruARD. lr-coFlpoRA-rIoN 7777
W, BLUEUOUND
RD. PO.BOX
13819
MTLWAUKEE. Wt 53213
C o p y r i g hOt 2 0 0 1b y H A L L E O N A R DC O R P O R A T I O N InternationalCopyrightSecured All RightsReserved
Aleorrt
the
Arrthor
withvocational (G.l.T.) sincegraduating Institute at Musicians om Kolbhas beenan instructor classes curriculum such core He teaches in 1989. "student award of theYear" honorsand the well as popas Workshop, RhythmGuitar,and RhythmSection lmprovisation, as Single-String Editor Tomis Associate likeMelodicSoloingand ClassicRockLivePlayingWorkshop. ularelectives on overa dozenStar Licks artist featured is the and magazine, One for Guitar and featuredcolumnist videos. and Hal Leonardinstructional A veteranof over4,000gigs,Tomhastouredthe U.S.and Europe,servingas a sidemanand/ormusia maintaining cal directorfor majorartistsas wellas playingwithhis own band,the Gurus.Currently juggling playing/teaching/songwriting his he enjoys sessions, busyscheduleof livedatesand recording careerin the LosAngelesarea.
Acknourrledgrrrents loveand support;my wouldliketo thankmy wifeHedyand daughterFlynniefor theirunconditional at Hal LeonardCorporation. me in my musiccareer;everyone momand dad for encouraging my students,withoutwhom I not least, last but and Institute; Musicians Licks; Star and GuitarOne. growing muslclan. as a perennial to keep drive wouldprobablylackthe
W-wrwsw$SR.w ffiW W.wwNwwwRNwww Kolb Guitars,bass,and keyboards:Tom DaleTurner and drumprogramming: Engineering Audio Intimate at Recorded
tEontents CD TRACKS
PAGE
lntroduction 1
4
About the Recordincr ' Trrning Notes
2-4
The Theory of the Modes
5
5.15
lonian
1()
16-24
Dorian
16
25.?2
Phrygian
7,
33.4(D
Lydian
25
41-5o^
Mixolydian
3(D
51-59
Aeolian
36
6,0,-67
Locrian
42
68-83
Other Modes
46
Guitar Notation Legend
lntrodrrction subjectfor guitarists'But at the he modesof the majorscalehavelongbeena fascinating The purposeof this and misunderstanding. sametime,theycan be a greatsourceof confusion I you throughthe worldof theirappliil"', ,. i" lnravelthe mysteriesof the modesand to guide I as a situations' we'll takean in-depthlookat how modescan be usedin varioussoloing cations. progressions' sourcefor creatingriffs,and as toolsfor writinguniquechord examples,as well as Eachchaptercontainssuggestedfretboardpatterns,lrcks,and musical on the accompaEachexampleis demonstrated valuableinsightsintoeachmode'suniqueapplication. for each mode,so you can progression" nyingcD. Thereis alsoa jam trackfeaturinga "play-along we'll in the finalchapter, bonus, As a special setting. practice applyingthe modesin an improvisitional exploresomeof the modesof otherpopularscales' of thisbookand workyour thatyou startat the beginning Althoughit,shighlyrecommended familiar it-yo, prefer,you can jump in anywhere,especiallyif you'realready way throughto the you find if Modesi' "Theory the "nJ, of with a modeor two.you can alwaysreferbackto the firstchapter, yourselfgettingconfused' Dig in and havefun!
I
-Tom Kolb
Aleout
the
Recoreling
CD'Trackswitha full on the accompanying verymusicalexamplein thisbookis demonstrated halfspeed'Forthe at again rhythmsectionare playedtwice-once at normalspeedand then the featuredguitaris mixedhardright.Thisallowsyouto.playalong examples, normal-speed the balanceto the left'withjustthe rhythmsection' eitherwiththe entiremix,or, by adjusting applyingwhatyou'velust alam trackloreachmode,so you can practice Don'tforget-there,s you canworkon soloingall overthe neckwiththe variousfinger setting. learnedin an improvisational in the text,and applythe concepts presented withihe musicalexamples experiment patternsprovided, in the "oddsand Ends"sectionat the end of eachchapter' oresented UseTrackQ of the CD to tuneyourguitar'
The
Theor1/
What
Are
of
the
lUloeles
Modes?
Modesaresimplyscales,or moreprecisely, "scaleswithinscales." Theyarecreatedby shifting the tonalcenterawayfromthe root-or tonic--ofa scale,to anothernoteof thatsamescale,thereby creatinga newtonality.Forexample,whenyouplaythe C majorscalefromits root(C)to its octave,it hasthefamiliar "do-re-mi..." majorscalesounddueto theorderof intervals, or intervallic lormula: whole-whole-half-whole-whole-whole-half . W = whole step H = half step
C majorscale(rool to root)
*
Now,if you play the C majorscale again but start on the secondnote (D) and play up to its octave,you are playinga "mode"of the C majorscale.Youshouldnoticethat it doesn'tsoundlikeC majorat all, eventhoughyou'replayingthe same notes.This is becauseyou've"shifted"the order ol the intervalsby startingon the secondnote. Now the intervallicJormulais: whole-half-whole-wholewhole-half-whole.Thus, a "scalewithina scalel' C majorscale(D to D)
ww
Thisprocesscan be appliedto the othernotesoJthe C maiorscaleas well.Andsincethe C majorscalehassevennotes(C-D-E-F-G-A-B),it containssevenmooes.
First mode(C Ionian)
Secondmode(D Dorian)
(8) 2 \,/ I
1234567 UU\"/
3
4
5
61
C majorscal€(two octaves)
Fourthmode(F Lydian)
\,/tJ!vz
Fifth mode(c Mixolydian)
!L!!/!L_r\z!
(E) I
!vu!u!/!
Sixth mode(A Aeolian)
tJ!/trrJvr-iLJ
Third mode(E
\,/!LJ!VLJ!
Seventhmode(B Locrian)
vz!!!/!!!
lUarnes
The
of
the
lUlodes
You'llwant The unusualnamesof the majorscalemodesare derivedfromthe Greeklanguage. them-and theirorder-as quicklyas possible: to memorize "eye-own-ee-un") 1. lonian(modalnamefor the majorscale,pronounced "door-ee-un") 2. Dorian(pronounced "fridge-ee-un") 3. Phrygian(pronounced "lid-ee-un") 4. Lydian(pronounced "mix-oh-lid-ee-un") 5. Mixolydian(pronounced "ay-oh-lee-un") 6. Aeolian(modalnamefor the naturalminorscale,pronounced "low-kree-un") 7. Locrian(pronounced Eventhoughtheymaycontainvarioussharpsor flats,allmaiorscalessharethe sameintervalthe sevenmodesof eachis exactlythe sameas the processfor constructing lic formula.Therefore, in the key of C. So,for example,if you wereto playan E majorscale(E-Ff-GI-A-B-C'-D|) illustrated if you startingfromthe seconddegree(Ff),you wouldbe playingFf Dorian(secondmode).Likewise, (fifth playing mode). Mixolydian B wereto starton the fifthdegree(B) of E major,you wouldbe scalecontainswithinit sevenmodes(seethe "OtherModes"chapter seven-note, NOTE:Anydiatonic, thischapterwillfocuson the modesof the majorscale-by Butfor purposesof clarity, for examples). far,the mostcommon.
The
Parent
Scale
thisbookis parentscale.Simplyput,thisrefersto the A termthatwillbe usedthroughout C majoris the parentscaleof D Dorian.C major majorscalethata modeis derivedfrom.Forexample, of knowing and so on.The importance F Lydian,G Mixolydian, is alsothe parentscaleof E Phrygian, hereis For now, your this book. you way through work as clear parent mode will become scaleof a the parent mode: of any you scale processthatwillhelp to namethe fill-in-the-blanks a three-step,
Example
To findthe parentscaleof A LYdian: Step1) Lydianis the fourthmode. Step2) A is the fourthscalestepof E major. Step3) E majoris the parentscaleof A Lydian.
spendsometimedrillingyourselfto findthe parentscalesto all of the Usingthisprocess, modes,in as manykeysas possible.Here'Sa blankformto helpyou get started. To findthe parentscaleof - -: mode. is the Step1) _ scalestepof Step2) -is the Step3) _ majoris the parentscaleof
major.
how willdetermine of majorscalesand theirkeysignatures to say,yourknowledge Needless of the (NOTE:Themusicnotationin thisbookusesthe keysignature rapidlyyouwillfindthe answers. parentscaleto represent eachmode.)
lUlodes
Houv
Are
llseel
Nowthatyou knowwhatmodesare and wheretheycomefrom,the questionis,"Howarethey pointof view,the answeris threefold: used?"Froma "bigpicture" in majorand minorkeys. 1. As melodicdevicesfor soloingoverdiatonicchordprogressions 2. As melodicdevicesfor soloingover"modal"progressions. "altered" scales. 3. As a sourcefor creatinq 1. Modesand Diatoni"erogr""lion" to havea it'snecessary how modesare usedin diatonicchordprogressions, To understand "Aeolian" (refer minorscale for a discussion on harmony to the chapter knowledge of major scale basic (stacked triad in thirds)to builda diatonic The notesof the C majorscalecan be harmonized harmony). or seventhchordfromeachscaledeqree: Sel'enth chords Cn-ra7
DrniT
EmiT
FmaT
Gi
AmiT
lnraT
IlrniT
IIInriT IVmaT
V]
V I m i T V I I n r i T bi
IV
IIImi
Bmi7b5
harthe harmonicpalettefor the keyof C major-the rangeof possible Thesechordsconstitute Eachchordhas a quality(major,minor,etc.)and a function moniesyou'llfind in a diatonicprogression. (1,ll, lll, lV etc.)determined withinthe scale.Althoughthe triadsomitthe seventh by its position remainthe same.Thisresultsin a chordorderformula andfunctions degree,the basicchordqualities makesit possible the aboveRomannumeralformula(s) thatappliesto all majorkeys-and memorizing to analyzeany majorkey progression. voicingsof the seventhchordsfromabove.Playthemin order Hereare some"guitar-friendly" you hearthe underlying soundof the majorscale. neck, and should up and downthe
Fn-ra7
CmaT
| 1Z+
t3t2
r3r2
l -lt.t
BmiTb-5
AmiT
G] X,^
X
t0fi
l3l,+
X.,^
X
l2 fi
t3t2
X
X
l4fr
CmaT X
X
| 321
modefor each chordfor eachscalestep,thereis a corresponding Justas thereis a designated the ear wantsto "hear" overthe ll chord(Dmior DmiT)in a C majorprogression, chord.Forexample, it'sthe diatonicchoice(Dmi7is the ll chordin C, and D mode-D Dorian-because the corresponding if theV chord(G7)comesalong,the fifthmode(G Dorianis the secondmodeof C).Likewise, Mixolydian) is the "prope/'choice. C Ionian
D Dorian
E Phrygian
F Lydian
G Mixolydian
A Aeolian
B Locrian
h
$s
IrnaT
IVmaT
VImiT
VIIrniTb5
For a quick and easy,hands-ondemonstrationof how this conceptworks (withouthavingto learna boatloadof patterns),havea friendplaythe chords,or listento the accompanying CD,while you playthe followingmusicalexercise:
o
CmaT
G Mixolydian - 1
EPhrygian---I F Lydian
G Mixolydian - l
BLocrian---r
C Ionian
E Phrygian - - I
Stayingstrictlyto one patternof the C majorscale,this popular"groups-ol-four'' sequencenailsthe firstfourscaledegreesof eachmodein the firstfourmeasures,whilethe lastfour measuresinvolve the top halfof eachmodeplayedin a descending fashion.Everynoteof eachmodeis accountedfor in this streamlined exercise.Playthe exampleagainand listento how eachset of notesoutlinesthe harmony.But keepin mindthat this exerciseis mainlyfor demonstration purposes.In reality,this "modal"approachworksbestwhena chordlastslongenough(oneor moremeasures) for a melodyto be fullydeveloped. Incidentally, some referto this methodas treatingeachchangelikea temporary"l" ("one")chord. 2. Modes and Modal Progressions We'veseen howthe majorscalecan be harmonized to createchordsbuiltfromeachscale degree.The same processcan be appliedto the modesto create"modalharmony."And when the chordsfroma specificmodeare usedto createa chordprogression, it is calleda "modalprogressionJ' (Thiswill be discussedin greaterdetailin eachof the followingchapters.) As an example,if you were to harmonizeD Dorianin seventhchords,the order of chordswould be DmiT-Emi7-Fma7-G7-Ami7Bmi7b5-Cma7. EmiT
FmaT
G1
AmiT
Bmr7b5
vrln/t)
CmaT
t v[ma/
Yes,thesechordsall belongto the keyof C major-the parentscaleoI D Dorian-buthere, (reflected DmiTis thetonic,or I chord,so eachchordnowservesa different function bv theRoman numeral analysis).
Now,if you wereto builda progression aroundthe DmiTchord(l chord)usingsomeor all of the otherchordsin thisharmonized mode,youwouldbe creatinga modalprogression-in thiscase,a D Dorianprogression. In otherwords,D Dorianis the keycenter,and the D Dorianmodeis the ideal choicefor improvising.
(IV7)
DmiT (lmi7)
EmiT (IImi7)
D Drrriart
3. Modes as "Altered" Scales Theoretically, thereare specificmodesthat the ear "wants"or "expects" to hearin a diatonic progression. Butsometimes the elementof surpriseis desiredwhileimprovising, and it oftensurfaces in the formof dissonance, or tension. The superimposing of modesandthe mixing-and-matching of parallelmodes(differentmodessharingthe sameroot)can be handyimprovisational toolsfor achievingthistypeof effect.Forinstance, A Phrygianmightbe usedwhereA Aeolianis the morelikelycandidate;F Lydiancouldtakethe placeof F lonian;G Mixolydian and G Dorianmightbe juggledbackand forthovera G7 chord{ora delightfully bluesyoutcome; etc.The listis endless,butthe resultsare all (Allof theseconceptswillbe discussed the same-dissonance, tension,alteration. in depthin later chapters.) This styleof playingis particularly effectivewhena chordlastsfor two or moremeasures, allowing the playertimeto developmorecomplexities in the melody. In orderfor thismodalstyleof playingto work,you needto followsometypeof system,or the resultswillbe chaotic. Whatmanyplayers do is groupthe modesintospecificcategories. Hereis a simplesystemthatplacesall of the modes intotwo basiccategories: MajorModes lonian Lydian Mixolydian
M i n o rM o d e s Dorian Phrygian Aeolian Locrian
The modesin the left-hand columnall containa major3rd degreeand can be usedovermajor-type The modeson the righthavea minor3rd and are for minorchords.Of course,thisis oversimchords. plification-thereare manymorefactorsinvolved. But this givesthe playera "groundzero,"tairlyconsonantstartingpointfromwhichto launchextended, altered,and evenhighlydissonant melodies. Remember this:Oncevou knowthe ruleswell,thenvou'llbe ableto breakthemwithauthoritv.
Ionian -QUICKREFERENCE GUIDE Formula: 1-2-34-5-6-7 Construction: W-W-H-W-W.W-H Category: Maior Differentiating scale degree: 7 Forchordtypes: major,ma6,ma6/9,ma7,mag,ma13,ma13add4 Harmony: lmaT-llmi7-lllmiT-lVma7-V7-VImi7*Vllmi7b5 Commonprogressions: l-lV-V; llmi-V-l; I-Vlmi-lV-V; l-ll lmi-lV-l ; l-lv-l ; l-V-l Five patterns: C lonian (circlednotes are the roots;notes in parenlheses are the 7th degrees) Pattem2
Pattem 3
EEfl-flzr'
a(aJaaa tll(l)t
|
?l tr2Jt rlr ar
msr' |||al {a)aaa
t{a}
Ail___.iLl9 lt(r)t I
Pattem4
Pattern5
,F[Sl,7t (a)a
ro8r' ttata
t_tl?l_u tltttt
t t i , t t it{lt
|ta(a) tt(a)rttt
I aa(a)aaa
frTT6-+
Thelonianmodeoutlinesthe basicsttuctureof a majorseventhchord:root,3rd, Sth, gth, 11th,and 1sth. and 7th;and theseertensions: .NOTE:ThisQuickReferenceGuideappearcbeloweachchaplerheadingof the sevenmodes.Fomula represenlsthe scalesiepsoi the perlainsto the orderof who e- and hall-slepintervals.Categorydeslgnateswhetherthe modeis mode,relaiiveto lhe majorscale.Construction majofor minorin tonality(containing a major3rd or minor3rd scaledegrce).Dilfercntiating scaledegreepoinlsout whichnole sels that mode apartfromothersin its caIegory.For chordtypeslislssevera chordtypeslor whichthe moders commonlyused.HarmonyI sts lhe chordqualities (in seventhchords)whenthe modeis harmonized. Comnonprogresslons oiiersa shortlist of popularprogressions harmonized{romthe mode.Five patlernsleatures fve suggesledpatternsof the mode(usirigthe lMusicians Insttutenumberingsystem)as ihey lie in orderalong the fretboard.
The
"Funelarnental"
llllajor
luloele
lonianis the modalnamefor the majorscale.Not only is it the fundamental mode,it is the fundamentalscalein music,and the scaleby whichall othersare compared. The melodiesand harmonies of the lonianmodeare ubiquitous and thoroughlyingrainedon our musicalpsyche,havingbeena part of our livessinceinfancywhenwe firstheardthem in nurseryrhymes.But for all of its familiarity, for somestrangereasonthe lonianmodeis oftendifficultfor guitariststo use in soloing.The "awkward" half-stepintervalsbetweenthe 3rd and 4th degrees,and the 7th and the root,are oftenat the heartof the problem.That'swhy manyplayersrelyheavilyon the majorpentatonic scaleto soloovermajor chordsand keys.lt omitsthosehaltstepintervalsby leavingout the 4th and the 7th degreesol the scale(keyof C: C-D-E-G-A). Nevertheless, whilethe majorpentatonlc scaledoeshaveplentyto offer, pullof the 7th degree,two it doesn'tincludethe suspendedsoundof the 4th and the "leading-tone" essentialcomDonents of the lonianmode.
Ionian Licks Firre-Patterrr
anel the Systern
The followingfivefiguresare all one-barC lonianlicks.Designedto get you acquainted with lvll's"five-patternsystem,"they also featurean array of half-stepmoves-7th to the root,3rd to the 4th scaledegrees,and viceversa.
Fig. 1 is a simplemelodicstatementin C lonianpattern1. (NOTE:Pattern1, of any scale,is basedaroundthe open-position C chordvoicing.And just as an open-position chordcan be transposed pattern "movable" it to barre-chord form, the is to any key.) by transforming also Startingon the root, it dropsto the 7th degree,risesto the sth and resolvesto the "melodic"major3rd.Althoughit omitsthe 2nd and 6th degreesof the mode,it is distinctively lonianby naturedue to the emphasison the 3rd and inclusionof the 7th and 4th degrees.Memorizeth;s lick,and playit in otheroctaveson different oositionsof the neck.Thentransooseit to otherkevs.
I
Fig. 1 100 C
C lonian (patteml)
pedal-point Fig.2 is a classically influenced, figurein C lonianpattern2. (Pattern2 is based formof an open-position on the barre-chord A chordvoicing.)Not only is the root(C) the pedalpoint, thus providingthe undeniable it is clearlythe "pitchaxis"uponwhichthe entiremelodyrevolves, lonianf lavor.
Qo',' )=u c
Half-stepbendsare the catalystsfor gettingat the juicynotesin the bluesyC lonianlickin formof an open-position G chord Fig.3. Usingthe upperhalfof pattern3 (basedon the barre-chord voicing),the bend/release movesdemonstrate how to rub someof the "sweetness" out of the "too-pretty" effectthe 7th and 4th degreesof loniancan sometimescreate.
fl
v
Ftg.3 ). =62 N,C.
formof an The orchestralC lonianlickin Fig.4 climbspattern4 (basedon the barre-chord E chordvoicing)in a "switchback" and pull-offs. Noticethat open-position sequenceof hammer-ons eachresolvinghammeror pull resultsin a chordtone of Cma13.
Pns+ Cma13
C Ionian(pattern4)
The speedyC lonianlickin Fig.5 scootsdownthe upperregionsof pattern5 (an extended patternlooselybasedon the barre-chord formof an open-position D chord three-notes-per-string voicing),whereit then leapsback-and{orth overa few wide intervalsand resolvesto the rooton the sixthstrino.
o
llsing
Fio
5
lonian
'J,'J,
-n l(ey
Genter
Playing
We'veseenhowthe lonianmodecan be usedoversolitarymajorchords,and how the 7th and "sound"of the mode.Now let'stake a lookat how 4th scaledegreeshelpto bringout the distinctive thosenotescomeintoplayin a major-keychordprogression. in the key of E major,makingit an excellent Fig.6 is a l-V-Vlmi-l-lllmi-lV triadprogression vehiclefor the E lonianmode.The transcribed solotakesa simpleyet etlectiveapproachtowardthe E majorpentatonic framework,it holdsoff use of the mode.Strippingthingsdownto a "guitar-friendiy" includingthe omittednotes(4thand 7th) untilthe arrivalof certainchords.The 7th (Dfi)makesits first appearance on the V chord(B) and thenagainon the lllmi (G#mi)change.The 4th degreeis thrown intothe mix at the lastsecondon the A (lV) chord.Noticethat all of thesenotechoicesare slrongcomponentnotesof the chordsbeingplayedat the time.
! =88 I E
ta
tatttaataaaaaaf
Fig. 7 usesthe sameapproachovera bluesyll-V-l in F major.The lineexploitsthe F major pentatonic scalefor the mostpart but hitsthe 7th degree(E) of F lonianon the downbeatof the V chord(C7),nailingthe change.
o,!:,,, N,C.
tet nng -
The aboveexamplesillustratethe potentialof Ihe differentiatingnote of lonian (the 7th lies The secretto usingit successfully degree-or leadingtone)and its impactwhen usedstrategically. in knowingwhichchordscontainthat notein theirbasicmakeup.Uponanalysis,you'llfind thatthe lllmi,V, and Vll" chordsall containthe 7th, or leadingtone.You'dbe hardpressedto find manyVll"or but therecertainlyis an abundanceof V and lllmi chords.So VllmiTlschordsin majorprogressions, whenyou comeacrossthem,don'tforgetto deploythe "secretweapon"-the7th degreeof lonian.And of the 4th deoreeeither:use it overllmi and lV chordsdon'toverlookthe resourcefulness
lonian
Illlore
Phrases
fromthe C lonianmode The legatolickin Fig. 8 pairstwo arpeggios(C and EmiT)harmonized for a decidedlvCmagoutcome.
0 raaa/tt
( C m a j o tr i a d
- - - ) ( E m i 7a r y e g g i o
---------)
(c majortriad)
rFmiri,.l---
^ ^A at
--)
The EricJohnson-inspiredD lonianpedaltonelickin Fig. I featuressomefancystringskippingmovesand a coupleof cool half-stepslides.
9,i:,;
suchasTom rockmasters of melodic oJthe"fiery'loniansensibilities Fig.10 otfersan example patterns (Journey). 2 of G lonian, thephrase (Boston) from 1 and Constructed andNealSchon Scholz jumblesa multitude notesareallstrategically rhythms. Noticethoughthatthesusiained of inleresting placed,alwayson a strongchordtoneof eachnewchange.
9T," N.C.
a
(Ddels anel Ends Here'sa listof additionaltipsfor creatingyourown C lonianlicks.Whenyou havethem oown, transposethemto otherkeys.Be awarethal whenapplyingthem,you needto establishthe rootof lonianas the oitchaxis. 1. PlayC and G majorpentatoniclicks.Combined,they representeverynoteof C lonian (NOTE:C loniancan also be viewedas A and E minorpentatonicscalescombined). 2. Combinethe l, lV and V majortriads(C, F,and G). 3. Borrowlicksfromthe relativemjnorscale(A minor),maintaining "C" as the pitchaxis. 4. Playa CmaTarpeggioand add the 4th (F).
Play-Alomg
Progress-orr
Usethe fivepatlernsof lonian,locatedat thetop of thischapter,to jam overthisC lonianprogression. Youcanuseanyof thetipsin the"OddsandEnds"seclionas theyareall in C lonian. Also,try to applysomeof thelicksin thischapter, changing the rhythms andtransposing themwherenecessary.
0
J =roo c
Dorian QUICKREFERENCE GUIDE Formula: 1-2-b3-4-54-b7 Construction: W-H-W-W-W-H-W Category: Minor Differentiating scaledegree: 6 For chordtypes: minor,mi6,mi6/9,mi7,mig, mi13 Harmony: Imi7-l Imi7-bIIIma7-lV7-Vmi7-Vlmi7bs*rYllmaT Commonprogressions: lmi-tV;lmi-llmi;lmi-Llll-lV;lmi-Vmi-lv-lmi;lmi-llmi+lll-llmi Five patterns: A Dorian (circlednotes are the roots;notes in parentheses are the 61hdegrees) Pattem 3 !!FFE
rTfn
(a)l ao) t(t)
{-fff-l
ti(t)ttl
Ol-l-t-I9
Panem4
-FEfI+r'
Pattem5
o)at aa(a)
ffi tlitlt
atc)a(a)a
titlaa
T |TTT-T t-L-Lrij
PatterarI
sr'.
aT6.f(Tn [?ltJ-l-]
| | | t(?i
Paltem 2
8r'
m t(a)aatl sTlTdl lt(a)t
I
lontTl I
tlal
r2r,
,Jutr|Zs-fa' aat
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The Dorian mode outlines the basic structure ol a minor seventh chord: root,b3rd, Sth. and bTth;and highlights these ertensions: gth, 1lth, and 1sth.
The
"l(ineler,
Gentler"
IUIinor
lUloele
Dorianis the secondmodeof the majorscale.(A Dorianis constructed by startingfromthe secondnole of the G majorscale:A-B-C-D-E-F#-G.) lt is a mmormode-that is to say,it is more closelyrelatedto the naturalminorscale(or Aeolian,its modalname)than it is to the majorscale.ll you comparethe two (Aeolian:1-2-b3-4-5-b6-b7;Dorian:1-2-b34-5-6-b7), you'llfindthat the only diflerenceis that Dorianhas a raised-or "natural"-6thdegree.The natural6th givesDoriana "lighte/' or "softed'sound thanthe dramatic,often"heavy"soundingAeolianmode.The Dorianmodecan be heardextensively in jazz,blues,and rockmusic,and is featuredprominently tn the blues-rock solosof guitaristssuchas Jimi Hendrix,CarlosSantana,StevieRayVaughan,JimmyPage,and RobbyKrieger. To get the soundof Dorianin yourears,go throughthe five patternsof A Dorianjust as you wouldwith any scale-runningthem up and down,playingsequences, etc.Someor all of the patterns mayfeel"familiaf'toyourfingersas beingpatternsof G major.Thisof coursemakessense,as G is lhe parentscaleof A Dorian,but be awarethat the tonic-or rootnote-in theseoatternsis A. Maxea habitof startingand stoppingon the root untilyou havethe Doriansoundin your head.Paystrictattentionto wherethe 6th degree(Ff) is locatedin eachof the patterns,as it is the differentiating noteof Dorian-the notethat distinguishes it f romthe otherminormodes.
Dorian
Licks
Nowthat you havethe A Dorianpatternsunderyourfingers,it'stimeto createsome licks.A greatplaceto startis by givingpattern4 a bit of a facelift.lf you removethe 2nd (B) and 6th (Fi) degreesof the pattern,you'llfindthatthe A minorpentatonic scaleliesbeneathit. A minor pentatonic
Reversingthis processrevealsthat the Dorianmode can be consideredthe minor pentatonic scalewithan added2nd (9th)and 6th.Indeed,manyfine ptayers(especially in rockand blues)tendto use it this way.This systemallowsyou to use all of your 'tried-and-true"mintr-pentatonic phraseswhile only havingto "shift"yourthinkingprocessa little-by locatingand including gth the missing and 6th degrees.Fig. 1 offersan exampleof this process,stayingwithinthe confines ol A Dorian,pattern4 . {G} Fig.1_ -,_ v )=rr2()).).1\ Ami
A Dorianrickin pattern2. Noticethatit beginswithan Amigarpeggro . - - -Fis' 2 is an easy-going (A-B-o-E-G).Thisis a goodstringot notes(1-2-bg-s-b7)to use(in anyorderor sequence) to sug_ gestthe Dorian"color." The restof the lickcompletes the Dorianstatement as ir highligi.lts the 6th degree(Ff).
l,l'1,,' Ami9
A Dorian(patem 2)
TheA Dorianrickin Fig.3 superimposes a pairof arpeggios (Ffmi7b5 andcmaT)to herpnavF . gatethe sometimes difficult terrainof pattern1.Themethodbehindthismadness is thatihe Fhi7b5 (Ff-A-c-E) is theharmony of thevt chordin A Dorian,andthecmaT(O-E-G-B)is the!lll. string themtogether,andeverynotein A Dorianis represented.
9:n' A Dodan (pattem 1) ( F $ m i 7 ba5r p-
-)
(CmaTarp__,__-)
The haltstepbendsin Fig.4 helpto bringout the bluesyqualityof C Dorian.
9,:::,i N.C.
Cmi6
APP|-cations
Dorian
that the Dorianmodeworkswell overminorchordtypesin a soliThe abovelicksdemonstrate can be a danoverminorchordsthat are part of a progression tary situation.But to use it haphazardly of Dorianin chordprogresthe application for determining geiousbusiness.Hereare someguidelines srons. The ll Chord in Maior ,The Theory of the Modes,"each step of the majorscale can be representedby As discussedin chordand a mode.This meansthat for everydiatonicchordin a majorkey,thereis a a harmonized modethatwill providethe "salest"notechoices.Therefore,musicallyspeaking,Dorian corresponding (e.g',G Dorian w1h the ll chordin major-keychordprogressions (secondmod6)goeshand-in-hand provides a musical Fig.5 overa Gmi chordin F major;E Dorianoveran Emigchordin D major,etc.). The key is c maior-cma7 is the I chord,and DmiTis the llmi.A simplechord-tonestatement example. providesthe melodyunderthe CmaTchord,whilethe DmiTmeasurehostsa classicD Dorianphrase' to see if you can "heai'the chordchanges. playthe melodyunaccompanied As an experiment,
@"*' a = ro4 Cma? a^a'aa^A^^^'r +3J
c h o r d t o n-e s CmaT
------1 itflaa
aaiaaa'ra$t
The lV Chord in Minor there'sa modal Just as thereis a designatedmodefor eachchordin a major-keyprogression, (Referto "MinorScaleHarmony"in the Aeolianchapter') choicefor eachchordin a minorprogression. Dorianbelongsto the lvmi chord(e.g.,A Dorianoveran AmiTchordin an E In minorkey progressions, C Dorianovera Cmi chordin the key of G minor,etc.).Fig.6 shedslighton this minorprogiessio-n; scaleis in B minor.In the firstmeasure,the B minorpentatonic rulewith i typicallmi-lVmiprogression (Emi) usedto outlinethe I chord(Bmi),givingwayto a strongE Dorianphrasethat nailsthe lV chord in the secondmeasure.
O"*'u B minor pentatonic ll
- - - - - - - - - - -l
Dorian Progressions In the "realworld"of music,thereare manyprogressions that fall outsidethe realmot majorand minorscale harmony.That is to say,they neither'?evolve,, aroundthe I chord of a major scale nor the I chord of naturalminor.Modalprogressionsfall into this alternativecategoryof key centers. In simpleterms,a modalprogressionis a set of relatedchangei that revolvearoundthe I chord of a specificmode.(Referto "Modesand Modal progressions,, in the iTheory" chapter.)These chords all haveto belongto the same mode,and they usuallyinclude(in additionto the lj eitherthe ll, lV,or Vl' or all three.Someof the mostcommonmodalprogressions are Dorianprogressions, and of these, the_mosl commoncontainsonlytwo chords:the lmi and the lV.Fig. 7 is a clasiic exampleof rhistype of Dorianprogression,teamedwith the Dorianmode, in the style of one of its greatestbenefacrors, CarlosSantana-
@,,,, -
)=rto Gmi
C
Gmi
The"key"is G Dorian,andthe notesusedareclearlyderivedfromthe G Dorianmode.This bringsto lightan important point:when manyplayers tendto usea 'keycente/'approach-developing soloingovermodalprogressions, melodiesfromthe modeits;[ as opposedio'tryingto tryrngto outlinethechordtonesof eachchange. Fig.8 is a jazzyA Dorianprogression (lmi-llmi-tlll)featuring another approach to ,'keycenrer playing" overa modalprogression, thistimeusingtheA Dorianmode.
o
Fig. 8 -3 -
=rndl =) )t
AmiT
BmiT
Cmaj
Whenyoudevelopthe abilityto recognize modalprogressions on the spot,youstartto discover "minimodalprogressions" lurkingwithincommon, run-olthe-mill majorprogressioni. Forinstance, you?elikelyto comeacrossthe lmi-lVma(Gmi-c)progression in Fig.7 seivingas a Il-V movein the keyof F majorsomewhere in yourimprovisational lifetime. Therefore, you'llknowyoucandishoutyour G Dorianlicksoverbothchords. Likewise, thelmi- mi-blll(Amiz-Bmiz-cmaz; mignteventua|y popup in a G majorprogression servinga llmi-lllmi-lVma tunction, yourchancJtosimplify signaling rne changes by deploying theA Dorianmodeoverall of thechords.
(Ddds
anel
Ends
Here'sa listof addltional tips for creatingyourown Dorianlicks.They'reall in A Dorianso you can use themon the Play-Along Progression thatfollows.Whenyou havethem down,transposetnem to otherkeys.Be awarethat whenapplyingthem,you needto establishthe rootof Dorianas the Ditch AXIS.
1. combineAmiTand BmiTarpeggios(together, theyaccountfor everynotein A Dorian). 2. CombineB minorpentatoniclickswithA Dorian. 3. Borrowideas{romthe parentscaleof G major(harmonized thirdand/orsixthdyads, open-string licks,etc.). 4. Borrowideasfromthe relativeminorof the parentscale(E minor).
Play-Along
progressiorr
Usethe livepatternsof Dorian,locatedat the top oi thischapter,to jam overthisA Dorian progression. Youcanuseanyof thetipsin the"oddsandEnds,, sectionas thevareall in A Dorian. Also,tryto applysomeof the licksin thischapter, changing the rhythms andtransposing themwnere necessarv
q = 120 AmiT
Phryg-an QUICKREFERENCE GUIDE Formula: 1-b2_bg-44_b6_b7 Construction: H_W-W_W_H_W_W Category: Minor Differentiatingscale degree: ,2 Forchordtypes: mi(tg),mi7(t9),mi(f9,16) Harmony: lmiT_tll ma7_blll7_lVmi7_Vmi7b5_LVl ma7_!VlImi7 Commonprogressions: tmi+ ; lmi-blll_b; lmi_bVltmi; lmi_!ll_bVllmi Five patterns: B Phrygian
(circlednotesarethe roots;notesin parentheses arethe ,2nddegrees) Pattem2
FFFFI''I ?lal-i..u ?rt)t taa
lmoTt
Pattern3
Pattem4
#F:t' !!tr?J
,ffiB'o i.oi
,| | | "t qiii.rlO
Lt-t-!t!u
..rr, o.I Tr ,-I
pattem 5
pattem I
1-ffiffisr' FFm'|2ii 56-.1*i
aanfT-l
.fT:l re
ffia |_]_a-t_l-
ti||?{
Phrygian outlines the basicstructure of a minor seventh chotd: root,bard, sth,and bTth;and highlightstheseextensions:rgth,l1th, andrlOth.
The
"Exotic"
lUlilror
lUloele
Phrygian(1-b2-b34-5-b6-b7) , likeDorian,is also categorized as a minormodebecauseof its b3rddegree,but the two modesare milesapartin theiroverallronality. The ,,heavy,,t6th degreeof Phrygianbringsit closerin qualityto the Aeolianmode,but the starfling,,,exotic,,sound of iis b2nd degreesets it quiteapartfrom bothDorianand Aeolian.while phrygiancan oftenbe found in the aoventurous progressions of jazzlfusion,it also makesits homein the rockworld.Featuredprominenly in the "MiddleEastern"jams of vintagepsychedelic bandslikeJeffersonAirplaneand euicksilver MessengerService,Phrygianis alsoa mainstayin the musicof mainstream metalbandssuchas Metallicaand Megadeth,and is oftenthe launchingpointfor the riffageof modernmetal bandstike Kornand the Deftones. when isolated,Phrygian's tonarityrs unusuarto say the reast,but it can be preasingry . merodic when usedin its diatoniccontext-overthe Irmi chordin a majorprogression (Fig.1).
' 9:: G
D7
G majorpentatonic- - l iry'!
B Phrygian (paftem4) ---
---
- - r C chordrones- l
D m a j o rp e n t a l o n i-c - - - I
,-l
Whilethemelodyrelieson majorpentatonics forthe l, lV andV chords(G,C, andD7),the Phrygian modeis usedto outlinethebasicchordtonesof the BmiT alter1s-o-rt-nj anoitsdiatonic ations(b9,b13or b6).Theresultis a "no-surprises" phrase, melodrc andalthough pleasing, thedramatic properties of themodearesuppressed. ButwhenPhrygian is featured in a on6-chord v#p. a modal progression, or superimposed overcertainchords,itsimpactis undeniable.
Srr;eer-rnposing
Phrygian
Diciionarydelinitionol superimpose is,"to put,stack,or layon something else."The Webster's as,layinga scaleon topof a chordwhere superimposing of a scaleor modeis perhaps bestexplained "linesup"withthe lllmi thatPhrygian it doesn'tbelong. Forexample, in Fig.1 we witnessed supposedly goes major by unnoticed. Butsuperimpose Phrygian overa stand-alone chordso wellthatit almost Forexample, thecadenza lickin Fig.2 superimposes E chord,andthe resultis quitedifferent. tlavor. Phrygian overan E chord,resulting in a "flamenco" or Spanish
@,,,, J = t3s
E Phrygian (pattem 4)
(Fig.3)beginswithan A naturalminor(A Thisnextexample of superimposing Phrygian mode.Thisrepresents a mixing,or juggling, of Aeolian) sequence whichseguesintotheA Phrygian parallelmodes(different modesthatsharethe sameroot),a veryusefulandhighlyeffectivedevicefor progressions. soloingoverone-chord ll
Fig.3 J = rzo Ami
APhrygian (pattem 4) - - - - - - - - - - - - - - - r
In minorprogressions, Phrygian findsitsdiatonic homeon theVmichord(referto "MinorScale overtheV7 chord Harmony" in theAeolian chapter), butit canalsobeveryuselulwhensuperimposed Thell-V-|, C majorprogression in Fig.4 offersan example of thisprocess. in a majorprogression.
Fis. 4 a = 8 4 QJ = J ) ' ) Dmi9
D Dorianon the llmi chord(Dmig)and C lonianon the | (C6/9)supplythe consonantnote choicesfor thosemelodicstatements. On the V chord(G+7)however,dissonance or tensionis added withthe application ol the G Phrygianmode,highlighting boththe tg and +9(Aband Bb),and the b13 (Eb)---{rb6-of the chordBe awarethat when usedthis way,the Phrygianmodedoesnot supplythe 3rd of the V chord, but whentollowedup witha strongresolvingphraseon the I chord,it can functionvery wellas an alteredscale.
Phrygian
Progressions
ancl
Riffs
In the genresof fusionand heavymetal,the harmonized chordsfromthe Phrygianmodeare oftenusedas a backdropto supportadventurous soloingexplorations. In heavymetal,theseprogressions generallyemploypowerchordsand tend to be riff-oriented,whereasfusiontakes advantageof the richerqualityof seventhand extendedchords.The progression in Fig, 5 useschordsharmonized fromthe A Phrygianmode:lmi (Ami7),bll (Bbma9), and bVllmi(Gmi13)All the extensions are diatonic to the mode,makingthe progression ripefor an A Phrygianblow{est.
o
) = lt2 AmiT
lAmitriad) (Bbmajorriad-----l
rlJDma/arp---t
Gmi13
(F major pentatonic)
(Bb triad-- -)
(Ami triad)
All of the notechoicesin Fig.5 are derivedfromthe A Phrygianmode.Measure1 Jeatures a rhythmicdisplacement of a melodicmoti{.The secondmeasureexploitsthe triadsand arpeggiosbased off of the root(Amitriad),b2nd(Bbtriadand BbmaTarpeggio),and ,6th (Fma7arpeggio)degreesof the mode.In measure3, the majorpentatonic parentscale(F major)providesa nice formof A Phrygian's breakin the action,and measure4 slipsback-and-forth betweenthe tmi (Ami)and tll (Bb)triads.
and of a Riff-oriented versionof an A Phrygianprogression. a heavy-metal Fig,6 represents powerchordsof the root,b2nd,sth, ,6th,and bTthdegreesof sinisterqu;lity,it employsthe harmonized the scale:A5, Br5, E(r5),F5, and G5.
9=;" A5
Bb5 E(bs)
A5
B'5
A5
it displaysthe riff derivedfrom E Phrygian.Ardentand foreboding, Fig.7 is a modern-metal extremelyheavyprospectsof the Phrygianmode. \! -J
Fig I =ec F5
N.C.(85)
(Ddds
anel
NC(E5)
Ends
tips for creatingyourown Phrygianlicks.They'reall in B Phrygianso Here'sa listof additional that follows.Whenyou havethem down,transpose Progression you can use them on the Play-Along lhe rootof Phrygianas ihem to otherkeys.Be awarethat when applyingthem,you needto establrsh the pitchaxis. 1. play parallelminorpentatoniclicksand add the b2and ,6 (i.e.,B minorpentatonic, addingCandGnotes). and resolveto the rootof Phrygian 2. Playthe VmiTt'sarpeggio(Filmi7t's) parent (G scale majoo' 3. Borrowideasf romthe 4. Borrowideasfromthe relativeminorof the parentscale(E minor)'
Play-Along
Progress-on
locatedat the top of thischapter,to iam overthisB Phrygian use thefivepatternsol Phrygian, progression. Youcanuseanyof thetipsin the"OddsandEnds"sectionas theyareall in B Phrygian. themwhere the$ythmsandtransposing changing nso, try to applysomeof thelicksin thischapter, necessary.
,4. v ) =rrz BmiT
CmaT
BmiT
AmiT
BmiT
Cma?
Amil3
Lydian QUICKREFERENCE GUIDE Formula: 1-2-3-*4-5-S-7 Construction: W-W-W-H-W-W-H Category: Major Dilferentiating scaledegree: {4 Forchordtypes: ma({11), ma6(*11), ma6/9(*1 1),ma7(*11}, ma13(*11) -ll7 -lltmiT -{ |Vmi715-Vma7-Vt Harmony: lmaT mi7-VlImi7 Commonprogressions: l*ll; l-ll-Vllmi; l-Vllmi; l-lllmi-Vllmi Fivepatterns: D Lydian (circlednotesare the roots;notesin parentheses are the f4th degrees) Paffem I
.a..atlrf
T rel ,ffi r\!t i i .. rir--T-
Pattem 2
'.,aao ia,rn
Fot--Fl r--'! r-t-'' o o,e.io :
Pattern3
r rTOTf ;tr
tfiTT_t ._t -ft IOT-:]F i,.i? i l
pattem 4
lTt,f(tr+gr'r
dlTiib F;i;fi iifr, .-T,T-r i-f
pattern 5
OTT
-f
Trt,hn -t6it r
lr'ri
-i,f,-
fTfSl
fi-l-l-liil
The Lydian mode outlines the basic structure of a major seventh chord: root, 3rd, Sth, and 7th;and highlightsthese extensions:?th, ll lth, and 13th.
The
"XDrearny"
lUlaior
lUlo.le
Of all the modes,Lydian(1-2-3-f4-5-6-7) is the closestin structureto that of the majorscale, or lonianmode.Bothmodescontainthe same majorpentatonic framework(1-2-3-s-6) and sharea major7th-or leadingtone-scale degree.The onlythingthat sets Lydianapartfrom lonianis its raised,or sharped,4th degree,but this one differenceis significant. The fi4createsa seriesof three wholestepsfromthe rootwhichin turn establishes a senseof mystery. whereaslonianis consonantand familiar,Lydianhas a "dreamy"and anticipatory nature. Indeed,sometimesit'sdilficultto establishthe tonalcenterwhen Lydianis employed-almostlikethere are two tonicnotessimultaneously in play.Olten usedas the musicalbackdropfor the wide-eyedwonder of childhoodin movies,Lydianis also a favoritechoiceamongsinger/songwriters like Fleetwood Mac'sstevieNjcks("Dreams," "sara")and Joni lvlitchell, who use it to paintatmospheric settingsfor theirlyrics.And in the handsof masterguitaristslikeJoe Satrianiand SteveVai,the Lvdianmodecan bringtearsto a listener's eyes.
Lyelian
Appl-cations
Lydianis the fourthmodeof the majorscale,makingit the naturalchoicefor the lV chordin a majorprogression. Whenappliedoverthe lV chord,its effectcan be subtle,but if the {4 of the mooers featuredprominently, it addsa *11 qualityto the chord.To someplayers,this extensionis a litfletoo unsettling or active,so theyavoidit. But othersenjoyits "emotionevoking"capabilities and use it often. The l-lV A majorprogression in Fig. 1 puts D Lydianin its diatonicsettingoverthe lV chord(Dsus2). but the strategically placedf4 (G*)bringsout a {11 qualityin the chordeventhoughthat extensionis not present.Noticethe yearning,somewhatheartbreaking moodthe lineinstills.
Fig. 1 ) =70 Aadd9
(pattem3 -) (pattem4 ---D L'dian
A major (pattem 5)
----' ----' -----------) a.r
{^ar'.'-r'r!r
bvl the Lydianmodefindsits diatonichomeon the ofienencountered In minorprogressions, to easier ';Minor mode players lind the ScaleHarmony"in the Aeolianchapter.)Many chord.(Referto (played ,,minolJ' the {4 of Lydian becauseinfiajor progressions P-erhaps surroundings. apptyin these di1key cenler-a notoriously the of degree 7th to the overthe lV chord)is enharmonicfthesamenote) is enharbvl (over chord) the the {+ of Lydian ficultnoteto use in soloing.But in minorprogressions, makingit sounda littlemore"familiai'tothe ear' key cenler, of the 2nd degree monicto the muchused Fig.2 offersan exampleoveran F* minorrockprogression'
@u*'
) =96 ts{mr
F { A e o l i a n- - - ll4
F$mi ar^ aaaa A^faa
D L y d i a n- - - - - - - - - - - - - - - - - aaa,a|taaaA+r^
'a
fromthe F{ naturalminorscale(Fl Aeolian), Thelinesoverthe lmichord(Ffmi)areconstructed is featured andD Lydianis appliedoverthe tvl iOi. frloticethatthe G{ (2nddegreeof the keycenter) to thenote'resulting thelistener oi t'netmichord.This"familiarizes" in thesecondmeasure prominently measures. following in the D Lydian asthe 14ol in a lessstarlingeffectwhenit functions lt'sfor this reasonmany it hasa chanceto "breathe." when really sparkles mode LydLn The madefor the exploitaexpressly chordsfromLydianto writeprogressions playersusethe harmonized Fig'3 chapter') in the"Theory' iionot t" modeitself.(Referto "ModesandModalProgressions" pedal, every inviting A bass-note an placesthe | (A),l17(87),andlllmi(c{mi)chordsof A Lydianover (87) it conas chord ll chordhereis therecurring notefromthemodeto be usedat will.Theimportant guitar-rock styleof likethisin theinstrumental You'llfindprogressions tainsthe+4(D{)ol A Lydian. playerssuchas Joe SatrianiandSteveVai.
@'','
) = rrz B"7IA
C{mi/A
Someplayers areso attuned to the Lydianmodetheyuseit as an alternative to lonian. The progression in Fig.4 is a commonl-lV in C major. Thediatonic sourcefor melodies is C lonianon the I chord(Cma7)and F Lydianon the lV (Fma7),buthereLydianis usedoutof context---{r superimposed-over theI chord.Interestingly, thistendsto placemoreemphasis on the"diatonic" F Lvdianlines.
9ooo J =so N.C.
CmaT
C Lydian- - - - - - - - - - - r
F Lydian - - - - - - - - - - - - - 1 C Lydian - - - - - - - - - i
IN
Totheunaccustomed ear,lineslikethisaretoo"outside" thekeycenter. Likefinewine,oneneedsto develop an acquired tasteforsomeapplications of theLydianmode.
Borroraring
Frorn
the
Parent
Scale
Relatinga modeto its parentscaleand "borrowing" fingeringpatterns,licks,arpeggios,and practice even chordstrom that scale, is common among experiencedmodal players.Sincethe Lydian modeis so similarin construction and application to the majorscale(lonian),it oftenreceivesthe "parent scale"treatment.For instance,when playingD Lydian,someguitaristsuse licksthey havedeveF pattern5 oi the A majorscale(parentscaleof D Lydian). opedfromthe three-notes-per-string The phrases "starting" and "ending"notesof their sometimesneedslightadjustment, but the processputs theirfingersin familiarterritoryon the Jretboard. The followingthree examplesare "parentscale concepts."They'reall in D Lydian,to get you primedJorthe Lydianplay-along progression on the CD.
The D Lydianlickin Fig.5 scattersthe notesof an AmaTarpeggio-lhetonicchordof the para pairof F{ 'target'notes.Thoughnotpartot an AmaTarpeggio,F{ is the entscaleof A ma.ior-around focuson thechord. 3rdof theDmaTchordandhelpsto keepthemelodic
9'* ' J =to
DmaT a/ta^,a,i'iliarl'ti,i!
scaleexampledrawson the conceptof playingminorpentatonics The Fig.6 D Lydian/parent (see"Oddsand Ends"in the lonianchapter).Again,in this situathe maior scale otf the 3rd degreeol snuggledin the licktionA majoris the parentscale,and C[ is the 3rd degreeof A major.Comfortably double-stop stylingsof of the pentatonic ladenCl minorpentatonicscale,this exampleis representative major (1/2 the root of a pattern step below pentatonic in this way minor scale Using the Hendrix. Jimi (2-3-il4-6-7), while omitLydian notes live choice "automatic" moves that outline chord)affordssome ting onlythe rootand sth.
@u*.u ) =6s Dmal3
4) ----------r e n t a t o nt ipca l t e m Cflminop
the | (A),lV (D),andV (E)majortriads D Lydianlickthatsuperimposes Fig.7 is a fusion-style fromthe parentscaleof A major.Playedovera basicD chord,the A triadrellectsa Dmagquality,the D 2nd,*4th, thecolorful nailsthechordtones,whilethe E driveshomethe D Lydianionalityas it contains and6th degreesof the mode.
9::,1, Dadd9({I l) 3
N.C.
3 (Atriad)--r
>
(Etriad)--i
(A fiad)
r
(E triad)
(Ddds anel Ends Here'sa listof additional tipsfor creatingyourown Lydianlicks.They?eall in D Lydianso you can use themon the Play-Along Progression thatfollows.Whenyou havethem down,transposethem to otherkeys.Be awarethat whenapplyingthem,you needto establishthe rootof Lydianas the pitch axis. 1. Add a G* ([4) to a DmaTarpeggio. 2. PlayD majorpentatonics and add a cil (*a). 3. Movearoundthe neckusingpatternsof A major(theparentscale). 4. Movearoundthe neckusingpatternsof F{ minor(relativeminorof parentscale). 5. PlayB DorianLicks(secondmodeol parentscale)and accentuate the 6th degree(G*, whichis the f,4of D Lydian). 6. CombineF{mi7and GfmiTbsarpeggios. (Vl and Vll chordsof parentscale,they highlightthe 3rd and f4th degreesof Lydian.)
Play-Along
Progression
Usethe fivepatternsof Lydian,locatedat the top of thischapter,to jam overthis D Lydian progression. Youcanuseanyof thetips in the"Oddsand Ends"sectionas theyareall in D Lydian. Also,try to applysomeof the licksin thischapter,changingthe rhythmsandtransposing themwhere necessarv.
IUlir
mt a a | | a(t)aia)aa ttttt .t.(t).t
fl-fT{it'
Pattem4
Pattem3
ffisr.
ffizr'
(a) |lata) taaa | | (a)a{4, a(a} | | | |
(a)a{al a(a) , I ta I aa(liaaa | | ;r?).
Pattem5
Pattem 1
mEm8r, |Itat|
{TITJ}tzr' ata) t(aJa
aaiaiaaa titl(a)t tttl tt
! taa i a(ala(ajaa I | | i
-rFTdr
The Mixolydian mode autlines the basic sttucture of a dominant seventh chord: root, srd, sth, and bTth;and theseextensions:9th, 11th,and 1sth.
The
"llip
Dorninant
Anel
Funky/"
llllode
Mixolydian, the fifthmode,is placedin the majormodecategorysimplybecauseot its major containsa rTthdegree 3rd degree.But unlikeits sistermodes-lonianand Lydian-Mixolydian (1-2-3-4-5-6-t7), settingit apartand placingit in a categoryall by itself.Referredto by manyas the "dominantmode,"Mixolydian alignsperfectlywithdominantseventhchords:The root,3rd,sth, and bTth whilethe remainingnotesnailthe routinescaledegreesof the modeoutlinethe basicchordstructure, ly applied extensions of the 9th (2nd),13th(6th),and 11th(4th).(Thelatterusuallyservesa domTsus4 function.) The "sound"of Mixolydian is in the musicall aroundus.The abundanceof dominantseventh a popular chordsusedin the progressions of blues,lunk,jazz,country,and rock,makeMixolydian wishingfor a "hipchoiceamongsoloistsin thosestyles.The modeis also usedheavilyby songwriters pei'or "funkief'alternative by to the "pretief'lonianmode.And manya classicriff is Mixolydian Jimi Hendrix's nature-Roy Orbison's"Oh,PrettyWomanj'the Beatles"'lFeelFine"and "Birthday," "ThirdStonefromthe Sun,"and MilesDavis's"All Blues,"to nameonlya few.
IUlixolydian
Licks
you'llfind a familiarunderlyLikeall the modes(exceptLocrian),if you chipawayat Mixolydian leavesthe majorpening pentatonic framework. Removalof the bTthand the 4th degreesof Mixolydian (1-2-3-5-6). players process a common-ground areaon the tatonicscale Many usethis to establish Fig. 1 offersan exampleof this pentatonic-meetsneckwherethe two scalescan "interminglel' Mixolydian approachin the fail-safe, C majorpentatonicpatternin 5th position(relativeA minorpentatonic).Mostof the lickconsistsof commonplace C majorpentatonicmoves,butthe occasionalBband F notesadd the Mixolydian spice.
o
Fig. l = t 2 6 t JI C7
C majorpentatonic/Mixolydian(paltern3)
Manyguitaristsstrugglefor a longtimetryingto get lvlixolydian to "soundright"to thetrears. often the problemlies in the waytheyare phrasingtheirnotes-eithermelodically, rhythmically, or both.The C Mixolydian lickin Fig. 2 is one exampleof balancingrhythmicand melodicphrasing. The simpledescendingmelodyin the firstmeasureis set againstthe super-funk syncopation of sixteenthnoterhythms.In the secondmeasure,the rhythmsrelaxand givewayto the melodywhichis considerably moreinvolvedthan it was in the firstbar.
o
Fig.2 C9
Fig.3 represents anotherapproachto phrasing.Rhythmicvariationtakesa backseatwhile speedand flashtake overto drivethis E lvlixolydian sequence. Toofastfor the listenerto cue intoeach and everypitch,the linedependson notetargetingfor melodicinterest. The lickstartson the bTththe magicalnoteof Mixolydian-andendson the root,but that'snot all thereis by a longshot. Attentionhas beengivento the firstnotein eachgroupingto makesuretheyadd up to a melodic,E Mixolydian statement. In order,theyare D-G{-A-D-E-A-B-E. Rearrange them,and you,llget the notesof an E7 chord(E-G*-B-D)-the I chordin E Mixolydian-plusa few left-overA notes.But the A notesare hardlythrowaways-theyrepresentthe suspended-fourth sound-an importantingredient of Mixolvdian.
' @o* J =Ma E
E Mixolydian(pattem2) -, - - -
l
jazz,the V chordis usuallytreatedwithsomeform oJimprovisational ln the ll-V-l progressions chapter,Fig.4).But whenan "inside"melodicstatementis calledfor, of alteration(see"Phrygian" Mixolydian reignssupremeas the diatonicchoicein majorkeys.Fig.4 givesan exampleof Mixolydian and two othermodesin playovera ll-V-l in Bbmajor.On the llmi chord(Cmi7),the C Dorianmodeis on the V chord(F7).Noticehow the whichleadsto a smoothtransitionintoF Mixolydian dispatched, This seguesto a simplerun firstpart of this phraseoutlinesan F7 arpegg;o(l chordin F Mixolydian). and the melodyendson a BbmaTarpeggio(l chordin Bblonian). up the firstfive notesof F Mixolydian, examplebelongto the key ol Bjlat major,butthe way theyare All of the notesin this three-measure phrasedleavesno doubtthat modesare in play.
o
Fie.4
J =srrjl =.1Jr CmiT
C Dorian(pattem4) - - - - - - - - - - - - - - - - - - - - - r
3 F Mixolydian (pattem2) - - - - - - - - - - - - - - -
-----r
Bb Ionian(pattem5)
in a sambavein.The doublestops-or dyads-are thirds Fig. 5 is a V-|, C majorprogression to the rootand 3rd of a C chord.These mode,witha finalresolution fromthe G Mixolydian harmonized you your thirds in majorkeys-just borrowfromthe know diatonic to apply if typesof linescan be easy you your parentscaleol the mode are in. In this example, can thinkof thirdsin the keyof C major,as Be awarethat whenyou are borrowingfromthe parentscale,your it'sthe parentscaleof G Mixolydian. "homebase"-or tonicrestingpoint-shifts.For instance,in this example,the firsttwo dyadsare positionsfor a G majorchord,whilethe lasttwo fit a C chord. "home-base" (|jf
Fig. s
)=u GI3
C;
G Mixolydian (thirds)
G Mixolydian again,but thistime in sixthintervals.lt'sa countrystyle,hybridFig.6 harmonizes fromthe openG and D strings.Each picking(pick-and{ingers) lick,featuringan arrayof hammer-ons couplet.Again,it'softeneasierto createlineslike hammered-on noteis the bottomof a sixth-interval parent scale. {rom the theseby borrowing
9;:: G7
llllir
Blrre
anel the
opportunities chordsfoundin bluesmusicoffersmanyenticing seventh Thewealthof dominant but notin manybluesguitaristsdrawfromthe modeextensively, consequently, for Mixolydianlovers. withthatstyle's modeis usuallyheardin conjunction In blues,theMixolydian manner. theconvLntional two scalesinto "graft" the is guitarists do What many intrinsicscale-the bluesscale(1-b$-4-bS-5-b7). one,creatingwhatis referredto as a "hybridscalel' A Hybrid Scale
A Mixolyilian
A Blues ir.
Tffifi-T-l
,rr"
--7Y5Tl
4fr
= A&tbiz\A + ffi-ffi A,\1#AA Y\+Ylfr/ :ffTdI F-nraa
Tf-ll-ro
whenyou"plop"theA bluesscaleon topof A Mixolydian whathappens illustrates Thediagram mode)'Thelret areasthat notes,the circlesmakeup the Mixolydian (thedotsrepreslntthe blues-scale 4th,sth, andbTth-a root, scales-the the commontonesof the two sharea dot anda circlerepresent chord'The seventh minor or a seventh setof noteslhatcouldimplyeithera dominant ralherambiguous arethe onesthattrulydictatethe tonalityat anygiven fivenotesthatsunoundthis basicframework theb3rdandbsth-the the2nd,3rd,and6th,whilethebluesscalesupplies supplies time.Mixolydian knownas ,,blue"note!.Theend resultis a nearly-chromatic, (1-2-b3-3-4-b5-5-O-b7l nine-noiescale hybridscale,"picturedherein patterns4 and2' the "Mixolydian/blues A Mixolydian/Blues Pattern4 t=F5T-f l ++ (a)ra a a a(al
ITITT-]' a a{a)t a ? a I tttt
tffiIf
D Mixolydian/Blues Pattel'J.2
{-fT-I-fl
+rr
a(a)t t ! I
rr|]n
a a a(t)o ? aa I lll
F5-Trrr
Don'tspenda lot of practicetimerunningup anddownthesepatterns,as this is notthe way hybridscaleis generallyused.The objectis to seeandfeelit as lwo overlapping the Mixolydianlblues patterns,andtolugg|gphraseslromeach,thusmo|dingthemintoone,push-and.pu||,hybridso 'Fig.7 hybridmovescarvedfrompatterns4 and2, overa conf""tur"r unlir"V ot Mixolydian/blues hybridscale the Mixolydian/blues lilOre: In this example, densedl-lV-V dominantotues[rogression. get you a handle purposes. until andusedovereachchange,mainlylor demonstration is transposed bluesprogressions') on it, piacticeusingit onlyoverthe I chordin dominant
9.'r., _,_ )=szdl=J )t N.C.
3 (pattem4) ----A Mixolydian/blues
E Mixolydian/blues(pattem2)- - - - - t/2
1/2
(pattem2) - - - - - -, D Mixolydian,/blues
A Mixolydian/blues(pattem4) - - ---
-
-, - - - - - I
- -..1
vz
Fig. I is a jazz-bluesexampleof the BbMixolydian/blues hybridscalein action.When yourown hybridscalelicksin a traditional constructing jazz slyle,rememberto use slidesin place of bends.
Fig. 8 .J = 184(J .l N.C.
IN
Bb Mixolydian/blues(pattem4)
The blues-rock examplein Fig. 9 illustrates the perfectpairingof the E Mixolydian/blues hybrid scalewiththe "motherof all blues-rock chords,"E7f9.The majorand minor3rdsof the scalealignwith the 3rd and the *9 of the chord,whilethe ,5 tempersthe lickwithjust the rightamountof "meanness."
@o',n
(Ddds
arrel Ends
Here'sa listof additional tipsfor creatingyourown Mixolydian licks.They'reall in C Mixolydian you havethemdown,transpose you can use them on the Play-Along Progression that follows. When so as themto otherkeys.Be awarethat whenapplyingthem,you needto establishthe rootof Mixolydian the pitchaxis. 1. UseyourC Dorianlicksbut replacethe minor3rds(Eb)withmajor3rds(E). 2. Add an F,D, or A noteto a C7 arpeggiofor the followingresults:C7add4-Cg-C13 to bridgeall of the whole 3. Use chromaticpassingtones(ascending and descending) (c-cr-D: D-D!-E: steps G-Gb-F:B'-B-C: etc.). using 4. Playan Emi7b5arpeggio(Vll chordol parentscale)and resolveto C. Experiment otherarpeggiosf romthe parentscale(Bbma7,Fma7,Dmi7,etc.). 5. PlayC, Bb,and F triads(V lV and I triadsfrom parentscale). ll-V changein F major. 6. PlayC Mixolydian overa one-measure
Play-Along
Progression
of Mixolydian, located at thetopof thischapter, to jamoverihisC Usethefivepatterns progression. Mixolydian Youcanuseanyof thetipsin the"OddsandEnds"sectionas theyareail in C Also,tryto applysomeof thelicksin thischapter, changing therhythms andtransposing Mixolydian. themwherenecessary.
o )
Aeolian GUIDE QUICKREFERENCE Formula: 1-2-b3-4-5-b6-b7 Construction: W-H_W_W-H_W-W CategorY: Minor scaledegree: 2 0 Differentiating mi7,mig,mi11 For chordtypes: minor,mi(b6), Harmony: Imi7-l Imi7b5-b|||ma7-lv mi7-v ml7-bv Ima7-rv ll7 lmi-lvmi; imi-Vmi;lmi-rlll-rvll; lmi-bvl Commonprogressions: lmi-bVll-bVl; Aeolian patterns: E Five (circlednotesare the roots;notesin parentheses are the ',6thdegrees) Pattem2
Pattem I
Pattem 5 (O. a.
ITTt'8i
7ft aoTfal '5TTTT4' -T-Ol-ffi-rF1
a(,tTTTl3fr [ft-l_T-] {-ft6i l---f--Tt
SIdT-T} fiTiFTTl
fl_.rlt Ti-trdl
--i--Tr
iffi
Pattern4
Pattem3
rr'T-TO' iiroil Dlr_t: f TaT.
ffi
sri
fliTAJLt-tl? : -lJlrl ._J_QJ_.
ffi
The Aeolianmode outlinesthe basic structure of a minor seventh chord: root, b3rd, 11th,andb1sth. ,th. and iTth:and theseextensions:qth,
The
lUlinor
"Rornantic"
IUIode
minormode(thefirsttwelvenoteso{ the themefromthe Aeolian,oftencalledthe "romantic" speakvolumes),is simplythe modalnamefor the naturalminorscale(1-2-t3-4film "TheGod{ather" 5-t6-b7).Whilerelegatedas the sixthmodeoJthe majorscale,it is the "kingdaddy"of the minormode category(Aeoiian,Dorian,Phrygian,and Locrian),and of all otherminorscales(includingmelodic wilh the natural minorand harmonicminor-see "OtherModes"chapter).Sinceit is one-and{he-same get lntolicksand we before So harmony. minorscale,Aeolianalso servesas the basisof minorscale the Aeolianmode' let'shavea lookat harmonizing applications,
IUIinor
llarrnonY
Scale
everydegreeof the naturalminorscale,or Just as it did withthe maiorscale,harmonizing seriesof triadand seventhchordqualities,shownherein E Aeolianmode,resultsin a predictable mtnor: Seventhchords
Triads Am
bI
lVmi
Bm
bvl
bvn
EniT F{mi7b5 GmaT AmiT
BmiT
CmaT
lmiT IIrniTbSbIIImaT lvmiT
VmiT bvlmaT bVIIT
In fact,theseare the samechordqualitiesloundin the majorscale,but starting{roma differentpoint. modes-Dorian,Phrygian,etc.-the Aeolianmode's Whilethe samecan be saidfor all the harmonized importantframeof reference. popularityand its statusas "thenaturalminorscale"makeit a particularly Justas you did withthe majorscale,you shouldcommitthis chordorderto memoryso you will be able to discernminorkeyprogressions.
Also,try to memorizethe corresponding modefor eachchordin the harmonized scale. E Aeolian
Aeolian
F$ Locrian
Licks
c Ionian
A Dorian
B phrygian
C Lydian
D Mixolydian
anel Appl-cations
The Aeoliantonalitycan be considered as beingbetweenDorianand phrygian-sharingthe softand melodicgth (2nd)of the formet and the heavyb6thof the latter.Thereforl]toanalyze a melodyas beingAeolianmeansthat it has a minor3rd ol course,but mostimportantly the combination of the b6thand gth (2nd).The simpleE Aeolianmelodyin Fig. 1 showcasesthesethreenotes in a bluesyexamplethat disclosesthe hauntingaspectsof the mode.The half-stepbendsheighten the crying qualityproducedby the pairingof the 2nd withthe t'3rd(Ffiand G), wnireine trequentiotrs 1c; aoo an atmosphere of susDense.
O"*' ) =sz
The blues'rockexamplein Fig.2 is basicallya sequencedrun up the E minorpentatonic scale (E-G-A-B*D), the basicframeworkof the E Aeolianmode.The brjefinclusionsof the ,,missino,, scale degrees-both(C) and 2nd (Fil)-give the lickits Aeolianflavor.
r'*. , _,_ 9 J =r+rrJ? =J .ltl Emi
J E Aeolian (paftem 4)
Fig. 3 is a jazzy approachto C Aeolianover a lmi-Vmi vamp.Noticelhe liberaluse of halJ-step slidesfromthe z6th(Ad and to the r3rd (Eb).
tT2 .'t.,
_,_
I =120(l| =J l'l
Fig.4 stringstogetherthe b6th(Fma7)and b3rd(Cma7)arpeggiosof A The melancholy FmaT draws out the "gloomy"b6thdegreeof the modewhilethe CmaTsuggestsan Aeolian.The Ami(add9)quality,whichsoftensthe mood.
0 r---
rock,it'snot unusualto find guitaristsjugglingAeolian, In stylessuchas fusionand progressive Dorian,and evenPhrygianmelodiesbackand forthoveran extendedlmi chordvamp.Fig.5 tosses aroundideasfromall threeof thesemodesin a two-barexampleoveran Ami chord.
.^. tjEf Fig.s v ) = tzo
AAeolian--- ------------
-
'1
A D o r i a nr- A P h r y g i a n - - - - - - -
--l
ADorian- r A Phrygian
Using Aeolian in l(ey Genter Play-ng Thereare manyapproaches to soloingoverminorkey (Aeolian)progressions. Someguitarists relyexclusively on minorpentatonic scaleswhileotherscraftmelodiesusingthe completeAeolian mode.Thereare playerswho liketo arpeggiate the chordtonesof changeswhileothersenjoy,,filling in the holes"thosearpeggiosleavebehind,by "pluggingin"the diatonicmodeovereachchord.lt dependson the styleof music,but generallyspeaking,a mixtureof all fourof thesetechniquesusually providesthe mostinteresting and melodicresults.Let'shavea lookat somehands-onexamotesovera few minorprogressions. Fig' 6 is a four-measure progression in the key ol D minor:lmi-bVl-bVll-lmi. The D Aeorran modecouldworkoverthe entireprogression, but insteadthe melodyholdsbackin the firsttwo oars, stayingwithinD minorpentatonic. This anticipates the arrivalof the bVland bVllchordsin measure3 wherethe D Aeolianscaleis dispatchedin a shortmelodicstatementthat highlights the chord changes.This"holding-back-on-the-l-chord-approach" can be very eflectivein addingimpactto the arrivalol new chord changes.
e
Fig. 6
) = 100 Dmi
D m i n o rp e n t a t o n- i c 4l .l al
-----ltar
i aaaa
l
D A e o l i a -n
----
----i
ryyt+
Fig.7 is basicallythe sameprogression as Fig.6 exceptit is longer,allowingmoretimefor melodres to be developedoverthe changes.This beingthe case,the chord/scale approachis useo, exploiting the entirediatonicmodeof eachchord-Aeolianon the lmi, Lydianon the tvl, and Mixolydian on the bVllchord.Eachtwo-barsectionis a melodicstatementin its own right,but there is a definitesenseof unityas all the modesare derivedfromthe parentmode.D Aeolian.
D Aeolian
B b l y d i a n -- - ,
-----
l L
I
)
C ^ !.araa
a
C M i x o l y d i a-n
____-r
D Aeolian
Fig.8 is a ll-V-l-lv progression in C minor,featuringa mixtureof arpeggiosand modalplaying.All chordsare diatonicto C Aeolianexceptfor the V chord,whichis dominantinsteadof minorseventh in quality.However,its fsth and *gthalterations are diatonicto the key. The examplebeginswitha Dmi7r5arpeggioin the ll chordmeasure,whichseguesto G Phrygianfor the V chord(G+7$9)change.The modeservesits purposewellas it outlinesthe *9, b9, root,b7,and f5 of the chord,provingitselfa usefulalternative to the alteredscale(referto the "Other Modes"chapter).c Aeoliannotechoicescolorthe lmi chordin measure3, and the examplecloses witha strongF Dorianstatementoverthe lvmi chord.Again,all the modeschosenfor this exampte belongto the "parent"modeof the progression (in this case,C Aeolian),resultingin a strongsense of continuity.
e
Fig.8
J = 120 Dmi7t5
-J--
---- r Dmr7b5arpeggio-
F Dorian
l
(Ddels anel
Ends
Here'sa listof additional tips for creatingyourown Aeolianlicks.They'reall in E Aeorranso you can usethem withthe Play-Along Progression that follows.Whenyou havethemdown,transposethem to otherkeys.Be awarethat whenappryingthem,you needto estabrish the rootof Aeolianas rne pitchaxis. 1. Playdiatonicthirdand sixthdyadsharmonized tromG major(parentkey). 2. Mix E minor,A minor,and B minorpentatonicscares.combined,they represent every noteof E Aeolian. 3. Mix E, A, and B minortriads(r-rv-v). combined,they represenreverynoteof E Aeorian. . 4. Playa D7 or FlmiTblarpeggioand resolveto an E minorpentatonic ltk.
Play-Along
progression
Usethefivepanernsof Aeolian,locateda1the top of thischapter,to jam overthis E Aeolian progression. Youcan useanyof thetips in lhe "Oddsanddnds"section'"rit"y ar" all in FAeolian. Also,try to applysomeof the ricksin this chapter,changlngthe rhythms tii*p"","g ;em where necessary. ""0
Locrian GUIDE OUICKREFERENCE Formula: 1-b2-b3-4'b5-b6-b7 Construction: H-W-W-H-W-W-W CategorY: Minor Differentiatingscale degree: bs Forchordtypes: diminished'minorTbs -bV Harmony: lmi7b5-bllmaT-bIIImi7-tVmi7-bVma7-|,v17 llmiT Commonprogressions: l'--rll;lmi7bs-lvmi7;lmi7bs-bvllmiT Five oatterns: B Locrian (circlednotes are the roots;notes in parentheses slg ths !5th degrees) Pattem 4
Pattern5
Pattem 1
Pattem2
Pattem 3
,EErEE,
rffiiTl aa(a)Laa
SEfErn
ffifipzr'
?+;--!0"
?-|$?l':" 'irr--Ls?]
iT.T-l
ELrr
r-ilT,Tit
{Tr,lfi
fTfIIl'
+*t:h r'--T'_l
trt-6.T1
at]_lAI tt?t?
Fffi -fr11l
f+9l#
EIEF,
The Locrianmodeouttinesthe basicstructureof a minorsevenflat+ivechord:root' 1lth,and,13th. and theseertensions:b9th, bgrd.r'th.andbTth;
The
"EccenXric"
IDirninished
llllode
of all the minormodesof the majorscale,Locrian(seventhmode)is the oddballof the bunch' formulais similarto that of Phrygian(1-b2-b3-4-5-t6-'7)'the bsth Althoughits 1-b2-b3-4-r5-[,6-t7 of degreJof Locrianpushesthe mode"overthe top"of the consonantladderintothe furtherreaches usualit's mode(dueto its I chordtriadharmony:root-23-'5), dislonance.often calledthe "diminished" of any musicstyle,mi7b5 in majorprogressions with mi7b5chords.Rarelyencountered ly associated jazlusion. the jazz consequently, and chordsusuallyfunctionas the ll chordin the minorkeysof doesn't Locrian tool in thoseidioms.This isn'tto say that Locrianmodeis a popularimprovisational guitaristsare acutelyawareof the sinisterproperties heavy-metal dwellin othermusicstyles.Many guitaristshavebeen knownto use it in substitulurkingwithinthe Locrianmode,and piogressive-blues In the propercontext,the Locrianmodecan proveto be a valuableally tionsituations.
Locrian
Applications
when placedin the ll chordslotof combination Locrianand the mi7b5chordforma dream-team plusaddsits in jazz.The modeoutlinesthe chord'sbasicstructure(root-b3-b5-07) minorprogressions the rootof with up matches diatonicaiterations-tnebgtn,and fi5.The leftoverdegree(the4th, or 11th) the V chord,whichalmostalwaysfollowsthe llmi7b5. an intrinsicfixturein iazz-lhe minorll-V-l progressionover the ll chord Fig, 1 represents (E7'9)' (Bmi7r5), ihe B Locriantinerisesto the b9(C) thenfallsto resolveto the rootof the V chord b9(F) peaks at the out Herethe E Phrygianmodeis dispatchedin a similarlycontouredlinethat also pattern 4 of B of the chordthen descendsto resolveon the gth (B) of the I chord(Ami9).Noticehow The fingeringfor eachis the samebecausethe modesare Locrianflowsintopattern2 of E Phrygian. related-bothbelongingto the parentmodeof A Aeolian'
Fig. I
J =roorJ!=J Jl Ami9
Bmi7b5
3 E Phrygian (pattem 2) - - - - - - - - - - - - - - - - - - - - - - - - I
B Locrian (pattem 4) - -
a,ta/ti,t
aaat^
^a
a to encounter it'snotuncommon worldof jazzlfusion, improvisational In the unconventional in "temporary I chord"), as (lasting as a more bars, lunctioning twoor mi7b5 chordin a staticsituation rises to the as a ll chord,theB Locrianmodestill Fig.2.Eventhoughthe Bmi7r5is notfunctioning qualityproduced by thepairingof the"bluesy" movesenhance Noticehowthehammer/pull occasion. (E bsth F). and degrees the4thand
I
o,r, ) =s2
- --r B Locrian(pattem5)
B l,ocrian(paitem4) - - ------
of pop music,the Vll'chord is rarelyused.Whenthal harmonyis In the majorkeyprogressions in its place.For example:in the key of C major, V chordis usuallysubstituted required,a first-inversion for the B' or Bmi7bschord.lf you thinkoi the B noteas beingthe root,the a G/B chordsubstitutes a Bmi$s-a diatonicalterationof the Vll chord-makingit a candidatefor the chordcan be considered B Locrianmode.Placedin sucha context,the Locrianmodecan be extremelymelodic.Fig. 3 offersan V chord in a typicalC majorpop progression. exampleof B Locrianover the first-inversion
9oo ' ) =6s C
C m a j op r e n t a t o n- i c .tia aaa
I
-
--------1 aa ^ ^a!
properties of themode09, *9,b5,{5), foundwithinthestructure Because o{thesuper-alteration bars isolates theturnaround V chords. Fig.4 Locrian overfunctioning liketo superimpose manyplayers (addg) pentatonic (Gmi7-Cmi7), a G minor In the lmi-lvmimeasure of a G minorbluesprogression. thebluesymood,thenthe D LocrianmodetakesoverontheV chord(D7t9),hitting lickestablishes (sans5th)that lies framework of the blues-scale Thislicktakesfull advantage everypossiblealteration. withintheLocrianmode.
e
Fig. 4 . =63 GmiT
D7*9
Af-
Gminorpentatonic(addg), - - - - - - - - - - - I lt
r!!
aafti!
Unliketheotherminormodesof themajorscale(Dorian, Phrygian, andAeolian), Locrian does notcontainthe minorpentatonic scaleas its underlying framework. The presenceof the tsth degree "throwsofl"the pattern,makingit awkwardto builduponeslablished licksfromthatscale.In lieuof the minorpentatonic scale,manyplayers relyon thearpeggiated tormof the I chordin Locrian(mi7b5) as a buildingblockfor constructing licks.ThefollowingtwoveryusefulpatternsoJthe mi7b5arpeggioare movableto any key. Dmi7b5 arpeggios-
-Pattem2 {-fT-fT-} t(a)ta | | tteltl
-T-TasTt te | | tt
--------1 Pattem 4
a r,
ffffitor' TT(5TT-I t I ttf
a
ffr=ffl
By playingthesearpeggiosand "sprinkling" in the missingnotes(r2nd,4th,t6th)hereand there,the entireLocrianmodeis represented. Fig.5 givesan exampleof this processappliedto a Dmi7b5arpeggiofrompattern2.
@oo'
Dmi?b5 a$eggio w/ "missing"Locdannotes
quality,the unembellished Due to its distinctive mi7i5 arpeggiois oftenusedto "suggest" the Locrianmode.Althoughthe arpeggioomitsthe b2nd,4tt1, and b6thdegreesof the mode,the diminished qualityof its triad(root-b3rd-b5th) aloneis enoughto linkit to the Locrianmode.Fig.6 offersan example with a lick that sequencestlvo patterns(2 and 4) ol a Dmi7ts arpeggioover a Dmi7bschord.In additionto servicingthe Dmi7b5chord,the arpeggiated linecan be substituted overa Bbgchord(mi7t5 arpeggiooff the 3rd of a dominantchord). Fig. 6
)=wrJl=) )t Dmi7l5 (orBb9)
propertiesof Locrianmakethe modea highlyquali{iedcandidatefor exploitaThe -ultra-heavy' tion in heavymetalmusic.The combination of the b2ndwiththe "Devil'sinterval"bsthproposesmany sinisterpossibilities for creatingominoussoundingriffs.The grindingexamplein Fig.7 usesthosetwo notes(F and B,) in abundanceas it setsthe harmonjzed powerchordsfromthe E Locrianmooe againsta relentlesslow-Epedal.The invertedE(bs)chordsin the fourthmeasureare the diatonic power-chord formsof the I chord-rn the previousmeasuresonlythe rootis played.Whilethis riff avoidsit. manyLocrianritfssubstitutea standardroovsthpowerchordfor the I chord.
@o'" . = 100Half"time feel \(
F5
E(b5l
Bb5 E(b5l Bb5
I
Odels
anel
Ends
Here'sa listof additionaltipsfor creatingyourown Locrianlicks.They'reall in B Locrianso you can use them in the Play-Along Progression on the cD. when you havethemdown,transposethemto otherkeys.Be awarethat when applyingthem,you needto establishthe rootof Locrianas the pitch axis. 1. Playthe B bluesscale(B-D-E-F-Ffi-A),but avordthe5th (F{). 2. Playthis "synthetic"pentatonicscale:B-C-E-F-A (1-b2-4-r'-b7). 3. Play8", C, and F majortriads.(Combined, they representeverynotefrom B Locrian.) 4. Playan A minorpentatonic scaleand add a B. 5. Playa D minorpentatonic scaleand add a B.
Play-Along
Progressiofr
Usethefivepatternso{ Locrian,locatedat the top of thischapter,to iam overthis B Locrian progression. Youcanuseanyof thetipsin the"OddsandEnds"sectionas theyareall in B Locrian. Also,tryto applysomeol thelicksin thischapter, changing the rhythms andtransposing themwhere necessarv
B Locrian
(Dther
lUlodes
The majorscaleis not uniquein containingsevenmodes.In fact,all diatonic(seven-note) chapter,we'lltakea lookat the melodicminor scaleshavetheirown set of modes.In this streamlined popular fromeach.Finally,we'llperforma "modal" modes most the and harmonicminorscales,and scale-the bluesscale. ooerationon a nondiatonic
lUlelodic
IUIinor
anel
Wlodes
lts
The melodic minor scale (1-1,3-4-5-6-7) can be likenedto a majorscale with a b3rd degree,but it'sactuallymoreakinto the Dorianmodewith a major7th.Playthroughthe followingthree patlernsof melodicminorto see if they"feel"familiarto yourfingers-likeslightlyadjustedDorianpatyou can takeyour Dorianpatterns,raisethe tTthdegreesa half ierns.lf you makethis"connection," step,or;ne fret,and you'llhavepatternsof melodicminor.In likefashion,you can convertyourDorian licksintomelodicminorlicksby raisingthe bTthdegreesby a halfstep' Melodic Minor Pattem 4
Pattem 2
Pattem I
fr-TT-T_l
5-TTTTI
5-rT-T_T-l looat
a{a)a L a a
._5(5]5t}
tatttl
i t t(t) L ? LOtt?
(a)a I a a(t) ttottt
? l _L_-LL..'
n.rfFt
tffi
TT_I_[[}
overmlnor Also referredto as "thejazz minorscale,"melodicminorcan be superimposed most commonly it's licks, but sounding "outside" triadchordsand minorSeventhchordsfor Slightly in its usualplace, Fig. 1 featuresan Ami(ma7)chord usedovermi(ma7)chords(root-t3rd-5th-7th). tuckedbetweenan Ami chordand an Ami7.A Dorianis usedoverthe Ami chordand seguesto A OverAmi7,the melodyreturnsto the melodicminor,whichoutlinesthe tonalitychangebeautifully. A Dorianmode.
,A. -t'19''
\yz
). =62 Ami(ma7)
A D o i a n ( D a t t e 4m) - -
-----r
------
4) c i n o r( p a t t e m A m e l o d im
--------l
Am7 aliaaaa,la'raaar
a
A Dorian (paftem 4) - rt ^AA
a/laa
,a,a'r}rr,i!
thesameis trueof modesbuiltfromitssevenscaledegrees, Justas themajorscaleproduces forsoloextensively are used its modes and jazz scale minor andfusion,themelodic minor.ln melodic just seen We have in thosestyles inherent chordsanddaringchordprogressions ingoverthecolorful modeminorscalein action.Nowlet'stakea lookat itsseventh modeof themelodic the,'lonian" or "thealteredscale." super-Locrian, usedoverfunctioning toolsin jazzsoloing. Thealteredscaleis oneof themostpopular a contains Locrian to the Locrianmode.Butwhereas (resolving) V chords,it'ssimilarin construction botha Thisresultsin thealteredscalecontaining 4ih,thealteredscalehasa major3rddegree. oerfect
As you can see,all minorand a major3rd, but mostplayersviewits formulaas 1-b9-*9-3-b5-*5-p7. possiblealterations are present:l'9,{9, b5,and fis.Combinedwith its major3rd and bTthdegrees,this makesthe alteredscalean idealchoicefor soloingoveraltereddominantchords. Beloware threepatternsof the alteredscale.Noticetheyare exactlythe sameas the melodic minorpatterns,exceptthatthe 7th degreeof melodicminoris now the root(in otherwords,the altered methodfor playing the popular"shortcut" scaleis the seventhmodeof melodicminor).This illustrates play pattern-go melodic minor. from root of a chord and up a halfstep the an alteredscale The Altered Scale
Pattem4 6ifTTTA) tt
Pattern1
Pattern 2
6TTTI
{-T_TTT-}
ttll
IT6TT]
+TT.FFI {tlrrf
taaa(a)l
f lf
T6TTTI
?_t_t_t_.1_t? I tf !
{frtin
t??
fTTO
Fig.2 placesthe G alteredscale(seventhmodeof Abmelodicminor)overa G+7b9chord whichis resolvingto Cmig.Noticethat the lickstartson a strongchordtone-the 3rd (B) of G+7b9and climbsthe scaleto hit the root(G) on the downbeatof the nextmeasure,then resolvesto the sth in makingthe alteredscale (G) of Cmi9.Targeting strongchordtoneson strongbeatsis imperative soundmusical. Fig.2 J = 138 C+'7b9
-----------------
G altered scale (pattern 4) - - - - - -
l
G altered scale (pattem l)
just as its namesuggests-likethe The sixthmodeof melodicminor,Locrian f2, is constructed is overmi7b5 . lts chiefapplication Locrianmodebut witha raised2nd degree:1-2-b3-4-b5-b6-b7 to the Locrianmode.Manyplayersconsiderthe z2ndof Locriantoo harsh,so chords,as an alternative theyopt for the "softef'soundof Locrian+2.As you playthroughthesepatterns,try to "feel"the mi7b5 arpeggiosthat lie within(seethe "Locrian"chapter). Locrian f2 Pattem4
].rfiTl ttt
Pattem2 5-TTTT }
?l
5Tr5T-Tl ITT'FII
t ( a ) at t ? t t??
T5-T'5TI ?ttlr?J
and the A alteredscale Fig. 3 setsthe E Locrian*2 modein motionoverthe ll chord(Emi7l,5), two scales flow intoeachother. Notice how smoothlv the Il-V-l orooression in D minoroverthe V in a
o )
Fig.3 -J= 1 0 8( J J = J J ' ) Dmi?
2)- E Locrian *2 (paltem
---jl----, taaaa
A a l t e r esdc a l e( p a t t e r4n) - - - - - - - - - - -
The fourth mode of melodic minor, Lydian dominart---or Lydian b7---isidentical to the Lydian mode ot the majorscale exceptthat it has, as the name implies,a bTthdegree:1-2-914-5.€-+'7. Here are two very practicalpatternsof Lydiandominant.Playthroughthem slowly,acquaintingyourself withthe unusualsoundof the mode. Lydian Dominant Pattem 4
Patl'f,.rr'2
rffftl
[rrTTt (aJta t0tf
I a(a) tl
? tt?
FT1Trl
5T'5TT1 | | tat
fT_r[l
t?
5'5TTT1
t t a(a)ao
I
-I-Tr-l
WhileLydiandominantand the Lydianmodehavemuchin commonin bothnameano construction,when it comesto application, Lydiandominantis morecloselyassociated with Mixolydian. LikeMixolydian, Lydiandominantis well suitedfor dominantseventhchords.Whileits {4th degreeputs it especiallyin linewith dominant$11chords,manyguitaristsuse it overany staticor nonresolving dominantchord.Fig.4 offersan exampleof the D Lydiandominantmodeovera staticDg chord.The assortedbends,slides,and syncopatedrhythms,combinedwith the notes of the mode itself,make for an interesting mixtureof funk,fusion,and blues.
o
f,rs.4 . .-l-.Jr , FFF= ]-TI. = a a a a a a a) \a
N.C.
D9
6 (Ami(ma7) arpeggio)
(Amitriad
-)
(F*mi7b5arp- - - - - - :' - -) D Lydiandominanlrpalrem4r - - - --- - - - -
(D major triad) (C+ triad)
The superimposed arpeggiosin the aboveexample-Ami(ma7)and F{mi7r5arpeggios; A minor,D major,and C augmentedtriads-are all harmonized fromthe parentscaleof A melodicminor. As with modesof the majorscale,borrowingfromthe parentscaleis quitecommonamongexperiencedplayersin dealingwith modesof melodicminor.The followingchordformulasare harmonized lrom the kevof A melodicminor:
Triads: Seventhchords:
Ami-Bmi-C+-D-E-Fil"-c+" Ami(ma7)-Bmi7-Cma7(*5)-D7-E7-F*mi7f5-Gilmi7b5
Experiment withsomeof them in arpeggiated formfor the followingmodes:D Lydiandominant, F, Locrian#2,and the G* (or At')alteredscale.And of course,transposethemto otherkeysas well. Fig. 5 servesas a vehiclefor stringingthe melodicminorscaleand threeof its modestogether all in one progression. lt'sa ll-v-l-lv7 in the key of G minor.The A Locrian12modeis usedfor the IlmiTb5chord(Ami7b5) and seguesto the D alteredscalefor the V chord(D7b9).Noticethe common tones(D and C) usedto tie the two modestogetheracrossthe bar line-In the thirdmeasure,a stmpte G minortriaddrapesthe G minorchordfollowedby selectednotesfromG melodicminorfor the Gmi(ma7). The c Lydiandominantmodeis usedfor the lv7 chord,c9($1t), and can be seenas a continuationof G melodicminor,as that is its parentscale.
@''*' ( D +t r i a d - - - ) D a l t e r esdc a l e- - - - -
A L o c r i a n f 2- - - -
r Bb is pldlredinsre.d ol B on tlre CD
c9(slr)
Gmi(ma7)
(Gmitriad- - - - - - -
-----)
(Cmi(ma7)arp - - - ) G melodjcminor-- - - -
Play-Along
, - -r
(Cmi(ma7)arp C Lydiandominant-
--)
Progressiorr
Thislrackusesthe sameprogression as Fig.5. you can use thoselicksor comeup wilh yourown, basedon the variouspatternsyou'velearnedfor the melodicminorscale and three of :ts modes-the alteredscale,Locrian{2, and Lydiandominant.starl simply,usingonly a few notesfromeacnmooe, and striveto be melodic.
Gmi(ma7)
A l - o c . i a*n2
--------,
,l
- - - - - - -, - - - - l C minor Dalteredscale Pentatonic - 1
c9({r 1)
C L y d i a n d o m i n a-n- ,t - , , - - r * CD @ordins endson a c9(* I I chord )
Harrnonic
lUlinor
anel
lts
IUIodes
Like mefodicminor,the harmonic minor scale (1-2-r3-4-5-bA-7) has a raised7th degree. But whereasmelodicminorhas a "soft'sounddue to its natural6th degree,harmonicminor'sb6th makesthe scalesoundmoreunusualand assertive. This is due chieflyto the minor3rd "gap"between b6th 7th degrees, which creates the and a strongsense of anticipationlor resolution-or returnto the tonic. Playthroughthese three patternsand listento the strong"pull"of the scale from its sth degreeto the tonic. Harmonic Minor Pattem 4
{-rT-rT-} tlttl
5T'5TT1 etlru
Pattem 1
ro
I ttf t I a I o a(tll
ETfT-]
?1?!? l t?J
Pattem 2
ffi
t(?)? | a ?
a-rTT-Fl r-5r5T] Itt tt I tTT-ff|
chords,andit is In jazz,harmonic minoris alsoa popular scalechoicefor minor-major seventh luminor(seeFig.1).lt is alsoa favorite amongclassically-inf usedin muchthesamewayas melodic and is oftenusedas an encedhardrockguitarists suchasYngwieMalmsteen andTonyMacAlpine, to Aeolian. Fig.6 offersjustsuchan example withan A harmonic minorrunplayedoveran alternative Amichord.
o
Fig.6
= 126 Arm
Arguably, themostcommonly usedmodeof theharmonic minorscaleis Phrygiandominantor thelifth mode.lt is constructed likethe Phrygianmodeol the majorscale,exceptthatinsteadof Trythesethreeveryserviceable a minor3rddegree,it containsa major3rd (1-62-3-4-5-bo-t7). patterns. Phrygian Dominant Pattem 4
Trtrn
OJJIi-O Ll_i_Lu I aoa | |
[TI-r5t TTT-T_|-}
PattemI
a-rT-FT-l I t
I t(t)f
tttttl a ( a ) aa I a ? I -LL-L]?
Pattem 2
IITT-N
a(o)a a I a af | | tf
tltttu
it overthefunctioning V Themostcommonusageof Phrygian dominant is to superimpose aliketakeadvantage of themode's chordin a minorkeyprogression. Jazz,blues,androckguitarists chord-altering capabilities. Forexample, whentheA Phrygian dominant scale(A-B'-C{-D-E-F-G)is theroot(A),3rd(C{),sth (E),andbTth(G)ol thechord, superimposed overan A7 chord,it outlines plusthealterations 4thor 11lh. of a bgth(Bb)anda {sthor t13th(F).TheD noteservesas a "passing"
Fig. 7 superimposes the A Phrygiandominantmodeoverthe v chord(A7t9)in a ll-v-l in D minor.Thiscreatestensionoverthe functioning V chordand makesthe ear wantto hearresolution, whichoccursin the D Aeolianmelodyplayedoverthe I chord(Dmi7).(E Locrianis usedto ouflinethe Emi7b5chord.)
o
Fic
7
) = 9 2 ( aI = J a ' ) A1b9
3 E L o c r i r n( p a r t e m l)- - - -
-- - - l
A P h Oe i a nd o m i n a n( tp r { l e m4 ) - - - - - . 1
DAeolian(patrern 2)- --- -
Neoclassical rockguitaristsput Phrygiandominanton the rockmap jn the,g0s.Superimposedoverpowerchords,it can be a potenttoolwhen usedto fashionsizzlingsequenceslike the one in Fig. 8.
@o'*' ) = r52 B5
Whenthe harmonicminorscaleis harmonized in seventhchords,the resultingformulais '7. A lmi(ma7)-llmi7rs-tlllmaT*5-lvmi7-V7-bVtmaT-V of thesechordscan of coursLbe playeorn arp-eggiated formfor soloingpurposes,but the one that offersthe mostintriguingpossibilities is the Vll'7. Forexample,Fig.9 usesthe E Phrygiandominantscaleovera functioning E7 chord.Any of the arpeggiosharmonized fromA harmonicminorare up for grabs(A harmonicminorts the parentscaleof E Phrygiandominant), but this lineonlyexploitsthe Vll chord,G*'7-Takingfull advantageof the fact that a diminishedseventharpeggioshaperepeatsitselfeverythreefrets,this lickspreadsa G{.7 arpeggioand its inversions (8"7, D"7, and F 7) acrossthe entiresecondhalfol this lick. fll
Frg.9 ) = 126 ^
Amr
Play-Along
Progression
Forthis Latrnrockprogression in D minor,play D Aeolianin the firstand thirdmeasures,and switchto A Phrygiandominantoverthe V (A7)chords.Youmightsimplywantto think"onebar of D Aeolian,one bar of D harmonicminor;'etc.Try someGl'7 arpeggiosoverthe A7 chordas well.
o n Aeolian
The
A Ph^ Phrygian dominantor "irn dominmr D harmonicminof - - - - - - - - - - - - - r
Blrres
D Aeolian
r
arrel lts
Scale
A Phrygiandominantor D harmonicminor-
I
lUloeles
The blues scale is not a diatonicscale,but that doesn'tmeanit doesn'tcontain"modesl'Since its construction is unusualto beginwith (1-b34-,5-5-b7), its modesare equallyas uniqueand are that somewhatdifficultto applyin the traditional sense.Thereis one modeof the bluesscale,however, guitarists. by startingon the is quitepopular,especiallyamongcounlryand country-rock Constructed b3rddegreeof the scale,its formulais 1-2-b3-3-5-6.Knownto manyas the "bluegrassscale;'it's uniquein that it holdsthe basicpropertiesol the majorpentatonic scale,whilealsocontaininga "bluesy"b3rddegree. Beloware two patternsof the bluesscaleand two patternsof its "secondmode"-the bluegrass pentatonic scaleprinciplescale.Youwill probablynoticethe resemblance to the relativemajor/minor whereif you playa minorpentatonic scalepatternstartingfromthe ,3rd degreeyou get the relative manner majorpentaionicscale.Someplayerswho use the bluegrassscalethinkin this relative-major licksdowna minor3rd fromthe rootof the chord. and simplytransposetheirblues-scale Blues Scale Pattern4
r5,ttr5a)
TTTTTT TTOTTI fTTiFi
tTT-rn
Bluegrass Scale
1 Pilttern 2
ffi FT{-r-1 I-TTOT]
{TTT-1 fT IfII
Pattem3 5--50JT1
Pattem I
ro
-|_tr-l lilrT]
t f-Tasl
Il-ffrl
'.5TTT1 -T-TF'I
(5TTT-i')
Ita
I
Fig.10 is an example of the C bluegrass scalein action.Noticethe constantmixingof major minor in the third measure. Try transposing this lickan octavehigher,using and 3rds,especially pattern1. Fig.10 d = 126(l | =,) ,)'\ C1
m) C b l u e g r asscsa l(ep a t i c 3
-
------------r
stylesolothat utilizesan Fig. 11 usestwo patternsof the G bluegrassscalein a Southern-rock moves. abundanceof finger-slide
o
Fig. I I
J =96 G vtaal
at|aaaa
ryYttrL
ta,l
^
rltiataa
l
t
aaaaa
aaa/tt
G bluegrassscale(pattern3) I
Playingthe bluesscalestartingon its 5th degree("fifth"mode)producesa uniquescale (1-bg-4-b6-b7-7)that, with propercare, works well over dominant{9 chords.A good way to apply this modeis to playthe bluesscalea fourthabove(or a fifthbelow)the rootof the chordoverwhichyou're A bluesscalelicksoveran E7fl9 soloing.Fig. 12 givesan exampleof this processby superimposing you are using-C in this case-as pattern cnorO.lWnln usingthis method,watchout for the ,3rd of the it is the tsth of the chordoverwhichyou'replaying.)
@u', " J =r:s E'7*9
lttaat - 3-
+J!
A bluesscale(pattem4) - - - !"t ""''!
r
StartE
7), W usingthebznddeugbas a Ahhoughit containB actuallyworksquitewell overdominantseventhchords.A goodwayto oQerimentwilh the mo,-de modeis to playout of a bluesscalepatterna fifthabove(ora fourthbelow)the rootof the chord. Fig.13 offeisin exampleof thismethodby usingnotesderivedfrompattern4 of the B bluesscale to fashiona funkylineoveran E9.
@""'" J =u
Guitar Notation Legend GuitarMusic can be notatedthree d;fferentwayi on a musical6tall, in tabtaturc,and in rhtthm stashes.
D
graphically TASI-ATUBE represents the guitar fingerboard. Each horizontal line €presents a sting,andeachnumber r€presents afret.
I
EG
@@ open 3fr
RHYTHM SI-.ASHIS arcwrittenabovethe slaft.Slrumchords intherh!,thm indicaled. ljsethechorddiaorams foundatthetopof lhefirslpaqeofth€kanscdption forthe apprcpriate chordvoicings. Notes: Round noteheads indicate single not€s. ci THEMUSICAL STAFF showspitches and rhythms andis divided bybarlinesinto measures. Pitches ar€named afterthelirst Strings: seven letterc ol lhealphabet. highr
sTtl^) n
3 G 0
played togelher GnACEoTEBEilD:Strikethenoteand immediately bend !p asindicat€d.
HALF-SIEP 8EilD:Stik€thenoteandbend upl/2 st€p.
WH0LE-S]EP BEIID:Strikethenoteand 0en0uponestep.
BEilDA!10BELEASE: Striketh€noleand
PBE-8END: Bend thenoteasindicated,lh€n VIBRATo: Thestringisvibrated byrapidty stikeit. bendinq andreleasing thenotewiththe lrcttinghand.
HAMMER-oN: St kethefirstllower)notewith onefinger, thensound thehigher note(onthe samestring) withanolher finqerbylretting il withoutpicking.
PUtt-oFF: Plac€ bothiingers onthenotes to besounded. Strike thefirstnoteand picking, pullthelingeroftto sound without thesecond
IEGATo SIIDE:Strike theihstnoteand thenslidethesame lret-hand finoerupor downt0thesecond note,Thesecond note is n0tsiruck.
(MlCB0T0tlE) SLIGHI BEil0:Sirike the noteandbendup1/4step.
WIDE V|SFAT0: Thepitchis vaiedto a greater degrce byvibraling withthefretting hand.
SHIFT SIIDE:Same aslegato slide,excepi thesecond noteis struck.
TRIIL:Veryrapidly ("taD")lhe alternate between the TAPPll,lG: Hammer fretindicated notes indicated bycontinuously hammeinq withthepick-hand indexor middle fingerand onandpulling otf. pullofitothenotelrcttedbythetrethand.
ilATURAL HA8Molci Slrike thenotewhile PINCH HARMoNIC: Thenoteisfretted thefret-hard lightly louches thestring normally anda hamonic is produced byaddjno directly overtheiretindicated. theedge ofthelhumb orthetip oltheindex
PICK SCRAPE: Theedgeotthepickis rubbed producing down(0rup)thestring, a scratchy sound.
IIUFFLED STSlilGS: Apercussive sound is produced bylayirgthefrcthandacross the
PAIMMlrTll,lc: Thenoteis partially muted bythepickhandiightly touchino the justbefore string(s) thebridoe.
BAKE:Dragth6pickacrossthestrings indicated wilha single motion.
TnEMoLo PlCKlc: Thenoteis picked as rapidly andconiinuously aspossible.
VIBBATo BARolVEA D BETURili The pitchofthenoteorchodisdropped a specilied numberot steps {inrhythm)then relurned totheoriginalpitch.
VIBRATo BARSC00P: Depress thebarjust before st kingthenote,lhenquickly release thebar.
V|ERAT0 BARDIP:Strik€thenoteandthen immediately dropaspecilied number of steps, ihenrelease backtotheori0inalpitch.
D^tt
U
PRIVATETESSO'VS
K
t\/tc)f)tsS -/"VW A HANDS.ONAPPROACH TO THEMODESTHOROUGHLY EXPLAINED! I lonian,Dorian,PhrYgian, Lydian,Mixolydian,Aeolian, and Locrian r MelodicMinor,Harmonic Minor,and the BluesScale r SoloingOverDiatonicand ModalProgressions Modes r Superimposing Licks, r Patterns,Progressions, and More
CD tncludes83 Full-BandTracks
Book $6.95,CD $10.00= Pkg $16.95 Partsnot sold separately
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